Teaching Dhamma by Pictures

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18. WRONG PRACTICE OF BUDDHA-DHAMMA




The Buddha, here representing the true teaching, is being attacked by three monks and one laymen. The fact that there is only one layman attacking the teachings indicates that many monks, once having been ordinated in the order, continue to follow false path and are attached to ceremony. They are indifferent to the true teachings and prefer the Wheel of Wandering-on to Nibbana.

(Monks, as they are more conspicuous than layman and because they are supposed to be devoting their lives to the Three Gems, and because it is known that they have many precepts to keep pure, can attack the Dhamma by misconduct in a more violent way than is possible for laypeople)

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19. RIGHT PRACTICE OF BUDDHA-DHAMMA




This picture illustrates the adoration of the Three Gems by four persons representing the four constituents of the Buddhist community: a monk (bhikkhu), nun (bhikkhuni), layman (upasaka) and laywoman (upasika). For some reason or other, it has not been completed.

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20. ACCEPTANCE OF THE DHAMMA




The monks carrying a fan in this picture, shows acceptance of Dhamma for both thorough study (pariyatti) and practice (patipatti). (Study without practice produces the dry scholar for whom all wisdom is found in books. Practice without study though often accompanied by intense but blind faith, easily leads to taking a wrong path. These two are complementary aspects and if one or the other is lacking, it is not likely that one will be able to gain realization of Dhamma or penetration [pativedha].)


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21. MEDITATION IN A SECLUDED PLACE




This picture depicts meditation in a secluded place. According to the Pali Canon, such a place is found at the food of a tree, in a forest or cave, on a mountain, in a cemetery, jungle, or in a peaceful and secluded open space.

(The cultivation of solitude in living (kaya-viveka) is useful for the development of solitude of the heart (citta-viveka) when it is separated from mental defilements, and this in turn leads on to the ultimate solitude, the final separation from all bases for future existence - upadhi-viveka)


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22. CONTEMPLATION ON CORPSES I-II




At this point, we have reached the essential method of meditation taught through this book: reflection on foulness (asubha kammatthana) or the use of corpses as objects for contemplation and realization of impermanence. (There are ten Reflections on Foulness given in the Discourses and in the „Path of Purification“ Visuddhimagga each of the corpses varying according to the stage of decay reached. However, Teachers of meditation in Siam often teach that one should see one‘s own body as though it were one of these corpses. Only then will one find Freedom (vimutti) from the idea that the body is „me“ or „mine“.) There are two corpses in this picture, and the monks are using both the bloated corpse (uddhumata) at the top, and the livid corpse from green to blue-black in colour (vinilaka) at the bottom, as objects of meditation. The purpose of this type of meditation is to lead the monk to the realization of the changeability and unwholesomeness of the body. Once this is thoroughly understood, a monk can no longer be attached to his body.

(The „Path of Purification“, Chapter VI says that the former type is suitable for one who is greedy about shape, form or figure since it makes evident the disfigurement of the body‘s shape. The latter, the livid, is recommended for those greedy for the skin‘s colour and complexion since the disfiguring of the skin‘s colour is evident.)


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23. CONTEMPLATION ON CORPSES III-IV




Above is seen a festering corpse (vipubbaka) while below is a cut-up corpse (vicchiddaka). Both are being used as objects of meditation. (The former suited to those keen about the body‘s smell when scents and perfumes are used, since it makes evident the foul stench of this sore, the body; while the latter is useful for those who think of the body as „one thing“, since hollowness and lack of singleness becomes evident in the cut-up corpse.)


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24. CONTEMPLATION ON CORPSES V-VI




The corpse in the top part of this picture is called “the gnawed” (vikkhayita) or one which has been dismembered and gnawed by dogs. The one below is called “the scattered” (vikkhittaka), or a corpse that has been separated and scattered by its exposure to nature and beasts. (the gnawed is suited to those who lust after accumulation of flesh in such places as the breasts since it makes plain how such prized flesh-masses come to naught. “The scattered” should be used by those who are greedy for grace of limbs for it can be seen how without grace are scattered limbs.)


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25. CONTEMPLATION ON CORPSES VII-VIII




The corpse at the top is know as “the hacked and scattered” (hatavikkhittaka), and the one below is called “lohitaka” or a bleeding corpse. (The first is recommended for the use of those who have greed for beauty of the body as a whole since it makes evident the disintegration and alteration of the body. The bleeding corpse is suitable for one greedy in seeing elegance of ornaments and fine cloth since the body’s repulsiveness when smeared by blood.)


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26. CONTEMPLATION ON CORPSES IX-X




This picture completes the sequence of ten objects of contemplation of the foul by illustrating a worm-infested corpse (puluvaka) at the top, and the bone’s remaining from a corpse at the bottom (atthika).

(The first of these suits those who think that “this body is mine”, for having this sense of ownership over the body they must be rather disillusioned to see a corpse shared with many families of worms. As the “Path of Purification” also says: “This is shared by many and creatures live in dependence on (all parts and organs) and feed (on them). And there they are born, grow, old and die, evacuate and pass water; and the body is their maternity home, their hospital, their charnel ground, their privy and their urinal...” The last of the ten reflections upon foulness is for those who are greedy about having and seeing fine bones, especially teeth, since the repulsiveness of bones is evident.

(If one passes over these pages quickly or finds them of little interest, this will reveal the fact that one has little inclination to face the true nature of one’s body instead prefer these subjects of great interest since they help to eliminate greed, making him dispassionate regarding the body, which does not in any case, “belong” to anyone.)





Download of The path of purity; being a translation of Buddhaghosa's Visuddhimagga by Pe Maung Tin ([1922])

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27. THREE ESSENTIALS FOR SUCCESSFUL PRACTICE




This picture deals with the three essentials for successful practice of Dhamma. They are: preference (chanda), energy (viriya), and self-confidence (vesarajja). Preference here is expressed by two Devas holding gems or diamonds in their hands. The man working the bellows is an expression of energy and action necessary to create the fire, which in turn, is powerful enough to melt any material. The next part of the picture shows a mouse chasing two tiger and is an example of self-confidence. For if we wish to practice Dhamma, we must be confident and resolute in fighting the tigers of the defilements.


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28. SAMMASANANANA AND UDAYABBAYANANA




Having already expressed preference, exerted the necessary energy and having replaced fear with self-confidence, one is in a position to depict the various stages on the path of achieving knowledge (nana) Illustrations twenty-eight to thirty-eight depict the various stages on the path of achieving knowledge(by which one should understand is meant not book-knowledge but “experience of truth” in one’s own mind and body).

The first part of this picture deals with knowledge derived from the contemplation of rising and ceasing of all forms of existence (udayabbaya-nana) while the bottom half is related to knowledge achieved from the preparatory stage of meditation called the “thorough_knowledge" (sammadana-nana) of impermanence, unsatisfactoriness, and not-self-ness which precedes the attainment of insight.

Having already considered the truth pertaining to birth, old age and death, the standing figure on the bottom right hand side has consequently attained spiritual wisdom (panna). The child on the left hand side is a representation of birth, the old man sitting and mashing his betel nut symbolizes the limitations of old age, while the corpse in the centre is death as well as the realization and appreciation of death arising due to thorough knowledge. By the attainment of this knowledge, one can clearly see and understand the quality of impermanence (anicca), unsatisfactoriness (dukkha), and selflessness (anatta). However, in the achievement of insight, (vipassana-nana), knowledge of the foregoing three characteristics (tilakkana) is not counted as the first step (i.e. it is not included as one of the nine levels for arriving at insight.)

The top part of this picture is concerned with the first stage leading to attainment of insight (udayabbayanana). At this point, one concentrates only on rising and cessation (symbolized here by the body and the corpse). Reflecting on arising and cessation, one progresses from thorough knowledge which considers the whole process of birth, old age, and death.

Naturally broader in scope, the latter knowledge offers general and unspecific impressions while if we compare the knowledge of rising and ceasing with sammasana-nana, it can be seen that the former is more specialized and exact.

(For these knowledges explained in detail, see the “Path of Purification” - Visuddhimagga translation from Semage, Colombo, Ceylon, Chapter XXI)


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29. BHANGANANA AND BHAYANANA




The lower half of this picture is an allegory on the knowledge consisting of the contemplation of the dissolution of all forms of existence (bhanga-nana). This is the second stage of insight-knowledge. The picture shows a wise man meditating upon a corpse. Here, the aspirant ignores the rising aspect and devotes his mind exclusively to the aspect of cessation in order to discover, more profoundly, that all things are continuously ceasing. The top part of the picture illustrates the knowledge of fearfulness (bhaya-nana), or insight derived from concentration upon the fearfulness of all compounded things (sankhara).

The three thieves stand for the three states of existence (bhava); kamabhava, rupabhava and arupabhava or sensual existence, the existence of subtle form, and formless existence all of which are fearsome, impermanent, unsatisfactory, and devoid of soul or self. They are not therefore to be desired.

(Sensual existence includes:

Human birth and animal conditions which are well-known to us, besides a number of other states, all woeful such as those of hungry ghosts and of the hell-wraiths which of course are normally invisible. Also found here are the six celestial heavens of sensual pleasure.

In the second state of existence are the various level of Brahma-worlds corresponding to attainment of mental absorptions (jhana) beyond the rage of sensuality in which form is very subtle.

The formless types of existence correspond to the formless attainments (arupa-smapatti) in which there is only the experience of subtle mentality (nama), beyond the range of any sort of body (rupa).

Birth into all these states is governed by the kamma or intentional actions of the individual. All these states of existence, heavens and bells are impermanent.)


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30. BHAYANANA (BY OTHER ARTIST)




This picture also illustrates the theme of the knowledge of fearfulness but is by a different artist. Here the boy (or the immature person) is frightened by the lion while above the aspiring monk, (who stands for the mature person able to face unwelcome but true facts) realizes the fearsomeness of all compounded things.


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31. ADINAVANANA AND NIBBIDANANA




The top half of this picture illustrates the fourth stage in insight meditation, knowledge consisting in the contemplation of danger, adinava-nana. Having arrived at the third stage of knowledge, one realizes that all compounded things are the source of misery and should in the foreground reminds the aspirant that all compounded things are the source of danger. (There is nothing which is compounded, such as mind and body, can be any sort of refuge as they are menaced by decay and death.)

In the lower half oft the picture, the burning house illustrates the fifth state of knowledge (nibbida-nana) or knowledge derived from the contemplation of aversion. The aspirant, once having witnessed the house of impermanence, unsatisfactoriness and not-self-ness go up in flames, will now avoid and fear all compounded elements. (“House” is often used as a symbol for the body which is burning all the time with change and decay, and burns after death upon the pyre.)


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32. MUCCITUKAMYATANANA




Rahu, the celestial monster who was said to be the cause of eclipses by eating the moon, is the central character in illustrating the sixth stage of knowledge, muccitukamyata-nana, or the desire for deliverance. The aspirant to this knowledge, symbolized by the moon, seeks to escape the destruction imposed by the celestial monster who represents the round of rebirths (samsara). This picture is popularly used on the gates to Siamese monasteries to remind the faithful to free themselves from the round of rebirth.

(This may be compared with the more complicated Wheel of Wandering-on (samsaracakra) which is found in the entrance of the great majority of Tibetan Buddhist temples where it fulfills the same function - a reminder and a warning of the perils of the Wandering-on)

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33. MUCCITUKAMYATANANA




Identical with the theme in picture No. 32, this illustration shows a frog trying to escape from the mouth of a snake, thus symbolizing our efforts to seek release from the unsatisfactory nature of the world.

(Below a bhikkhu sits upon a throne-like seat in a wild, rocky place. This kind of spot is suitable for seeking release while the throne-like seat indicates the exalted nature of one who strives sincerely for that release.)

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34. MUCCITUKAMYATANANA




Desire for deliverance, in this case the sixth stage of knowledge, is shown by a different symbolism, by a serpent attempting to secure its freedom from the garuda (a mythical bird akin to the roc of Arabian legends)


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35. MUCCITUKAMYATANANA




The same theme of desire for deliverance is repeated here. The cock in its cage at the top of the picture, and the fish hooked while swallowing the bait at the bottom, both illustrate confinement, and the need of those upon this path of knowledge to Enlightenment, to be free from worldly confinements and entanglements.

(This picture, the three above and the one over the page. [altogether five pictures] stress the great importance of this stage of knowledge. Ordinary people not understanding the state of world and of their particular bits of it - mind and body - have therefore no reason for desiring deliverance, but once the true state of the wandering-on in birth-and-death is appreciated then this knowledge becomes foremost in the heart.)


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36. MUCCITUKAMYATANANA AND PATISANKANANA




The barking deer caught in a snare desire freedom, once more emphasizing the importance of the sixth stage of knowledge. The bottom half of this picture depicts the seventh stage of knowledge, that derived from reflective contemplation, patisankha-nana. This picture is related to the tenth in the first part in which a man mistakes a snake for a fish and carries it home holding it very unwisely so that it may strike and kill him. Here, however the man has the snake firmly gripped by the neck and is being told of its danger by a wise man, so that he wants to be rid of this poisonous snake of the mental defilements (kilesa). But before he can get rid of the snake, he must first weaken it by seizing its neck tightly, thus freeing it from his arm. Next he must raise it above his head, swinging it rapidly until the snake weakens. Close to death, the snake can be easily tossed away; or it can be beaten to death afterwards. Paying respects to the Triple Gem is one way to reduce the influence of defilements (and others are Giving, Keeping the Precepts and development of the mind by meditative practice). All such worthy practices should be accumulated in opposition to the power exerted by the defilements.


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37. SANKHARUPEKKHANANA




Sankharupekkha-nana: The knowledge of equanimity in respect of all compounded aspects of existence. Previously, the aspirant was attached to the phenomena of existence: his body (rupa), feeling (vedana, memory (sanna), volitions (sankhara), and consciousness (vinnana), which he mistook for his ego or personality. By placing confidence in the reality of these false impressions, he was a victim of the process of existence (bhava). No longer held captive by them, he has become indifferent to their pressures and confinements. Like the man in the illustration who watches his former wife making love to another man, he is free from emotional distress and involvement. He is completely unaffected and indifferent.


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