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The usnisa as a Physical Characteristicof the Buddha's Relatives and Successors

Dr. Monika ZinUniversität München

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long tongue . T h is me ans that of the thirty-two marks only a few are rele vant for depictithe Buddh a: th e symbols of good fortune on th e fee t; jalalaksana, wh ich was represe nte d as awe b betwee n the f ingers; ürna, the tuft of wool between the eyebrows; and above all the mosvisible of th e laksanas, th e usnisa.

usnisa me ans 'turban' . T h e canonical texts only say th at th e Bu ddh a was born witusnisasirsa, turban h e ad .5 The at t r ibute usnisa was repre sente d as hair tied up in a bun, andlater, when the head of the Buddha was depicted as covered with small curls of haiusnisa was sh own as a protuberance on th e top of his he ad also cove red with rows of cK R I S H A N 1 9 6 6 , cit ing sources and referring to earlier research; T A D D E I 1 9 9 6 ) . I t became a

convention, a cliche, to represent the usnisa in this way, even though it in no waycorresponded to the Buddha 's appearance as a shaven-headed monk (TADDEI 1 9 9 9 ) . In somedevotional sculptures the usnisa was modelled with particular care and there was a hole in i tK L I M B U R G - S A L T E R / T A D D E I 1 9 9 1 ) . In the devotional sculptures and the narrative accounts it

is above all the usnisa which most clearly distinguishes the Buddha from other people aother monks.

Since these are all well-known facts, it is all the more surprising to find that in sdepictions oth er pe ople are also portrayed as h aving laksanas.

These depictions can be divided into two groups. The one group comprises scenes the Buddha legend in which the people shown are members of the Sakya family. Thegroup comprises scenes from the distant past in which the people shown will only aBuddhahood in the future.6

1 . Depictions of mem bers of the Buddh a's family w ith the usnisa

T h e pe cularity of th e narrative de pictions in wh ich dramatis personae f rom the Buddhalegend are shown as having laksanas can best be seen in the paintings at Ajanta. It canhowever also be found in paintings in Central Asia and in reliefs from Gandhara, as wellseve ral works in othe r regions.

One of the paintings on the veranda of Cave XVII at Ajanta shows the story ofelephant Dhanapala. The last scene of the surviving pictures, the taming of the elephanhad gone wild (Drawing 1 = fig. 1: for refe rence s cf. List of Dra wing s and Figu re s on th eend of this paper), shows the Buddha, distinguished by his nimbus and standing on a flower, with h is right h and against th e foreh ead of the e leph ant. In accordance with the accounts, the Buddha is holding a food bowl, since he encountered the elephant as he other monks were on their way to eat. The monk accompanying the Buddha can be idensince the texts (cf. S C H L I N G L O E F 2000: No.77) name him and comment on his conduct with astory from an e arlie r life (Hamsajataka).

It is th e B uddh a's servant-monk, h is cousin Ananda, wh o rem ained by th e Buddh a 's sidedespite the danger. In the painting Ananda is smaller than the Buddha and is standing behindh im. He is wearing a monk's robe cove ring both h is sh oulders and is holding a food bowa rattle-staff, khakkharaka, with wh ich monk s made a noise as the y walked around asking f

Dighanikaya XIV . 1.32 (ed. Vo l . 2 , p . 1 9 ) : ayam hi deva kumaro unhisasiso/ yam payam deva kumarounhisasiso/ idam pi 'ssa mahapurisassa mahapurisalakkhanam bhavati/; transl. (p. 1 6 ) : H is head is like a royal

turban. This too cou nts to him as one o f the marks of a G reat M an.F o r Sanskrit text and com parativ e analysis cf. W A L D S C H M I D T 1 953 : 112 ; further sou rces in: E D G E R T O N , BHSD4 6 0 , N o . 3 2 .

F o r the theory that the Mahayan a monks (= the future Bud dhas) consid ered them selv es to be m emb ers of thBuddha's family cf. COHEN 1995: 234ff. The theory has not been proven and the present paper can beunderstood as an argument to in support of it.

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food (von HINÜBER 1992: 35ff). In this picture, his head is not shaved, but covered in blackh air l ike th e B uddh a's, and clearly bears th e usnisa.

Another story in which Änanda is depicted in the same manner is recounted in paintings in Cave XVI at Ajanta. They tell the story of the conversion of the Buddha's half-brother Nanda. The events are depicted here in the sequence recorded in the l i teratuSCHLINGLOPF 2000: No.73): we first find the Buddha and his servant-monk Änanda standinin front of Nanda's palace (Drawing 2), where they were given no food and are about to mon. T h e B uddh a is a little large r and is in the foreground; Ananda is standing be h ind h im.T h e y are both we aring a monk's robe and carrying a food bowl. T h e ir h e ads are depicted same m anne r. Both in this scene and the ne xt (Drawing 3 = f i g . 2 ) , Ananda also has the usnisa:Nanda, who has been informed by his servants that they had not given the two monksfood, goes after the Buddha and catches up with him on the road. The Buddha gives hifood bowl to carry. Here too the Buddha's companion, Ananda, is to be seen behind him,th e usnisa on his head. We next see the monk Ananda in the monastery (Drawing 4 = fig.3):Nanda, who has followed the Buddha into the monastery, is being shaved and is prepah imself for the life of a monk. Ä nanda is sitting on some steps and watching, th e usnisa on hishead can be clearly seen. His head is painted black and covered in small regular bumps, windicate rows of small curls. T h e protube rance on the top of h is h e ad is also covere d bysmall bumps. This corresponds exactly to depictions of the head of the Buddha. The pportrayed here is certainly not the Buddha himself; the proof of th at is th e fact th at be h ind andabove the monk there is another person, sitting on a chair with a low stool under his feetcan be definitely identified as the Buddha, even though his head is missing. Ananddepicted once again in the se p aintings: he re h e is standing beside th e Buddh a wh o is talkNanda seated on the ground (Drawing 5). In this scene the usnisa cannot be seen on the headof e ith er th e B uddh a or Änanda but on th at of Nanda.

The walls of the caitya Cave XIX are painted with rather conventional rows of Buddhasin panels framed by slender pillars. Part of the painting on the left side-wall differs fromrest: here the Buddha is depicted in scenes from the Buddha legend (Drawing 6). Directhe left of a panel de picting th e Rah ula episode, th ere is a scene showing the Buddh a stunder a ceremonial umbrella held by a richly adorned servant and looking at someone wea crown who is cowering on the ground. To the right there is a monk, and on his heausnisa can be see n. T h is scene probably shows the Nanda e pisode , alth ough the bowl caor can no longer, be seen in Nanda's hands.

At Ajanta there is another image of monks with the usnisa on their heads. It is more ofan unfinished sketch than a completed painting (Drawing 7). It is on a plastered surface the famous Mahaparinirvana sculpture in Cave XXVI. The person on the left , next tunidentified object, is probably the Buddha, since he is larger than the other figures ath e usnisa on his head. Since he is holding a food bowl in front of his face and since tpicture is directly above a sculpture of the Parinirvana scene, one might conclude thasketch and the sculpture have something to do with each other: according to legenBuddh a died of food poisoning. T o the right of the presume d Buddh a, the h eads of two can be seen, each with an identical small usnisa. Further evidence that the paintings are aboutevents that have to do with the death of the Buddha is that the monks who figure Parinirvana relief beneath the recumbent Buddha also have usnisas (Drawing 8). T h e painterprobably wanted to show the same individuals in his sketch. There are, as we have

several depictions of monks with the usnisa at Ajanta. But even if more examples are found,their number will remain small in comparison to the hundreds of images of monks withprotuberance on the head, and they appear only in a few narrative paintings. In the depi

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for which the textual basis has been determined, the monks with the usnisa are Ananda and

Nanda.

In the reliefs from Gandhara it is not so easy to discern laksanas on figures who are not

Buddhas, but here too a monk who is accompanying the Buddha is occasionally shown with

the usnisa (Drawing 9 = fig.4). In light of the paintings at Ajanta one might infer that the

monk is Ananda.

The usnisas in Gandharan art are hard to make out because they can be confused with

hair tied into a bun. But a few times in the narrative reliefs someone is shown next to the

Buddha whose head has exactly the same shape as his. One example is in a scene depicting

the struggle of Devadatta with the future Buddha (Drawing 1 0 = fig.5).

As in Ajanta, the reliefs in Gandhara also show the half-brother of the Buddha, Nanda,

as having the same shape head as the Buddha himself (Drawing 1 1 = fig.6).

In Gandhara, as in Ajanta, depictions of people with the usnisa are rare; the only monk

with the protuberance on the head is the companion of the Buddha, and he is probably to be

identified as Ananda. Ananda is, however, only represented in this way on rare occasions; hisusnisa is not shown in pictures of the Parinirvana of the Buddha or of his own Parinirvana

VOGEL 1905).

A survey of the paintings in the monasteries of Central Asia yields similar findings to

those in Ajanta and Gandhara: occasionally a monk who is next to the Buddha - evidently his

companion Ananda - is shown with the usnisa (Drawing 1 2 = fig.7, Drawing 1 3 = f ig .8) ,while the great majority of monks are depicted with shaved heads. Although it is extremely

hard to examine the paintings on the basis of photographs because the usnisas are only visible

in enlargements and not in photographs of larger sections of the walls and vaults, several

persons can be discerned who look exactly like the Buddha. 7 An example is one of the monks

who is present at the Parinirvana (Drawing 1 4 ) .This phenomenon, the depiction of non-Buddhas with the usnisa cannot be observed in

the reliefs of the Mathura school, but the reason for that might be that there are so few pictures

of monks. In the art of other regions - though not, it would appear, in the south - companions

of the Buddha are occasionally depicted as having the usnisa. For example, in a relief from the

Gupta period in Sanchi depicting the Dhanapala story, there is a protuberance covered with

small curls on Ananda s head (Drawing 15) . Although the narrative depiction here became

part of a devotional sculpture, Ananda was depicted as he was at Ajanta (cf. f ig. l) - holding a

staff and a food bowl and bearing a clearly visible usnisa-laksana.

The observation that depictions of monks with the usnisa are rare but do indeed exist

holds true for all the regions discussed here. The clearest examples are to be found in the

paintings at Ajanta and in Central Asia. Where it has been possible to identify the scenes, it

turns out that such depictions are restricted to certain scenes with members of the Buddha s

family. In other scenes, even ones which show several monks, the monks do not have thelaksana. So, for example, there is not a single usnisa in illustrations of the sermon to the first

five monks or in depictions of monks performing miracles WA L D S C H M I D T 1 9 3 0 ) .

* * *

7 The usnisa can, for e x a m p l e , be c l ea r ly seen on the head of the B u d d ha s c o m p a n i o n in the f o l lo w i n g i m a g e s :K i z i l , C a v e 14, ill.: Xu W N Y I N 1 9 8 3 - 8 5 , 1: P 1 .4 5 ; C a v e 38, ill.: ibidA P I . 1 2 1 - 2 2

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As stated above, the laksanas are physical characteristics wh ich pe rmitted th einterpreters of signs to identify a person as a Great Man (mahapurusa). Wh e n the works of artin geographically remote regions depicted someone who was not a mahapurusa as h aving oneof the iconographically important laksanas, there will certainly have been some traditional ortextual basis for doing so. Such depictions can indeed be reconciled with the literature, there too members of the Sakya family are said to bear a physical resemblance to the Bud

Most such assertions are to be found in the texts about the appearance of Nanda, half-brother of the Buddha. The Vinayas say that Nanda resembled the Buddha and wasfour ahgulis shorter than him, and that that is why he was mistaken for the Buddha. This lto the rule that monks h ad to we ar sh orter robes than th e Bud dh a8 (Suttavibhanga V.92 .1)9.

In the Pali tradition the deeds of Nanda in his earlier births, to which he owed beautiful appearance, are recounted: for making a gift of clothing, he received golden (Apadana H 3 . 2 7 - 3 4 )1 0, which is one of the laksanas. In the tradition of northern SanskritBuddhism, this is recounted in greater detail, and it is sometimes said that Nanda and

Buddha looked alike because they both had the same laksanas.

Nanda received the goldencomplexion, suvarnavarna, be cause in an e arlier life h e h ad invited the Buddh a Vipasyin andhis monks to take a bath (T 1451 = Vinaya of the Mulasarvastivadin11;Mahakarmavibhanga12) , it is eve n said that he receive d no fewer than thirty laksanas for hisgood deeds (T 1451 = Vinaya of the Mulasarvastivadin13; PANGLUNG 1981 : 176) .

8 This rule was evidently the result of a misunderstanding ( SC H L I N G L O F F 1963: 544): The old Pratimoksasutraonly said that a monk's robe should not be larger than sugatacivarapramana, that is to say , shou ld not be cutlarger than sugata (= g oo d (standard)) measu re. In the explana tion of this rule sugata was taken to be a namefor the Buddha and so the rule was taken to mean that a monk's robe should not be larger than that of theSugata. T he story expla ining this rule tells of how a monk was m istaken for the Sublime O ne. Such a mistakewas understandable since the monk was a blood relative of the Buddha.

9 Suttavibhanga V.92.1 (ed. Vo l .2, p . 173): tena kho pana samayena ayasma Nando Bhagavato matucchaputtoabhirüpo hoti dassaniyo pasadiko caturarigulomako Bhagavato/ so sugatacivarappamanam civaram dharetiaddasamsu Idio thera bhikkhu ayasmantam Nandam durato 'va agacchantam/ disvana Bhagava agacchatitiasana vutthaiiantU te upagate janitva ujjhäyanti khiyanti vipacenti/ katham hi nama ayasma Nandosugatacivarappamanam civaram dharessatiti/ (...) atha kho Bhagava ayasmantam N andam patipucchUsaccam kira tvam Nanda sugatacivarappamanam civaram dharesiti/ saccam Bhagava/ vigarahi B uddhoBhagava/kathan hi nama tvam Nanda sugatacivarappamanam civaram dharessasi (...)

10 Apadana I I .3 .27-34 (ed. p.66 -67); v.27-2 9: Padum uttarassa Bhagavato lokajetthassa tadino/ vattham khom ammaya dinnam sayambhussa mahesino// tarn me Buddho viyakasi Jalajuttaranamako/ imina vatthadanenahemavann o bhavissasi// dve sampatti anubhotva kusalam ülehi codito/ Gotamass a Bhagavato k anittho war

bhavissasi//11 T 1451, trad. ( L A M O T T E 1 94 4- 80 , 1: 290 , Fn.): Bha gava t, je vou drais que le G rand MaTtre et sa nobleassem bler viennent dem ain che z m oi prendre un bain dans ma piscine.

12 Mahakarmavibhanga IV (ed. p.38 ): yatha arya-Sundaranan dena kila Krakucchan de samyaksam buddhebhiksusamgh e jentakasnana m krtam/ tams ca drstva cittam prasaditam/ bhüyas ca suvamena haritalenapratyekabuddhastupe lepo dattah/ idam api drst\>a cittam prasaditam/ abhirüpatayam ca parinamitam/ bhüyaca stüpe kriyamane prathamam chattram karitam/ yatha pascimabhave sa eva vyakaroti/ jentakasya casnanena haritalasya lepanena ca/ekacchattrapradanac ca prapta me suvarnavarnata//; trad. (p. 115-16): A insile saint Sundara N anda avait, au temps de Krakucchanda le Boud dha co m p le m e n t illumine, donne a lacommunaute* des Mendiants un bain de vapeur; et, en les voyant, il avait eu une pensee de piete. Et de plus ilavait donne* au stüpa d'un Bouddha-pour-soi une couche d'orpiment; et, en le voyant, il avait eu encore unepen see de p i6te. E t de pl us , pendant qu 'on faisait un stupa, il avait fait faire le premier parasol. Com me il l

proclame lui-meme dans sa derniere existence: Par un bain de vapeur, un enduit d'orpiment - un don deparasol, j 'ai c e teint d'or charm ant. C'est ainsi qui'il dtait deve nu beau . Tel est l'A cte qui aboutit ä etregracieux. T h e Mahakarmavibhanga do as not say anything about 30 laksanas of N anda.

1 3 A ccording to T 1451= Sanghabhedavastu in Mulasarvastivada Vinaya, N anda received the laksanas forbuilding and decorating a Stüpa (trad. LAMOTTE 1944-80, 1: 292, Fn.): II recueiilit ses restes, les placa daune urne toute neuve, construisit un stupa et y suspendit des .parasol (chattra). Plein d'une foi respectueuse, il

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Sarvastivädin and Mulasarvastivadin texts say more about the episode from theVinayavibliariga which I presented above as it appears in the Pali tradition. They say thatwhen Nanda arrived, the mo nks m istook him for the Buddha, adding that Nanda had no fewerthan thirty laksanas marks on his body T 1435 = Vinaya of the Sarvast ivadin1 4; T 190 =

Abhiniskramanasütra15

). One of th e m may have been the usnisa.

Similar statements are made about another blood relative of the Buddha, Devadatta.Although he is said to have done only bad dee ds, the te xts state that he had the same laksanasas the Buddha except for two (Si-yu-ki)16. The tradition of the Mulasarvastivadin schoolmentions two laksanas which were perhaps understood to be the ones the other text saidDevadatta lacked: a story in the Sanghabhedavastu11 (cf. PANGLUNG 1981: 113) says thatDe vadatta endure d great pain to have his skin gilded and the marks of the wh ee l appl ied to hishands and fee t.

The tradition of Mahayana Buddhism does not question the p resence of laksanas on

individuals other than the Buddha , and repe ats the same information.1 8

Perhaps it accords alesser importance to the laksanas.19

arrosa [le stupa) de tränte sortes d'eaux parfumees en faisant le vceu (pranidhana) de rechercher les Marques

[du Grand Homme}; according to T 1448 Nanda's gol den skin was a reward for his gift of a bath house for

monks trad. ( L A M O T TE 1944-80, 1: 288, Fn): Nanda raconte qu'au temps du Buddha Vipasyin il avait donne

au Samgha une maison de bains chauds (ou: des bains d'eau chaude pa rf ume e) .. ..1 4 Cf. H O E R N L E 1916: 367- 69. The text is a fragment of the cano n of the Sarvas tivadi n scho ol in the Kuchean

language, (ed. + trad. L E V I ) . The fragment contains part of the Vinayavibhariga of the Pratimoksasütra,

Patayantika 90 (= Suttavibhanga V. 92.1, cf. Fn.9; trad. (ed. L E V I, in: H O E R N L E 1916: 367; trad, ibid.: 369): Le

Bouddha a un frere nomme Nanda. Quand il entre dans 1'assemblee, les religieux confus sont partages en deux:

Est-ce le Bouddha qui est entre? ou bien est-ce Nanda? Nanda a deux laksana de moins que le Bouddha; il aquatre doigts de taille en moins que le Bouddha. II se fait faire une robe pareille a la robe du Bouddha.

The surviving fragments of the Vinayavibhariga of the Sarvastivadin school in Sanskrit only mention Nanda's

similarity to the Buddha, but not his laksanas, cf. R O S E N 1959: 214.15 T 190 = Abhiniskramanasütra, transl. (p .371): No w Nanda was a man of great per sonal beauty, his body

straight and comely and of a golden hue, and just like that of Tathagata. So he had a Kashaya garment made

similar to his master's, and having received it, he put it on. Then all the Bhikshus, seeing him at a distance

gradually approaching the assembly, thought that he was the lord himself, and so proceeded to rise from their

places to salute him, and only when they discovered their mistake did they return.16 Si-yu-ki, transl. (V ol .2, p.8-9): . .. he spake thus: I poss ess thirty marks (of a Buddha), not much les s than

Buddha himself; a great compa ny of fo llowers surround me; in what resp ect do I differ fr om Tathagata? .17 Sanghabhedavastu (Vinaya of the Mulasarvastivadin) ed. (Vo l. 2, p. 164): anusmin pradese suvarnavarnatam

abhinirvartayat i iti/ bhiksavas tarn pradesam gatah/ tair asau sruto duhkhavedanarto vikrosan/ teBhagavatsakasam upasankrantah/ bhiksavah samsayajatah sarvasamsayacchettaram Buddham bhagavantam

papracchuh/ pasya bhadanta Devadattah suvarnavarnataya arthe duhkham tivram kharam katukam

amanapam vedanam vedayate iti/ Bhagavan aha/ na bhiksava etarhU yatha atite py adhvany esa

suvarnakholaya ar the anayena vyasanam apannah/tac chrüyatam/

ibid. (p. 165): amusmin pradese cakrahkapadacihnatam abhinin artayati iti/ bhiksavas tarn pradesam gatah/

tair asau sruto duhkliavedanatro vikrosan/ te Bhagavatsakasam upasankrantah (...) pasya bhadanta

Devadattah cakrankapadatalacihnataya arthe duhkham tivram kharam katukam amanapam vedanam

vedayate iti/.18 T1590 = Mahaprajhaparamitasastra, trad. Vol .2: p .8 74: II [Devadattal s e dit: Je pos sede trente marques du

Grand Homme (mahapurusalaksana), un peu moins que le Buddha [qui en a trente -deu x]; mais mes discipl es

ne sont point nombreux.19 T1509 = Mahaprajhaparamitasastra, trad. Vol.1, p.285-87: Le fait d'agir en Buddha, voila la grande marque.

Vous negligez cette marque et vous adoptez les trente-deux marques [du Grand Hommel. Mais, ces trente-deux

marques, les rois Cakravartin les possedent ögalement; les deva, Maharaja aussi, les produisent par

transformation (nirmana); Nan t o (Nanda), T ip o ta (Devadatta), etc., en possödaient trente; le brähmane P o

po Ii (Bavari) en avait trois; la femme de Mo ho kia chö (Mahakasyapa) avait la marque „colour d'or

(suvarnavarna). Me me des gens de notre gen6ration pqssfcdent une ou deux de ce s marques, comm e „les yeux

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In contrast to the tradition of northern Buddhism, the Pali canon does not descriDevadatta as looking like the Buddha. He is called alakkhika (alaksmika), unfortunate one(Cullavagga VU .3.13), wh ich the comme ntator Buddh aghosa inte rprets as alakkhano(alaksana), one with no ma rks.2 0 It would appear that only in the northern Buddhism is

Devadatta said to be physically similar to the Buddha. In that tradition a similar woalaksanaka, is use d to de scribe some one e lse, namely th e patriarch Upagupta, wh o is calleBuddha without the laksana marks 2 1 (STRONG 1992: 39).

T h e fact th at th e te xts of Pali Buddh ism do not refer to Nanda and De vadatta as h avlaksanas does not, however, mean that they only ascribe laksanas to the Great Men. Theancient Suttanipata (10 19, 1022) states that a Brahmanic teach e r name d Bavari, wh o sent hstudents to the Buddha and taught them to recognise him by his thirty-two laksanas, himselfhad three marks: the urna mark on the forehead, the very long tongue, and the concealedgeni ta ls .2 2 The question of whether people can have some laksanas on their bodies is thesubject of a dispute in the Katthvatthu (TV.7)23, which rejects the thesis that someone who has

only some marks can be conside red a partial Bodhisatva. T o my knowledge , ne ith er in thetradition nor in the art of southern India are the characters in the Buddha legend depictehaving laksanas.

The story of the Brahman Bavari with his three laksanas is accorded a deeper meaningin northern Buddhism. While the Suttanipata me rely state s that one of h is sixte e n studentswas Metteya, the texts of the Sanskrit schools say Maitreya was a member of his family (LEVI1936: 371-73; L A M O T T E 1958: 7772 4, 781). Maitreya, who, as the future Buddha, is entitled tohave the laksanas, is th us de sce nde d from a family in wh ich at least some of the attributes ofmahapurusa are manifested. T h is is in accordance w ith oth e r texts wh ich say that theattributes are hereditary or are common to the members of a certain clan. One story tells o

emperor (cakravartin) wh ose 989 sons h ad at the most thirty-one laksanas and who wastherefore still waiting for his successor (T207)25.

noirs fonces(abhinilanetra), „les bras longs(dirghabahu), «la partie anterieure du corps semb lable a celle dulion» (simhapürvardhakaya), etc. Ce s dive rses marques se rencontrent plus ou mo in nom breuses. Pourquoi yattachez-vous de Vimportance?

2 0 This variant is given as a footnote in the translation of the Vinaya passage (Cullavagga VII.3 .13, ed. Vol. 3,p .250 , F n . l ) : Alakkiiiko ti ettha na lakkhetiti alakkhiko na janatiti attho/ Apakatakammam karomiti na janatitina lakkitabbo ti alakkhano passitabbo ti attho. The edition of the commentary (Samantapasadika, Vol.6,p . 1275-76) does not use the word alakkfiano.

21 Divyavadana XX V I, ed. (p.3 48 -4 9; the Bud dha prop hesies that Upag upta will live one hundred years after his

Parinirvana in Mathura): asyam Änanda Mathurayam mania varsasataparinirvrtasya Gupto narna gandhikobfiavisyati/ tasya putro bhavisyaty Upagupto namalaksanako Buddho yo mama varsasataparininrtasyaBuddham karyam bfiavisyati/

22 Suttanipata 1022 , ed. (p. 186): mukiiam jivhaya chadeti/unn' assa bhamuk antare/ kosohitam vatthaguyham/evatn janati manava//; transl. (p. 1 6 2 ) : H e can cover his face with his tongue ; there is hair between hiseyebrows; his ma le organ is unsheathed. Kn ow thus, young brahman.

23 Kathavatthu IV.7 .1 , ed. (p.283-84): lakklianasamannag ato Bodhisatto/ amantäV pa desalakkhanehisamann agato padesabodhisatto ti/ na h'evam vattabbe - pe - lakkhanasama nnagato Bodhisatto ti/ amanta/tibhagalakkhanehi samannaga to tibhagabodhisatto ti/ na h'evam vattabbe - pe - lakkhanasaman nagatoBodhisatto ti/ amanta/ upa ddhalakkhanehi samannag ato upaddhabodh isatto ti/ na h 'evam vattabbe (...);transl. (p .166) : Controverted Point. - That one who is gifted with the Marks is a Bodhisat. (...) Th . - By yourproposition you must also admit [a fortiori] (a) that anyone who is gifted with the Marks to a limited extent,with one-third, or one-h alf of the m, is a limit ed, one-third, or half Bod hisat, respe ctively - which you deny.

2 4 L A M O T T E 1958: 77: Maitreya etait ne dans la royaume de Varanasi, au village de Kapali, dans la familie dugrand brahmane Bavari (trad, from T452 - Kouan-Mi-lö).

25 T 207 trad. C H A V A N N E S , N o. 157, Vo l.2 , p.3): A utrefois il y avait un saint roi tourneur de la roue(Chakravartin); il ava it d'a bor d engendre neuf cent quatre-v ingt- neuf fils qui tous parvinrent a l'äg e adulte,furent beaux et avenants, furent intelligents et perspicaces eUurent doues en meme temps des qualites du corps

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T 189 talks of 500 princes who had various numbers of laksanas. Some of them evenh ad all th irty-two th ough not in a fully de ve loped state . T h e prince s belonge d to th eclan, in wh ich only the Buddh a h ad all th irty-two marks in a clearly re cognisable form .2 6

According to this idea, the other Sakyas had some laksana attributes, which is in linewith the depictions discussed above, since Nanda, Ananda and Devadatta all belongedSakya clan. This interpetration of the laksanas does not consider the marks to be thevisualisation either of a person's holiness or of his good deeds in earlier births. ÄnandNanda were depicted as having the usnisa at a t ime in which they were not Arhats, as wasDevadatta, who had committed many bad deeds.

The marks are to be understood as indicating membership of the Sakya clan. Socompanion of the Buddha had the usnisa, that me ans h e was a me mb e r of the Sakya clan.

2 . Depictions of future Buddhas with laksanas

Occasionally the marks of the Great Man appear on the bodies of people who will

become Buddhas in the distant future. Here, the laksanas are nothing other than projectionsback onto an earlier time of the future state of Buddhahood.It is not surprising that Maitreya is represented as having laksanas: this Bodhisatva often

appe ars in all th e glory of a Bu ddh a, in both th e literature and th e art. T aking such anticof the future appearance of the Bodhisatva as the Buddha as my starting point, I wdiscuss a number of depictions of the Buddha Sakyamuni in his earlier births which showith the laksanas of a Buddha.

One of the rock engravings in the Indus valley depicts the Sibi story (Drawing fig.9). The scene, which shows a man holding a balance in which there is a dove, cdefinitively identified. What is unusual about it is that King Sibi, who is holding the d

his lap, is depicted as a Buddha: He has long earlobes, he is wearing a monk's robe, raemanating from his shoulders, and he has the head of a Buddha with a clearly defined usnisa.In orde r to ma ke it e ve n cle are r th at Sibi is the futureBuddha Sakyamuni, the artist shows his Bodhi tree, asvattha, behind him. In anotherengraving, which depicts the Vyaghri story2 7, the Bodhisatva, who has sacrificed his life forthe tiger cubs and is lying on the ground, is portrayed with the usnisa. These depict ions areclearly anticipations of the state of Buddhahood, which might yet be attained, in part tthe depicted acts of sacrifice. These rock engravings are certainly not first-class works, same kind of representations can also be found elsewhere, which indicates that this wthinking was common to a num be r of artists or to those wh o had com missione d th e w or

In Central Asian painting one can find quite a few depictions of the so-called Prascenes. Many such scenes were painted in Bezeklik. They show the moment in the distin which the person who will eventually become Sakyamuni vows to become a B{pranidhi) and the then Buddha prophesies that that will indeed come to pass (vyakarana).T h e Pranidh i scene s from Cave DC at Be ze klik, which w e re brough t to Be rlin, be ainscriptions which, for each scene, name the Buddha of the earlier t ime and the Bodand recount the circumstances under which the vow was taken. As LÜDERS (1913) has shown,the verses correspond almost exactly to the Bahubuddhasütra in th e Mahavastu2*. T h e

parmi eux, il y en avait qui possedaient vingt-huit marques distinctives (laksanas), d'autres qui en poss^daient

trente, d'autres qui en possedaient trente et une.2 6 T189, trad. ( L A M O T TE 1944-80, 1 : 28 5, Fn. ) : . . . chez le Sakya, au temps du Buddha, cinq cents jeunes princes

munis d'un certain nombre d e marques: trois, d ix , trente et une ou meme trente-deux; chez ceux qui en avaient

trente-deux, elles n'dtaient pas bien distinctes (yyakta).2 7 Rock eingraving at Shatial, ill.: T H E W A L D 19 83 : F ig .5 , Pl.4-6; J E T T M A R 1985: PI . 152-53.2 8 Mahavastu, ed . Vo l .3 , p.224-50; transl. p.219-39.

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Freude durchdrungen, (entsteht [seine] G estalt) a l lmähl ig mit den [Budd hajmalen und N ebenm erkmalenprangend; wie die Mo ndsc heibe scheinend und erzieht die W esen . Cf . a lso ibid. p .92.

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List of Drawings and Figures(Drawings by the author except of Drawing 14)

Drawing 1 = fig.l (after BEHL) :Ajanta, Cave XVII, Veranda, right back wall, depiction of the story of the elephant Dhanapala, cf. SCHUNGLOFF2000: No.77, scene 77(5)

Copy: GRIFFITHS

17H, kept in the Victoria & Albert Museum, London; photos of the copy: Indian Section of the

V&A Museum, 87-1887; India Office (London), Vol.72, No.6037.

ill.: FERGUSSON / BURGESS 1880, No.59 (tracing); YA Z D A N I 1930-55, 3: Pl.74; G H O SH 1967: P1.66; BEHL 1998:173; TAKATA 2000, 3: Pl .C.17-6b; S . A . A . P.C . 1-1081.34:34.

Drawing 2:

Ajanta, Cave XVI, left side-wall, depiction of the story of Nanda, cf. SCHUNGLOFF 2000: No.73, scene 73(2)

Copy: GRIFFITHS 16A1, kept in the Victoria & Albert Museum, London; photos of the copy: Indian Section of the

V&A Museum, 76-1887; India Office (London), Vol. 71, No.6012.

ill.: YA Z D A N I 1930-55, 3. P1.53; TAKATA 2000,3: Pl.C.16-7b.

Drawing 3 = ilg.2 (after the copy):

ibid., scene 73(5) - the detail of the painting is no more preserved.

Copy: ibid.

ill.: FERGUSSON / BURGESS 1880, No.59 (tracing).

Drawing 4 = fig.3:

ibid., scene 73(7)Copy: ibid., India Office (London), Vo l.71, No.60I4.

ill.: YA ZD A N I 1930-55, 3: P1.54; SING H 1965: P1.62; G H O SH 1967: P1.66; TAKATA 1971: P1.20; O K A D A /N O U 1991:27; TAKATA 2000, 3: Pl.C.16-7d-e; S . A . A . P.C . 1-1081.31:30,33; 32:47-48.

Drawing 5:

ibid., scene 73(12)

Copy: ibid-

ill.: YA ZD A N I 1930-55, 3: P1.54; TAKATA 2000, 3: Pl.C.16-7f.

Drawing 6:

Ajanta, Cave XIX, Veranda, left side-wall, devotional painting, cf. ZiN 2003: No.48,111.24.

Copy of the detail: GRIFFITHS 19A, kept in the Victoria & Albert Museum, London; photos of the copy: India

Office (London), Vol.76, No.6187.

ill.: GRIFFITHS 1896-97,1: P1.89.

Drawing 7:

Ajanta, Cave XXVI, left side-wall, above the sculpture of the Parinirvana, cf. Zw 2003: No.48,111.24.Copy: -

ill.: BEHL 1998: 30; S . A . A . P.C . 1-1081.56:6.

Drawing 8:

Höhle XXVI, left side-wall, detail of the sculpture of the Parinirvana;

ill: YA ZD A N I 1930-55,4: P1.80; O K A D A /N O U 1991:8; TAKATA 2000: Pl .C.26-4.Drawing 9 = fig.4 (after: INGHOLT):

Gandhara, Lahore Museum, 309;

ill.: INGHOLT 1957: Fig.100.

Drawing 10 = fig.5 (after: KLIMBURG-SALTER):Gandhara, Berlin, Museum für Indische Kunst, 1 183;

ill.: KUMBURG-SALTER 1995: Fig.159.

Drawing 11 = fig.6 (after: KURJTA):Gandhara, Hidda, Briüsh Museum, 1900.5-22.1;

ill.: FOUCHER 1905-55, I: Fig.234; BUSSAGU 1984: 213; TISSOT 1985: Fig.251; KURITA 1988-90, 1: P1.P3-V.

Drawing 12 = fig.7:

Kizil, Cave 196, barrel vault in the main chamber, right side, ill .: Xu WA N Y IN 1983-85, 3: P1.99.

Drawing 13 = fig.8:

Kizil, C ave 101, barrel vault in the main chamber, right side, il l. : Xu WA N Y IN 1983-85. 2: P1.97

Drawing 14:

Bezeklik, Cave 19 = G R Ü N W E D E L 1912: 271, Fig.561.

Drawing 15:

Sanchi, Sanchi Museum, 9;

ill: M A R S H A L L / F O U C H E R 1940, 3: PI. 126b.

Drawing 16 = fig.9 (Copyright: Forschungsstelle Felsbilder und Inschriften am Karakorum Highway, Akademie derWissenschaften Heidelberg):Shatial on Indus, rock engraving, ill.: TH E W A L D 1983: Fig.3-4, P1.2.

Drawing 17 = fig.10 (after: L E C O Q ) :Bezeklik, Höhle IX, Museum für Indische Kunst Berlin MIK 6888 (war loss), ill.: von L E C O Q 1913: P1.26;YA L D E 1987: P1.74.

Drawing 18:

Ajanta, Cave XXVI, relief on the left side-wall, ill.: SPINK 1981: Fig.398; S. A.A.P.C. 1-1081.55:13.

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