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A Mirror Reflecting the Entire World a Mirror Reflecting the Entire Worldthe Pāli Materials for the Study of the Tripiṭaka Volume 6 Materials for the Study of the Tripiṭaka Volume 6 MST 6 ข้อมูลพระไตรปิฎกศึกษา เล่ม ๖ ข้อมูลพระไตรปิฎกศึกษา เล่ม ๖ Claudio Cicuzza The Buddhapādamaṅgala is an anonymous work in the corpus of Pāli literature transmitted A Mirror Reflecting the Entire World in Siam. Its starting point is the conventional The Pāli Buddhapādamaṅgala or description of the wheel mark on the soles of the feet of a Buddha, following the Pāli tradition “Auspicious Signs on the Buddha’s Feet” which presents auspicious signs (maṅgala) as the “retinue” (parivāra) of the classical wheel. Critical Edition with English Translation The text lists and explains one hundred and eight auspicious signs, interpreting them in terms of the teachings of the Buddha, with the result that the feet of the Master are transformed into Claudio Cicuzza an intricate map of his teachings, which are set A Mirror Reflecting the Entire World symbolically in a many-layered universe. Critical Edition with English Translation English with Critical Edition Claudio Cicuzza (Webster University, Thailand, “Auspicious Signs on the Buddha’s Feet” and IsIAO, Rome) studied Indology at the University “La Sapienza” in Rome. His current research focuses on the Pāli literature The Pāli of Central Siam and the Pāla period scholasticism of Northern India. Front Cover (and internal photos): Buddhapāda at Wat Pho (Bangkok). Inlaid mother- of-pearl, nineteenth century. Buddhapādamaṅgala Back cover: Buddhapāda, Chiang Mai Museum (detail) (photo by Louis Gabaude, courtesy of Chiang Mai Fine Arts Department Office). พุทธบาทมงคล เป็นวรรณกรรมพระพุทธศาสนาภาษาบาลีสำคัญเรื่องหนึ่งที่สืบทอดในสยามประเทศ เริ่มการพรรณนาที่ลายกงจักร แล้วอธิบายมงคล ๑๐๘ ซึ่งเป็นบริวารของกงจักร ตามคติทางพระพุทธศาสนา ฝ่ายบาลี โดย อุปมากับพระธรรมคำสอนของพระพุทธเจ้า และแสดงให้เห็นถึงพระธรรมในสัญลักษณ์ตามคติไตรภูมิ Claudio Cicuzza (Webster University, Thailand, and IsIAO, Rome) ศึกษา “ภารตวิทยา” or จากมหาวิทยาลัย “La Sapienza” ในกรุงโรม และทำงานวิจัยด้านวรรณกรรมบาลีในภาคกลางของสยามและ ศึกษาระบบความคิดของคัมภีร์อรรถกถาภาษาสันสกฤต สมัยราชวงศ์ปาละ ของอินเดียเหนือ ปกหน้า พระพุทธบาทประดับมุก พระพุทธไสยาสน์ วัดพระเชตุพนวิมลมังคลาราม กรุงเทพฯ พุทธศตวรรษที่ ๒๔ ปกหลัง ลายลักษณ์มงคลแห่งพระพุทธบาท ในพิพิธภัณฑสถานแห่งชาติ เชียงใหม่ A Mirror Reflecting the Entire World ข้อมูลพระไตรปิฎก เล่ม 6 Fragile Palm Leaves Foundation Lumbini International Research Institute Bangkok and Lumbini 2011 FPL LIRI ราคา 600 Baht Materials for the Study of the Tripiṭaka Volume 6 Materials for the Study of the Tripiṭaka Volume 6 MST 6 ข้อมูลพระไตรปิฎกศึกษา เล่ม ๖ ข้อมูลพระไตรปิฎกศึกษา เล่ม ๖ Claudio Cicuzza The Buddhapādamaṅgala is an anonymous work in the corpus of Pāli literature transmitted A Mirror Reflecting the Entire World in Siam. Its starting point is the conventional The Pāli Buddhapādamaṅgala or description of the wheel mark on the soles of the feet of a Buddha, following the Pāli tradition “Auspicious Signs on the Buddha’s Feet” which presents auspicious signs (maṅgala) as the “retinue” (parivāra) of the classical wheel. Critical Edition with English Translation The text lists and explains one hundred and eight auspicious signs, interpreting them in terms of the teachings of the Buddha, with the result that the feet of the Master are transformed into Claudio Cicuzza an intricate map of his teachings, which are set A Mirror Reflecting the Entire World symbolically in a many-layered universe. Critical Edition with English Translation English with Critical Edition Claudio Cicuzza (Webster University, Thailand, “Auspicious Signs on the Buddha’s Feet” and IsIAO, Rome) studied Indology at the University “La Sapienza” in Rome. His current research focuses on the Pāli literature The Pāli of Central Siam and the Pāla period scholasticism of Northern India. Front Cover (and internal photos): Buddhapāda at Wat Pho (Bangkok). Inlaid mother- of-pearl, nineteenth century. Buddhapādamaṅgala Back cover: Buddhapāda, Chiang Mai Museum (detail) (photo by Louis Gabaude, courtesy of Chiang Mai Fine Arts Department Office). พุทธบาทมงคล เป็นวรรณกรรมพระพุทธศาสนาภาษาบาลีสำคัญเรื่องหนึ่งที่สืบทอดในสยามประเทศ เริ่มการพรรณนาที่ลายกงจักร แล้วอธิบายมงคล ๑๐๘ ซึ่งเป็นบริวารของกงจักร ตามคติทางพระพุทธศาสนา ฝ่ายบาลี โดย อุปมากับพระธรรมคำสอนของพระพุทธเจ้า และแสดงให้เห็นถึงพระธรรมในสัญลักษณ์ตามคติไตรภูมิ Claudio Cicuzza (Webster University, Thailand, and IsIAO, Rome) ศึกษา “ภารตวิทยา” or จากมหาวิทยาลัย “La Sapienza” ในกรุงโรม และทำงานวิจัยด้านวรรณกรรมบาลีในภาคกลางของสยามและ ศึกษาระบบความคิดของคัมภีร์อรรถกถาภาษาสันสกฤต สมัยราชวงศ์ปาละ ของอินเดียเหนือ ปกหน้า พระพุทธบาทประดับมุก พระพุทธไสยาสน์ วัดพระเชตุพนวิมลมังคลาราม กรุงเทพฯ พุทธศตวรรษที่ ๒๔ ปกหลัง ลายลักษณ์มงคลแห่งพระพุทธบาท ในพิพิธภัณฑสถานแห่งชาติ เชียงใหม่ A Mirror Reflecting the Entire World ข้อมูลพระไตรปิฎก เล่ม 6 Fragile Palm Leaves Foundation Lumbini International Research Institute Bangkok and Lumbini 2011 FPL LIRI ราคา 600 Baht A Mirror Reflecting the Entire World Materials for the Study of the Tripiṭaka Volume 6 A Mirror Reflecting the Entire World The Pāli Buddhapādamaṅgala or “Auspicious Signs on the Buddha’s Feet” Critical Edition with English Translation Claudio Cicuzza Fragile Palm Leaves Foundation Lumbini International Research Institute Bangkok and Lumbini 2011 © Fragile Palm Leaves Foundation 2011 ISBN 978-974-496-525-7 All rights reserved. No parts of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without prior permission in writing from the Fragile Palm Leaves Foundation. First published in February, 2011 Distributed by Chulalongkorn University Book Centre Phyathai Road, Pathumwan, Bangkok 10330, Thailand Call Centre (+662) 255-4433 / Facsimile (+662) 254-9495 E-mail [email protected] http://www.chulabook.com Wholesale Siam Square Tel. (+662) 218-9889/90, Facsimile (+662) 254-9495 Typeset by Dvīpāntara Unlimited Ai miei genitori Per il loro amore CoNTENTS Foreword by Peter Skilling ix Preface xiii Introduction xvii 1. General overview xvii 2. Different Forms xx 3. Bare Footprints xxiii 4. The Evolution of the Symbols xxv 5. Secular and Religious Meanings xxviii 6. Characteristics and Importance of the Buddhapādamaṅgala xxxiv 7. Pāli Text xxxviii 8. Conspectus siglorum xl 9. About this Edition xliv 10. English Translation l 11. Legenda l 11.1. Symbols l 11.2. Abbreviations in the Critical Apparatus l 11.3. Abbreviations of Primary Sources and Dictionaries li 12. Different Lists of maṅgalas lii Part I: Pāli Text 1 Part II: English Translation 103 Preamble 105 The Auspicious Signs 111 Conclusion 194 Bibliography 197 Index 211 vii FoREWoRD The Buddhapādamaṅgala is an anonymous work in the corpus of Pāli literature transmitted in Siam. Its starting point is the conventional description of the wheel mark on the soles of the feet of a Buddha, following the Pāli tradition which, like some other traditions, presents auspicious signs (maṅgala) as the “retinue” (parivāra) of the classical wheel. The text lists and explains one hundred and eight auspicious signs (although, as is more often than not the case in Buddhist and Indian texts, there are problems with the mathematics). The idea that the number of signs on the feet of a Buddha should be one hundred and eight seems, at the present stage of knowledge, to be unique to the Theravādin tradition as transmitted in Pāli. That is, while other Buddhist traditions in India certainly believed that the feet, and often the hands, of a Buddha were marked by auspicious signs, they drew up shorter lists, and did not fix the number at one hundred and eight or attempt to depict such a large number in art or iconography.1 The signs or symbols themselves are not originally or exclusively Buddhist. As marks of good fortune, royalty, and power, they were meaningful within the broad spectrum of what, for want of a better word, we call “Indian religion”, having been adopted by craftsmen and by those who from an early period – and indeed virtually from its beginnings – commissioned what, again for want of a better word, we call “Indian art.” That is, some of the symbols have a history of well over two thousand years, and they belong to a value system that has been shared by broader religious, secular, and political society. 1 For non-Theravādin lists from Tibetan and Sanskrit sources see Peter Skilling, “Symbols on the Body, Feet, and Hands of a Buddha, Part I–Lists”, JSS 80/2 (1992), pp. 67–79; “Symbols on the Body, Feet, and Hands of a Buddha, Part II–Short Lists”, JSS 84/1 (1996), pp. 5–28. I owe my interest in the buddhapāda to Dr. Waldemar Seiler, whose indefatigable pursuit of the trail of the footprints in the 1980s inspired me to collect and publish the lists (I confess that a long synthetic “Part III” of the JSS article remains perpetually unfinished). ix x A Mirror Reflecting the Entire World In Indian symbolism – a rich and continually evolving tapestry of threads spun from textual, artistic, liturgical, vernacular, and hermeneutic traditions – lists and configurations of auspicious signs were fluid, and today we no longer know what several of the signs originally meant. We are not satisfied with later or living definitions, but want to uncover the “original” Ur-meaning. In most cases, however, the connection between the name and the visual symbol or representation is clear, and the import of the emblem is easily grasped – for example, in the case of royal implements of power like the auspicious
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