Tagged: Iconography
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Anālayo - Brahmā's Invitation (2011)
1In early Buddhist texts, the god Brahmā is incorporated through "inclusivism," being either satirized as a deluded creator or depicted as a subordinate protector of the Dharma. The most prominent example of this protector role is the story from the Pāli Ariyapariyesanā-sutta where Brahmā persuades the hesitant, newly-awakened Buddha to teach. This article highlights that this famous episode is completely absent from a parallel version of the discourse in the Chinese Madhyama-āgama. By comparing these texts and noting a similar pattern of absence in other parallel accounts, the analysis concludes that the story of Brahmā's intervention is likely a later addition to the tradition, rather than an original element that was subsequently lost. Therefore, this pivotal narrative, widely found in later texts and art, may not have been part of the earliest autobiographical account of the Buddha's awakening.
Anālayo - The Buddha's Fire Miracles (2015)
2Through a comparative study of early Buddhist discourses and their parallel versions, the author argues that depictions of the Buddha performing fire miracles are likely later textual developments rather than original elements. By examining narratives such as Sakka's visit, a visit to Brahmā, and the Pāṭikaputta challenge, the text demonstrates a pattern where earlier versions lack fire displays, which are then added or amplified in other recensions, suggesting a gradual embellishment over time. The author posits that these miracles may have arisen from a literal interpretation of the fire motif, which was originally used metaphorically in both texts and art to symbolize the power of meditation or the Buddha's radiance. This conclusion is supported by the observation that the "fire element" in most early discourses refers to the physical experience of bodily heat as a meditative object, not an external manifestation of flames, with the latter usage appearing to be a later innovation.