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TEACHING  DHAMMA BY PICTURES

Explanation of a Siamese

Traditional Buddhist Manuscript

By

VEN. BUDDHADASA  BHIKKHU

Published by

Social Science Association Press of Thailand

For the Social Science Review

Bangkok2511/1968

PUBLISHER’S NOTE

The traditional artist of Siam had little connection with the credo of the modern artist. He did not try to work in an original, individual style. He did not aim at expressing his own personality or his particular philosophy; in fact he rarely signed his name to the work. Even as an individual he may have been one part of a painting team, perhaps a specialist in painting architecture of figures.

But whether the artist worked alone or with others, his main tention was to communicate. In the basic sense of the word he made visible an important message by means of pictorial examples. This was his chief role whether he worked on a mural, the cloth banners which are hung in the wat on a certain occasion, or on the samut khoi, the paper manuscript.

The Chaiya manuscript is an extremely interesting one and its fourty-seven pictures are an excellent illustration of the purpose of Siamese Buddhist painting and its traditional style.

CONTENTS

Introduction

Teaching Dhamma by Pictures

Fig. 1 The Six Elements

Fig. 2 Mind and body

Fig 3. Mind-control

Fig.4 The Way to escape from the Five Aggregates

Fig. 5 Wisdom sprung out of “the mud”

Fig. 6 The Three Kinds of Craving

Fig. 7 Dependent Origination

Fig. 8 Dependent Origination (continued)

Fig. 9 Dependent Origination (continued)

Fig. 10 Ignorance

Fig. 11 Ignorance and Its Results

Fig. 12 Ignoring the Truth

Fig. 13 Four Kinds of Attachment

Fig. 14 Understanding and Attachment

Fig. 15 The Wheel of Wandering-on

Fig. 16 Ocean close to the Eye-unseen

Fig. 17 Effect of Ignorance

Fig. 18 Wrong Practise of Buddha-Dhamma

Fig. 19 Right Practise of Buddha-Dhamma

Fig. 20 Acceptance of The Dhamma

Fig. 21 Meditation in a Secluded Place

Fig. 22 Contemplation on Corpses I-II

Fig. 23 Contemplation on Corpses III-IV

Fig. 24 Contemplation on corpses V-VI

Fig. 25 Contemplation on Corpses VII-VIII

Fig. 26 Contemplation on Corpses IX-X

Fig. 27 Three Essentials for Successful Practise

Fig. 28 Sammasananãna and Udayabbayanãna

Fig. 29 Bhanganãna and Bhayanãna

Fig. 30 Bhayanãna (by another artist)

Fig. 31 Ãdinavanãna and Nibbidãnãna

Fig. 32 Muccitukamyatãnãna

Fig. 33 Muccitukamyatãnãna

Fig. 34 Muccitukamyatanãna

Fig. 35 Muccitukamyatãnãna

Fig. 36 Muccitukamyatãnãna and Patisankkhãnãna

Fig. 37 Sankhãrupekkhãnãna

Fig. 38 Sccãnulomika-nãna

Fig. 39 Gotrabhũnãna

Fig. 40 Gotrabhũnãna

Fig. 41 Attainment of the Noble Fruits

Fig. 42 Four Stages of Knowledge

Fig. 43 Nibbãna

APPENDICES

Fig. 44 Freedom from Clinging

Fig. 45 Freedom from Attachment

Fig. 46 Nibbãna and Samsara

Fig. 47 The Value of Buddha-Dhamma

Index of Pali Terms

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