At a certain point in history, there emerged signs indicating that numerous religious doctrines worldwide were becoming confined within the walls of scholarly discourse. Rather than prioritizing meditation, adherents leaned towards academic study, wielding argument and debate as their primary tools. This inclination gradually permeated the Buddhist community. As intellectual pursuits gained prominence, so did aesthetic sensibilities. Furthermore, those who sought liberation from mere intellectual exercises, giving rise to a movement that aimed to draw people towards direct experiential understanding. Certain traditions, drawing from both intellectual inquiry and aesthetic appreciation, found inspiration in this shift.
The diverse branches and sub-traditions within Tibetan Buddhism exemplify these characteristics. Originating in the landscapes of Tibet, Nepal, and Bhutan, this tradition integrates Buddhist logic with the teachings of fanatic yogis, which played a crucial role in its introduction to the Western world. An intriguing aspect of Tibetan Buddhism lies in its approach to addressing the Buddhist laity through a combination of logical discourse and sensory experience. The concept of the Cycle of Samsara is prominently depicted in every Tibetan temple, serving as a visual representation of this fundamental Buddhist doctrine.
In numerous Tibetan temples and monasteries, one can observe a graphical depiction of the Cycle of Samsara adorning the outer walls. This serves as a poignant reminder to pilgrims of the perilous nature of samsara, the cycle of birth, death, and rebirth. The artists entrusted with the task of creating these depictions are skilled in portraying the intricate nuances of the Samsara Cycle. In this representation, “Bhava” represents the essence of samsara, while “Chakra” symbolizes the cyclic nature of existence. Life enters into another realm through the process of rebirth, perpetuating the cycle indefinitely. The Bhava Chakra serves as a powerful visual metaphor for this fundamental concept in Tibetan Buddhism.
The spectator finds delight in observing the depiction of the Bhava Chakra, which encapsulates a spectrum of opposing qualities such as good and bad, up and down. This portrayal resembles a puzzle, inviting contemplation and potentially leading to confusion. Yet, the painter skillfully prevents the spectator from delving too deeply into the logical intricacies of the image, gently guiding them back to the realm of aesthetics with their artistic mastery. Through their dexterity, the painter ensures that the spectator’s focus remains on the evocative beauty of the depiction rather than becoming lost in analytical thought.
The concise explanation for “what is Samsara” is: “Samsara encompasses all existence bound by ignorance and suffering, subject to the passage of time”. Buddhism emphasizes its perilous nature and inherent emptiness, guiding practitioners to understand its profound implications.
A person apprehensive of Samsara should strive for the middle path, steering clear of extremes in logic or devotion. When creating paintings, extremes should be avoided, demanding meticulous care. Ancient Buddhist scholars advocated for careful execution of Buddhist-themed artworks, possibly due to such considerations. The artist who crafts the Bhava Chakra navigates the realms of intellect and aesthetics, skillfully instilling a sense of dread for Samsara through their work, a feat worthy of admiration.
Indeed, the Tibetan folklore surrounding the birth of the Bhava Chakra painting is captivating. According to the tale, King Udayana presented a priceless gem shawl to Magadha King Bimbisara, leaving the latter feeling indebted and anxious about reciprocating such a grand gesture. Seeking guidance, King Bimbisara turned to the Lord Buddha for advice. The Buddha suggested gifting a painting of the Bhava Chakra, symbolizing the cyclical nature of existence. While some may perceive this story as mere mythology, it carries deeper symbolic significance within Buddhist tradition.
The symbolism at the center of the Bhava Chakra painting is profound, representing the three poisons inherent in Samsara. The bird, resembling a rooster, signifies greed; the cobra represents malice, and the pig symbolizes ignorance. These three animals are depicted caught in a circular motion, each grasping the tail of the next, symbolizing the perpetual cycle of suffering fueled by these poisons. In some variations of the painting, the cobra and the bird emerge from the pig, emphasizing ignorance as the primary catalyst for the cycle of rebirth. This central imagery underscores the significance of overcoming ignorance as a crucial step towards liberation from Samsara. Ultimately, the Bhava Chakra painting serves as a visual reminder of the fundamental Buddhist teachings on the nature of Samsara.
In the next layer of the Bhava Chakra painting, the concept of karma is illustrated, portraying how the accumulation of good or bad deeds determines one’s destination in the afterlife. Those with virtuous karma ascend to heavenly realms depicted in the upper layer, while those burdened with negative karma descend to the lower layer, symbolizing hell. The painting vividly depicts celestial beings guiding souls to higher planes, representing heavenly realms, while Yamas, the guardians of the underworld, lead people to the lower realms, signifying hellish existence.
In the subsequent layer of the Bhava Chakra painting, the realms of animals are depicted, divided into six categories: Deva (celestial beings), Asura (demigods), Manushya (humans), Tiryak (animals), Preta (hungry ghosts), and Naraka (hell). The uppermost level, representing heaven, is depicted as a realm of abundant blessings. However, inhabitants of this celestial realm, preoccupied with their pleasures and insulated from the teachings of the Dhamma, eventually exhaust their merits and descend to lower realms. The Asura Lokas are depicted as realms where beings possess a mix of good karma and envy. Asuras, powerful but plagued by conflict and aggression, constantly engage in battles among themselves. This aggressive nature distinguishes the Asura realm from the more tranquil heaven. In the human realm, birth, death, aging, and the performance of good deeds are depicted, symbolizing the impermanent and cyclical nature of existence.
In some Bhava Chakra paintings, the Thirachchana Loka is depicted as embodying ignorance and dreadfulness. The Pretha Loka is illustrated as a realm of avarice and sin. When malice is combined with bad karma, Hell is depicted, a realm where beings endure immense pain and suffering. These depictions are vividly portrayed in the Bhava Chakra painting.
In the Bhava Chakra painting, the next outer circle is divided into 12 sections. The innermost circle, or the center, depicts the three poisons, while the outer circle illustrates how these three are interconnected, known as the nature of Paticca Samuppada. These 12 sections represent the 12 links of Paticca Samuppada. Tibetan artists use intriguing symbols to depict these links:
- Ignorance is symbolized by a blind man.
- The potter represents Sanskara Dharma.
- A swaying monkey depicts Viggana.
- Nama and Rupa are shown as two people on a boat.
- Salayathana is depicted as a house with six windows.
- Touch is represented by a couple in love.
- A man with an arrow pierced through his eyes symbolizes pain.
- Avarice is depicted by a group of people enjoying a party.
- Upadana is shown by a man or monkey plucking a fruit.
- Bhava is depicted by a man and a woman in intercourse.
- Birth is symbolized by a woman giving birth.
- A corpse represents death or Jara.
All Bhava Chakra paintings feature a tough-looking man who holds the Bhava Chakra. This figure is said to be Mara, the Angel of Death, or it can symbolize impermanence. Above this figure is the moon, representing the end of the cycle of Samsara or Nirvana. In some Bhava Chakra paintings, the Buddha is depicted pointing to the moon. This imagery conveys that the Bhava Chakra is borne and held by Mara, its nature is impermanence, and it is rotated by Mara, it is Paticca Samuppanna, directing beings from one Bhava to another, and is based on ignorance and avarice. To escape this cycle and attain the light of the moon, one needs the support and guidance of the Buddha.
©Satipatthana Magazine