Buddha's Later Life
These images depict later event in the Buddha's life--renouncing his home, religious practice and temptation, Enlightenment, and some events from his ministry. The images come from scenes at the Sanchi Stupa, and were carved at a time in the Evolution of the Buddha image when the Buddha was not portrayed in human form, but only through certain symbols.
This panel, from exterior of Sanchi's eastern gateway--depicts the Future Buddha's Great Departure--when he renounced his royal status and became a homeless wanderer searching for supreme enlightenment.
The story is told in sequential fashion from left to right: at far left is the town of Kapilavastu, with houses and residents. The Buddha (symbolized by the tree in the middle) left his home on a horse named Kanthaka (which is also covered with the royal umbrella, and in the center panels the gods are holding the horse off the ground, muffling its hoof beats to keep the Buddha's family from being roused by the noise (and frustrating his desire to go). At far right the horse is being led back toward the town, and the pair of footprints is another symbol of the Buddha.
This image from the Northern Gateway's interior detail shows two important events preceding the Buddha's enlightenment--Sujata's offering and temptation by Mara. The Buddha is represented by the tree on the left), Sujata is the small figure holding a pot just below it, and in the center and right are Mara and his vanquished demon hosts. According to tradition, Sujata gave the Future Buddha a plate of rice cooked in milk (she had vowed to offer it to the spirit of a tree, and mistook the man sitting under the tree for that spirit). The Buddha had previously sought enlightenment by fasting, but this had only weakened his body. Eating the milk-rice gave him the strength and nourishment enabling him to focus his mind (and become enlightened), but it also illustrates the "middle path" attitude toward the body--caring for it so that it is healthy, but not indulging it.
As already mentioned, the figure of Mara (here seated just left of center) is a symbol for the desires and attachments that bind people to the world, and in becoming enlightened, the Buddha thereby "vanquished" him. Aside from sending his demon armies to frighten the Buddha, Mara is also said to have sent his three "daughters"--Discontent, Delight, and Craving"--who are visible just to the right of the tree. Needless to say, these daughters were also unsuccessful.
This image--from the interior of Sanchi's eastern gateway--shows the Buddha (as a tree, the symbol used to represent enlightenment) being worshipped after his enlightenment by various non-human beings, as a symbol of his status as an enlightened being. There are lions, buffalos, deer, birds, some funky sheep with very human-looking faces, and on the left side, a six-headed serpent figure representing the Nagas, who were nature spirits and minor protective deities (one of their frequent depictions is sitting behind the meditating Buddha, shading him from the sun by spreading their gigantic hoods.
ccording to Mitra (1965: 35), this scene from the Western gateway's exterior depicts a critical moment in the Buddha's early career. He had just been enlightened (and so is depicted by the tree in the top center), but was uncertain whether or not he would find anyone able to understand his teaching.
According to tradition, in response the danger that an enlightened being might keep his realization to himself, the gods assembled around the Buddha and begged him to teach, pointing out that some people in the world had "only a little dust covering their eyes"--that is, they would be able to understand at least some of his message. The Buddha was persuaded by their argument, and set off toward Sarnath, where he preached his first sermon.
iThis image, from Western Gateway's exterior, shows the Buddha (portrayed as the wheel) teaching at the Deer Park in Sarnath--the deer are visible on each side at the bottom. The wheel symbol refers back to his first sermon (The Four Noble Truths) in which he set the "wheel of dharma in motion"--that is, began actively to propagate his teaching and to make disciples, and it stands for the Buddha as an Enlightened Teacher. This scene may or may not refer to that first sermon--a large crowd has gathered around him for instruction, and the first sermon was preached to only five people--a small group ascetics who had earlier been his associates
This image from the Eastern Gateway interior depicts a mythical event from the Buddha's ministry--the conversion of the Kashyapas, who became his disciples after he walked on water. This scene shows the Kashyapas in a boat going to rescue him, and later standing on the bank making reverential gestures. Based on the latter the Buddha is probably indicated by slab above the standing men; another possibility is as the tree at left floating in the water.
Tradition states that the Kashyapas had a thousand members, and from such accounts it seems that one of the factors behind the Buddha's success was that he was able to incorporate existing sects into his own.
This panel from the exterior of Sanchi's eastern gateway shows another scene in which the Buddha displayed his magic powers to convert the Kashyapas (shown here as hermits wearing their hair in matted locks). In this case the Buddha took up residence in the fire-temple at Uruvela, which was inhabited by a poisonous snake (the snake is visible in center, with the fire down below). He vanquished the snake, which then showed its submission by crawling into his begging bowl (Mitra 1985: 35).
This shot--from the Western Gateway's interior--shows the Siege of Kushinagara, part of the so-called War of the Relics. According to tradition, after the Buddha's body was cremated, his relics (teeth and bits of bone) were collected by the King of the Mallas, who brought them back to their capital, Kushinagara. Seven other clans (who all lived in places frequented by the Buddha) contested the Mallas right to keep the relics, and demanded a share for themselves. The Mallas were at first were reluctant to do this, and so the other kings massed their armies to attack the Mallas and take the relics by force. Fortunately, good sense prevailed in the end, and the relics were divided equally between the eight kings. This panel shows the kings on the right side (indicated by the umbrellas at the top of the panel) with their armies (and elephants and chariots) massed in preparation for the battle which never took place.
*Note: The references to Mitra refer to Debala Mitra's Sanchi, (2nd ed.) New Delhi: Archeological Survey of India, 1965.