Speaker: Asst. Prof. Sanjay Shakya

Lumbini Buddhist University

The aniconic Buddhist art gradually shifted to anthropomorphism in history, as the
examples stated by many from the earliest art schools. Since the time of Kuśana king
Kaniṣka, it was believed that Buddha had his Indo-Greek style of body in depiction. This
later was flourishing to make an image of him to be the greatest in number till now, indicating the influence it set to Buddhism or people themselves not claiming as Buddhist around the globe in large numbers. The aniconic form of Pāduka, i.e., the feet of Buddha, seems to have its origin and profound practice in depicting Buddha in Amarāvati school of art in ancient times with various signs defined as thirty-two major and 80 minor marks of Siddha-Puruṣa like Buddha. Few of the greatest elaborations could be seen in stone, yet its diversity in depiction is not limited. The practice of Pāduka in newar community, that incorporate different religious affinities as well, is worth study and explore for their dedication and development of the cult associated with it to enhancing in a lavel of rituals, enliving the
tradition it generates and becoming a part of intangible heritage by participating in annual
programs is absolute worth to understand how the philosophy, tradition and individual
mindset reacted in making the un-planned heritage it could yield to generation to come. A
Paubhā in the possession of Mr. Pradipraj Shakya and his family, inherited from their
forefathers in Pātan, has a big Pāduka as the focus in the central section, with no details as
described in literature or the Amarāvati school of Arts in depictions. This painting is
inscribed at the bottom, and other embellishments to cover the Pāduka in typical Nevāḥ style
are the major attraction, albeit a few cracks, fissures, and worn outs are unavoidable and
unexpected from the aesthetic point of view while observing this Paubhā. It was annually
unwrapped, displayed for the whole day during the annual festival of Pañcarā or Pañcadāna,
which normally falls in August in Pātan, and it was customary to give dāna to Buddhist
household monks on their visit. The story from the family behind the creation of that painting
by their great ancestor is to commemorate their visit to the Mahābodhi temple in Bodhagaya, which hints at the tradition of pilgrimage and possibly a culture of creating something for the memoir. This paper is intended to get the information from the family, read, translate, and analyse the inscription, and become a bridge for the possible preservation process with stakeholders in this field for the sustenance of cultural heritage it created among the Nevāḥ people in the whole world within a unified concept of global community. Since the Pāduka, a sign of an auspicious element engraved on it displayed in dorsal view, was in vogue by around 100 BC, the tradition persisted and perhaps modified for normal gesture flourishes in the Nevāḥ culture, where they rejoice till today.

Illustration