Upagupta: "Worship" the Buddha?

Tenzin Youdon (OneIndia via Buddhist Channel, Sept. 3, 2008) corrected, expanded, and interpreted by Dhr. Seven, Ashley Wells, Amber Larson (eds.), Wisdom Quarterly Wiki edit

Mara is more Lucifer than Satan

NEW DELHI, India - This story will help us understand why the Buddha image is important to inspire and to recollect the Buddha, but not as a form of "worship."

This story is found in the Buddhist literature but not in the Pali language texts.

 

A few hundred years after the final passing into nirvana of the Buddha, there was a devout monk in India named Ven. Upagupta. He was the most popular preacher of the time. Whenever he gave a sermon on the Buddha's Dharma, the Teachings of the Buddha, thousands of people would flock to listen to his preaching.

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  Who is Upagupta? Ven. Upagupta (circa 3rd century BCE) was an Indian Buddhist monk. According to stories in the Sanskrit text Ashokavadana, he was the spiritual teacher of the Mauryan Buddhist, the Emperor of India Ashoka. Ven. Upagupta's teacher was Ven. Sanavasi, who was a disciple of Ven. Ānanda, the Buddha's cousin and personal attendant. Due to the absence of his name from Theravada Pali literature, it is assumed that Ven. Upagupta was a Sarvāstivāda (an extinct Buddhist school) monk. In Southeast Asian countries and Bangladesh, Ven. Upagupta is a great cult figure (Relics of the Buddha, John S. Strong, 2007, p. 145). In Burma he is known as Shin Upagutta. In the Lokapannatti Ven. Upagupta is sent by King Ashoka to tame Mara during an enshrinement ceremony festival. Afterwards, he asks Mara to take the material form (rupakaya, physical shape) of the historical Buddha so that everyone at the festival can see what the Buddha looked like (John S. Strong, The Legend of King Aśoka: A Study and Translation of the Aśokāvadāna, 1989). In literature: Rabindranath Tagore in his poem "Abhisar" collected in Katha relates a story of Ven. Upagupta. In the story, in the month of Sraban, the monk was sleeping in Mathura when Vasavdatta, the city's diva or courtesan, trips over and notices the monk. Enchanted by his handsome appearance, Vasavdatta invites him to go with her to her house. But Ven. Upagupta tells her that he cannot go with her at this point. But when the time comes, he will go. After seven months, in the month of Chaitra, the city folks go to a festival in the forest. Alone in the city, Ven. Upagupta goes beyond the precincts and finds Vasavdatta severely deformed by a disease with pustules covering her body. The city people had cast her out of the city's wall in disgust. The monk nurses her with care -- telling her that the time for their togetherness has come (Rabindranath Tagore, অভিসার). Tagore adopted the story with some changes from the Vodhisattwavadanakalpalata by Kshemendra (translated by Nobin Chandra Das, 1895, Calcutta), the 10th-11th century Kashmiri poet.

Mara as Kamadeva (Eros, Cupid)

One day Mara, the tempter, became jealous of Ven. Upagupta's popularity. Mara knew that Upagupta's popularity was helping spread the Teachings of the Buddha. He was unhappy to see the words of Buddha filling the minds and hearts of the people.

So he used a cunning method to influence the people. He made a plan to stop the people from listening to Ven. Upagupta's sermons.

 

One day, as Ven. Upagupta began his sermon, Mara organized an alluring drama next to the place where Ven. Upagupta was teaching.

 
A beautiful stage show suddenly appeared. It had pretty dancing girls and lively musicians. The people soon forgot about the sermon and crossed over to see Mara's show and enjoy the performances.

Ven. Upagupta watched the people slowly drift away then he decided to join them. After sitting with the crowd, he decided to teach Mara a lesson.

When the performance ended, Ven. Upagupta presented Mara with a garland of flowers.

 

"You have organized a wonderful performance," Ven. Upagupta said.

 

Mara was, of course, happy and proud of his achievement. He gladly accepted the flower garland from Ven. Upagupta and held his head up high. Suddenly it happened that the garland changed into a snake-like coil. Slowly the coil tightened until it choked Mara's neck.
 

So painful was the coil gripping his neck that Mara tried to pull it off. But no matter how hard he pulled, he could not take the coil off his neck. He decided to ask help from Sakka, King of the Devas (minor gods) to remove the coil. But Sakka could not remove it.

"I cannot remove this coil," admitted Sakka. "Go see Maha Brahma [Great God/Great Supreme]," he advised, "who is the powerful one."  So Mara went to see Maha Brahma and asked his help, but he also could not do anything. "I cannot remove this coil," admitted Maha Brahma. "The only one who can remove this coil is the person who put it on you." So Mara had to go back to Ven. Upagupta.
 

"Please remove this coil; it is so painful!" he begged.
 

"Yes, I can do that but only under two conditions," said Ven. Upagupta. "The first is that you must promise to no more disturb Buddhist devotees in the future.

"The second is that you show me the real image of the Buddha. For I know that you have seen him on many occasions, but I have never seen him. I would like to see the real Buddha image exactly like him, with the special 32 characteristics of his physical body."
 

Mara was overjoyed. He agreed to Ven. Upagupta's conditions. "But one stipulation," pleaded Mara. "If I change myself into the image of the Buddha, you must promise that you will not worship me, for I am not a holy person like you."
 

"I will not worship you," promised Ven. Upagupta.

One of the earliest depictions (Gandhara)

Suddenly Mara transformed [shape shifted] himself into an image that looked exactly like the Buddha. When Ven. Upagupta saw the image, his mind was filled with great inspiration. Profound devotion arose in his heart. With folded hands, he at once paid homage to the Buddha figure.
 

"You're breaking your promise!" shouted Mara. "You promised you would not worship me! Now why do you pay homage to me?"
 

"I am not worshiping you. You have to understand. I am paying homage to the Buddha," explained Ven. Upagupta.

Explanation

The next Buddha's physical form

From this story we can understand why the Buddha image is important. It inspires us and helps us  recall (buddha-anussati) the many sublime qualities of the Buddha, bringing them and him to mind so that we can venerate that ideal, which is our own potential and possibility for enlightenment and complete liberation, bodhi and nirvana. Buddhists do not "worship" the material symbol or forms that only represent the Buddha. We express confidence (saddha) and joyfully pay our respects to the Buddha, who alone in the world made known the Middle Way, the path to complete freedom, to going beyond all suffering. More

Einstein and Tagore

SchoolofWisdom.com

Famed scientist Albert Einstein and legendary mystic Rabindranath Tagore. They met through a common friend, Dr. Mendel. Tagore visited Einstein at his residence at Kaputh in the suburbs of Berlin on July 14, 1930. Einstein returned the call and visited Tagore at the Mendel home. Both conversations were recorded and this photograph was taken. The July 14 conversation, originally published in The Religion of Man (George, Allen & Unwin, Ltd., London, Appendix II, pp. 222-225) is reproduced here.

Albert Einstein once said: "Buddhism has the characteristics of what would be expected in a cosmic religion for the future: it transcends a personal god, avoids dogmas and theology; it covers both the natural and spiritual; and it is based on a religious sense arising from the experience of all things, natural and spiritual, as a meaningful unity."

• Einstein on Buddhism: SciForums, TriCycle

Furthermore, according to Einstein, "If this being (God) is omnipotent, then every occurrence, including every human action, every human thought, and every human feeling and aspiration is also his work; how it is possible to think of holding men responsible for their deeds and thoughts before such an Almighty Being?

"In giving out punishments and rewards, He would to a certain extent be passing judgment on himself. How can this be combined with the goodness and righteousness ascribed to him?" Buddhism is relevant to our everyday lives.

"Einstein's E=MC2 Stands the Tests of New Times"

Albert Einstein's most famous equation, expressing the relationship between mass and energy, passes the best test of accuracy scientists have yet devised, according to a report in the journal Nature (2006).

E=MC2 was confirmed in two tests according to the report. Measured quantities of energy came within 0.00004% of the amounts predicted by Einstein. The energy in any object can be quantified by multiplying its mass by the square of the speed of light, according to the equation. The formula, part of the theory of special relativity that Einstein published in 1905, shows that matter and energy are equivalent.

"The pile of bones left by one person
who has alone one aeon (kalpa) lived,
would make a mountain's height --

So said the mighty seer" (Itivuttaka)

CONVERSATION

(July 14, 1930)

TAGORE: I was discussing with Dr. Mendel today the new mathematical discoveries which tell us that in the realm of infinitesimal atoms chance has its play; the drama of existence is not absolutely predestined in character.

EINSTEIN: The facts that make science tend toward this view do not say good-bye to causality.

TAGORE: Maybe not, yet it appears that the idea of causality is not in the elements, but that some other force builds up with them an organized universe.

EINSTEIN: One tries to understand in the higher plane how the order is. The order is there, where the big elements combine and guide existence, but in the minute elements this order is not perceptible.

TAGORE: Thus duality is in the depths of existence, the contradiction of free impulse and the directive will which works upon it and evolves an orderly scheme of things.

EINSTEIN: Modern physics would not say they are contradictory. Clouds look as one from a distance, but if you see them nearby, they show themselves as disorderly drops of water.

TAGORE: I find a parallel in human psychology. Our passions and desires are unruly, but our character subdues these elements into a harmonious whole. Does something similar to this happen in the physical world? Are the elements rebellious, dynamic with individual impulse? And is there a principle in the physical world which dominates them and puts them into an orderly organization?

EINSTEIN: Even the elements are not without statistical order; elements of radium will always maintain their specific order, now and ever onward, just as they have done all along. There is, then, a statistical order in the elements.

TAGORE: Otherwise, the drama of existence would be too desultory. It is the constant harmony of chance and determination which makes it eternally new and living.

EINSTEIN: I believe that whatever we do or live for has its causality; it is good, however, that we cannot see through to it.

TAGORE: There is in human affairs an element of elasticity also, some freedom within a small range which is for the expression of our personality. It is like the musical system in India, which is not so rigidly fixed as western music. Our composers give a certain definite outline, a system of melody and rhythmic arrangement, and within a certain limit the player can improvise upon it. He must be one with the law of that particular melody, and then he can give spontaneous expression to his musical feeling within the prescribed regulation. We praise the composer for his genius in creating a foundation along with a superstructure of melodies, but we expect from the player his own skill in the creation of variations of melodic flourish and ornamentation. In creation we follow the central law of existence, but if we do not cut ourselves adrift from it, we can have sufficient freedom within the limits of our personality for the fullest self-expression.

EINSTEIN: That is possible only when there is a strong artistic tradition in music to guide the people's mind. In Europe, music has come too far away from popular art and popular feeling and has become something like a secret art with conventions and traditions of its own.

TAGORE: You have to be absolutely obedient to this too complicated music. In India, the measure of a singer's freedom is in his own creative personality. He can sing the composer's song as his own, if he has the power creatively to assert himself in his interpretation of the general law of the melody which he is given to interpret.

EINSTEIN: It requires a very high standard of art to realize fully the great idea in the original music, so that one can make variations upon it. In our country, the variations are often prescribed.

TAGORE: If in our conduct we can follow the law of goodness, we can have real liberty of self-expression. The principle of conduct is there, but the character which makes it true and individual is our own creation. In our music there is a duality of freedom and prescribed order.

EINSTEIN: Are the words of a song also free? I mean to say, is the singer at liberty to add his own words to the song which he is singing?

TAGORE: Yes. In Bengal we have a kind of song-kirtan, we call it-which gives freedom to the singer to introduce parenthetical comments, phrases not in the original song. This occasions great enthusiasm, since the audience is constantly thrilled by some beautiful, spontaneous sentiment added by the singer.

EINSTEIN: Is the metrical form quite severe?

TAGORE: Yes, quite. You cannot exceed the limits of versification; the singer in all his variations must keep the rhythm and the time, which is fixed. In European music you have a comparative liberty with time, but not with melody.

EINSTEIN: Can the Indian music be sung without words? Can one understand a song without words?

TAGORE: Yes, we have songs with unmeaning words, sounds which just help to act as carriers of the notes. In North India, music is an independent art, not the interpretation of words and thoughts, as in Bengal. The music is very intricate and subtle and is a complete world of melody by itself.

EINSTEIN: Is it not polyphonic?

TAGORE: Instruments are used, not for harmony, but for keeping time and adding to the volume and depth. Has melody suffered in your music by the imposition of harmony?

EINSTEIN: Sometimes it does suffer very much. Sometimes the harmony swallows up the melody altogether.

TAGORE: Melody and harmony are like lines and colors in pictures. A simple linear picture may be completely beautiful; the introduction of color may make it vague and insignificant. Yet color may, by combination with lines, create great pictures, so long as it does not smother and destroy their value.

EINSTEIN: It is a beautiful comparison; line is also much older than color. It seems that your melody is much richer in structure than ours. Japanese music also seems to be so.

TAGORE: It is difficult to analyze the effect of eastern and western music on our minds. I am deeply moved by the western music; I feel that it is great, that it is vast in its structure and grand in its composition. Our own music touches me more deeply by its fundamental lyrical appeal. European music is epic in character; it has a broad background and is Gothic in its structure.

EINSTEIN: This is a question we Europeans cannot properly answer, we are so used to our own music. We want to know whether our own music is a conventional or a fundamental human feeling, whether to feel consonance and dissonance is natural, or a convention which we accept.

TAGORE: Somehow the piano confounds me. The violin pleases me much more.

EINSTEIN: It would be interesting to study the effects of European music on an Indian who had never heard it when he was young.

TAGORE: Once I asked an English musician to analyze for me some classical music, and explain to me what elements make for the beauty of the piece.

EINSTEIN: The difficulty is that the really good music, whether of the East or of the West, cannot be analyzed.

TAGORE: Yes, and what deeply affects the hearer is beyond himself.

EINSTEIN: The same uncertainty will always be there about everything fundamental in our experience, in our reaction to art, whether in Europe or in Asia. Even the red flower I see before me on your table may not be the same to you and me.

TAGORE: And yet there is always going on the process of reconciliation between them, the individual taste conforming to the universal standard.

• Excerpted from: A Tagore Reader (edited by Amiya Chakravarty)