A CASE STUDY OF CULTURAL FESTIVAL SAMYAK MAHADAN FESTIVAL AT NAGBAHAL, PATAN, NEPAL
＜Introduction＞One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in every five years. This festival is an outstanding practice of charity. During the festival large images of Buddhist goddess (Dipankara Buddha,...
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| Published in | Journal of the Asia Ethno-Forms Association Vol. 18; no. 1; pp. 12 - 20 |
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| Main Authors | , |
| Format | Journal Article |
| Language | English |
| Published |
Journal of the Asia Ethno-Forms Association
27.08.2022
アジア民族造形学会 |
| Subjects | |
| Online Access | Get full text |
| ISSN | 2758-8564 2759-0798 |
| DOI | 10.60289/aefa.18.01_12 |
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| Abstract | ＜Introduction＞One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in every five years. This festival is an outstanding practice of charity. During the festival large images of Buddhist goddess (Dipankara Buddha, Avalokitesvra, Basundhara, Arya tara) display at Nagbahal, and offerings are made to goddess by Shakya and Bajracharya monks as per the Newar tradition, which is the main attraction of the festival. The festival brings across widespread Newar people with any occupation and races together to celebrate being one.Literally, Samyak means to perform the art of charity in an unconditional manner with a clear mind. There is mention of three types of Bodhijnana in Buddhist text that is Sravaka Bodhi, Pratyeka Bodhi and Samyak Bodhi. Among these, “Samyak” represents absoluteness and “Bodhi” characterizes the supreme knowledge of Buddhist. Hence, the festival is a path of a Bodhisattva that leads toward the attainment of Samyak Sambodhi. |
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| AbstractList | ＜Introduction＞One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in every five years. This festival is an outstanding practice of charity. During the festival large images of Buddhist goddess (Dipankara Buddha, Avalokitesvra, Basundhara, Arya tara) display at Nagbahal, and offerings are made to goddess by Shakya and Bajracharya monks as per the Newar tradition, which is the main attraction of the festival. The festival brings across widespread Newar people with any occupation and races together to celebrate being one.Literally, Samyak means to perform the art of charity in an unconditional manner with a clear mind. There is mention of three types of Bodhijnana in Buddhist text that is Sravaka Bodhi, Pratyeka Bodhi and Samyak Bodhi. Among these, “Samyak” represents absoluteness and “Bodhi” characterizes the supreme knowledge of Buddhist. Hence, the festival is a path of a Bodhisattva that leads toward the attainment of Samyak Sambodhi. ＜Introduction＞ One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in every five years. This festival is an outstanding practice of charity. During the festival large images of Buddhist goddess (Dipankara Buddha, Avalokitesvra, Basundhara, Arya tara) display at Nagbahal, and offerings are made to goddess by Shakya and Bajracharya monks as per the Newar tradition, which is the main attraction of the festival. The festival brings across widespread Newar people with any occupation and races together to celebrate being one. Literally, Samyak means to perform the art of charity in an unconditional manner with a clear mind. There is mention of three types of Bodhijnana in Buddhist text that is Sravaka Bodhi, Pratyeka Bodhi and Samyak Bodhi. Among these, “Samyak” represents absoluteness and “Bodhi” characterizes the supreme knowledge of Buddhist. Hence, the festival is a path of a Bodhisattva that leads toward the attainment of Samyak Sambodhi. サミャク・マハダン・フェスティバルは、ネパールのカトマンズ盆地で祝われる仏教の祭典であり、最も壮観なニューアー仏教の伝統で仏と僧侶に与える習慣を祝われる。カトマンズ盆地で最初に記録されたサミャク祭は西暦1015年（ネパールの太陰暦では135年）に開催され、カトマンズでは12年に一度、ラリトプルでは5年に一度、バクタプルでは毎年観察されている。「サミャク・マハダン・フェスティバル」は1805年まで毎年ラリトプルのパタン、ナグバハルで祝われていたが、開催に膨大な費用が掛かるため、「サミャク・グティ」により5年に一度開催することになった。 「サミャク・マハダン・フェスティバル」の主な主催者は仏教徒であり、全体を主導している。一方、ディパンカラ仏を歓迎しながらマントラ唱えるのはヒンズー教徒の役目である。仏教徒とヒンズー教徒の両方が祭りの期間中、神々への崇拝と供物に参加するのである。様々なカーストの人々も特別な責任を果たすのである。つまり、「サミャク・マハダン・フェスティバル」は、宗教的差別やカースト的差別がないものである。 |
| Author | BHANDARI, NEHA Shrestha, Manita |
| Author_FL | バンダリ ネハ シュレスタ マニタ |
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| References | 1.Lalitpur Metropolitan City (2020), Intangible Heritage of Lalitpur: Festivals and Carnivals of 2020, Outlines Research & Development Pvt. Ltd.2.Shakya H. (1979), Samyak Mahadan Guthi, Jagatdhar Tuladhar 3.Shrestha S. (2016), Samyak Mahadan, The Kathmandu Post https://kathmandupost.com/art-culture/2020/02/25/onceevery-five-years-different-buddhist-communities-in-patangather-to-put-together-some-good-karma4.Brown K. L. (2017), Adorning the Buddhas: The Ceremonial Regalia of the Daśa Sthavira Ājus from Kwā Bahā, Nepal, Ars Orientalis 47, pp.266–3025.Tuladhar-Douglas W. (2005), Remaking Buddhism for Medieval Nepal: The Fifteenth-century reformation of Newar Buddhism, Routledge6.Todd L. (2015), Avadānas and Jātakas in the Newar Tradition of the Kathmandu Valley: Ritual Performances of Mahāyāna Buddhist Narratives, Religion Compass 9, no. 8, pp.233-537.Shakya H. (1980), Ilanhe Samyakyā Paricaya in Samyak Mahādāna Guṭhī, Jagatdhar Tuladhar, pp.139-448.Brown K. L. (2014), Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art, VCU Scholars Compass, pp.128-969.Sharma P. R. (1995), Culture and Tourism: Defining Roles and Relationship, International Centre for Integrated Mountain Development (ICIMOD). Discussion Paper, Series No. MEI 95/2. |
| References_xml | – reference: 1.Lalitpur Metropolitan City (2020), Intangible Heritage of Lalitpur: Festivals and Carnivals of 2020, Outlines Research & Development Pvt. Ltd.2.Shakya H. (1979), Samyak Mahadan Guthi, Jagatdhar Tuladhar 3.Shrestha S. (2016), Samyak Mahadan, The Kathmandu Post https://kathmandupost.com/art-culture/2020/02/25/onceevery-five-years-different-buddhist-communities-in-patangather-to-put-together-some-good-karma4.Brown K. L. (2017), Adorning the Buddhas: The Ceremonial Regalia of the Daśa Sthavira Ājus from Kwā Bahā, Nepal, Ars Orientalis 47, pp.266–3025.Tuladhar-Douglas W. (2005), Remaking Buddhism for Medieval Nepal: The Fifteenth-century reformation of Newar Buddhism, Routledge6.Todd L. (2015), Avadānas and Jātakas in the Newar Tradition of the Kathmandu Valley: Ritual Performances of Mahāyāna Buddhist Narratives, Religion Compass 9, no. 8, pp.233-537.Shakya H. (1980), Ilanhe Samyakyā Paricaya in Samyak Mahādāna Guṭhī, Jagatdhar Tuladhar, pp.139-448.Brown K. L. (2014), Dīpaṅkara Buddha and the Patan Samyak Mahādāna in Nepal: Performing the Sacred in Newar Buddhist Art, VCU Scholars Compass, pp.128-969.Sharma P. R. (1995), Culture and Tourism: Defining Roles and Relationship, International Centre for Integrated Mountain Development (ICIMOD). Discussion Paper, Series No. MEI 95/2. |
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| Snippet | ＜Introduction＞One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in... ＜Introduction＞ One Newar tradition related festival of the monastery is the Itilhane Samyak Mahadana, which is also known as Dipankara Parva, observed once in... |
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| SubjectTerms | Nagbahal Patan Nepal Newar Buddhism SAMYAK MAHADAN FESTIVAL サミャク・マハダン・フェスティバル ナグバハル、パタン ネパール ネワール仏教 |
| Title | A CASE STUDY OF CULTURAL FESTIVAL SAMYAK MAHADAN FESTIVAL AT NAGBAHAL, PATAN, NEPAL |
| URI | https://www.jstage.jst.go.jp/article/aefa/18/01/18_12/_article/-char/en https://cir.nii.ac.jp/crid/1390017345589999616 |
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