Tag Archives: India

A Scrap of Maldivian Buddhism

The Maldives are not a country we typically associate with Buddhism. Currently, it is primarily known to the West as a culturally denuded vacation dystopia/utopia catering to the cosmopolitan elite, though in reality, it also exists alongside a somewhat extremist Islamic state. A double whammy to ensure the cultural irrelevance of anything preceding even early modernity.

The paucity of the noticeable historical impact of Buddhism vis a vis Islam in the Maldives is actually one of the most severe I’ve ever studied, of any formerly Buddhist society. Typically those who mourn over the loss of such cultural zones reference Afghanistan, perhaps northern India, Bactria, Indonesia or elsewhere in Central Asia, or Southest Asia. But the elimination of Buddhism (and Hinduism for that matter) in the Maldives is shockingly total, not only in terms of population but also in terms of archeological evidence and even historical memory. This really is not something I’m making up. In the words of Hassan Ahmed Maniku (from CONVERSION OF MALDIVES TO ISLAM, Journal of the Royal Asiatic Society Sri Lanka Branch , 1986/87, New Series, Vol. 31 (1986/87), pp. 72-81):

Unlike any other country, when Maldives accepted Islam it was a complete acceptance. No trace of any other religion was left. Vestiges of whatever form of worship that existed prior to such acceptance was completely erased from view.

Whatever scraps escaped this storm are still under threat up until modernity. In 1959 the below pictured Buddhist statue was discovered in an excavation. It had clearly been intentionally buried to escape the wave of destruction that swept over the Maldives in the immediate aftermath of its conversion to Islam.

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Almost immediately upon discovery, the statue’s head was smashed off, and most of the brittle torso was reduced to fragments. Below is the remaining head in the National Museum, after undergoing some restoration. Though given what happened in 2012 (see below) I am unsure of its current fate.

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Octagonal grinding disk cuts through the universe

Though an ominous, violent phrase, I think this I think represents two ends of a similar means of attaining wisdom within the broader Dharmic tradition. Two which are at opposite ends of a particular horseshoe. 1) The intoxicated Caitanya-esque ecstatic dancing, music, or trance (embodied in most epitomized form by the heterodox, antinomian and anti-textualist Baul tradition) on the one hand, and 2) The almost inhuman, absurdist form of samadhi of Chan/Zen Buddhism on the other, which produced the brutal, piercing line from which this post derives its title. Theoretically, the two share a genealogical origin in conjoined tantric traditions of Sahaja/Sahajiya Buddhism/Vaishnivism respectively. See the below diagram, with Bauls occupying the far left and Zen occupying the far right of the diagram. See the following quotation for a Chan/Zen mode of describing this condition.

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An eight-sided grinding disk is the large millstone which is turned by an ox or donkey. The idea that such an object was flying and cutting through the universe was something beyond common sense during the latter portion of the Kamakura period (1185–1333). There were intense debates on which form of Buddhism was superior: the established forms of Mahayana Buddhism or the newly imported Zen Buddhism. Scholars of the established Buddhist doctrine, with the intent to “crush” the newly arrived Zen Buddhism, debated Myocho Shuho who represented the Zen Buddhism side. (Later the Imperial Court honored Shuho by awarding him the highest title of Daito, Kokushi.) The scholars, after many debates, questioned Shuho: “Zen discourses intimate kyo gai betsu den [kyo=teaching; gai=outside; betsu=separate; den=communication]. What is the meaning of that phrase?” Shuho’s instant answer was “Octagonal grinding disk cuts through the universe.” The meaning of this phrase is that regardless of how well one intellectually understands the doctrine or dogma, without actual experience the understanding remains only on the surface. Deep attachments, delusions, intellectual understanding of good or evil; stubborn self-centered ideas and teaching through sutras: they who assume they are erudite scholars can be smashed into pieces but spiritual activity is totally free. Thus this statement ended the discourse and debates between the established Buddhist sects, and Zen Buddhism consequently gained a foothold in Kyoto.

The sagacity of this ichigyo mono made Zen Buddhism acceptable to other Buddhist scholars, and Daito, Kokushi since then has become greatly respected. The goal in Zen is to search for the truth with complete disregard for scholarly dialogue or one’s station in life.

In the work at left by Gengo Akiba Roshi, the subtitle is “Furyu Monji.” This means “not depending upon literature,” and is one of the phrases in traditional Chinese ideograms that explain the characteristic nature of Zen Buddhism. Other such phrases are Kyo gai betsu den meaning “extra- curricular or outside the teaching of sutras”; Jiki shi jin shin meaning “directly reaching to the heart and soul of that person”; and Ken sho sei butsu, meaning “rediscover the existing Buddha nature within oneself.” One must surpass or go beyond doctrine and the language from the teacher, and di- rectly connect with the spirit within. The student must take the mentor’s teaching and then internalize and digest it. Then it becomes an intrinsic part of heart and soul and allows each individual to grasp the core of Buddhist teaching in order to open the passage to satori. A simple way of saying this is to point your finger to your heart and it is the Buddha.

156-157, SHODO The Quiet Art of Japanese Zen Calligraphy

Deshbondhu Chittoronjon Dash (দেশবন্ধু চিত্তরঞ্জন দাশ)

 

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Portrait of Deshbondhu. Image Source: Wikimedia Commons

Recently I was reading over the “Presidential Address of Desabhandhu C. R. Das at the thirty-seventh session of the Indian National Congress held at Gaya on 26th December 1922” also known as “Freedom Through Disobedience.” I kept highlighting key passages for my own reference, but I thought that I’d post them up here for those interested in such things but who don’t have the time or desire to read the full 75 page speech. Unless otherwise noted, all quotes here come from that speech. But if you are interested in reading a lot, you could also check out this other collection of his speeches, “India for Indians” which fleshes out some of the details of Deshbondhu’s worldview which his Gaya speech leaves out. This will be somewhat relevant to the Ancient Constitution post I made earlier.
Deshbondhu (title meaning “friend of the nation”) seems like a much more lucid thinker than practically any other Indian independence leader who has risen to prominence in the historical memory of Indian independence in the west. In many ways he ends up approaching conclusions which in the west are associated with radical federalism, anarchism, classical liberalism, or proto-fascist conservatism. If this collection of ideas seems incongruous to you, you might want to check out this essay on anarchism and nationalism called Anarchist Integralism: Aesthetics, Politics and the Après-Garde which although hostile to integralism, shows how all these ideas are related to one another. Ultimately I think that Deshbondhu’s Swaraj ideology, like the preceding Swadeshi Ideology in its Bankinchandra through its Tagore forms, as well as Subhash Chandra Bose‘s unnamed ideology, and pretty much all forms of Bengali and Indian “culturalism” including Hindutva are all Indian manifestations of integralism. Deshbondhu’s iteration seems to be a more anarchic, libertarian, and internationalist iteration of Indian integralism than the average (though not as free spirited as Tagore).

Like Burke, and the liberals I mentioned in the Ancient Constitution post, Deshbondhu believed that rule of law had to be subservient to some other concept of law (shall we call it natural law?) in order to justify obedience:

Why are the Indian Criminal Law Amendment Act 1908 and the Prevention of Seditious Meetings Act 1911 to be retained on the Statute Book? For the preservation of law and order? They little think these learned gentlemen responsible for the report that these Statutes, giving as they do to the Executive wide, arbitrary and discretionary powers of constraint, constitute a state of things wherein it is the duty of every individual to resist and to defy the tyranny of such lawless laws. These Statutes in themselves constitute a breach of law and order, for, law and order is the result of the rule of law; and where you deny the existence of the rule of law, you cannot turn round and say it is your duty as law-abiding citizens to obey the law.

p. 14

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Covert Lokayata V: Arts, Culture, and Modernity. (+Bibliography)

(Click to go back to Part I: Doctrines)

(Click to go back to Part II: Proto-Materialism in Vedic and Tantric Traditions)

(Click to go back to Part III: Orthodox Darshanas)

(Click to go back to Part IV: Social and Physical Sciences)

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Culture:

Much of the cultural output from the Mayura to the Gupta period reflects the themes of Lokayata. Though it had always been prevalent amongst the population, as an aspect of Arthashastra, a pragmatic, syncretic permutation of Lokayata contributed to the ruling ideology. (1) Shastri is fully convinced of their influence:

“The Lokayatikas were a creed of joy, all sunny. Through their influence, at that period of Indian history [broadly speaking, 200 BC – 400 CE], the temple and the court, poetry and art, delighted in sensuousness. Eroticism prevailed all over the country. The Brahmin and the Chandala, the king and the beggar took part with equal enthusiasm in Madanotsava, in which Madana or Kama was worshipped. Reverences to this festival are not rare in works of poets like Kalidasa, Bisakha, Datta and Sreeharsa.” (2)

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Illustration depicting a scene from a Kalidasa poem. This type of erotic content is fairly standard for poetry of this period. The poem and image source are Joshiartist.com

Poetry of this period communicates the earthly, pleasure oriented, anti-clerical ethos extremely well. What follows are four representative samples of poetry from the era of Lokayata’s greatest influence:

Who was artificer at her creation?

Was it the moon, bestowing its own charm?

Was it the graceful month of spring, itself?

Compact with love, a garden full of flowers?

That ancient saint there, sitting in his trance,

Bemused by prayers and dull theology,

Cares naught for beauty: how could he create

Such loveliness, the old religious fool?

–Kalidasa (3)

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India’s Ancient Constitution, Part 1

Did India have an Ancient Constitution worth respecting, or not? Did the British uphold it, or destroy it? For a Libertarian or Burkean Conservative Hindu, these are important questions to consider dispassionately. The answer actually matters. If India had an Ancient Constitution which was destroyed when the British came, then much of India’s existing constitution, a combination of British laws and the arbitrarily imposed theories of Ambedkar, is an usurpation of the ancient rights and privileges primordial to the land and the race. The very basis of the Indian state is in question in this case. On the other hand, if India had no such Ancient Constitution, or if it was destroyed by the Mughals and restored by the British, then the period of British rule was a period of liberation from Oriental Despotism wherein India was Brought Into History as Hegel might have said. This is a somewhat false binary, but I present it anyway to show some of the dramatic potential conclusions we can come to.

Its also important to consider what such a concept as an Ancient Constitution really even means. Is it a principle of abstract justice which is universal? Or do different societies create internally valid social compacts which might differ from one another in legitimate ways? Or is this an incorrect way of framing the question?

I’m not really going to try to definitively settle the historical question in this post. I’m still doing research on the topic and will put out my full view on it later if I think I gain enough information to make such a judgement. I’ll instead just briefly discuss what the idea of an Ancient Constitution meant to a few thinkers in the context of India. I’ll look at Bose, Burke, Roy, and Naoroji.

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Portrait of Subhash Chandra Bose. Image source: quotesgram.com

Bose:

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Covert Lokayata IV: Social and Physical Sciences

(Click to go back to Part I: Doctrines)

(Click to go back to Part II: Proto-Materialism in Vedic and Tantric Traditions)

(Click to go back to Part III: Orthodox Darshanas)

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Political theory

The word Lokayata occurs only once in the Arthashastra (PDF here), but it is a very significant mention. The treatise opens with the line “Om, salutations to Sukra and Brihaspati” the two progenitors of materialism and deha-vada (doctrine of the body as soul) in Vedic mythology. There are also numerous mentions of the “school of Brihaspati” later on in the text; though it is ambiguous which school Kautilya is referring to. Kautilya’s mention of Lokayata is as follows:

“Anvikshaki comprises the Philosophy of Sankhya, Yoga, and Lokayata… Righteous and unrighteous acts (Dharmadharmau) are learnt from the triple Vedas; wealth and non-wealth from Varta; the expedient and the inexpedient (Nayanayau), as well as potency and impotency (Balabale) from the science of government.

When seen in the light of these sciences, the science of Anvikshaki is most beneficial to the world, keeps the mind steady and firm in weal and woe alike, and bestows excellence of foresight, speech and action.” (1)

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Shukra. One of the teachers of the Asura in Vedic mythology, along with Brihaspati. Source: Wikimedia Commons

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Ancient Indian Aristocratic Republics

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Map of the 16 Janapadas. Source: Wikimedia Commons

I was reading about non-monarchical forms of government in ancient India. Really I was interested in what they call the “Republics” of ancient India. But that concept is a bit misleading. It has all sorts of Eurocentric connotations, and implicit associations with democracy, egalitarianism, populism, etc. It has those implicit connections even though many European republics were essentially similar to the Indian ones insofar as they had restricted franchise and were basically aristocratic or oligarchic in nature, or merchant guild-based. In Sanskrit they were called Janapadas, Gana Sanghas, or a few other more esoteric words. 

I suppose one major difference between Indian and European republics is that there is  European republics frequently had agents which were said to “represent” the people, implying that “the people” were the sovereign ruler of the society. “The People” generally had an aristocratic definition, but also had the capacity to get quite plebian. It is difficult to tell who was regarded as sovereign in some of the following Indian examples, but if I had to guess I would say that as a general rule the ruling Kshatriya clan, or confederation of clans, was regarded as sovereigs. That said, in other literature I also saw evidence to suggest that sovereignty was also sometimes vested in individual villages, districts, or constituent guilds or corporations which themselves sent representatives to the council. Without copies of their constitutions we don’t know for sure, but I don’t evidence of directly democratic institutions. And why would we? Political egalitarianism is an alien concept to the subcontinent.

Given the existence of these republics really amazing that we still think of India as a static land of “Oriental Despotism.” For instance, we think of Buddha as a “Prince” when really he was a prince only insofar as he was the son of the elected leader of the Shakya Republic (to be fair, Buddhist literature inflates Sudhodana’s reputation which confuses this issue as much as the Hegelian/Marxist historiography). Republics are also central to the history of Jainism. Anyway the point is, India had ancient aristocratic republics and that is cool.

Below is a large chunk of Chapter 1: Forms and Types of States from the book Aspects of the ancient Indian polity, by Narendra Nath Law,  (Oxford, The Clarendon press, 1921.) Apologies for the typographical errors, I tried to clean up the ones which inhibited meaning:

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The Anglo-Saxons Were Robbers and Pirates in Their Own Country

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Lysander Spooner. Image Source: Volokh

Wipe out, then, these feudal robbers – the whole race of kings, and queens, and nobles, and all their accomplices in every grade of life, and take possession of all the spoils which they and their predecessors have wrung from you and your ancestors. Put an end to their Parliaments and Courts. Blot out forever their statute books. They contain little or nothing else than the records of their villanies. Free England and Ireland, and thus all the rest of the empire, of the tyrants and robbers that are plundering, enslaving, and crushing, and starving you.

Sorry Anglo-Saxons, this post is not for you. It culminates in one of the most cutting anti-Anglo rants I’ve ever read. You can just skip to the last block quote if you are short on time. Its low effort on my behalf because I’m mostly just quoting Spooner, but its worth it. Lysander Spooner wrote this letter entitled Revolution: The Only Remedy for the Oppressed Classes of Ireland, England, and Other Parts of the British Empire. He is one of my favorite Anarchist writers and if you aren’t familiar with him already, well you should be.

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Hindu Iconography from Far Central Asia

I already made a post about Hindu iconography in Japan, as expressed primarily in Shingon Buddhism. Now I’ll look to the west. As in the east, Hindu iconography appears in an ancient and intermixed state alongside other forms of iconography. In this case the context is Manichean, Zoroastrian, Greek, indigenous, and Buddhist. In many spots it gets hard to distinguish the border between iconographical forms as they tend to blend together into syncretic representations. It really is a historically unique scenario which produced such a melting pot of aesthetic trends. In any case the locations of these images, in a loose sense, define the high water mark of Hindu cultural expansion into Western Asia (Irredentists eat your heart out).

For the purposes of this exercise, I’ll ignore the art of Gandhara (inner Afghanistan/Peshawar region) which is already well known and should really be considered Indian art rather than an export. I’ll only be looking at art from north and west of Gandhara I’ll also be ignoring images of the deity Mitra/Mithra, because there are simply too many of them as this deity became very popular in the west and evolved its own well developed cult in Europe which is really a very different phenomenon than the diffusion of Shiva, Ganesha, or Parvati imagery in Western Asia. Due to the nature of the subject, some of the sourcing on these images or information is sketchy, but I’ll flag that when it is relevant.

Kushan Culture

Bactria: 

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Bactria, 320 BC. Source: Wikimedia Commons

The following pieces are from the Metropolitan Museum of Art in New York City. They are all from the same archeological find, so I’ll only list that information in the first caption.

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Panel fragment with the god Shiva/Oesho. Period:Kushan Date:ca. 3rd century A.D. Geography:Bactria, Culture:Kushan Medium:Terracotta, gouache Dimensions:H. 57.2 cm, W. 41.6 cm, D. 5.7 cm Classification:Ceramics-Paintings. Source: The Met

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Company Painting

Here is an example of the style of painting which emerged in India under the British East India Company:

Great Indian Fruit Bat

hb_2008.312
Date: ca. 1777–82
Geography: India, Calcutta
Culture: Colonial British
Medium: Pencil, ink, and opaque watercolor on paper
Dimensions: Mat size: Ht. 27 1/4 in. (69.2 cm)
W. 35 1/2 in. (90.2 cm)

“In 1777, Sir Elijah Impey, chief justice of Bengal between 1774 and 1782, and his wife, Lady Mary, hired local artists to record the specimens of Indian flora and fauna they collected at their estate in Calcutta. Over the next five years, at least 326 paintings of plants, animals, and birds were made for the Impeys. On most of these works, the name of one of three artists—Bhawani Das, Shaykh Zayn al-Din, or Ram Das—appears along with the Hindi name of the animal and the phrase, in English, “In the collection of Lady Impey at Calcutta.” Although this painting bears no such inscription, it is closely related to another painting of a bat by Bhawani Das, and it has always been associated with Impey patronage. One can imagine Bhawani Das and the anonymous artist of this painting working side by side, observing the animals, but whereas Bhawani Das’ painting depicts a tawny-colored female bat centered on the page with both wings outstretched, his fellow artist has created an asymmetrical composition in shades of gray and black of an emphatically male bat with one wing dramatically unfurled.” (Source: Metropolitan Museum of Art)

Quite a looker isn’t he? I recently saw an interesting corner of the Metropolitan Museum of Art which I hadn’t seen before. It was a room labeled “Company Painting in Nineteenth-Century India.” For some reason I just hadn’t come across this room in prior wanderings. I decided to show you all some of the drawings and paintings I saw, with some historically related works interspersed for comparison.

The Company paintings are worthy of our notice because they reflect Indian aesthetic culture in this fascinating, relatively narrow slice of time between the Mughal state and the British state, when India was under Company rule. Mughal trained painters were able to modify their craft to suit British tastes, but this slight change  put them (generally speaking) out of the genre of imaginative, decorative court art and into the genre of scientific sketches, administrative records, or more rarely, a sort of elite tourist kitsch. The Indian artists in this collection have been forced by circumstance to depict less conventionally beautiful plants and animals, and in a more realistic style. The cultural change from luxuriant Mughal court system into the impersonal knowledge aggregating machine of the colonial period is reflected in painting. Its pretty cool.

They are also fascinating because it shows us a period in Indian history where British artists suddenly join Hindus, Muslims in a shared aesthetic genre depicting the Indic subject matter. Take a look at these scientific drawings of plants for example:

Ashoka Tree Flower, Leaves, Pod, and Seed

Date: first half 19th century
Geography: India, probably Calcutta
Culture: Colonial British
Medium: Opaque watercolor on paper
Dimensions: Page: H. 23 1/4 in. (59.1 cm) W. 17 5/8 in. (44.8 cm)
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