Burma’s Earliest Depictions of Bodhisattva Lokanātha
Burma’s Earliest Depictions of Bodhisattva Lokanātha, also referred to as Lokanat or Lawkanat is evident in the ancient murals adorning the walls of a few ancient temples and pagodas. The name Lokanātha refers to one of the various Vibhava manifestations.
Lokanātha, is the third aspect of the five-fold manifestation of the Supreme Consciousness, as believed by the Pāñcarātrins a group of Vaishnava theologians who follow the Vyuhas doctrine believing that the Lokanātha deity served as guardian over the world during the transitional period between the Gotama Sasana and the Maitreya Buddha Sasana.
Paintings of the Lokanātha on wall murals in Burma’s ancient temples and pagodas are portrayed in the Lalitasana posture where he is seen seated upon a large lotus blossom, with his right leg bent at the knee and forearm resting on the knee with the fingers elegantly hanging downward with the foot resting on a smaller lotus, whilst his left leg is bent at the knee and lying flat upon the lotus blossom. The left arm is bent at the elbow with the hand at chest level holding a lotus stalk with the lotus flower rising above the shoulder. This posture varies with the lotus stalk sometimes seen threaded through the left arm from behind and another on the right side both with a lotus flower at or above the shoulder level. The Lokanātha is adorned with a crown, as well as a beaded necklace, bangles, and bracelets on both arms. (Note: the leg posture is sometimes seen in reverse)
Rare Images of Lokanātha/Avalokitesvara in the round
Images in the round of the Boddhisattva Lokanātha/Avalokitesvara are extremely rare in Burma and only a few are in existence. According to G. H. Luce author of “Old Burma – Early pagan” two small bronze sculptures of the Bodhisattva Lokanātha in Lalitasana pose and a small bronze image of a Bodhisattva about 3 ¾” high, dated between the 10th and 11th centuries by G. H. Luce were found at Pawdawmu Pagoda, as well as the head of a bronze Bodhisattva found among the debris of a ruined temple North of Tawya-gyoung monastery in Thiripyitsaya in what is now Bagans archaeological zone.
One of the earliest portrayals of the Lokanātha is seen in murals on the walls of the ambulatory corridor in Ananda Temple. Other Pagodas featuring images of the Lokanātha can be seen in pagodas in Kanthit village in Yesagyo Township in the Magway region of central Burma and Shwe san daw Pagoda in Kanbe village in Twante township South of Yangon. The Bodhisattva Avalokitesvara Lokanātha was also a popular figure in Buddhist imagery during the Veshali period the second capital of the Rakhine Kingdom. (Arakan) (6 – 10th centuries).
The Boddhisattva Lokanātha is a revered figure in Myanmar and is the only Hinayanist and Mahayanist deity worshipped in this predominantly Therevadist Buddhist country. Many people in Burma are unaware of the various alternative names given to this deity in other Buddhist countries, these include Avalokitesvara, Lokesvara, Kuan Yin (Guanyin), Kuan Shih Yin, and Kannon. The Avalokitesvara or Lokanātha is regarded as a prominent Bodhisattva within Mahayana Buddhism. Among the various deities in Myanmar, the Lokanātha stands as the sole figure openly displayed in this predominately Theravada country.
The famous Myanmar poet, scholar, writer, and Buddhist monk Shin Maha Ratthasara (1468-1530) also a member of the Sangha during the Innwa period compiled a large number of his literary works where he mentions the Lokanātha. In Burmese inscriptions, he is frequently referred to as Metteyya (the Pali form of his name) or Maitreya, (future Buddha).
According to the inscription found at Kyaikhtiyoe Pagoda in Thaton, (Golden Rock), some held the belief that the Lokanātha brings peace and prosperity to the people of Myanmar. Over time, the historical origins of Lokanātha have been obscured by the artistic creativity of the Burmese craftsman. The modern Burmese version of Lokanātha portrayed in artworks still bears a resemblance to the images of the deity seen in murals on the walls of some ancient pagodas and temples in Bagan and Mrauk-Oo.
Historical records from Myanmar indicate that King Anawratha was known to embrace the worship of Avalokitesvara Lokanat. Even after he made Theravada Buddhism the main religion. Before this, there was a mix of belief systems among the people such as animism, Nat worship and those practising a mix of Mahayana Buddhism and Tantrism.
The introduction of iconographic imagery of the Lokanātha in Myanmar became popular during the rule of King Anawrahta after he commissioned small terracotta votive tablets to be cast with the image of the Lokanātha and a few bronze statues depicting the Bodhisattva Lokanātha.
The Legend of the Lion King, Elephant and the Lokanātha
The Lokanātha’s role as a peacemaker is deeply rooted in a captivating legend that has been passed down through generations. According to this ancient tale, the Lokanātha, also known as the Loka Byuha Nat or the Guardian Spirit of the universe, was peacefully traversing his vast domain when he unexpectedly came across a fierce battle between two mighty creatures Kethayaza Chinthemin (Lion King), and the Flying Elephant locked in mortal combat. This intense conflict had arisen due to their shared desire to possess the delicate and delectable clouds, which served as their favoured nourishment. Both the lion and the elephant were resolute in their determination to claim the clouds for themselves, and they were fully prepared to engage in deadly combat to achieve their goal.
The Lokanātha, with his extraordinary powers, perceived the possible disastrous outcomes that could arise if the conflict continued to intensify. He realised that the entire planet could be consumed by fire. To prevent this, he chose to adopt a unique strategy by promoting affection and unity among the warring parties and skilfully employed his musical timing cymbals to create a harmonious rhythm, sang with his melodious voice, and danced gracefully to the enchanting melody. Upon perceiving the enchanting vocal tones and graceful movements of the dance, the two adversaries found solace and terminated their aggressive dispute. As a result, their animosity and enmity diminished, and the intensity of their rage was subdued.
The etymology of the term Lokanat can be traced back to its association with the divine entity Lokanātha. This name is derived from the combination of two Pali words, Loka and Nahta, which respectively signify the entirety of humanity and a celestial being. Consequently, the original meaning of Lokanat denoted the deity who was entrusted with the perpetual observation and protection of the world.
In Myanmar literature, the term Lokanātha was originally used to refer to a prince or ruler who protected the people of the kingdom and brought good fortune through their benevolence and wisdom. However, the concept of Lokanātha evolved to become associated with a gentle peacemaker deity, which inspired the creativity of artists. Myanmar sculptors and painters uniquely depicted the Lokanātha, as always sitting on a lotus-shaped platform with one knee raised and the other laid down flat with the knee bent, holding musical timer cymbals with his feet. This portrayal of Lokanat is distinct from other celestial beings and deities and has become a significant figure in Myanmar art and culture.
Burmese Lokanātha in Arts and Crafts
In Myanmar, dance choreography depicting the Lokanātha shows his hands raised with the elegance and flexibility reminiscent of a bird’s wing in flight. The face exudes a sense of tranquillity, yet the slight upward tilt of the chin adds a touch of radiance and delight. It is no surprise that the figure of the Lokanātha has become synonymous with peace, joy, and artistic expression. In Myanmar, the Lokanat is highly revered and is considered the quintessential representation of visual arts. Many even regard it as the emblem of Myanmar’s artistic heritage. Its graceful form is frequently seen in the traditional Myanmar orchestra “Saing-Waing”, as the Lokanātha is also considered the patron of performing arts. It is often placed in prayer chambers or throne rooms, serving as a spiritual focal point. Notably, a Lokanātha figure stands on either side of the Thihathana Lion Throne, currently exhibited at the National Museum in Bago.
The lotus leaf pedestal seen in many modern statues and paintings on which the Lokanātha sits symbolizes a leaf that struggles out of the murky depths of a pond to emerge fresh and green on the water’s surface. The entwining vines are like wavelets lapping at the edges, creating a sense of tranquillity and harmony. For the Myanmar people, a lotus leaf signifies peace and purity, representing an escape from the frailty of mundane life into the sunlight of wisdom and truth. Mahayana Buddhists pay homage to the Lokanat as a deity who watches over the universe, while others believe that taking refuge in the Lokanat will lead to freedom from all dangers and untold wealth and happiness.
The Myanmar craftsmen and artisans cannot resist the temptation to depict the Lokanātha in their own unique way and have captured the gracefulness of the body and limbs, the beauty of the face, and the nobility of the brow in their depictions. Yet, true to its nature as a benevolent ruler, the figure in these paintings exudes an unmistakable aura of authority, wisdom, and compassion. For the people of Myanmar, the Lokanātha symbolizes peace and embodies the essence of their art and culture. Its golden image is proudly displayed at the most sacred location, atop the spire of the revered Ceti, Kyaikhtiyo in Thaton, Myanmar.
The Lokanātha despite its ancient origins, continues to captivate the people of Myanmar, however, as Theravada Buddhism has become the prominent religion much of the historical evidence related to this deity has been diluted to suppress any remnants of early Mahayana worship in Myanmar.
Bodhisattva Lokanatha in the Mahayana Buddhist tradition
The Bodhisattva Lokanatha in the Mahayana Buddhist tradition is also known as Avalokitesvara, just one of the many emanations of this deity deriving its primary significance from its literal translation as “he who hears the voices of the suffering.” Avalokitesvara’s profound commitment lies in attentively heeding the pleas and distress calls of those encountering adversity in the world and subsequently extending assistance to them. This compassionate deity assumes various manifestations, encompassing both male and female forms, as well as possessing either four or a thousand arms, and exhibiting human or non-human characteristics.
Avalokitesvara assumes distinct appellations across various regions of the world who practice the Mahayana school of Buddhism. This deity is referred to as Lokesvara in Thailand and Cambodia, and Kuan Yin Pusa, Kuan Yin or Guanyin in China and Vietnam, Padmapani Avalokitesvara in Nepal and Tibet, whilst in Japan, the name “Kannon” is used.
Kuan Yin Bodhisattva, an emanation of Amida Buddha’s boundless compassion, is occasionally recognized in Western culture as the embodiment of mercy depicted in female form. It is noteworthy that Avalokitesvara is synonymous with “Kuan Yin” in Sanskrit, the ancient language of India, and was initially depicted as a male figure.
