PETER SKILLING – PATTARATORN CHIRAPRAVATO – PIERRE PICHARD –
PRAPOD ASSAVAVIRULHAKARN – SANTI PAKDEEKHAM – PAST LIVES OF THE BUDDHA, WAT SI
CHUM, ART, ARCHITECTURE AND INSCRIPTIONS – RIVER BOOKS – BANGKOK, THAILAND
– 2008
We can consider this book from many
different points and under many different lights.
First it is the presentation of
an extremely important archaeological site, stamped as essential human heritage
by UNESCO. The book gives all the possible archaeological details that can be
known on how it was discovered and how it was saved and then valorized. It is
difficult because many people set foot and entered in that temple of Wat Si Chum
and apparently some things may have been displaced and quite a few were
misinterpreted. The immense treasure of this site is a passage and staircase
within the wall itself that goes from the entrance to the top of the present
building (we will regret the second passage on the other side of the main door
was walled in because of its poor state of repair). The ceiling of this passage
and staircase is decorated with plaques that are engraved with the famous
jatakas, one inscription identifying the jataka and an illustration of the
jataka itself.
Up to very recently it was
believed by archaeologists that these engraved plaques had been moved there
from another temple where they were on display and visible, whereas in this
corridor they are invisible since the corridor has no light. This volume
rejects this idea for two reasons. First of all the plaques are included in the
masonry so that it was impossible for them to be added afterwards. They are
sealed in by the masonry itself. The second reason is a misunderstanding of
these jatakas and their illustrations. To illustrate them like that, or in any
other way, is in itself an act of piety, fervor and merit. Such an act does not
require public recognition but is in itself valid for the author of the act, of
the illustration, in his/her own mind. Since there is no reason to believe all
the slabs and their illustrations were produced by one person, we obviously
have then a collective project of a community that is performing an act of
respect that requires a lot of mental concentration and meditation, hence that
brings a lot of merit.
In fact we could even consider
that setting them up for the public might be a negative vanity: to show one’s
merit building and in a way to boast about it. Of course such illustrations can
be produced to be set up in a temple for the illumination and inspiration of
the community in full light. But such a public exhibition requires a totally
personal reception of them: each monk in the temple receives the messages from
these jatakas personally, in his own mind. Even a collective reception with a
mantra or the recitation of the verse or verses attached to a particular jataka
is not building a collective awareness but a collection of personal and
individual awareness in each member of the assembly. There is no communion in
other words but a samsara is built by the bringing together of individual finite
mental acts.
The corridor and staircase then
becomes some kind of path that you have to climb to go to the top. Each one who
is going up the passage to the top can stop at each slab and, knowing what is
on it, evoke in his mind’s eyes that only needs mental light to see the jataka
itself represented there and even retell it in his mind, either the verse or
verses attached to it or the whole jataka or a shorter version as is done in
the Dhammapada. These jatakas are a canonical book of Theravada Buddhism and
knowing the five hundred odd stories is just a must for any Buddhist and that
knowledge added to the going through the whole passage is like performing in
oneself the very many lives of the Buddha that led him to becoming the Buddha.
Going up the corridor and passage is thus a mental trip to purification and
meditation. I am afraid the desire for some archaeologists to consider nothing
exists if it is not exhibited in public is a misunderstanding of Buddhism
itself which is an inner voyage and not a public one. What we see is hardly
what counts in Buddhism, or we are speaking of what we see in our own minds.
The second interest of the book
is the historical exploration of the context that made this temple be
constructed. So we find out a lot about the historical importance of the city
of Sukhothai, the old capital of Thailand. This
temple then becomes a monument to Thai history. It reveals the fact that in
these centuries (thirteenth and/or fourteenth centuries). At that time the Thai
kingdom was central in South East Asia but also in the Indian Ocean, central
because of the commerce it enabled and controlled in all directions and with
all neighboring countries particularly Myanmar, Cambodia and China, but also
and essentially with Sri Lanka and Theravada Buddhism that spread in South East
Asia thanks to the Mon people today situated on both sides of the border
between Myanmar and Thailand. It is also in this period and area that a new
writing system was introduced for Thai replacing the Khmer system used up to
then. There is a lot of discussion about this capital turning point in the
cultural identity of the country invented and introduced by Ram Khamhaeng at
the end of the 13th century.
Actually it is surprising that in
this book no allusion is done to that debate about the Ram Khamhaeng
Inscription and this first entirely Thai writing system is only alluded to as
“old Thai script.” We have to keep in mind that in those centuries the
connection with Sri Lanka
was constant and direct. It is no surprise then that many temples were built
and that in this particular temple the jatakas were illustrated in a very
special way. This temple is a Mondop that had a Wihan in front of it, the
Mondop being an enclosed place with the statue of a sitting Buddha, partly
visible from the Wihan due to the vast vertical opening in the front side of
the Mondop. The Mondop was for small numbers of monks coming to meditate and
eventually evoke the teachings of the Buddha, whereas the Wihan was more for a
vaster congregation assembled for some ritualistic activities. On this point
too the book seems to be slightly deficient. What kind of rites and rituals were
performed and set up in these two structures? There is no really detailed
answer.
I will of course note here the
touristic value of the book and the monument, but this touristic dimension is
absolutely secondary in what can interest us in this site.
The last and probably most
important side of the book is the listing of all the stones, properly numbered
and identified with a full description of what is still visible on the stones
and what we can deduct was on the stones, both illustrations and inscriptions.
The second half of the book gives such listings and descriptions and it also
provides the various jatakas as they come on the stones, I mean the stories
themselves in full version.
These stories have been compared
to La Fontaine’s Fables, hence indirectly to Aesop’s fables. This was coming
from a French man who had a rather limited cultural scope. Never mind who. The stories
are always telling particular events in a particular situation in which the
Bhodisatta (Buddha in becoming) is confronted to events and people who require
his knowledge and wisdom to find a solution. These stories are not written for
children but for an adult and normal Buddhist audience. Their main dimension is
that they are moral lessons given to their audience who is supposed to follow
the example of this Bhodisatta.
This very fact gives to these
stories a dimension that has been neglected. It is in no way a defense and
illustration of the reincarnation so firmly established in Brahmanism or
Hinduism. Buddhism rejects this idea in itself. If a person does not have a
self (anatta) because that person is constantly changing (anicca) which is the
basis of the constant cyclical birth-life-death-rebirth (dukkha), that person
cannot in anyway be reincarnated. How could this person be reincarnated into
another body if he/she is no soul, no self, no permanent and essential
component that could transmigrate from one dead body to a live one?
But these stories reveal how
improving your life, getting onto the “octuple” way, the eightfold way to
enlightenment and nibbana, is possible by reflecting on and getting inspired by
what the Buddha himself would have done in such situations, would have done to
become the Buddha. One is not born Buddha, one becomes Buddha. One does not
receive in any way Buddha-ism from come superior being or authority, but one
conquers Buddha-ism with one’s own work and effort, meditation and mental
cultivation of control over the mind and the body by the mind itself.
Now when we read these stories
that become parables we can try to imagine what they meant to people in the 13th
or 14th centuries, when there were no cars, no TVs, no telephones,
smart or otherwise, no computers, etc. We can then try to imagine what these
stories invented most of them by Buddha and his followers before the Christian
Era can mean to us, can bring us. What kind of enlightenment, what kind of
metta and upekkha can we get out of them? Because that is the essential element
in life: we have to love everyone and everything around us because everyone and
everything is alive and we have to love life. There are many ways of loving but
without love nothing can happen that has any value. Metta I said. But Upekkha
is just as important because we have to build some kind of serenity in our own
minds and with the people around us and their minds. Without that serenity we
cannot love the world and we cannot love people and we cannot improve ourselves
and liberate ourselves from the enslaving impulses, passions, feelings and even
emotions that pervade our existence.
That does not mean impulses have
to be negated, passions have to be rejected, feelings have to be destroyed and
emotions have to be diabolized. Without impulses, particularly the sexual
impulse, there would be no descent to our species. Without passions,
particularly love, there would be no metta and no humane communion with the
world. Without feelings there would be no possible real communication and
understanding: one does not understand with rational arguments but with the
inspiration that comes from feelings and intuition. Without emotions the world
would be dry as a rock and indigestible: we have to be constantly impressed by
the world into emotional states that have to be valorized and controlled. There
is no shame in being moved by what we see and in crying or laughing at what we
try to do and witness.
The last point to be mentioned
here is quite obvious. The illustrations and images of the book are in
themselves a tremendous voyage into time and space. We can learn how to dream
with them and that dream will lead you thousands of miles away and centuries
back into the past, which will enable us then to travel centuries into the
future and dream this time a world that could be so much better if only half of
this Buddhist wisdom were to come true.
Maybe the book, by wanting to be
objective misses that last point and treats Buddhism as if it were an animal
that has to be dissected, hence killed first. Buddhism can only be understood
when we feel the emotions metta and upekkha bring into our minds.
Dr Jacques COULARDEAU
# posted by Dr. Jacques COULARDEAU @ 5:48 AM