The Poetic Dhamma of Zao Amat Long's Mahāsatipaṭṭhāna Sutta and the Place of Traditional Literature in Shan Theravada Bu
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The Poetic Dhamma of Zao Amat Long’s Mahāsatipaṭṭhāna Sutta and The Place of Traditional Literature in Shan Theravada Buddhism Jotika Khur-Yearn Thesis submitted for the Degree of Doctor of Philosophy Department of Study of Religions Faculty of Arts and Humanities School of Oriental and African Studies, University of London April 2012 1 DECLARATION I have read and understood regulation 17.9 of the Regulations for students of the School of Oriental and African Studies concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination. Date : 21. 09. 2012 2 ABSTRACT This thesis examines the role of traditional poetic writings, lik long, in the practices and teachings of Theravada Buddhism among the Shan people of northern Thailand and the Union of Burma using archival work, fieldwork and textual criticism. It focuses on a Shan version of the Mahāsatipaṭṭhāna Sutta written by one of the ‘classical’ composers of Shan literature, the 19th-century scholar Zao Amat Long. The thesis also analyses how the lik long draws on and enfolds other literature from the Theravada tradition, including the Mahāsatipaṭṭhāna Sutta Pali canon, the locus classicus of instruction for mindfulness and insight meditation in Theravada, the 5th-century commentary by Buddhaghosa and Cakkinda’s 19th-century Burmese commentary, nissaya, on the same text as well as other ‘orthodox’ Theravada sources. The close adherence to these texts in terms of content allows us to question commonly held assumptions that Shan Buddhism is ‘heretical.’ Cataloguing Shan temple collections confirms this picture, especially the fondness of the Shan for Abhidhamma works, while Shan do preserve many narrative texts such as ‘apocryphal’ jātaka alongside versions of the Pali ‘canonical’ jātaka. Closely examining the unique literary qualities of Amat Long’s Mahāsatipaṭṭhān, on the other hand, and the religious context in which such texts are read to an audience, allows me to identify the uniqueness of such literature and the way it is adapted to hold the attention of the laypeople who listen to it as the core practice of ‘temple sleeping’ on holy days. It also problematises the assumption that vernacular literature is easily accessible. I explore the full religious context of the production of such texts, from the merit-making sponsorship of their production to the occasions for their use, and the skills needed by traditional scholars, zare, to perform them. I discuss how political suppression, economic issues and modernity threaten this tradition. 3 DEDICATION To Mae-zang Noan, my mother, Who is an illiterate Buddhist practitioner, But learned Buddhism through the traditional Shan Buddhist ritual of listening to lik long poetic literature A way of learning to be a good Buddhist and meditator. 4 ACKNOWLEDGEMENT On this long and eventful research journey I have encountered and received support from many individuals, groups and associations. Without them it is impossible to reach the goal of this journey. I would like to express my heartfelt thanks to all of them. First and foremost, to my supervisor, Dr Kate Crosby, I owe my deepest gratitude for guiding me through my research with her intellect and never failing understanding and kindness, both on and off the field of my research including career opportunities and all kinds of support. I truly feel privileged to work under her supervision, because she is a great teacher, who often goes beyond the call of duties. Without her assistance it would have not been possible for me to complete this thesis. I am also indebted to Dr Andrew Skilton and Ven. Dr Khammai Dhammasami for their invaluable comments as well as proofreading an earlier draft of my thesis and offering helpful guidance regarding academic English. However, I take full responsibility for any errors and all theoretical approaches in this research including the translations from Shan to English and for my transliterational, translational and comparative practices. My thanks also go to Paw-zang Zinta and Mae-zang Phaung, my godparents, for providing me with a rare copy of Zao Amat Long’s Mahāsatipaṭṭhān, which is the primary focus of and resource for this thesis. I also want to thank Venerable Vāyāma of Pang Hu temple, for his moral support and encouragement throughout my study years, especially his generous support during my first trip of fieldwork in the Panglong area in 2004-05. My thanks also go to Venerable Phra Siwan Warinda, the abbot of Wat Tiyasathan, Mae Taeng, Chiang Mai, Thailand for his determined support for my further studies abroad, and generously allowing me and the SOAS-based research group to work on his temple collection of manuscripts during our several research trips to his temple between 2004 and 2010. May I also express my heartfelt appreciation to the generous funders who helped me complete my Ph.D. research, attend conference, or undertake research relating to the subject: the SOAS Additional Research Fieldwork Awards and the University of London’s Research Grants for my major fieldwork research; the Sutasoma grants from SOAS Centre of Buddhist Studies and the SOAS Hardship Fund toward my third year tuition fees; the Jordon Travel Grant, the SOAS Research Committee’s Fund (SSEASR Conference, Mahidol, Bangkok, 2007), SOAS Library’s Staff Development Fund (SEALG Annual Meeting, Marseille, 2008), 5 the organisers of Burma Studies Conference at Northern Illionois University, DeKalb, Illinois, 2008, the ASEASUK-British Academy grants to Shan Buddhism at the Borderlines project, 2009, the organisers of the International Conference on Shan Studies, Chulalongkorn, Bangkok, 2009, the MacArther Foundation Grants 2010, the SOAS Library’s Staff Development Fund to go to SEALG/EUROSEAS Conference, Gothenburg, 2010. I would like to say a big ‘thank you’ to the traditional Shan scholars, Zare, who have played their part in my fieldwork for this thesis and the team work research on Shan Buddhist literature; to name only the most prominent: Zare Saw (Maehongson), Zare Pa Mule (Maehongson), Zare Saw (Wan Jong, Wiang Haeng); also thanks to Dr Sai Pe, Ven. Zao-sra Nandavamsa Mueang-Kut, Ven. Zaokhu Devinda Yeehsai, and Ven. Zaokhu Indacara; I am grateful to Ven. Indacara for his help with transcribing the Mahāsatipaṭṭhān from old Shan script to the modern Shan script. I would also like to thank Dr Peter Skilling, Founder and Director of the Fragile Palm Leaves Foundation in Bangkok for allowing me to access his collections of Shan manuscripts, acquired from tourist markets on Thai-Burma borders. Thanks also go to the Shan people in Nothern Thailand and Shan State, who shared their knowledge and experiences and all that it meant to them during my fieldwork. I also want to thank my colleagues, Ven. Bhikkhu Nāgasena (Head of the Plaistow Buddha Vihara) for his corrections and comments on an earlier stage of my work on the annotated translation, Dr Susan Conway for allocating MacArther Foundation Fund for me to do a survey of Shan manuscripts collections at Wat Pa Pao, Chiang Mai and co-teaching a Shan Buddhism course at SOAS in the academic year 2010-11, and my colleagues at SOAS Library, particularly to my line-managers Mr Nicholas Martland, Ms Barbara Spina, Mr Peter MacCormack, and Ms Beth Clark for their encouragement and moral support. I would also like to express my appreciation and thanks to my longstanding friends Mr Cirabandhu Kamolsen and Ven. Phramaha Somchai Wirawat, both founding members of Wat Buddharam in East London, who have given me their support in many ways; I also want to say big thanks to my PhD friends at SOAS - Phibul Choompopaisal, Catherine Newell, Nāgasena Bhikkhu, and David Azzopardi for sharing the unforgettable times and experiences at lectures and in the SOAS Canteen. Finally my loving thanks go to my family for their constant support and inspiration throughout my research and writing of this thesis, especially to those who became my family during the writing of this thesis, my wife On and daughter Amara. 6 TABLE OF CONTENTS Title Page ………………………………………………………………………... 01 Abstract ………………………………………………………………………. 03 Acknowledgements ……………………………………………………………… 05 Abbreviations ……………………………………………………………...…….. 10 A List of Illustrations & Maps …………………………………………………... 12 INTRODUCTION A Background of this Study and Overview of the Chapters 14-25 1. The Shan People ……………………………………………………………... 15 2. The Study of Shan Buddhism ………………………………………. 16 3. The Place of Shan Literature within the Study of the Shan …………… 19 4. Research Approach and Fieldwork ………………………………… 20 5. An Overview of the Chapters of this Thesis …………………………… 23 CHAPTER ONE The Shan Lik Long Poetic Literature: Tradition, Threat, and Survival 26-56 1.1. Lik Long and Shan Poetic Dhamma ……………………………………… 26 1.2. Tradition and Context of Lik Long Literature ……………………………… 29 1.3. The Commissioning of Lik Long Manuscripts: Production and Collection … 31 1.4. The Characteristics of Lik Long Poetic Literature ………………………… 36 1.5. The Significant Features of Lik Long Poetic Literature …………………… 40 1.6. The Ritual of Listening to Lik Long Poetic Literature.………………………. 43 1.7. The Physical Preservation of Lik Long Poetic Literature ………………… 46 1.8. Conclusion 56 CHAPTER TWO The Place of lik long in Temple-sleeping and Meditation Practice 57-88 2.1. Varieties of Shan Meditation Methods and Practices …………………… 57 2.2. Sleeping overnight in the Monastery: A Traditional Shan Way of Learning Buddhism and Practising Meditation ……………………………………… 62 2.3. The Recitation of Lik Long Poetic Literature on Meditation ……………… 70 7 2.4. The Introduction of Modern Meditation Practice into Shan Buddhist Communities ……………………………………………………………… 71 2.5. The Influence of Modern Intensive Meditation Practice on Shan Buddhism and Literature ……………………………………………………………… 76 2.6.