The question of whether the Buddha provided specific instructions for building stupas is addressed in the Mahāparinibbāna Sutta (DN 16), a significant text within the Pali Canon. In this sutta, the Buddha articulates essential guidelines regarding stupas shortly before his parinibbāna, underscoring their spiritual importance rather than offering detailed architectural specifications.
DN 16, section 5.11: "Cattāro me, ānanda, thūpārahā. Katame cattāro? Tathāgato arahaṃ sammāsambuddho thūpāraho, paccekabuddho thūpāraho, tathāgatassa sāvako thūpāraho, rājā cakkavattī thūpāraho."
Firstly, the Buddha delineates four categories of individuals deemed worthy of having stupas erected in their honor. These categories include the Tathāgata (a fully enlightened Buddha), the Paccekabuddha (a silent Buddha), the Arahant (a disciple of the Buddha), and the Cakkavatti Raja (the Universal Monarch). This classification indicates that stupas serve as memorials for those who have attained significant spiritual accomplishments.
The figures of Tapussa and Bhallika take place in the early narrative of Buddhism, particularly in the context of the Buddha's first interactions with lay followers. According to the Vinaya Mahāvagga, these merchants were traveling from Ukkala, a region that is often identified with present-day Odisha in India, or possibly Bengal. Their journey highlights the intricate trade networks that connected various parts of South Asia, including the Silk Road, which facilitated not only economic exchange but also cultural and spiritual interactions.
The mention of Tapussa and Bhallika in the Vinaya Mahāvagga (Vin I.4) serves as a critical point of reference for understanding the geographical and cultural milieu of early Buddhism. The text states, "At that time, the merchants Tapussa and Bhallika were traveling on the road from Ukkala to that region." This passage suggests that these merchants were not only engaged in trade but were also part of a larger socio-religious landscape that included the burgeoning community of followers around the Buddha.
The significance of their offering—honey-balls and ground meal—during the seventh week after the Buddha's enlightenment is profound. It marks the first instance of lay devotion in Buddhism, symbolizing the transition from solitary enlightenment to communal practice. By taking refuge in the Buddha and the Dhamma, Tapussa and Bhallika established a foundational relationship between the lay community and the monastic order, reinforcing the importance of lay followers in the Buddhist tradition.
While the Buddha did provide foundational instructions regarding stupas, focusing on their spiritual significance and the categories of individuals worthy of such memorials, he refrained from offering explicit architectural guidelines. The evolution of stupa construction in various Buddhist cultures reflects a blend of these original teachings with local customs and architectural practices. Thus, the Mahāparinibbāna Sutta remains a vital source for understanding the spiritual and cultural dimensions of stupas in early Buddhism.
Having received the hair relics, they asked the Buddha where to build the stupa. The Buddha instructed on stupa construction's purpose. The Buddha, using his doubled, square-shaped robe, demonstrated the stupa's design by outlining it with his bowl.Hair relics of Tapussa and Bhallika, once enshrined in a necklace atop a stupa in Uzbekistan (discovered by British archaeologists), are now displayed in a Paris museum.
DN 16, section 5.12: "Cātumahāpathe tathāgatassa thūpo kātabbo"
Secondly, the Buddha specifies locations for the construction of stupas. He emphasizes that they should be situated at crossroads, particularly where four main roads converge, and in areas frequented by the public. This strategic placement ensures that the stupas are accessible to a wide audience, thereby enhancing their role as sites of veneration and reflection.
DN 16, section 5.12: "Ye tattha mālaṃ vā gandhaṃ vā cuṇṇakaṃ vā āropessanti vā abhivādessanti vā, cittaṃ vā pasādessanti, tesaṃ taṃ bhavissati dīgharattaṃ hitāya sukhāya"
The purpose of constructing stupas is articulated by the Buddha in the sutta. He notes that those who offer flowers, incense, or other forms of reverence at these sites will experience long-term welfare and happiness. This highlights the stupas' role as focal points for devotion and spiritual merit, reinforcing the interconnectedness of physical structures and spiritual practice.(Those who offer flowers, incense, or colored powder, or show reverence, or gain a serene mind there, that will lead to their welfare and happiness for a long time.)
DN 16, section 5.11: "Yathā kho, ānanda, rañño cakkavattissa sarīraṃ paṭipajjanti, evaṃ tathāgatassa sarīraṃ paṭipajjitabbaṃ"
Moreover, the treatment of relics is another critical aspect discussed in the sutta. The Buddha instructs that his remains should be treated with the same reverence accorded to a Cakkavatti. This involves a meticulous process of wrapping his body in layers of fresh cloth and cotton wool, emphasizing the sanctity of the relics and the respect owed to enlightened beings.
The detailed instructions for wrapping the body are found in DN 16, section 5.11:
"Rañño, ānanda, cakkavattissa sarīraṃ ahatena vatthena veṭhenti, ahatena vatthena veṭhetvā vihatena kappāsena veṭhenti..."
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This discrepancy raises questions about the pagoda's origins and the accuracy of the traditional narrative. While the story of Tapussa and Bhallika is deeply ingrained in Myanmar Buddhist lore, the architectural style starkly contrasts with the simplicity often associated with early Buddhist structures. The elaborate ornamentation and grandeur of the Shwe Dagon Pagoda, while undeniably beautiful and significant to Myanmar culture, seem at odds with the purportedly humble beginnings described in the legend. Further research into both historical accounts and archaeological findings is needed to reconcile these contrasting elements and gain a more complete understanding of the pagoda's history and its relationship to the life and teachings of the Buddha. The shining hairs, though a powerful symbol, don't negate the architectural divergence. The narrative's evolution over centuries could also explain the differences between the legend and the physical structure
Remark!
I understand the Shwedagon Pagoda's history is complex and interpretations vary. My aim is to present information gleaned from research, acknowledging that different perspectives exist regarding its origins and development. I will focus on compiling factual data found in various sources, avoiding claims of definitive truth and respecting the diverse narratives surrounding this significant site. My intention is purely informative, offering a compilation of research findings without entering into any historical debate or argument.
Sao Dhammasami
Researcher /Author
