Defining aesthetics remains a challenging endeavour, with scholars throughout history offering varied interpretations. According to the esteemed Greek philosopher Plato, aesthetics is synonymous with beneficial happiness. He posits that beauty lies in things that bring pleasure to the observer, creating a sense of beauty in the human mind. In contemporary terms, modern science associates aesthetics with a specific region of the brain. Research suggests a direct connection between appreciating beauty and the right hemisphere of the brain. The world’s beauty is categorized into man-made and natural elements. Nature provides the sun, moon, waterfalls, rocks, forests, and flowers, each possessing innate aesthetic allure. Similarly, human creations like music, singing, instruments, arts, sculpture, and carvings exhibit their unique beauty. Western philosophers define beauty through attractiveness, while their Eastern counterparts emphasize taste. In contrast, Buddhism approaches beauty with a spiritual perspective.
The Buddha conveyed the impermanence of the world through Anichcha, Dukka, Anathma, the Thrilakshana. Some scholars argue that he, therefore, did not value beauty, suggesting Buddhism is anti-beauty. This perspective often stems from Ananda Kumaraswamy’s “Dance of Shiva,” where three points are presented to support this view. First, the prohibition in Chullawagga Pali against monks creating art with Patibhana quality. Second, the Dasadhamma Suthra indicates the Buddha’s lack of focus on personal beauty and adornment. Lastly, Kumaraswamy references the Vishuddi Marga, where artists face criticism in that scripture.
Kumaraswamy’s assertion that the Buddha disapproved of beauty appreciation relies on specific points, notably the prohibition against monks drawing Patibhana Chithra. However, it’s crucial to clarify that this prohibition specifically targeted nude figures and depictions of sexual intercourse, as outlined in Chullawaggapali. The Buddha endorsed the creation of other forms of art, such as Malakamma, Lathakamma, Panchapatika, and Makaradantha. Therefore, characterizing the Buddha as someone who never appreciated beauty based solely on this Vinayakamma seems unjust, considering the subtle context of the prohibition.
Buddhism emphasizes non-lust, and the Buddha’s prohibition of drawing nudity and sexual content for monks aligns with fostering spiritual development and discipline. The second point, regarding the Buddha’s lack of attention to personal adornment, is derived from the Dasadhamma Suthra in Khuddaka Pata. However, it’s crucial to note that this sutra is a late addition, and using it to label the Buddha as anti-beauty is highly unfair. Kumaraswamy’s reference to the Vishuddhi Marga, critiquing artists in Buddhism, should be approached with caution. This text was authored by Buddhagosha Thera a thousand years after the Buddha’s great demise, challenging its authenticity as an original source for understanding Buddhism. Consequently, Kumaraswamy’s portrayal of the Buddha and Buddhism as anti-beauty may lack a solid foundation given the questionable authenticity of the sources employed.
Aesthetics encompasses beauty, and the act of appreciating beauty involves recognizing its finesse. Such appreciation brings happiness and joy without being deemed a sin in Buddhism. The teachings of Buddhism guide individuals to appreciate beauty without selfish desires, ensuring that this admiration does not lead to lust. According to the Buddha,
“Lust is not beauty
lust is a defilement in the human mind
There is beauty in this world
And the wise see that beauty without lust’’
According to the Buddha, beauty is distinct from lust, which he identifies as a defilement in the human mind. The world’s beauty exists as it is, and those with pure minds observe it without attachment. The destruction of beauty is not advocated; instead, the focus is on eliminating defilements like lust from the mind while appreciating beauty. The wise person recognizes beauty without becoming attached, following the Buddhist teaching.
In the Mahasachchaka Suthra, the Buddha asserts that he is not afraid of happiness as long as it does not lead to lust, defilements, or sinful actions. Appreciating the beauty in the world is not considered lust in Buddhism. The Buddha’s teaching emphasizes avoiding attachment to the lust generated by beauty, as highlighted in the Mahagosingha Suthra found in the Majjima Nikaya, where Mahagosingha, a beautiful forest, is mentioned.
According to the Mahagosinga Sutta in the Majjhima Nikaya, the Gosingasala forest is described as an exceptionally beautiful woodland. As the sun sets in the west, the moon ascends, casting silver beams that gracefully illuminate the entire forest. The Sala trees, adorned with blissfully fragrant flowers, enhance the enchanting ambiance. The gentle rustle of the wind through the trees provides a soothing coolness to the surroundings.
This serene haven was home to the Buddha, accompanied by venerable Theros such as Sariputta, Moggallana, Mahakassapa, Anuruddha, Rewatha, and Ananda. One evening, Maha Moggallana Thero, Maha Kassapa Thero, Anuruddha Thero, and Ananda Thero approached Sariputta Thero to partake in Dhamma discourses. Intrigued by the extraordinary beauty of the Gosingasala forest and the tranquil fragrance of blossomed flowers that filled the night air, they inquired about the reason behind this natural splendor.
Delving into discussion, they pondered the factors contributing to the forest’s exceptional beauty until they decided to seek an answer from the Buddha. When questioned, the Buddha revealed that it was the presence of a Bhikku, determined to purify his mind and immersed in meditation, that bestowed such beauty upon the Gosingasala forest. Consequently, the environment surrounding a Bhikku, free from defilements and committed to their eradication, exudes an unparalleled beauty and tranquility.
Prince Siddhartha’s origins trace back to the fragrant Sala forest in Lumbini, where he took his first breath. Beneath the sheltering branches of a Bodhi tree, the Buddha attained Enlightenment, and in the later chapters of his life, the serene expanse of the Upawattana Sala forest witnessed his great demise.
Reflecting on his quest for truth and the path to the supreme bliss of Nirvana, the Buddha shared his experience in the Ariya Pariyesana Sutta from the Majjhima Nikaya. “Dear monks,” he addressed, “while traversing the journey of enlightenment, I arrived at Senanigama in Uruvela-a land of extraordinary beauty. The forest, with its awe-inspiring allure, complemented the tranquility of a meandering river, and the picturesque village completed the scene. In this splendid locale, I found myself thinking, ‘This land is beautiful. The forest is breathtaking. The river flows serenely. The village is silent.’ Recognizing the profound potential for spiritual pursuits, I chose to stay.”
In a similar vein, the Buddha eloquently conveyed his appreciation for nature’s beauty. From the captivating fragrances of Lumbini to the peaceful landscapes of Uruvela, his journey was intertwined with the serene allure of the environment-a poignant testament to the harmonious coexistence of spiritual pursuit and the inherent beauty of the natural world.
Various instances illustrate the Buddha’s profound appreciation for beauty, and one notable occurrence is outlined in the Sakkapañha Sutra of the Digha Nikaya. This sutra recounts the episode of Sakra Deva, the ruler of the heavenly realms, visiting the Buddha at the Indrasala Cave. Upon their arrival, the cave radiated with an ethereal glow, reflecting the celestial nature of the encounter. Initially hesitant to approach the Buddha directly, Sakra Deva sought to create an impression through the artistry of Panchasikha, who skillfully played the Beluwa musical instrument. In a captivating melody, Panchasikha sang a song dedicated to Suriyavachchasa, his former love interest. The verses, beginning with
“Vande the pitharan bhadde- Thambarun Suriyavachchase
Yena jathasi kalyani- Anandajanani mama,”
highlighted the beauty of Suriyavachchasa, capturing the attention of both celestial beings and the Buddha himself.
In response to the musical performance, the Buddha expressed genuine enjoyment, acknowledging the melody and lyrics. This episode serves as a poignant testament to the Buddha’s capacity to appreciate beauty without compromising his ascetic lifestyle.
The verses of Kaludai Thera Gatha stand as a testament to the Buddha’s deep appreciation for beauty. Arhat Kaludai Thero skillfully conveyed the allure of the path leading to Kimbulwath City, leaving an indelible impression on the Buddha, who marveled at the eloquence of the description.
In the dissemination of the Dhamma, the Buddha, with a profound connection to nature, often chose unconventional lodging, spending nights in open paddy fields, pottery sites, or treeless locations. The Buddhist scriptures recount that monks observed the Vassana retreat in natural surroundings, such as the Baranasa Isipathana Migadaya, Veluvana, Sandlewood forest, and Parileyya forest.
Thera and Theri Gatha, repositories of literary excellence, offer sublime examples of Buddhism’s appreciation for beauty. Within these verses, one can discern a refined taste for nature’s aesthetics. A poignant illustration is found in the song sung by Sambula Kachchayana Thero, expressing resilience in the face of intimidating natural elements: “It rains incessantly, the waters flow with a resonant murmur, I reside within a cave, yet fear and trepidation find no place within me.”
In the depths of a daunting forest, Sambula Kachchayana Thera engaged in meditation within a cave as a fierce rainstorm unfolded. The relentless downpour, accompanied by the resounding echoes of raindrops, cast an intimidating ambiance. Undeterred, Sambula Kachchayana Thero, with a serene mind, faced the formidable spectacle of nature and transformed his experience into poetic expression.
“Vibrant peacocks adorned with splendid feathers and elegant long blue necks danced and sang their melodic tunes. Below them, the earth was adorned with a carpet of blue grass, while the expansive sky above was adorned with the beauty of graceful clouds”
Amidst the tranquil embrace of the forest, Chulaka Thero, immersed in meditation, witnessed the harmonious existence of a peacock couple and was inspired to compose verses that echoed the beauty surrounding him.
These instances serve as compelling examples of Buddhism’s endorsement of the appreciation.
To truly revel in the beauty of this world, one’s character must be refined and adorned with good discipline. Buddhism not only allows but encourages a discerning and elevated appreciation of beauty. However, the path to such appreciation necessitates the eradication of harmful thoughts that may arise within us during moments of aesthetic admiration. It is within the absence of discipline that attachments form, giving rise to defilements that mar the purity of the experience.
Exercising emotional control becomes paramount in the pursuit of beauty. The discipline cultivated by Buddhism emphasizes the necessity of preventing undue attachments. A disciplined mind, when confronted with beauty, avoids succumbing to excessive emotions. Attachment, a potential pitfall, must be vigilantly curtailed.
Moreover, Buddhism urges the training of the human mind to recognize the perilous nature inherent in beautiful objects. While appreciating beauty, practitioners are guided to contemplate the transient and precarious aspects of the objects of admiration. This thoughtful approach aligns with the teachings of Buddhism, reinforcing the idea that true appreciation necessitates a subtle understanding of the impermanent nature that underlies the allure of beauty.
Summary
In this exploration of Buddhism’s stance on beauty, the author challenges the perception that Buddhism is inherently anti-beauty, refuting arguments based on specific textual references. Drawing on instances from Buddhist scriptures and the Buddha’s life, the narrative highlights the Buddha’s profound appreciation for natural and man-made beauty, emphasizing that true appreciation requires a disciplined and unattached mind. The author underscores Buddhism’s endorsement of beauty, encouraging individuals to derive joy from aesthetic experiences while maintaining emotional control and cultivating a subtle understanding of the impermanence inherent in beautiful objects.
The article contends that Buddhism does not view finding joy in beauty as a sin but rather emphasizes the importance of appreciating beauty without succumbing to lust or attachment. The Buddha’s teachings, as presented in various sutras and episodes from his life, demonstrate a deep appreciation for nature’s beauty and artistic expressions. The narrative refutes claims that Buddhism is anti-beauty by providing context to specific prohibitions, such as the monk’s restriction on creating certain art forms, and questions the authenticity of sources like the Dasadhamma Suthra and Vishuddhi Marga. It concludes by asserting that Buddhism encourages a refined appreciation of beauty, intertwining spiritual development with the recognition of the transient nature of the world’s allure.
© satipatthana magazine