Buddha Shakyamuni Meditating in the Indrashala Cave (top) and Buddha Dipankara (bottom)
Pakistan, Gandharan region, Kushan period, 2nd - 3rd century

Image source: www.flickr.com

One story shown in Buddhist art stupas has Gautama Buddha (also known as Shakyamuni) in a former incarnation known as Sumedha, a rich Brahmin turned hermit kneeling and laying his long black hair on the ground, in an act of piety that the prophet Dipankara could cross a puddle of mud without soiling his feet.
This story between Dipankara Buddha and Shakyamuni, occurred many lifetimes before Shakyamuni's eventual enlightenment. From this act, Dipankara told Sumedha "In the ages of the future you will come to be a Buddha called 'Shakyamuni'", to which Sumedha replied, "I am to become a Buddha, awakened to enlightenment; may you tread with your feet on my hair - on my birth, old age, and death." Dipankara Buddha then said, "Freed from human existence, you will become an effective teacher, for the sake of the world. Born among the Shakyas, as the epitome of the Triple World, the Lamp of all Beings, you will be known as Gauthama. You will be the son of King Suddhodana and Queen Maya. Shariputta and Moggallana will be your chief disciples. Your caretaker will name as Ananda."
In the 40-plus years of his life after enlightenment, the Buddha Shakayamuni is said to have recounted almost 554 past life stories, (called Jataka tales) of his prior existences. Gauthama Bodisatta is quoted as saying a person starts the journey to become a Buddha filling 10 Paramita or "perfections". Some sources and scriptures recount that Shakayamuni Buddha was born in the time of Dipankara Buddha, and was rich and gave away all his wealth to become a Monk. It is said that Gauthama Bodisatta received his first Niyatha Vivarana, (or definite foresighting by a Buddha) from Dipankara Buddha. This encounter, among many other predictions of Shakyamuni Buddha's future enlightenment, can be found in a Mahayana text named the Sangatha Sutra.

Sumedha gave away his fortunes and became an ascetic.
SUMEDHA, the wise man inherited a vast fortune from his parents who left them upon their deaths. Realizing the unsatisfactoriness he gave away his fortune and became an ascetic in the forest. He soon gained mastery in meditation and was well known for his supernormal powers.

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Sumedha and Sumitta
When ascetic Sumedha knew of the coming of Dipankara Buddha to the city of Rammavati, he took part in preparing the road for the Buddha. He was still repairing it when the Buddha arrived but he was determined to complete it by prostrating himself into the muddy hollow, in fulfilment of his vow to become a Buddha. Beside him was a young lady named Sumitta bearing eight stalks of lotus flowers. She gave the Ascetic five stalks and kept for herself three stalks for her own aspiration. When the Buddha Dipankara saw this, He omnisciently declared the Ascetic Sumedha a future Buddha, while He stated that the aspiring young lady Sumitta would be his constant companion and helpmate.

Image source: phramick.wordpress.com

Long, long ago, measuring in many millions of years, there was an ancient royal city named Amaravati, a place of great splendour. People living there were very happy, prosperous and enjoyed long life.
Among the richest in Amaravati, was a family who had an only son, named Sumedha who was endowed with profound prudence.
At the age of sixteen, young Sumedha was very learned and talented. His parents died when he was young and so the vast family inheritance was put in the care of an appointed treasurer. When he came of age, the treasurer handed over all his family inheritance and showed him the vast extent of his properties.
At that juncture, he realized within himself: "My parents and their forebears were unable to take even a single coin along with them when they died, but I should find a way to take along with me all the inheritance in my possession! So I am giving away all my entire possession to the welfare and benefit of all!" He threw open the doors of his thousands of warehouses containing silver, gold, diamonds and other treasures to the public who could take away anything they wanted. He freed his serfs and made them very rich.
After giving away all his wealth, he went forth to the Himalaya mountains and became an ascetic in the forest there. He earnestly practised estatic meditation and attained supernatural powers within seven days. He soon became a well-known and respected powerful ascetic.
It was when the people of Amaravati were busily preparing to welcome the Dipankara Buddha for alms-giving, that the ascetic Sumedha also participated in the joyous event.
Among the welcoming crowd, there was a young lady named Sumitta who was also an eager participant. When she saw the ascetic, she was so happy and delighted. She had with her eight lotus blooms of which she gave five to the ascetic, leaving three in her hand for offering to the Dipankara Buddha.
Having offered the flowers, the ascetic made a wish with the firm resolution to become a Buddha in future and the lady also made a wish that she would always accompany the ascetic until he fulfilled his quest.
At this juncture, the Dipankara Buddha foretold that the ascetic Sumedha would become a Buddha in four Asankheyyas and one hundred thousand aeons when He was passing over the body of ascetic Sumedha, being offered as a bridge over a muddy hole on the road.

Megha (Sumedha) and Dipankara Buddha.
Pakistan, Gandharan region, Kushan period, 2nd - 3rd century

Image source: what-buddha-said.net

This tableau displays three scenes of Megha meeting With Dipankara. The episodes may be read from right to left. The first part depicts the bargaining with the young girl over the blue lotuses, which the bodhisattva wishes to offer to the Buddha as he arrives in town. The bodhisattva has turned round and, his arm raised, is throwing the flowers to the Buddha. The scenes of the miracle and the conversion then follow: the offering hangs suspended above the head of the Tathagata, forming a halo, while the brahma-carin prostrates himself before the Buddha. Dipankara then predicts that the student himself will experience enlightenment in a far-off future and will bear the name of Sakyamuni.

Megha (Sumedha) and Dipankara Buddha.
Pakistan, Gandharan region, Kushan period, 2nd - 3rd century

Image source: www.chibs.edu.tw

In this scene, the Buddha of the past, Dipankara, is shown preaching to the young brahma-carin (Brahmanic student), the future Shakyâmuni. The tableau is presented in the style of a frieze; visually, it displays closer affinities with the art of Imperial Rome than that of Buddhist India. Respecting the three classical unities of time, place and action, the episodes may be read from left to right. The first part depicts the bargaining with the young girl over the blue lotuses, which the bodhisattva wishes to offer to the Buddha as he arrives in town. The bodhisattva has turned round and, his arm raised, is throwing the flowers to the Buddha. The scenes of the miracle and the conversion then follow: the offering hangs suspended above the head of the Tathagata, forming a halo, while the brahma-carin prostrates himself before the Buddha. Dipankara then predicts that the student himself will experience enlightenment in a far-off future and will bear the name of Sakyamuni.

Megha (Sumedha) and Dipankara Buddha.
Pakistan, Gandharan region, Kushan period, 2nd - 3rd century

Image source: www.miho.or.jp

Megha (Sumedha) and Dipankara Buddha.
Pakistan, Gandharan region, Kushan period, 2nd - 3rd century

Image source: www.nichiren-etudes.net

Shakyamunl's Meeting With Dipankara

Once upon a time there lived a certain learned man who was well versed in brahminic lore, and who taught it to 500 young Brahmins. One of his pupils was Megha, a young Brahmin who was learned, wise, judicious, and of keen intelligence. Before long he had learned all the mantras by heart. After completing his study of the Vedas, he left the Himalayas and went down into the country below, in order to find the fee due to his teacher. With his staff, water-pot, sunshade, sandals, and mantle he entered many villages, cities, and towns, and the confines of each became free of affliction and calamity through Megha's spiritual power. On his way he begged for money, and someone gave him 500 coins.

He then decided to go to the royal city Dipavati, in order to see the city of a universal monarch, made of the seven precious things, and delightful to behold. When he entered the city, he saw that it was in festive array. He wondered to himself, 'What holiday do we have here to-day, or what dramatic performance, or what festival? Perhaps king Arcimat has heard that the young Brahmin Megha, on completing his study of the Vedas, has come down from the Himalayas and is on his way to the royal city of Dipavati! Hence this gay adornment of the city!' And as he went on he looked for someone he could question.

Just then a young Brahmin girl came along, attractive, good-looking, reliable, gentle, and modest. She held a water jug and seven lotus flowers in her hands. Megha asked her, 'Is there a festival in the city to-day?' She replied with these verses:

You cannot, young man, be a native of this place.
A stranger from another city you must be.
You do not know that there is coming to this town
The Benefactor of the World, the Bringer of the Light!
Dipankara, the leader of the world, the son
Of king Arcimat, He, a greatly famous Buddha,
Is drawing near. To honour him this city
Is decked in gay and festive garb.
Megha asked her: 'How much did you pay for those seven lotus flowers?' She replied: Tive of them I bought for 500 coins; two were given to me by a friend.' Megha said to her: 'I will give you 500 coins. You then give me those five lotuses, and with them I shall worship Dipankara, the Lord. You can honour him with the remaining two.' She replied:

'You can have those five lotuses, but only on condition that for all future time you take me for your wife. Wherever you may be reborn, there I shall be your wife, and you my husband.' Megha replied: 'My heart is set on supreme enlightenment. How can I think of marriage?' She answered: 'No need to desist from your quest 1 I shall not hinder you!' So Megha consented, and said, 'In exchange for those lotuses, I take you for my wife. I will be able to worship Dipankara, the Lord, and continue to strive for supreme enlightenment.' He gave her the 500 coins, and took the five lotus flowers. A sublime joy and exaltation had taken hold of his body when he had heard the maiden speak of the Buddha.

Meanwhile the Lord had set out for Dipavati, accompanied by 80,000 monks, and by king Arcimat with 80,000 of his vassals and with many thousands of noblemen, recluses and sectaries. Megha saw Dipankara, the Lord, coming from afar. The Lord's body had the thirty-two Marks of a superman, and was adorned with the eighty Subsidiary characteristics. He was endowed with the eighteen Special dharmas of a Buddha, mighty with the ten Powers of a Tathagata, and in possession of the four Grounds of self-confidence. He was like a great Naga, and had done all he had to do. His senses were turned inwards, and his mind did not turn to outer things. He had won the stable assurance of Dharma, his senses were calmed, his mind was calmed, he had reached perfect self-control and tranquillity, like a well-guarded Naga, who has conquered his senses, transparent as a pool, clear and unperturbed. He was beautiful and good to look at. No one ever got tired of seeing him, and there was nothing ungracious about him. The light which shone from his body extended to one league.

When he had seen the Buddha, Megha identified himself with him, and said to himself: 'I also will be a Buddha in the world.' He then recited these verses:

'Long is the time before this vision could arise.
Long is the time before Tathagatas appear.
Long is the time until my vow shall be fulfilled:
A Buddha I'll become, there is no doubt on that!'
Thereupon Megha, thrilled throughout his whole body, and his mind filled with sublime joy and exaltation, threw those five lotus flowers towards Dipankara, the Lord. The flowers remained suspended in the air, and formed a circle round the Lord's radiant head. The young Brahmin girl also threw her two lotuses. They also stood suspended in the air, and so did those thrown by other people. This was one of the miracles by which the Buddhas impress people, to make them listen to the truth. The Buddha sustained this canopy of flowers which stood above him in the air, so as to educate beings, and to bring joy and happiness to Megha, the young Brahmin. And this canopy was lovely and fair to behold, with four pillars and entrances, garlanded with strips of coloured cloth.

When Megha saw these lotus flowers standing all round the Lord's radiant halo, and how lovely and pleasing they were, his body was flooded with great joy and gladness, and a sublime decision arose in his mind. He put his water-pot on one side, spread out his deer-skin cloak, threw himself down at the feet of Dipankara, the Lord, wiped the soles of his feet with his hair, and aroused within himself the following thought: 'Ahl May I too at some future period become a Tathagata, with all the attributes of a perfect Buddha, as this Lord Dipankara is just now I May I too turn the wheel of the highest Dharma, as this Lord Dipankara does just now! Having crossed, may I lead others across; set free, may I free others; comforted, may I comfort others - as does this Lord Dipankara! May I become like him, for the weal and happiness of the many, out of compassion for the world, for the sake of a great multitude of living beings, for their weal and happiness, be they gods or men!'

Dipankara, the Lord, with a Buddha's supreme knowledge, knew how ready Megha, the young Brahmin, was to turn towards enlightenment. He knew that his past store of merit, as well as his recent vow, were without fault or defect, without blemish or scar. So he now predicted his future enlightenment, in these words: 'You shall be, young Brahmin, in a future period, after an immeasurable and incalculable aeon, in Kapilavastu, the city of the Shakyans, a Tathagata by the name of Shakyamuni, an Arhat, a fully enlightened Buddha, perfect in knowledge and conduct, well-gone, a world-knower, unsurpassed, a leader of men to be tamed, a teacher of gods and men. Like me you will have a body adorned with the thirty-two marks of a superman, and with the eighty subsidiary characteristics. You will have the eighteen special dharmas of a Buddha, be mighty with the ten powers of a Tathagata, confident with his four grounds of self-confidence 1 Having crossed, you will lead others across; freed, you will free others; comforted, you will comfort others; having won final Nirvana, you will help others to win it - as I do just now I You will turn the wheel of the highest Dharma, preside over a harmoniously united body of Disciples, and both gods and men will listen to you and believe. What I am now, that you will become one day - for the weal and happiness of the many, out of compassion for the world, for the sake of a great multitude of living beings, for their weal and happiness, be they gods or men!'

Maitreya Preaching to an Audience

Maitreya, the messianic bodhisattva who waits to become the Buddha of the next great world-age, is seated on a raised throne, his legs crossed at the ankles and his feet resting on a stool. In his lowered left hand he holds the sacred water vessel and in his hair is a device that may represent a stupa; both are attributes associated with Maitreya in Gandharan art.

The preaching Maitreya is flanked by ten devotees, five on each side; included among the larger figures are perhaps the donors of the image. Relieving the strict frontality of the composition, a monk glances over his shoulder at the figure next to him. The com- position is framed at either end by two large panels of cloth whose arrangement indicates that the figure originally supported by this pedestal was seated.

Maitreya's right hand is raised, palm turned inward. This unusual gesture appears often on Gandharan Maitreyas and is preserved in later Kashmiri and Swat Valley representations of this deity. T. A. G. Rao (1914, p. 16) identifies the gesture as vismayahasta, signifying astonishment and wonder, but different meanings have been advanced by other authorities.

It is interesting to note that a preaching bodhisattva seated with legs crossed at the ankles became a standard theme in the repertory of Buddhist art of both Central Asia and China, and motifs such as the flared throne-back appear in the wall paintings of Central Asia and at Tun-huang in western China.
(Martin Lerner)

The Influence of Gandhara

After the death of the famed Macedonian general Alexander the Great, around 323 B.C., his vast empire, assembled through conquest, began to disintegrate. A legacy, however, was left in the ancient region of Gandhara, today within the borders of Pakistan and Afghanistan, of strong links to the classical world.

Strategically situated along the crossroads to northern India, the Mediterranean, ancient Bactria, and far-off China via Central Asia, Gandhara was of tremendous military and commercial significance. Throughout its early history it attracted many different peoples — among them Seleucids, Scythians, Bactrians, Sogdians, Indians, Romans, and Sasanians — who all in varying degrees left their cultural imprint on the region. It was under the Kushans, however, a people originally of Scythian origin, that Gandhara achieved its greatest glory.

The most important of the Kushan rulers, Kanishka, who probably acceded to the throne sometime between A.D. 78 and 144, was one of Buddhism's greatest patrons. The classical legacy of Alexander and contacts with the Mediterranean world under the Kushans led to the development in Gandharan Buddhist art of a style markedly dependent upon Hellenistic and Roman prototypes. Other influences contributed to this style, but the classical flavor of Gandharan sculpture is strong and unmistakable. The iconography, on the other hand, is almost completely Buddhist, resulting in a marriage that made Gandharan art unique.

This is particularly significant in that Gandhara served as one of the major stylistic and iconographic sources for the development of Buddhist art as it extended to other countries. The caravan routes across Central Asia to China were traveled not only by Buddhist monks carrying religious texts, but also by merchants and pilgrims returning home with portable images they had acquired in the fabled lands of the West. The few Gandharan portable sculptures excavated in Central Asia can only hint at what must have been an extraordinary traffic in icons to the East. Woven through the complex fabric of the art of Central Asia are many threads of Gandharan origin.
(Martin Lerner)

The Buddhists, whose main philosophical principle was the instability of the world, cannot have expected their own doctrine to be an exception from the rule. Soon after the death of the Buddha signs of decay began to appear at the First Council, held at Rajagriha under the leadership of Mahakashyapa. By the time the Second Council convened at Vaishali, about 110 years after the death of the Buddha, these tendencies had grown even more serious. At the Third Council, held at Pataliputra, a schism occurred. This, however, arose less out of theological disputes than out of problems in determining the social status of the arhats:

The arhat had moved into the limelight, the position had become attractive to a power-seeking man Thus we may assume that by the second century following the death of the Buddha an "arhat hierarchy" had become an established fact. If one inquires into the reasons for this development, the most important seems to be the establishment of monasteries, probably quite widespread by this time, and the need for dignitaries to run them.

During the second century after the death of the Buddha the spread of Buddhism entered a critical phase. The quantity of monasteries adversely affected the quality of the monks. The discrepancy between life and doctrine grew too great; hence the latter had to be adapted to the former. A more liberal wing, desiring almost unrestricted growth, began to gain ground against a more conservative opposition. Open disputes followed, in the course of which the conservatives proved themselves incapable of defending their views, despite their being theoretically more in line with the teaching of the Buddha. Against them stood not only the masses of the faithful but the habit of easy living they had fallen into. Realizing their defeat the conservatives began to disparage their opponents. (Schneider 1980, p. 139)

They even went so far as to interpret their own incapacity as a sign of their followers' decay of faith. Matters were further complicated by another change. For a short time after the death of the Buddha many monks had attempted to achieve nirvana, only to realize that this was an impossible goal during their life- time. Probably at about this time there arose the tradition of the Future Buddha, Maitreya (DighaNikaya, sutra 26, Foucaux 1884, ch. V), who began to play a more and more important role for the Sarvastivadin and the followers of Mahayana Buddhism. Now, according to Buddhist cosmology the earth goes through periodic cycles in which human lifetimes vary between ten years and hundreds of thousands of years. At the time of the Buddha Shakyamuni men's average life expectancy was 100 years. After his Parinirvana decadence set in, but at its nadir a new upswing began, bringing with it an increase in longevity that would peak at about 80,000 years. Then Maitreya would descend from the Tushita heaven and appear on earth, where superabundance of food prevailed and mankind now lived in peace.

It is the Future Buddha, the bodhisattva Maitreya, who is portrayed in this lunette above the door of the cella, where it was meant to bring the promise of consolation to the monks on leaving the cave. Maitreya is seated on a throne, in his left hand a flask, his right hand raised in a gesture of teaching. His unclothed upper body is richly ornamented, and like the figures flanking him he wears a tripartite crown.

The painting shows all the characteristics of the second Indo-Iranian style at the peak of its develop- ment. Eschewing naturalism the artist reveled in colors, particularly in a deep ultramarine blue height- ened by gold leaf, traces of which, despite defacement, can still be seen on Maitreya's throat and halo.

Hotei or Bu-Dai literally Calico Bag Arhat is better known in the English-speaking world as the obese Laughing Buddha. In China, he is called Bu-Dai (Pu-Tai) or Mi Le Fo (Maitreya buddha) and dubbed the Loving or Friendly One. He has become incorporated into Buddhist & Shinto culture and is based on an eccentric Chinese Chan (Zen) monk. His image graces many temples, restaurants, and amulets. Hotei has become a deity of contentment and abundance, Taoist in origin. Hotei persists in Japanese folklore as one of the seven happy gods, or shichi fukujin.

Hotei - History
Hotei - As Angida Arhat
The Laughing Buddha derives from the time of Sakyamuni Buddha, where there was a monk named Angida, who was one of the 18 Arhats of Buddhism. According to legend Angida was a talented Indian snake catcher whose aim was to catch venomous snakes to prevent them from biting passers-by. Angida would also remove the snake's venomous fangs and release them. Due to his kindness, he was able to attain bodhi. Both Hotei and Angida have similar resemblences, as they both are obese, seen laughing and carry a bag.

Hotei - As a Chinese Buddhist monk
In 907 AD, during the Liang Dynasty in China, Hotei was theorized to have been a Buddhist monk in China. He was considered a man of good and loving character. It was said of Hotei's benevolent nature, that he was to be regarded as an incarnation of Maitreya Bodhisattva (the future Buddha), but this claim was only allegorical and due to his large protruding stomach & smile, he was caricatured as the "Laughing Buddha."

Hotei - Description
The image of Hotei is almost always seen carrying a cloth or linen sack, which never empties, and is filled with many precious items, including rice plants (indicating wealth), sweets for children, food, and the woes of the world. Sometimes it can be filled with children, as they are seen as some of those precious items of this world. His duty is patron of the weak, poor and children. In some scenes he may be found sitting on a cart drawn by boys, or wielding a fan called an oogi (said to be a "wish giving" fan -- in the distant past, this type of fan was used by the aristocracy to indicate to vassals that their requests would be granted).
The statue depicts a stout, smiling or laughing bald man in robes with a largely exposed pot belly stomach symbolic for happiness, good luck, and plenitude. The stomach is also considered the seat of the soul in Chinese mythology and so the large stomach can be taken as an allegory for Hotei's Open Heartedness. Some sculptures have small children at his feet. Another item that is usually seen with the Hotei figure, is a begging bowl; to represent his Buddhist nature. All of these images display Hotei as a wandering monk who goes around and takes the sadness from people of this world. He most certainly is a loving and cheerful character, strikingly similar to Santa Claus in the West, and is a common statuette found in homes and businesses in China and Japan.

Hotei - Religion
One belief surrounding the figure of Hotei in popular folklore is that if a person is to rub his belly, it brings forth wealth, good luck, and prosperity. This belief however does not form part of any Buddhist doctrine. He is often admired for his happiness, plenitude, and supposedly wisdom of contentment.
Chinese Buddhists have adopted Hotei as the Laughing Buddha into the Mahayana Buddhist pantheon and his image may be found in the first hall of many Buddhist monasteries. Ch'an temples will usually have Hotei located at their entrances & courtyards. Hotei was attributed the title of Maitreya Buddha because of a poem allegedy written on his deathbed that read.
"Maitreya Maitreya, everyone is looking for Maitreya. They do not realise that he is already here."
(Another Translation reads: Maitreya, True Maitreya. His body takes myriad forms, but at the times he manifest himself to men, none of them recognize (him).
Maitreya cult has been established as early as the time of Dao An (314-385). At the time of the Liang Dynasty (502 - 550 CE) the figure of Maitreya was very popular due to political turmoil and a great many Buddhists venerated Maitreya in the hope that he would soon come to spread the dharma. Buddhists at the time took the poem to mean that Hotei had been Maitreya all along and thus the title was attributed to him in popular folklore. Maitreya (as Pu Tai) was the religious figure in many contemporary chinese religion cult from the sixth century as saviour who descend in the time of chaos to cleanse the world from evil and salvage the good. Maitreya is the main figure in sect such as I-Kuan Tao. Most modern Buddhists now view Hotei's poem as an allegory for seeking one's salvation in the present moment rather than looking to an imagined future.
In Japan, Hotei is also seen as a one of the Shichi Fukujin, the Seven Japanese Shinto-gods of Luck. He is supposedly the only member of the seven based on an actual person. Back when Buddhist missionary monks were delivering the message & way of Gautama Buddha onto the islands of Japan, they devised a method to more efficiently reach the local Shinto inhabitants. By manifesting Buddhist principles, with Shinto Kami, the monks were successful. Kami are seen as Shinto gods and were worshiped as such. The Buddhist monastics were able to better communicate their ideology to Japanese natives by using the Kami's as examples in common Buddhist practice. Thus, Buddhism became very widely accepted in Japan and from one of these manifestations, came Hotei.

Hotei - Western trends
Recently, Hotei statues, statuettes and amulets have become relatively well-known in Western cultures. Misconceptions have arisen because of this new enthusiasm, including the false connection made between the Laughing Buddha and Gautama Buddha, the founder of Buddhism.

Hotei (Budai)

Laughing Buddha Statue

Statue of Budai near Beipu at Emei Lake, Hsinchu, Taiwan