9. BUDDHA.
Such Hindūs as admit Buddha to be an incarnation of Vishnŭ agree in his being the last important appearance of the deity on earth; but many among the Brahmans and other tribes deny their identity; and the Buddhists, countenanced by the rahans their priests, do, in general, likewise assert the independent existence, and, of course, paramount character, of the deity of their exclusive worship.
Buddha opposed the sanguinary sacrifices of the Brahmans, and consequently, in a degree, the holy vedas themselves which enjoined them: in India, therefore, there has always been a sect who are violently hostile to the followers of Buddha, denominating them atheists, and denying the genuineness of his avatar. A rock altar is sacred to him throughout Asia; and he himself was often represented by a huge columnar black stone, black being among the ancients a colour emblematical of the inscrutable nature of the deity. His fame and the mild rites of his religion have been widely diffused; the Indian Buddha is the Deva-Buddha of the Japanese, whose history and superstitious rites are detailed at great length by Kœmpfer: among other circumstances, he relates, that, “in the reign of the eleventh Emperor from Syn Mu, Budo came over from the Indies into Japan, and brought with him, upon a white horse, his religion and doctrine.” I have an illuminated painting, which I purchased at Prāg, representing Mahadēo as a black man, with a crown of glory, leading a white horse, on which is a high native saddle, with a large bag pendant from each side, and above the saddle an umbrella (chatr), the emblem of royalty, and more especially indicative of Buddha, is fixed: the legs of the animal are dyed with menhdī up to the chest, and about a foot of the end of his tail is also dyed red: the horse is ornamented in the usual oriental style with jewellery and gold. It is evident that this is not a painting of the tenth or Kalkī avatar, as the horse has no wings; the saddle-bags, which, we may suppose, contain the doctrines which he brought with him upon a white horse, and the chatr, assign it to Buddha; the figure of the man has only two arms.
“From the most ancient times,” says Abu’l Fazel, “down to the present, the learning and wisdom of Hindūstan has been confined to the Brahmans and the followers of Jaina; but, ignorant of each other’s merits, they have a mutual aversion; Krishna, whom the Brahmans worship as god, these consider as an infernal slave; and the Brahmans carry their aversion so far as to say, that it is better to encounter a mad elephant than to meet a man of this persuasion.”
The Buddhism of Hindūstan appears formerly to have had its central seat in Buddha Gaya, a town in Bengal, as it had at Buddha Bamiyan, the northern metropolis of the sect. Ceylon appears its present refuge. Buddhism is orthodoxy in China and its tributary nations; and in the states and empires of Cochin China, Cambodia, Siam, Pegu, Ava, Assam, Thibet, Budtan, many of the Tartar tribes, and generally all parts east of the Ganges, including many of those vast and numerous islands in the seas eastward and southward of the farther Indian promontory, whose inhabitants have not been converted to Islamism.
Jayadeva, in the Gita Govinda, thus addresses Buddha (or rather Vishnŭ or Krishna, so incarnated), in his series of eulogy on each of the avatars:—“9. Thou blamest (O wonderful!) the whole veda, when thou seest, O kind-hearted! the slaughter of cattle prescribed for sacrifice.—O Kesava! assuming the body of Buddha. Be victorious, O Heri, lord of the universe!”
The three sects of Jina, Mahiman, and Buddha, whatever may be the difference between them, are all named Buddhas; and as the chief law, in which, as the Brahmans assert, they make virtue and religion consist, is to preserve the lives of all animated beings, we cannot but suppose that the founder of their sect was Buddha, in the ninth avatar, the benevolent, the tender-hearted.
Moor remarks:—“In very ancient sculptures and excavations we find the image of Buddha among other deities of Brahmanical superstition. The cave of Gharipuri, called by us Elephanta, an island in Bombay Harbour, is an instance of this; and this temple in itself may be called a complete pantheon; for among the hundreds—I may, perhaps, say thousands—of figures there sculptured, every principal deity is found. I noticed the following: Brahma, Vishnŭ, Siva, Buddha, Ganesa, and Indra; and these are, in fact, all that are, by their forms or attributes or vehicles, unequivocally distinguishable. The figure of Buddha, in the temple of Gharipuri, is immediately on your left at entering.” Moor supposes the temple is dedicated to the One Supreme Being; but as no representations are made of that being, his three principal powers or attributes, Brahma, Vishnŭ, and Siva, are united in the most conspicuous place, immediately fronting the entrance, and forming a gigantic triune bust of the trimūrtī, the Hindū triad. The native account of this avatar is, that Buddha descended from the region of souls, and was incarnate in the body of Mahamaya, the wife of the Raja of Kailas. Five days after his birth, the pandits prophesied that, as he had marks on his hands resembling a wheel, he would at length become a Raja Chacraverti, and arrive at the dignity of avatar. He was named Sacya, and on one occasion Brahma descended, and held a canopy over his head. His wife was Vasutara, the daughter of a Raja.
I have many images of Buddha, which were brought from Ava, in gold, silver, and in bronze. The common posture is that of sitting cross-legged on a throne, with his left hand resting on his right foot, which is placed over his left knee, and his right hand hanging over his right knee. I have two images of Buddha in bronze, which came from Ava, in which he is represented in this posture, sitting with his back against a plantain tree, the leaves of which spread out above his head, and adorn the image. These images were accompanied by several other figures apparently engaged in worship, wearing high conical caps; the hands of one figure are clasped in prayer; another holds in both hands, placed upon the knees, a plate containing four balls; and another, in the same attitude, holds in both hands something that has the appearance of a circular box. I have also various dragons and bells, formed of bronze, which also came from Ava. An umbrella, made of iron, and gilt, is fixed on the tops of the temples, round the border of which some persons suspend bells; the sound has a pleasing effect when they are put in motion by the wind. Bells of various size are sometimes hung near a temple; and images of lions, and monsters of various descriptions, facing the four quarters, or on each side the gateway, are attached to most temples. Umbrellas, and stone-vessels, in imitation of those used by Goutŭmŭ or Buddha as a mendicant, are also placed near the places of worship. When Buddha was one month old, his nurses “caused him to be laid under a white umbrella upon an adorned pleasure-abounding bed.” At the age of sixteen, Buddha practised the greatest austerities; the King, his father, became alarmed and dejected; and the destiny-foretelling Brahmans assured him, that unless he put the unfortunate horses to the unfortunate chariot, and carried his son out, and buried him in a square hole, that they perceived three evils might happen:—“One to the King’s life, another to the white umbrella, another to the Queen.” Buddha was carried forth; he manifested his divinity to the driver of the unfortunate horses in the unfortunate chariot, escaped from meditated death, and fixed himself as a religious mendicant in the forest, where he practised the greatest austerities. I have an illuminated painting of Mahadēo under a rock in a jungle, seated upon a tiger’s skin, with his arms raised above his head in penance. A sage leading a white horse stands in front, in the act of worship, and by the side of the river is a large tiger: and here it may be remarked, that, among works of the highest merit, one is the feeding of an hungry infirm tiger with a person’s own flesh, and the highest state of glory is absorption. The following may explain the painting:—In the midst of a wild and dreary forest, flourishing with trees of sweet-scented flowers, and abounding in fruits and roots, infested with lions and tigers, destitute of human society, and frequented by the munis (virtuous and mighty sages), resided Buddha, the author of happiness, and a portion of Narayana. Once upon a time, the illustrious Amara, renowned amongst men, coming here, discovered the place of the Supreme Being in the great forest. He caused an image of the supreme spirit Buddha to be made, and he worshipped it as the incarnation of a portion of Vishnŭ: “Reverence be unto thee, in the form of Buddha;—thou art he who rested upon the face of the milky ocean, and who lieth upon the serpent Sesha; thou art Trivikrama, who at three strides encompassed the earth. I adore thee, who art celebrated by a thousand names, and under various forms, in the shape of Buddha, the god of mercy.” The illustrious Amara-Deva then built the holy temple of Buddha Gaya, and set up the divine foot of Vishnŭ.
“The forefathers of him who shall perform a sradda (funeral obsequies in honour of ancestors) at this place, shall obtain salvation; a crime of an hundred-fold shall be expiated by a sight thereof; of a thousand-fold, by a touch thereof; and of a hundred thousand-fold, from worshipping thereof.”