Abode of thousand Buddhas
Lalitpur,
populary known as the city of fine arts, is one among the most ancient Buddhist
cities in the world. Situated on the laps of the magnificent Kathmandu valley
in the Bagmati zone, the city possesses an abundance of temples and Viharas.
The mounment zone of the Patan is one among the seven monment zones of the
Kathmandu valley listed under the World Heritage. Among the thirty four small
Viharas of Rudravana Mahavihara, Mahabuddha temple is established in a
courtyard at a distance of 30 meters from an artistic doorway ling along the
main road at Okhubahal in ward no. 6 of Lalitpur city.
Mahabuddha
temple stands an exemplary work constructed in the sikhara style. Probably, it
is the first temple in Nepal where an image of a Buddha is enshrined in a
sikhara temple. The temple is often called by the name “The Temple of a nine
Thousand Buddhas”. The temple consists of thousand of Terracotta image of
Buddha covering whole of its outer surface. The temple is popular as a
religious shrine to the visitors from Tibet who call it in their vernacular
language Sange-tungu. Surprisingly, family members from four generations were
involved to complete the construction work at their own cost.
The
temple is built of Terracotta bricks prepared specifically for the construction
purpose engraved with various Buddhist symbols. A mixture known as vajra
(prepared using brick powder, lime, lentil, fenugreek and so on) was used to
join the bricks and complete the temple.
The temple is enshrined with images of the
Buddhas representing three ages of the past, present and the future. There are
images of Dipankara Tathagata facing north and the forthcoming Buddha, Maitriya
facing southward placed in the worship chamber inside the main gate. The image
of Shakyamuni Buddha facing eastward is enshrined the main sanctum. The image
of Shakyamuni Buddha is flanked by the image of Samantabhadra Bodhisattava and
Vajrapani Bodhisattava. The stair leading to upper floor has other three images
of the Five Bodhisattavas i.e. Ratnapani facing south, Padmapani facing west
and Visvapani facing north. An image of Amitabha facing east is enshrining in
the first floor. One may find here the placement of the images differing from
other chaityas. In other directions there are images of Ratnosnish, Padmosnish
and Vishwanish, the Tathagatas facing south, west and north respectively. The
small temples construceted in the four corners of the balcony are modeled on
the Buddhagaya temple, India. The Panchajinalaya Swayambu Mahachaitya constructed
artistically in the third floor stands as center of public attraction.
Similarly, the fourth and fith floors contain Dharmadhatu and Vajradhatu
mandalas respectly. In the sanctum of the sixth floor is enshrineed the Sunyaniranjan
golden Mahachaitya symbolizing emptiness. A similar golden chaitya is placed at
the top in the form of pinnacle. Outside of the temple, in front of southern
face, is a stone with footmarks of the Buddha in a mandala shape.
Pandit
Abhayaraj, the master artist while in a pilgrime developed the concept of
building the temple about 500 years ago. During the period he visited Lumbini,
Budhagaya, Sarnath and Kushinagara. It is told; he spent few years at Budhagaya
in meditation & samadhi. During his stay, he thought of building a similar
temple in own place and made a painting of the temple inspired by the temple at
Budhagaya. Before he could start the work he was appointed to the post of
Dittha or the master of mint. He was given responsibility of minting coins of
copper produced from the mines of Chitlang. He worked hard and won the heart of
the King Amar Malla who later honored him with royal degrees. As stated, one
night he dreamt the Goddess Vidyadhari directing him to built the temple.
Overwhelmed by the instuition, he laid the foundation stone of the temple in
685 N.S. (1564 A.D.) in his own residential courtyard. Unfortunately, he passed
away before he could complete the work. Later his sons and grandsons continued
on the work and at the painstaking efforts of his grandson Jivaraj & great
grandson Jayamuni (honored with the title Tavadhana Pandit). It took 36 years
for the master artisans Hakuju the grandson and other great grandsons Muniju
and Ratna Muni to complere the work. Shiva Singha Malla, the contemporary king
was invited in 721 N.S. (1600 A.D.) to work. Later Jayamuni went to Sikkim with
token (Prasada) of the worship rituals on a Bahbu (a golden plate containing
red powder, flowers, sweets and etc.) to offer the king. Pleased with the news of
the completion of the work the king not only accepted the token but also
returned the Bahbhu full gold coins. Jayamuni spent the gold coins in making
Lunsha, the golden furnishing of the chariot of lord Avalokiteswora (Red
Machindranath) of Patan. It turned into a tradition since 774 N.S. (1654 A.D.)
to decorate the chariot with Lunsha during the festival.
The earthquake
of 1934 A.D. destroyed the temple badly. The portion above the balcony
collapsed causing a great loss. Immediately, all the Gosthi members assembled
and decided to reconstruct the temple with local resources. They also
approached the Earthquake Relief Fund for the support. The government helped
the committee with a loan of Rs. 3100. A temple reconstruction committee headed
by five elders from five families was found. Master artisan Pandit Jogman
Shakya was elected to lead other local artisans to carry out the reconstucton
work. During the period the temple of Mayadevi was also constructed from
materials found in the ruins along with some other new images. Buddhi Narsingh
Shakya and Devaraj Shakya were entrusted with the task of supervising the
reconstruction work. Juddha Samsher, the contemporary Prime minister of Nepal
was invitedto participate in the Maha Ahoratra Yajna (a fire ritual that lasts
day and night) reconstruction in 1085 N.S. (1938 A.D.). The minister rebated
the loan instantly and distributed cash prise to the tutors, priests, and the
artisans.
Vidyadhari Devi
As stated,
there were images of Vidyadhari (also known as Akasha Yogini) and Aarya
Manjusri, the god of knowledge in the courtyard before the temple was
constructed. People still believe that those who devote whole heartedly will be
well versed in knowledge, and skills such as music. Prajnanparamita, one among
the nine scriptures of Nepalese Mahayan Buddhism, is recited here. Males among
the descendants of the five sons of Pandit Abhayaraj have developed a routine
to look after the temple for a month in rotation.
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