The enlightened elder nuns during Buddha’s time utter verses that reports on their attainments. These  are collected in the Therīgāthā, Verses of the Elder Nuns. These poems depict the undependentable, fragility (Abaya) of the body upon the experience and mindful contemplation through the body on the four signs of Buddhism. Some of the synonym used to describe their attainment (nibbana) are cool, calm, bliss, happiness, security, sanctuary, refuge, peace, cessation, destructions, dispassion, unbinding, extinction (going out of fire/lamp).

The bodily and mental forms

The reports inspire optimism, the clear comprehension on the unsatisfactoriness of the mundane life. The release from household life to seek refuge in the Buddha, the Dhamma and the Sangha. From a once known sanctuary that is often described as a form of bondage (Muttātherī, Saṅghā) to the Buddhist community that is the space for practice to the path of realisation. The house builder (builder/architect of the mind-body) in the Dhammapada is a simile revealing the house builder as the attachment of craving. Moving verses uttered during Buddha’s enlightenment. 

In the elder nuns’ verses, besides illuminations on their personal rounds of becoming, their past existence (Sakula, Sona), there are also poems about grief and lost of child. (Kisāgotamī, Ubbiri) Life is tune out of the autonomous mechanic process or a phrase by phrase template. Much so that the elder nuns dedicated their struggles for peace and attainments as verses. (Apara) Unwavering in their faith and determination to practice the path to realisation.

Imageries and metaphors

The origin of dukkha (emotions and source) from craving, manifesting itself in the form of body, speech and mind, that respond to signs. The mind is malleable. By practising  mindfulness, awareness in the noticing of subjective responses, there is restraining the body, speech and mind. Sense restraint help to avoid the arising of bad and unwholesome states. The cultivation of wholesome qualities, devotion to goodness is one of the skillful means of moving towards safety away from craving. (Bhadrā) The path of practice in meditation seeks to establish the mind, review all formations, (Uttarā) examine the conditions as not self. (Uttarā) 

It is interesting to note the imagery of the poems portrays a differentiated state  from a formal identified role, a role that was the past and duties fulfilled. The path to seek out freedom was the next step forward. In this case, it’s the urgency activated  to pursue the ultimate goal. Focusing the mind on worldly pursues are described as one’s head being on fire, focusing on sensual pleasures, a disease. (Sumedha) The striving for freedom is described as internal freedom, spiritual well-being and positive mental health. (Uttama, Runes Johansson, pg 33) The meditative images depicting qualities such as serenity and calm of meditation postures are seen in ancient Buddhist sculptures. Despite being sick and weak, meditation was still practiced. (Citta)  

The image of the aging body is analysed throughly through Elder Ambapali poem. It beautifully contrasted two objects against one another to highlight the gradual conditions of aging and decaying. Acceptance of the aging bodily form that was formerly indulged in its subjective beauty and the admiration on the self. The unreliability of others to take care of one’s foul body should serve as the motivation for one self to strive for spiritual attainments. The sense of equality is distributed by the afflictions that all human beings goes through, one that is bound by birth and death. (sumedha) The expansion of time illustrated on birth described such as ‘all the tears, mother milk and blood could fill the four oceans. And the expansion of time illustrated on death ‘the pile of bones of one world cycle, would be just as abundant.’

Spiritual Community

Having gone forth out of faith. Elder Sama declared that she had completed the teachings of the Buddha. Spiritual friendship in the Buddhist community was also crucial in guidance (Mittāther,  Uttamā,  Unknown elder, Sona, Canda, Vijaya, Uttarā) It is expected that the Noble Eightfold Path will be developed and cultivated with good friendship, good companionship, good comradeship. (Upaddha sutta: Half the holy life)  

No longer carrying on with autonomous responses but rather with careful attention and awareness. Precision in words and care taken on mental cultivation through the voices of women. The Therīgāthā is an inspiration for us (young or old) who are practicing Buddhism as a source of Buddhist guidance from the long distant past. The Therīgāthā can be appreciated as a middle way of aesthetics. Unveiling the subjective self of conceit, revealing the benefits of seeing just as it is. Having gone through previously the painful life experiences irregardless of societal status and wealth. The elders forge a new path drawing on unwavering confidence (faith) in the teaching of the Buddha with diligence and assertion in the practice to attain eventual emancipation. They have completed and fulfilled the teachings of the Buddha. (Aḍḍhakāsi, Mettikā)

Please proceed to part 2 to view selected art works submissions that align with points extracted from this article.

References:

1. Therīgāthā [Pāli-English]: Verses of the Elder Bhikkhunis, Ayya Soma

2. Poems of the First Buddhist Women, A Translation of the Therigatha, Translated by Charles Hallisey

3. Bhikkunisamyutta, Chapter V, Samyutta Nikaya, Pg 221 to 230

4. An Aesthetic Appeal of the Therīgāthā Chapter 4, Aesthetic of Therīgāthā , pg 91-115, Aparekke Sirisudhamma

5. The Four Foundations of Mindfulness in Plain English, https://www.lionsroar.com/four-foundations-mindfulness-plain-english/

6. Signless and the Deathless, Bhikkhu Analayo

7. The Psychology of Nirvana, Rune E. A. Johansson,  https://archive.org/details/ThePsychologyOfNirvana

8. Great Disciples of the Buddha: Their Lives, Their Works, Their Legacy, Thera, Nyanaponika (2012), Hecker, Hellmuth., Bodhi, Bhikkhu. New York: Wisdom Publications.

9. Discourses of the Ancient Nuns, (Bhikkhuni-samyutta) translated from the Pali by Bhikkhu Bodhi  https://www.accesstoinsight.org/lib/authors/bodhi/

10. Agnes Martin, Richard Tuttle, ext. cat. (Fort Worth: Modern Art Museum, 1998), 10

Footnote:

1. This paragraph suggests the practice of making lines and the lines put on the space are under the direction of the mind. The quote, “Difference between the loved line and the unloved line”(non Love). although Richard Tuttle referred the unloved lines as the line grids on on the graph papers, the mechanical reproduction of the lines by printing press. Opposed to the lines made by hand. I added non love to suggest an object(the machine), which could be more apt as the machine is an object with no consciousness. In addition, the non attachment could also refer to the practice of elders making lines to construct their poetry. They are enlighten and non attached to their poetry.