Buddhist Aesthetics

Introduction on Aesthetics

            “Sundarasya bhAvaM saundaryam”

            Aesthetic is a branch of philosophy, dealing with the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more scientifically defined as the study of sensory or sensory-emotional values, sometimes called judgments of sentiment and taste. More broadly, scholars in the field define aesthetics as critical reflection on art, culture and nature. Aesthetics is closely associated with the philosophy of art. It is where we comment upon the appearance. 

            The word aesthetic is derived from the Greek aisthetikos, meaning “esthetic, sensitive, sentient”, which in turn was derived from aisthanomai, meaning "I perceive, feel, sense". The term "aesthetics" was appropriated and coined with new meaning in the German form  Ästhetik by Alexander Baumgarten in 1734. In the past it was chiefly a subject for philosophers. Since the 19th century, artists also have contributed their views.

The first aesthetic theory of any scope is that of Plato, who believed that reality consists of forms or symbols beyond human sensation, which are the models for all things that exist in human experience. The objects of such experience are imitations, of those forms. The philosopher tries to reason from the object experienced to the reality it imitates; the artist copies the experienced object, or uses it as a model for the work. Thus, the artist's work is an imitation of an imitation.

Aesthetics was inseparable from morality and politics for both Aristotle and Plato. The former wrote about music in his Politics, maintaining that art affects human character, and hence the social order. Since Aristotle held that happiness is the aim of life, he believed that the major function of art is to provide human satisfaction. According to him, the emotions of pity and fear which were considered as unhealthy mind could be cured by the play of drama.

            Aesthetic studies the qualities of nature of the beautiful and makes judgments concerning beauty. Beauty is visual pleasantness of a person, animal, object or scene, and also pleasantness of sound, especially music that gives pleasure to the senses or pleasurably exalts the mind or spirit. For instances, the flowing rivers and streams, thick wood, mountain peaks, starry midnight sky and the imaginative and creative pieces of work produced by artists, poets, authors and musicians, etc. However, in the Buddhist concept of the beautiful there is an attitudinal as well as an objective aspect in what is beautiful.

            This aesthetical nature can be witnessed as two-fold as depicted in Buddhism. i.e;

1.      Spiritual aesthetics and

2.      Aesthetics prevalent in the temporal world.

            Among these Buddha had supremacy the first fact than second. Because second aesthetics is temporal. Buddha had showed the difference between aesthetics prevalent in the temporal world and spiritual aesthetics. Here are two examples shown:

            In the Udana pali, Buddha has compared the beauty of the nymphs with that of Nanda's former fiancee and Nanda then compares her to a burnt she-monkey with mutilated ears and nose. Thereafter he promised to lead a holy life and eventually attained enlightenment.

            In another episode, Khema who was infatuated by her own beauty having seen a far more beautiful nymph conjured by the Buddha passing from youth to old age, falling down and dying before her eyes realized the vanity of her pride. These two incidents reveal the Buddha has given an ethical and spiritual dimension to what is beautiful.

            In these instances, Buddha had used word beauty, one of the media of aesthetics view to explain the real beauty and fake beauty. Likewise Buddha always praised the reality, spiritual aesthetics. Spiritual aesthetics can feel by one who gained the spirituality (NibbAna).

Criticism in Main View of Buddhism

            The basic objective of Buddhism is the elucidation of the path leading to the emancipation from the samsaric misery that the being has to endure. In this matter the main tenet of Buddhism is "suffering", "impermanence", many have the misconception that it has a pessimistic outlook and is devoid of any kind of aesthetic appreciation. Even Mr. Ananda Kumaraswami, the philosopher has stated in his book, named “Dance of Shiva”[1] that Buddhism is pessimistic religion. He come across to this decision about Buddhism, by examine following points.

·        nacca gIta vAdita visUka dassanA mAlA gandha vilepana dhAraBa maBDana vibhUsanaTThAnA veramani ….

·        vevanniyamhi ajjhUpagatoti pabbajitena abhiBhaM paccavekkhitabbaM.

·        ruBBamidaM bhikkhave ariyassa vinaye gItaM - ummattakamidaM ariyassa vinaye naccaM

·        According to the Cullavagga pali Buddha despising to the monk who drew the picture of dragon on the wall. etc.

            But these preventions were belonging to the Buddhist monks. Buddhist lay people are free from these preventions. Such view is completely against the true teaching of Buddhism. In fact, the whole teaching of Buddhism aims at the conditioned happiness while living in the round of birth and the unconditioned happiness, nibbāna. The Buddha revealed the truth of suffering to human beings in order to lead them to the real happiness or otherwise the cessation of that same suffering. Since Buddhism leads us to the real happiness, it certainly accepts the existence of beauty.

            “Buddhism and Beauty” the small book of Prof. Jothi Dheerasekara had proofed that Buddhism is not a pessimistic religion. Prof. Oliver Abenayaka also was a great philosopher, had proofed that Buddhism is not a pessimistic religion. Through careful examination of Buddhist teaching and arts, it would clear what is the Buddhist attitude towards aesthetics. In fact, many facts found in the Pāli literature speak of various aesthetics views. The Buddha did not reject the aesthetics.

Aesthetical attitudes from life of the Buddha

            The Buddha is pre-eminent among the aesthetes who lived in the world. The life story of Buddha itself evidence that it was the aesthetics temporal environment that helped him to achieve supreme enlightenment. It was happen under the Bo-tree. Trees are the part of environment. So, environment appears in every significant events of his life, such as his birth, reaching supreme enlightenment, passing away. He born at a park of sal trees, attained supreme enlightenment at the foot of the Sri Maha Bodhi tree and passed away amidst two sal trees.

            Gaya Sirsha was the place Prince Siddhartha ordained. The Ariyapariyesana Sutta of the MN contains a special evaluation of the Gaya Sirsha made after achieving supreme enlightenment by Buddha. i.e.

            “RamaBIyo esa bhUmibhAgo, pAsAdiko vanasaBdo

            nadI ca sandati setakA, supatitthA ramaBIyA”[2]

            Both bank of the river that consists of stream of pure water and river let flowing through the luxurious forest glade is enriched with unblemished pains of white sands and flowers that blossom forth in the forest and are extremely charming. Thus Buddha evaluated where he gained supreme enlightenment. He selected such a charm and beautiful place to attained NibbAna. Then how one can say that Buddha did not appreciate aesthetics? Without appreciating aesthetics why he selected such a charm place to attained NibbAna and why utter such a gladness statement. This could be a main point to prove that Buddha appreciated aesthetic.

            But not only in above statement, also when he had visited the sites where ancient Chetiyas were located in India during his time, with accompanied by community of monks, he had uttered -

            “ramaBIyaM Ananda vesAliM, ramaBIyaM udena cetiyaM, ramaBIyaM gotamakaM cetiyaM, ramaBIyaM sattambaka cetiyaM, ramaBIyaM bahuputtaka cetiyaM, ramaBIyaM cApAla cetiyaM”[3]

            Which means; Ananda see beauty of vesAli shrine, udena shrine, gotamaka shrine, sattambaka shrine, bahuputtaka shrine, cApAla shrine. Buddha’s mind was pleased in those places. Therefore, Buddha employed the term “beauty” to express his feeling towards aesthetics. These states prove that Buddha didn’t abandoned, but admitted the aesthetics.

Buddhist View upon Music

            Actually Buddha rejected to hear and play music to monks. But, lay people are not included in this order. They are free to hear music and play too. In fact, Buddha himself had praised music and songs in according to the Sakkapanha sutta of DN. Also he had taken musical instruments to explain his doctrine. According to Sakkapanha sutta of DN, he listened to song and praised the song and music played by Pancasikha. Pancasikha, who was crazy in love to Suriyavacchasa, the daughter of Timbaru, sang a song with the music of lute in presence of the Buddha. At the end of song Buddha praised his song that ‘the sound of strings of lute Pancasikha played blended well with the song and the song with the strings and that neither prevailed excessively over the other’.

            “saMsandati kho paGcasikha tantissaro gItassarena, gItassaro tantissarena”[4]

            Having accepting the aesthetics in this way, he had also used lute to explain his doctrine. According to the AN, Ven. Sona Kolivisa was decided to disrobe because of the difficulty of gaining nibbAna. In fact, Buddha used the musical instrument term lute as simile to explain how to practice to attain NibbAna. He explained practice should be like playing lute. The wire of lute should neither tight nor loose to play it properly. Ven. Sona Kolivisa was talent lute player before he ordained. Buddha was well-known that Ven. Sona Kolivisa will understand the Dhamma by explaining with the simile of lute. Therefore he used simile of lute here. He used the musical instrument, one of the part of aesthetics for one’s good well.

            And also, music has placed in many occasions of Buddhist studies, such as in the JAtaka stories (in Guttila jAtaka), in the life of prince SiddhArtha. Buddha himself had proclaimed that he had experiences about music in the period of prince SiddhArtha. As it stated in MN Magandhiya sutta -

            “cattAro mAse nippurisehi turiyehi pacArayamAno na heTThapAsAdaM orohAmi” [5]

            Here term ‘turiyehi’ means the musical instrument. He had stayed for four months respectively in the special built palace even without get down from that palace, having enjoying musical instrument.

            So, music is not rejected to Buddhist people. They can enjoy aesthetics with the music also. Only it was rejected due to the monks.

Disciples’ Attitude towards Aesthetics

            The Buddha freed himself from all kind of defilements and realized the true beauty of nature. Likewise disciples of Buddha also attained Nibbana and realized the true beauty of nature. They have expressed their feelings towards aesthetics, depicted in TheragAthA and TherIgAthA. Once Ven. Sariputta wandering in the forest, having feeling the beauty of forest he has expressed as -

            “RamanIyaAni araGGAni - yattha na ramatI jano

            vItarAgA ramissanti - na te kAmagavesino”[6]

            Which means, passionless virtuous joy the pleasant forest where the passionate people do not. Not only Sariputta expressed this stanza but other disciples too had expressed the same stanza in TheragAthA and TherIgAthA. By this statement it is very clear that passionless virtuous enjoyments are very special from passionate people. They enjoy the forests by their entire mind and use to meditation in such silent places. Most of passionate people enjoy in the temporal events by pleasuring the senses passionately. Buddha rejected that kind of enjoyment to monks as they obstruct the way of Nibbana. Therefore Buddha mostly ordered the forest or under the tree or in the silent residence to meditate.

            “AraGGagato vA rukkhamUlagato vA suGGAgAragato vA”

            As well as Ven. Sariputta, Ven. KAludAi also had expressed his feelings towards environment while he was going to Kapilawastu palace with Buddha and community of sangha in KAludAi theragAthA. There he expressed the description of the season that ‘O Blessed One, at present the trees are dressed in flowers and tender leaves that are red like the blazing sparks. They have shed their old leaves and are close to the fruit bearing season and glow like fire. O great hero, the time is now opportune to proceed to the city of Kapilavastu for the welfare of the people of the sakya race.’

            “AngArinodAni dumA bhadante - phalesino chadanaM vippahAya

            te accimantova pabhAsayanti - samayo mahAvIra bhagIrasAnaM”[7]

            The most specialty of this verse is usage of the simile which has not used before. As the simile that leaves equalize to the blazing sparks and fruit equalize to the fire which glows. And had animationized the tree, having saying that they dressed in flower, shed their old leaves themselves and bearing fruits. This verse brings the amazing imagination of aesthetics.

            “YadA balAkA sucipaBdaracchadA - kAlassa meghassa bhayena tajjitA

            palehIti AlayamAlayesinI - tadA nadI ajakaraBI rameti maM”[8]

            This is the statement made by the Sappaka Thero while he was seated close by the river named AjakaraBI to meditate. While the sky was heavy with terrible rainy clouds he was delighted on seeing the flight of the foraging herds of cranes spreading their white wings and speeding to their nests through the rain laden clouds. That environment enchanted his mind confidently. The imagination of such situation comes to readers mind having reading this verse. This verse is that much special and attractiveness.

            According to the TherIgAthA Ven. AmbapAli has expressed her beauty of body before. She proclaim that she had filled, rounded, up raised breasts before but now it has been as the strainer which doesn’t have water.

            “pInavaTTa sahituggatA ubho - sobhare suthanakA pure mama

            thevikIva lambante nodakA - saccavAdI vacanaM anaGGathA”[9]

            Here she has described her breasts as a young girl should have.  While this verse recites, it imagines a young girl and beauty of her figure. Here it only mentioned the description her breasts. But she had described her long hair, face, thigh, waist etc in AmbapAli TherIgAthA. They could imagine the real form of a young girl of around 20 years old. Passionate people may understand it in sensuality. But AmbapAlI Bhikkhuni was a passionless virtuous disciple. She had understood the real beauty of world. Therefore she had used to state the impermanence of her beautiful figure in her poems.

            This kind of expressions had stated in other monks too, such as Venerable CUlaka, Sappaka, GirimAnanda, MahAkassapa, TAlaputa, Vangisa etc. In one occasion Ven. GirimAnanda had uttered about the rainy environment as -

            “Vassati devo yathA suItaM - channA me kutikA sukhA vivAtA

            tassaM viharAmi vUpasantaM - atha ce patthayasi pavassa deva”[10]

            (The rains fall like a beautiful song. My little hut is well roofed. I live here with calm mind because it is extremely comfortable. O rain, continue to rain as much as you like, if you so wish.) He described the rain as a beautiful song. While he lived in his well roofed small hut he heard the sound of raining as a song. It imagines a passionless virtuous monk watching or hearing the raining outside and feeling the raining from a small hut. Ven. Girimananda had well expressed this verse. He was a very talented poet. Poems that can express feelings of poet clearly, understand and could imagine by others, that kind of poems are excellent. These creations are that kind of very expert verses which can find in the Buddhist text books, especially in theratherIgAthA.

            Furthermore, in Buddhist texts there are much more examples towards aesthetics which has expressed by disciples of Buddha. Ven. CUlaka, Ven. Sappaka, Ven. Girimananda, Ven. Maha Kassapa, Ven. Talaputa, Ven. VaMgIsa etc. monks had uttered their feelings towards the aesthetics.

Poet, Poetry and Song

            First it is better to criticize about song. Because song is the one what Buddha rejected to monks. In fact, it is mentioned above that Buddha equalized singing song to crying. Moreover, a precept laid down in Khandaka vinaya that one should not recite the doctrine in extremely long drown out rhythm, one who do so, he will commits an ecclesiastical offence.

          “Na bhikkhave Ayatakena gItassarena dhammo gAyitabbo, yo gAyeyya Apatti dukkatassAti” [11]

            There are several instances where the Buddha had avoided partaking of alms offered after expounding verses, as example that can be cited is the Kasibharadvaja Sutta, and Dhaniya Gopala of Sutta Nipata.

            “GAthAbhigItaM me abhojaneyyaM - sampassataM brAhmana nesa dhammo”[12]

            After Buddha rejected to recite the Dhamma in long drown out rhythm, some monks tried to do it in another way. In one occasion two monks named Yamelu and Tekula came to Buddha and said that many monks study the Buddha-word in their own languages. They complained that the Buddha-word is thereby polluted. So, they posed him to translate the Buddha-words to the chandas which can protect the Dhamma for a long time. Then Buddha rejected this idea too.

            “Na bhikkhave buddhavacanam chandaso AropetabbaM, anujAnAmi bhikkave sakAya niruttiyA buddhavacanaM pariyApunituM”[13]

            (O monks, Buddha-word should not be put into metrical composition; it should be studied in their own language). Buddha-words are not to be protected, but to understand the truth. The word ‘Chandas’ is the pronoun given in the Vedic language to prescribe the number of letters that should constitute each line in poetic composition. As example eight words should be in ‘Anusthubh’ chandasa. And in accordance with the position of letters, there are long (guru) term and short (laghu) term called Vrutta. By these rules and regulations upon a poem, they make poems beautiful. Brahmins used chandasa and recited it as a song at the time of Buddha. So, Buddha didn’t need to recite the Buddha-words as singing song. Therefore Buddha rejected the chandasa.

            Here song and verse have slide different. There are plenty of verses can see in Tripitaka. Most of the books of Khuddaka Nikaya are composed in verses. KhuddakapATha, Dhammapada, VimAnavatthU, PetavatthU, TheragAthA, TherIgAthA, ApadAna, CariyApitaka, BuddhavaMsa, JAtaka are the books composed by verses. And in Suttas there are verses in place to place. Buddha had used three media to preach the Dhamma. i.e.; prose, verse and mixed prose and verse (campu). Buddha himself used the verses to preach the Dhamma. Ratana Sutta, Mahamangala Sutta, Isigili Sutta etc suttas are the examples for it. Sometimes Buddha employed verses to give the answers for the questions asked in verses. As example -

Deity-             “KiMsUdha vittaM purisassa seTThaM - kiMsu suciBBo sukhamAvahAti

                     kiMsu have sAdutaraM rasAnaM - kathaMjIviM jivitamAhu seTThaM”

Buddha-       “SaddhIdha vittaM purisassa seTThaM - dhammo suciBBo sukhamAvahAti

                     saccaM have sAdutaraM rasAnaM - paGGAjIviM jIvitamAhu seTThaM”[14]

            Here Buddha gave answer in the verse which questioned in verse by deity. There are plenty of such states in Tripitaka which Buddha himself gave the answers in verse.

            Also in some occasions Buddha appreciated the reciting the verses in certain rhythm. In one occasion early in the morning Ven. Sonakolivisa recited the verses of ATThaka vagga in a rhythm at the monastery where Buddha residence. Buddha praised him highly for reciting them in a sweet voice. This elucidates the fact that during the Buddha’s time, there was existed a method, approved by the Buddha, to recite the Suttas melodiously.

            In addition to this fact, Ven. Buddhaghosa, the great commentator had mentioned gAthA and geyya in the classification of doctrine of Buddha into nine elements. He described the ‘gAthA’ (verse) as the composition of entire verses and ‘geyya’ (poem) as the composition with the prose and verse which means campu kAvya. ‘Geyya’ have the quality that can be recited. Therefore as the suttas with verses are included in the Sagathaka vagga of Sutta NipAta it belongs specially to the section called ‘geyya’.

            In fact, Buddha’s attitude towards the verse was not opposite. He had described what facts should be fulfilling to be a verse in a question of a god.

The question from god -

            “KiMsu nidAnaM gAthAnaM - kiMsu tAsaM vyaGjanaM

            kiMsu sannissitA gAthA - kiMsu gAthAnaM Asayo”[15]

          (What is the base or origin of the verses? Who gives rise to their meanings? With whose association do the gathas exist? What is their place of existence? )

The answer from Buddha -

          “Chando nidAnaM gAthAnaM - akkharA tAsaM vyaGjanA

            nAma sannissitA gAthA - kavi gAthAnaM Asayo”[16]

          (The base or origin of gathas is the metrical composition. The gathas are born out of letters. The gathas exist with the association of objects (nama). The gathas reside within the poet.)

            As it mentioned before metrical composition is the rules and regulations to make a poem beautiful. Secondly it emerges from words. Thirdly it combined with objects. Here object means designations such as the earth, ocean, rivers, mountains, trees etc. At last the origin of the verses is the mind of the poet. Only a poet can create a beautiful poem by combining these qualities of poem. In fact of poet, Buddha had cited the four kinds of poets.

1.      CintA Kavi - Imaginative Poet

2.      Suta Kavi - Traditional Poet

3.      Attha Kavi - Didactic Nature Poet

4.      PaTibhAna Kavi - Creative Poet[17]

            Imaginative poet maintains his originality by giving expression to his imagination and create poem. This is the first thing a poet should have. Traditional poet creates poem having putting into verses of what he has heard. It means a poet should be well-reader. Third poet composes verses what is meaningful in consideration of its usefulness to moral life. He is better than previous two poets, because he creates the poem meaningfulness and usefulness to moral life. Last creative poet composes and recites on spur of the moment by just looking at things. He is the best among all poets, because he has all these qualities.

            This classification has done considering ascending to the importance of facts. Not because the qualifications of poets. Imaginative poet can only create a poem by imagination. He doesn’t have other qualities of poets. Traditional poet has two qualities. i.e.: imagination and well-read. Didactic Nature poet has three qualities with addition of meaningfulness and usefulness to moral life. Creative poet has all these qualities. This classification has done considering the qualification at a glance. But it was classification considering the importance of facts. Imagination is the first fact which should have within a poet. Subsequently one should have well-read. After that to be a better poet one should have the ability to create poem meaningful and useful to moral life. Then at last to be a best poet one should have following abilities in addition to the former facts.

1.      Unheard before (assuta pubbo)

2.      On the spot or not pre-meditated (ThAnaso)

3.      Inspiration

4.      Quick wittedness

            Likewise Buddha had classified and described the four kinds of poets. Ven. VaNgIsa is honoured as the one with extra-ordinary gift of paTibhAna. Having honouring the extra ordinary gift of paTibhAna to Ven. VaNgIsa is clear that there were more monks who have ability of paTibhAna. It obvious that even Buddha had rejected to sing the songs; he had appreciated to recite the verses in a separated rhythm.

Poetics with Embellishment

            AlaNkAra is the concept to beautify the poetry and produce the joy in learners’ mind. This concept started by Bharata Muni and BhAmaha the scholars of Sanskrit literature. Most of poetics with embellishment are in the Sanskrit literature. Even Sanskrit scholars started the concept of embellishment; literature of Pali was the older in the concept of embellishment. Bharata Muni started the concept of embellishment around 16^th century. He had introduced only four kinds of alaNkAras which later developed in 115, during the time of BhAmaha.

            Dealing with alaNkAra, KAvyAdarsha reads -

            “KAvyashobhAkarAn dharmAnalaNkArAn pracashate”[18]

            The elements that beautify the poetry are called AlaNkAra. Accordingly, any element that adds beauty to the poetry is alaNkAra. According to this interpretation, not only simile and metaphors but any beautifying element falls to the group of alaNkAra. Then, it would be very difficult to enumerate and determine the exact number of alankAras.

            Buddhism is a philosophy of ultimate reality. Buddhism considers the meaning and reality is the important more than artistic. Even though there are some occasions the usage of embellishment in Pali literature.

The poetic embellishments of Similes (UpamA) in Pali literature

            Simile is the comparison of two things with regard to one or more similar qualities or factors. This is one of the most frequent and famous technique present in Buddhist literature. The Buddha himself proclaims that it has been employed for the sake of easy understanding of a presentation or a preaching. There are plenty of similes can found in Pali canon. Some of fine examples are -

            “Nibbanti dhIrA yathA yaM padIpo…”[19]

            (The Arahants become extinct like the flame of lamp.)

            Here Arahants are simonized as a flame of lamp. As flame of lamp become extinct after finished the fuel, Arahants also attained Nibbana after finished their defilements. And when flame of lamp become extinct cannot be found, as well as it, after pass away the Arahants, their next birth cannot be found. Buddha employed the very fine, simple and understandable simile to describe the characteristic of Arahants.

            There are not the similes of exaggeration as depicted in Sanskrit language. Pali literature have depicted the similes from the natural things seen daily in the environment pervading the true village life patterns, such as elephants, horses, the fish, lions, the deer, monkeys, birds, the cattle, snakes, mirrors, lamps, field etc.

            According to the Dhammapada he had used the lots of similes from the environment in same verse.

            “UdakaM hi nayanti nettikA - usukArA namayanti tejanaM

            dAruM namayanti tacchakA - attAnaM damayanti subbatA”[20]

            (Irrigators lead the waters. Fletchers bend the shafts. Carpenters bend the wood. The virtuous control themselves.)

The poetics embellishment of metaphor (rUpaka)

            Metaphor also a kind of simile. But it is little different from the simile. It is counted as a hidden simile. Another factor that differentiates it from simile is the absence of ‘upamAsUcaka’ words, like iva, sadisa, sannibhA, yathA, tathA etc.

            “SaddhA bIjaM tapo vuTThi - paGGAme yuga naMgalaM

            hiri Is Amano yottaM - sati me phAlapAcanaM”

          (Faith is my seed, austerity the rain. Wisdom is my yoke and plough, modesty my pole, mind is the strap and mindfulness the ploughshare and goad.) Here metaphor is in the verse itself.

            In Buddha’s first joyful utterance (udAna) he employed the metaphor.

            “AnekajAti saMsAraM - sandhAvissaM anibbisaM

            gahakArakaM gavesanto - dukkhAjAti punappunaM

            GahakAraka diTThosi - punagehaM nakAhasi

            sabbAte phAsukA bhaggA - gahakUtaM visaMkhitaM

            visaMkhAra gataM cittaM - taBhAnaM khayamajjhagA”[21]

          (Through many a birth I wandered in sansara, seeking, but not found, the builder of the house. Sorrowful is it to be born again and again. O house-builder! Thou are seen. Thou shalt build no house again. All thy rafters are broken. Thy ridge-pole is shattered. My mind has attained the unconditioned. Achieved is the end of craving)

            In term ‘gahakAraka’ ‘gaha’ means house and ‘kAraka’ means builder, maker, and creator. ‘Gaha’ is metaphor to five aggregates and creator is metaphor to craving. And in the term of ‘phAsukA’, it is metaphor to defilement. And in the term ‘gahakUtaM’, it is metaphor to ignorance. It can take as a suggestion meaning (vyaMgArtha or dvani).

The poetics embellishment of dIpakAlaNkAra

            A word in a verse that stays in a place and is applicable and present in all the places and lines for the generation of meaning is called dIpakAlaNkAra.

            “Apathena payAtumicchati - candaM kILanikaM gavesi

            meruM laNghetumicchati - yo tavM buddhasutaM maggayasi”[22]

          (Though thou be far from me, how could I ever forget thee, O maiden, thee of the long-drawn eyelashes, thee of the eyes so miraculous. Dearer to me than those orbs is naught, O thou witching-eyed fairy.) Here, the word ‘tvaM’ is applicable to all three rest lines.

The poetics embellishment of arthAntarAnyAsa

            The bringing forth of a separate and additional example or factor to substantiate the previous fact is called arthAntarAnyAsa. It is very much recurrent in Pali canon.

            “Na tA ekassa dvinnaM - Apanova pasArito

            yo tA mayhanti maGGeyya - vAtaM jAlena bAdhaye”[23]

            Thus it has appreciated the aesthetics having employing various kinds of embellishments in all over the Pali canon and Pali literature.

Significant of Aesthetics in Buddhism

           Buddhism is the entire element of suffer. It discuss more about suffer and the way to get off from it. In fact, Buddhism should educate deeply, and then one could understand the Buddhism well.  He will not say that Buddhism is the pessimism. Entire Pali canon is the stories of passionless virtuous and discourses to realize the true nature. So, there are no any objects to gain sense gratifications which are only temporary. There are mental gratifications which are permanent. It is called the state of Arahant, NibbAna, KhInAsrava, Niruddha, Sambodhi, NibbutA. Passionate people cannot realize their state and their feelings too. Therefore, some of the scholars declare the Buddhism.

            But by above explanations, it is clear that Buddhism also has the joyful states. Enjoyment is there from the first step of Buddhism. Buddhism starts from the enlightenment of Buddha. On the first day of enlightenment of Buddha he uttered his joyful feelings by verses. That kind of enjoyment cannot take place by passionate people. And entire udAna PAli is the utterance of enjoyment of Buddha himself. TheratherIgAthA are the plenty of enjoyment utterance of monks and nuns.

            In above explanation I have proved that Buddha himself have appreciated the music, reciting verses in a separate rhythm, poets, nature things etc. which are the aspects of aesthetics. He rejected certain aspects to monks which are the barrier to attain Nibbana. Lay people are free from those orders.

            Aesthetics is beautiful of nature. And Buddhism of course loves nature. Buddhism is the religion that never wanted to harm anything and anybody. This is the main significant of aesthetics in Buddhism. Not to harm anyone. If someone accepts the concept of non-harm he protects the aesthetics of nature. If anyone discourses about the aesthetics he should love the aesthetics. Everyone have independent to feel the aesthetics of nature, but not to destroy them. Passionate people don’t have satisfaction upon beauty, enjoyment, happiness, pleasure. Therefore they go beyond their satisfactions. Then they start to destroy aesthetics of nature automatically. One who knows the Buddhism deeply, he never goes beyond his own satisfaction. Because he knows if one goes beyond the satisfaction it leads to destroy the aesthetics value. This is the signification of aesthetics in Buddhism.

References

1.      Ananda K. Coomaraswamy - The Dance of Shiva

2.      AN. Kavi sutta

3.      Buddhist Attitude Towards Aesthetics - Ven. Prof. Wegama Piyarathana Thera, 2010 Nov, Tharanjee Prints, No. 506, Highlevel Road, Nawinna, Maharagama.

4.      ChaTTha SangAyanA CD version 1.1 1997

5.      CVG, Khuddakavatthukhandaka.

6.      K. Sri Dhammananda,The Dhammapada, The Corporate Body of the Buddha Educational Foundation, 11F, 55 Hang Chow South Road Sec 1, Taipei, Taiwan, R.O.C.

1.      DN. Ariyapariyesana Sutta

2.      DN MahAparinibbAna sutta

3.      MN MAgandhiya sutta

4.      DN Sakkapanha sutta

7.      KN. KhuddakapATha

8.      TheragAthA pAli

9.      TherIgAthApAli

Abbreviations

AN: ANguttara NikAya

CVG : Cullavagga Pali

DN : DIgha NikAya

MN : Majjhima NikAya

KN : Khuddaka NikAya

---

[1] Ananda K. Coomaraswamy - The Dance of Shiva

[2] Ariyapariyesana Sutta, MN

[3] MahAparinibbana sutta, DN

[4] Sakkapanha Sutta, DN

[5] MAgandhiya Sutta, MN

[6] SAriputta ThergAthA, TheragAthA pAli

[7] KAludAi ThergAthA, TheragAthA pAli

[8] Sappaka ThergAthA, TheragAthA pAli

[9] AmbapAli TherIgAthA, TherIgAthA pAli

[10] GirimAnanda ThergAthA, TheragAthA pAli

[11] Khuddakavatthukhandaka, Cullavagga pAli

[12] KasIbhAradvAja Sutta, Sutta NipAta

[13] Khuddakavatthukhandaka, Cullavagga pAli

[14] ChetvAvagga, DevatA saMyutta, SN.

[15] DevatA saMyutta, SN.

[16] DevatA saMyutta, SN.

[17] Kavi Sutta, AN

[18]  DanDin - KAvyAdarsha

[19] Ratana Sutta, KhuddakapATha, KN

[20] K. Sri Dhammananda, The Dhammapada, Taipei, Taiwan, R.O.C. page no. 296

[21] K. Sri Dhammananda, The Dhammapada, Taipei, Taiwan, R.O.C. page no. 296

[22] SubhAjIvakambavanikA TherIgAthA, TiMsanipAto, TherIgAthA pAli, KN. 383 verse.

[23] CUlakuBAlajAtakA, DvAdasakanipAta, JAtakapAli, KN.

Click here to Download this article.