demonstrating perseverance, the future Buddha, a
prince who is separated from his kingdom at birth, sur-
vives a shipwreck to claim his throne. He is usually de-
picted swimming, surrounded by stylized waves and sea
monsters, and rescued by a sea goddess.
The last of the ten, the Great Birth Story or Ves-
santara Jataka,which exists in countless versions, or
“tellings,” is the most frequently depicted and re-
counted narrative of all, including the biography of the
Buddha Gautama. Depending on the region, it is re-
cited at the close of the Buddhist rains-retreat (around
the time of the full moon in November) or during the
months that follow. In parts of Thailand, Laos, Cam-
bodia, and Burma, the recitation of this story is one of
the most significant ceremonies of the year, lasting an
entire day and a night. Painted banners depicting
events in the story are hung around the inside of the
monastery. Laypeople sponsor the reading of sections
of the story and bring offerings of food and flowers.
The motivation behind these activities is the wide-
spread belief that a person who listens to the Great
Birth Story recited in this context will be reborn dur-
ing the time of the future Buddha MAITREYA. Those
who hear Maitreya preach, according to this belief, will
accomplish the very difficult goal of attaining NIRVANA.
While this doctrine may be technically outside the
realm of what some would consider orthodox Thera-
vada teachings, it is an important aspect of practice and
iconography in Theravada regions.
Apart from these themes, other narratives depicted
in murals, reliefs, and carvings are local histories de-
scribing the coming of Buddhism to the area, local
folktales that are retold as birth stories of the Buddha,
and the great Ramayanaepic. While the latter is tech-
nically a Hindu story, it has long been popular in the
Buddhist world and particularly in royally sponsored
monasteries because of its association with kingship.
Rama, the story’s hero, is a model of royal and famil-
ial righteousness. Monastery murals frequently depict
his battles with the demonic forces to rescue his wife
Staand restore order in his kingdom. They were com-
missioned by monarchs as a way of bringing to the
earthly realm the power and symbolism of the heaven
or macrocosm.
Murals and manuscripts depict the same themes
and share similar stylistic features: abstract rather than
realistic portrayal of figures, architecture, and land-
scape; and grouping of similar figures (such as war-
riors, attendants, dancers) in clusters that form one
among several patterns within a space, with one figure
echoing the others. Moreover, within these paintings
one can also see a strong reflection of local dress, tex-
tile designs, indigenous physical characteristics, archi-
tecture, and customs.Sculpture
Sculptures representing the historical Buddha made of
stone, bronze, terra-cotta, or wood can be found
throughout the Theravada world. They range in size
from colossal images especially popular in Sri Lanka and
Burma to miniature amulets encased in gold and worn
on a necklace. The image serves as a reminder of the
Buddha, his teachings, and his spiritual descendants—
the monks, known collectively as the san ̇gha. Images of
the Buddha are always treated with utmost reverence
and placed on a dais or altar above the heads of the peo-
ple. It would be inappropriate to keep a Buddha image
in a place other than a monastery, museum, or private
home altar.THERAVADAART ANDARCHITECTUREA bronze Buddha from the Thai “golden age.” The Buddha is usu-
ally depicted standing, sitting, or lying down; the walking image
is distinctively Thai. (Thai, Sukhothai period, fourteenth century.)
© Copyright The British Museum. Reproduced by permission.