use j/k or left/right arrow
to navigate through the photos below
The Jātaka Park
The Jātaka Park is built on 11 acres of land at Buddhavanam and has 40 Jātaka stories on reliefs, which are fairly well spaced-out, as can be seen from the first photograph. This has two advantages, at least: one, it takes time to get from one Jātaka story to the next, which can be used for reflection; and two, it means a good long walk for oneself in quiet contemplation, or with a family enjoying the gardens. In what follows the place of the original relief or painting is shown in brackets. Note that some reliefs in the park are mislabeled or misattributed. Corrections are noted in the descriptions below.
When you get to the end it is possible to reflect further by going into the reconstructed Amaravati railing, and viewing the scenes depicted there: Not all are Jātakas; some depict scenes from the Life of the Buddha, along with purely decorative medallions. I include in this collection some of the narrative reliefs.
This photograph, which shows the distance between the 8th and 9th of the Jātaka reliefs, gives a good idea of their spacing, which was done to encourage reflection. Alongside each of the reliefs is a signboard explaining the Jātaka story, but I have used my own retelling of the story and descriptions of the reliefs here.
Sumedha was a brahmin who inherited great wealth on the death of his parents, but seeing they could not take the wealth with them, he decided to renounce. He became a recluse and developed the absorptions and deep knowledges. One day while flying through the air he saw a great crowd getting ready to welcome Buddha Dīpaṅkara into their city. He landed nearby and asked how he could help, and they gave him a patch of land to clear, but before he had finished the Buddha came along. Sumedha therefore lay down in the mud so that the Buddha and his disciples would be able to cross without getting soiled. Afterwards he realised he could become an Arhat that very day, but he aspired to become a Buddha. Buddha Dīpaṅkara looked into the future and confirmed he would in time become Buddha Gotama.
In the relief we see the central character of Buddha Dīpaṅkara, with flowers falling around his head. At his feet the recluse Sumedha spreads his hair on the floor for the Buddha to walk on so that his feet wouldn’t be soiled by the mud. Around the Buddha are people welcoming him, and in the background we see people looking out from the city. It is labeled 'Dipankara Jātaka' in the park, though no Jātaka is named after a Buddha.
Siṁhala (the Bodhisattva) was born to a prosperous merchant family in Siṁhakalpā. When he was old enough he set sail with a ship on the great ocean, but he was shipwrecked and washed up in Tāmradvīpa (Sri Lanka), where Rākṣasīs (Demons) took them as husbands. The Rākṣasīs caught and devoured them all, except Siṁhala, who managed to escape. His wife came from Lanka and took the form of a lovely young woman, and created a boy who looked just like Siṁhala, and tried to win him back. Siṁhala, however, knew she was a demon and refused her. The king of Siṁhakalpā took her in, and shortly after she brought her demon friends from Lanka and ate the king and all his concubines in the palace. Siṁhala managed to drive the demons away, and he was made king. Later he took his army and subdued the demons in Tāmradvīpa, and that’s how the island became known as Siṁhaladvīpa.
Three scenes. In the relief we see Siṁhala being crowned king in the top right hand corner; King Siṁhala leading his armies in boats to Tāmradvīpā on the left; and the subdued Rākṣasīs on the right.
During the reign of King Brahmadatta in Benares, a renowned brahmin teacher prepared to offer a Feast for the Dead and instructed his pupils to prepare a goat for sacrifice. As the goat is bathed and groomed, it became aware of its past lives and experienced both joy and sorrow. The goat laughs, realizing that this day marks its final release from the cycle of suffering caused by its past misdeeds, having been killed 499 times for sacrificing a goat in a previous life. However, it weeps out of compassion for the brahmin, who will incur similar suffering by killing it. The goat explains its past to the brahmin, revealing that it was once a brahmin who sacrificed a goat and was condemned to be beheaded 500 times in retribution. The brahmin, moved by the goat’s story, vows not to kill it and tries to protect it. Despite his efforts, however, the goat meets its fate when a thunderbolt strikes a rock, causing a fragment to sever its head.
King Brahmadatta is sat on his throne with his court around him. The goat is relating the story of his past lives to him. This appears to be a variation of the story, as the person he should be relating them to is the Brahmin, not the king. At 33 below we see a repeat of the same scene, but there the Brahmin is holding the goat.
In a past era, a dense forest surrounded a lake inhabited by a Water Rakkhasa, a demon that devoured anyone entering the water. The Bodhisatta, born as a wise monkey king, led 80,000 monkeys and protected them from harm. He advised his troop to consult him before eating unfamiliar fruits or drinking from unknown water sources. One day, the monkeys discovered the lake but waited for the Bodhisatta before drinking. Upon arriving, he noticed footprints leading into the water but none returning, and realized the lake was haunted by Rakkhasas. When the Water Rakkhasa emerged, demanding they drink, the Bodhisatta confronted him. He devised a clever plan: the monkeys would drink using reeds, avoiding direct contact with the water and escaping the demon’s grasp.
In the relief we see the Water Rakkhasa having a fat body, pendulous genitals, and holding his head after losing his meal. Two monkeys in the foreground sit on high seats, one of whom – the Bodhisattva – caresses an owl, a symbol of wisdom. In the background monkeys are using their reeds to drink from the lake.
In the time of King Brahmadatta in Benares, the Bodhisatta was reborn as a strong, solitary monkey living by a river. Each day, he leaped onto a rock midstream and then to an island filled with fruit trees, returning the same way. A crocodile in the river, urged by his pregnant mate who craved the monkey’s heart, plotted to catch him. The crocodile waited on the rock, but the Bodhisatta, noticing the rock seemed higher, grew suspicious. He called out, and the crocodile, thinking the rock usually replied, answered. The Bodhisatta tricked the crocodile into opening its mouth, knowing its eyes would close, then leaped over its head to safety. Impressed, the crocodile praised the monkey’s wisdom, courage, and virtue, acknowledging his cleverness before leaving.
Four panels. 1) Top left, the female crocodile asks its mate for the monkey’s heart; 2) top right, the crocodile waits on the rock; 3) bottom left, the monkey rides on the crocodile’s back; 4) bottom right, the monkey jumps to safety.
The Bodhisatta is born as Duyyodhana, the son of a king in Magadha. After mastering the arts, he becomes king while his father retires to live the ascetic life. The father, distracted by visitors, secretly leaves to meditate in solitude, achieving deep spiritual attainments. The Bodhisatta, now king, searches for his father and finds him, learning of his father’s teachings from the Nāga king Saṅkhapāla. Inspired by the Nāga’s appearance, the Bodhisatta aspires to be reborn in the Nāga world, which he achieves through generosity and moral observance. As the Nāga king Saṅkhapāla, he grows weary of luxury and seeks human rebirth to pursue virtue. He observes Uposatha days but is captured by villagers who torture him. A merchant, Āḷāra, rescues him, and in gratitude, Saṅkhapāla takes Āḷāra to his Nāga palace, where he enjoys heavenly pleasures. Āḷāra eventually renounces worldly life, becomes an ascetic, and teaches the king of Benares about the impermanence of desires and the value of virtue.
Three panels. 1) On the left we see the original Saṅkhapāla surrounded by his Nāginīs, who are distinguished by having one hood over their heads; 2) in the middle we see Saṅkhapāla talking to King Duyyodhana and his court; 3) on the bottom right we see Duyyodhana reborn as Saṅkhapāla being captured by the villagers, while behind (top right) Āḷāra and his men get ready to pay a ransom for Saṅkhapāla’s life.
The Bodhisatta is born as a wise hare living in a forest with three friends: a monkey, a jackal, and an otter. The hare teaches them the importance of generosity, morality, and observing the Uposatha (fast days). On an Uposatha day, each friend gathers food to offer to any beggars they might encounter. The otter finds fish, the jackal steals milk-curd and a lizard, and the monkey collects mangoes. The hare, having no food to offer, resolves to give his own flesh if needed. Sakka, the king of gods, tests their virtue by disguising himself as a beggar. The otter, jackal, and monkey offer their gathered food, and the hare, true to his vow, offers to sacrifice himself by jumping into a fire. Sakka creates a fire, but because of the hare’s selfless act he is not burnt. Sakka reveals his identity, praises the hare’s generosity, and immortalizes him by drawing his image on the moon. The four friends continued to live virtuously, observing moral precepts and Uposatha days.
On the left top we see Sakka, before his transformation. Beneath him we can see the monkey with a pineapple (rather than a mango); the otter with his fish, and the jackal with milk-curds. Above them we see the hare jumping into the fire. Presumably the three monastics we see represent Ānanda as the otter, Moggallāna as the jackal and Sāriputta as the monkey. The Bodhisattva himself was the hare.
The Bodhisatta was born as a grain merchant in Benares. A snake-charmer leaves his trained monkey with the merchant while attending a festival. The merchant feeds the monkey well, but the snake-charmer, drunk upon returning, beats the monkey and ties it up in a garden. The monkey escapes, climbs a mango tree, and eats the fruit. The snake-charmer, trying to coax it down, flatters the monkey in verse. The monkey, recalling the abuse, responds with verses rejecting the flattery and condemning his cruelty. It declares that kindness and gentleness, not empty praise, earn trust and loyalty. The monkey then disappears into a crowd of fellow monkeys, leaving the snake-charmer behind.
Three scenes. 1) Top left, the Bodhisattva is seen on a high seat here, with a halo behind his head. He is surrounded by wives and servants. Below him the snake-charmer is asking him to look after his monkey while he travels abroad; 2) in the centre at the bottom, the snake-charmer beats the monkey; 3) above him the charmer is pleading with the monkey who is hiding in the mango tree. Top right, the monkey flees into the forest.
Prince Dīghāvu is the Bodhisattva, whose parents, king Dīghiti of Kosala and his queen, were killed by King Brahmadatta of Benares, infiltrates King Brahmadatta’s court by disguising himself as an elephant trainer’s pupil. Gaining the king’s trust, he becomes a loyal attendant. One day, while hunting, Dīghāvu isolates the king, who falls asleep with his head on Dīghāvu’s lap. Seizing the opportunity, Dīghāvu draws his sword to avenge his parents but recalls their advice to avoid vengeance. Instead, he frightens the king, who pleads for mercy. Dīghāvu teaches the king that love, not hate, brings peace, and spares his life. Moved by Dīghāvu’s forgiveness, Brahmadatta restores him to his father’s throne and gives him his daughter in marriage, and re-establishes him in his father’s kingdom.
Two panels. 1) On the left we see king Dīghiti and his queen being led off for slaughter; 2) on the right we Prince Dīghāvu disguised as an elephant trainer’s pupil, talking to King Brahmadatta. The important scene where Dīghāvu could have killed the king, but doesn’t, is omitted from the relief.
King Mandhātā, a great monarch with divine powers, ruled for countless years and even reigned in the heavens of the Four Great Kings and the Thirty-Three Gods. Despite his vast dominion, his insatiable desire led him to crave more, even wishing to overthrow Sakka, the king of gods. Unable to fulfill this greed, his power waned, and he fell from heaven to earth, where he died in weariness. Before his death, he lamented his unquenchable desires, teaching that even immense power and heavenly pleasures cannot bring true satisfaction. This was a very popular subject for illustration.
Two panels. 1) The top shows the king enjoying his wealth and power in the human realm, with his sword on his lap, and his court around him; 2) bottom panel, he is sitting on the throne with Sakka, the king of the gods, on the left, before he tried to displace him.
King Mahākaṁsa’s daughter, Devagabbhā, was prophesied to bear a son who would destroy the Kaṁsa lineage. To prevent this, her brothers confined her in a tower. She married Upasāgara and secretly bore ten sons, who were swapped with her maid’s ten daughters. These sons, led by Vāsudeva and Baladeva, grew strong and rebellious, eventually overthrowing their uncles and conquering kingdoms. They ruled Dvāravatī but forgot their sister, Añjanā, until reminded. Later, Vāsudeva grieved deeply for his dead son, but his brother Ghatapaṇḍita cleverly consoled him by feigning madness and teaching him the futility of mourning. Eventually, a prophecy led to the brothers’ downfall, as they killed each other in a quarrel. Vāsudeva, Baladeva, Añjanā, and their priest fled, but Baladeva was devoured by a Yakkha, and Vāsudeva died from a wound inflicted by a huntsman named Jarā. Only Añjanā survived.
Nine panels. 1) Top left, the Brahmins prophecy that his daughter Devagabbhā’s son will destroy his lineage and country; 2) top middle, Upasāgara, who was in exile from his own country, fell in love with Devagabbhā and they got married; 3) top right, Devagabbhā and her servant had babies on the same day and switched them so the Devagabbhā’s son would not be killed; 4) middle left, Devagabbhā had ten sons and a daughter, here eight are pictured; 5) bottom left, they are looking on as two of their brothers fight and defeat professional wrestlers; 6) middle right, one of the wrestlers vowed to become a Yakkha, and so it turned out; 7) middle centre, the dearly beloved son of King Vāsudeva died, where we see him grieving over his son; 8) bottom middle, it shows the Yakkha form of the reborn wrestler; 9) bottom right, Vāsudeva has been shot by the hunter Jarā, and lies dying.
Kunāla, the son of King Aśoka, was born with strikingly beautiful eyes, likened to those of the kunāla bird. Aśoka adored him, but Kunāla’s stepmother, Tiṣyarakṣitā, became infatuated with him. When Kunāla rejected her advances, she plotted revenge. During Aśoka’s illness, Tiṣyarakṣitā manipulated him into granting her temporary kingship. Using her power, she sent a forged order to Takṣaśilā, demanding Kunāla’s eyes be gouged out. Despite the people’s reluctance, Kunāla, recalling teachings on impermanence, calmly allowed his eyes to be removed, attaining spiritual insight. Blinded, he wandered with his wife, Kāñcanamālā, singing of his enlightenment. When they returned to Pātaliputra, Aśoka, heartbroken upon discovering his son’s fate, learned of Tiṣyarakṣitā’s treachery. Kunāla, forgiving her, miraculously regained his sight through the power of truth. Aśoka, however, executed Tiṣyarakṣitā and the citizens of Takṣaśilā.
Six panels. 1) Top left, King Aśoka sits in his court with attendants, below him a wise man is advising his son, Kunāla; 2) top middle, above, the queen makes advances to Kunāla in his hermitage, but below he wants to treat her like a mother, not a lover; 3) top right, the king lies ill in bed, and is unable to put down an uprising, he sends Kunāla, here seen raising his hands in añjali, in his stead; 4) bottom left, the queen sits on her throne as below her Kunāla is having his eyes removed; 5) bottom middle, Kunāla’s plays a vīṇā, and his wife holds his arm; 6) bottom right, King Aśoka sits on his throne with a wise man on his left and Kunāla on his right, learning the true story. The execution of Tiṣyarakṣitā is not shown. Called Kunala Jataka in the Park.
The Bodhisatta was born as the king of Benares. His chief queen, Kākātī, was abducted by a Garuḷa king, who takes her to his realm. The king sends his musician, Naṭakuvera, to find her. Naṭakuvera cleverly hides in the Garuḷa’s feathers and is carried to the Garuḷa’s dwelling, where he reunites with Kākātī. Later, during a dice game between the king and the Garuḷa, Naṭakuvera sang of his journey and love for Kākātī. The Garuḷa, realizing he unwittingly helped Naṭakuvera, returned Kākātī to the king and departs, never to return.
Two panels. 1) On the left we see the Garuḷa carrying away Kākātī, even though the king’s men are armed and try to stop him; 2) on the right the musician Naṭakuvera is singing about his journey to the Garuḷa. Note that the Garuḷas are distinguished by the feathers in their turbans, which are set at a slant.
Prince Paduma, the Bodhisatta, was the virtuous son of King Brahmadatta of Benares. When the king left to quell a rebellion, he entrusted Paduma to care for his new queen. The infatuated queen tried to seduce him, but he refused, upholding moral integrity. Fearing exposure, she falsely accused him of assault. The enraged king, without investigation, ordered Paduma executed by being thrown off a cliff. A Nāga king saved him, and he lived in the Himalayas as an ascetic. A wood-ranger later informed the king of Paduma’s survival. The king, remorseful, visited him and begged him to return, but Paduma chose to remain an ascetic, teaching his father the importance of righteousness. The king, realizing the queen’s deceit, executed her and ruled justly.
Two panels. 1) On the right the king goes off to quell the rebellion with his army; 2) on the left the Nāga king saves Paduma when he is thrown over the cliff. It very much looks like the queen is seen below Paduma, symbolically helping in throwing him down.
The Bodhisattva is Dhṛtarāṣṭra, a noble king of the geese, and his loyal commander is Sumukha. They lead a large flock of geese at Lake Mānasa (Mānasarovar), admired by Devas and sages for their virtue. King Brahmadatta of Benares, hearing of their fame, builds a beautiful lake to lure them. The two geese visit the lake and convince the flock to migrate there. Despite Sumukha’s warnings about human deceit, the geese go. Dhṛtarāṣṭra is caught in a snare, but Sumukha stays by his side, offering to sacrifice himself. The fowler, moved by Sumukha’s loyalty, frees Dhṛtarāṣṭra. Sumukha convinces the fowler to take them to King Brahmadatta, who is amazed by their beauty and virtue. The king honors them, and Dhṛtarāṣṭra teaches him about righteousness and virtuous rule. The geese return to their flock, and Dhṛtarāṣṭra later revisits the king to further impart wisdom.
Two panels. 1) On the right we see Dhṛtarāṣṭra and Sumukha visit the lake built by King Brahmadatta, and later, above that scene we see the fowler carrying the two geese to the king; 2) on the left the geese sit on chairs and teach the king Dharma.
The Bodhisattva, in a past life as King Śibi, was tested by Śakra (Indra) and Viśvakarman to prove his compassion and resolve to attain Buddhahood. Śakra transforms into a falcon, and Viśvakarman into a pigeon. The pigeon seeks refuge with King Śibi, who vows to protect it. The falcon demands the pigeon as food, but the king offers his own flesh instead. He cuts pieces of his body to balance the pigeon’s weight on a scale, but the pigeon remains heavier. Despite immense pain, the king remains resolute, sacrificing his entire body without regret. Moved by his unwavering compassion, Śakra and Viśvakarman reveal their true forms, restore the king’s body, and praise his virtue.
Two scenes. 1) At the top King Śibi sits on his throne with the pigeon in his hand, courtiers and queens surround him; 2) below we see the king cutting into his thigh to provide the requisite weight of flesh. The strange thing about this relief is: we do not see the falcon.
The Bodhisattva, in a past life as Mātaṅga, an outcaste, is mistreated by Diṭṭhamaṅgalikā and her son Maṇḍavya. Mātaṅga, though humble, possesses great wisdom and supernatural powers. When Maṇḍavya insults him and orders him beaten, Mātaṅga rises into the air, revealing his powers. Later, Maṇḍavya and his brahmins are tormented by Yakkhas for their arrogance. Diṭṭhamaṅgalikā seeks Mātaṅga’s help, and he provides an elixir to heal them, teaching the importance of humility and virtuous giving. Mātaṅga later humbles the prideful ascetic Jātimanta and confronts the brahmins in Mejjha, where he is killed but reborn in the Brahma Realm.
Four panels. 1) Top left, Diṭṭhamaṅgalikā sees Mātaṅga on her way out of the city; 2) top right, Diṭṭhamaṅgalikā’s parents agree to her going with Mātaṅga; 3) bottom left, Mātaṅga asks Diṭṭhamaṅgalikā to carry him home; 4) bottom right has two parts to it, near right, Mātaṅga escapes Maṇḍavya using his supernatural powers, centre right, Diṭṭhamaṅgalikā seeks Mātaṅga’s help.
In the reign of Brahmadatta in Benares, the Bodhisatta, a wise ascetic, lived in the forest. A doe, who drank water in which was the ascetic’s sperm, gave birth to his son, Isisiṅga, who became a devout ascetic. Warned by his father about the dangers of women, Isisiṅga lived austerely in the Himalayas. His virtue shook the heavens, alarming Sakka, the king of gods, who sent the nymph Alambusā to seduce him. Despite his initial resistance, Isisiṅga succumbed to her charms, breaking his vow of celibacy. After three years, he awoke to his folly, lamenting his disobedience to his father’s warning. Regaining his resolve, he renounced desire and returned to meditation. Alambusā, realizing his renewed virtue, begged forgiveness and returned to heaven. Sakka granted her a boon, and she vowed never to tempt a saint again.
Four panels. 1) Top left, the ascetic is in the forest tending the sacred fire; 2) bottom left, there are two scenes here, the ascetic is sat on the bank having relieved himself, and the doe is drinking the water which has his semen in it, and above that the ascetic is retrieving the boy Isisiṅga after the doe gave birth; 3) top right, Sakka sends Alumbusā to seduce the now-grown boy; 4) Alambusā is holding onto Isisiṅga. Called Rishi Sringa (sic) Jataka in the Park.
The Bodhisattva is born as Prince Sutasoma, renowned for his wisdom, virtue, and love of learning. He rewards those who share well-spoken wisdom generously. One day, while enjoying spring in a garden, he is captured by Kalmāṣapāda, a man-eating king who has turned to cannibalism. Sutasoma convinces Kalmāṣapāda to release him temporarily to fulfill a promise to a Brahmin who shared sacred verses. Despite warnings from his father and others, Sutasoma returns to Kalmāṣapāda, demonstrating his unwavering commitment to his word. Through his compassion and wisdom, Sutasoma teaches Kalmāṣapāda the value of virtue, truth, and righteous living. Moved by Sutasoma’s teachings, Kalmāṣapāda renounces his cannibalistic ways and releases the royal princes he had captured for sacrifice. Sutasoma restores Kalmāṣapāda and the princes to their thrones, transforming a cruel tyrant into a virtuous ruler.
Five panels. 1) Top left, Kalmāṣapāda sends out his army to catch people for him to eat, the terrified citizens run away; 2) top middle right, Kalmāṣapāda captures two kings and carries them away; 3) top far right, Kalmāṣapāda has his victims prepared for his meal; 4) bottom left, Kalmāṣapāda meets with Sutasoma; 5) bottom right, Sutasoma returns after fulfilling his pledge to the Brahmin. Curiously, we are not shown the conversion or the converted king.
Vidhura, a wise and virtuous minister in the court of King Dhanañjaya, was renowned for his eloquence and moral teachings. When the Yakkha Puṇṇaka won him in a dice game, intending to take his heart to win a Nāga princess, Vidhura remained calm and composed. Through his wisdom, he taught Puṇṇaka the importance of righteousness, convincing him to spare his life. Puṇṇaka, moved by Vidhura’s teachings, took him to the Nāga king, where Vidhura’s discourse on the Dhamma of the good man (Sādhunaradhamma) softened the king’s heart. The Nāga king granted Puṇṇaka the princess, and Vidhura was returned to his kingdom. Upon his return, Vidhura was celebrated, and he continued to impart his wisdom, ensuring the prosperity and moral well-being of his people.
Five panels. 1) Top left, King Dhanañjaya and Puṇṇaka approach Vidhura and ask about his status; 2) top right, Puṇṇaka looks on at his calvary; 3) bottom left, Puṇṇaka has Vidhura, holding the horse by his tail, taken to his kingdom; 4) bottom center, Vidhura teaches the Dhamma of the good man; 5) bottom right, appears to show Vidhura holding the tail of the horse again, and gaṇas (dwarfs) listening to his discourse. It is curious that the dice game, so crucial to the story, is not shown.
In the past, during King Brahmadatta’s reign in Benares, a wealthy merchant’s son, Mahādhanaka, squandered his fortune and, overwhelmed by debt, attempted suicide by jumping into the Ganges. A golden deer, the Bodhisatta, saved him and cared for him. The man promised not to reveal the deer’s existence but later betrayed him to the king for a reward. The king, seeking the deer to please his queen, Khemā, followed the man’s directions and surrounded the deer’s grove. The Bodhisatta, realizing the betrayal, approached the king and revealed the man’s treachery. Despite the king’s anger, the deer pleaded for the man’s life and requested protection for all creatures. The king granted this boon, and the deer returned to the forest. Later, when deer began eating crops, the king refused to harm them, upholding his promise. The Bodhisatta then instructed the deer to avoid crops, and harmony was restored.
Three panels: 1) Top, there are three scenes, on the far left the deer is rescuing Mahādhanaka from the water, middle, the man is worshipping the deer, right, the deer walks away; 2) middle, Mahādhanaka leads the king to the deer; 3) bottom, Mahādhanaka meets with the king and queen. It seems the chronological sequence is actually 1-3-2. It is called Nigrodhamiga Jataka in the Park (Ja 12), but the story doesn’t fit the scenes.
In the past, the Bodhisatta was born as Chaddanta, a magnificent six-tusked white elephant, leader of a herd of eight thousand elephants. He lived near Lake Chaddanta in the Himalayas, revered for his wisdom and kindness. His two queens, Culla Subhaddā and Mahā Subhaddā, accompanied him. One day, Culla Subhaddā felt slighted when Chaddanta unintentionally showered Mahā Subhaddā with flowers while she received dry twigs. Consumed by jealousy, she vowed revenge and, after her death, was reborn as Queen Subhaddā of Benares. Remembering her past life, she plotted to kill Chaddanta and obtain his tusks. She convinced a hunter, Sonuttara, to undertake the perilous journey to the Himalayas. After seven years, the hunter found Chaddanta, wounded him with a poisoned arrow, and cut off his tusks. Chaddanta, recognizing the hunter’s mission, forgave him and allowed him to take the tusks, wishing for Awakening. The hunter returned to Benares, but upon receiving the tusks, Subhaddā was overcome with remorse and died of grief.
Two Panels. 1) At the top we see two scenes, to the fore Sonuttara is sawing off Chaddanta’s tusks, though it should be noted here he has only two, not six, as in the story, in the background he is walking away with them; 2) Sonuttara presents the tusks to the king, while Queen Subhaddā dies from grief when she realizes what she has done.
Long ago the Bodhisattva was born as a giant turtle. One day there was a shipwreck and 500 men feared they would drown. Out of compassion, the Bodhisattva allowed the men to get on his back and took them back to shore. Exhausted from saving them, he fell asleep. The men tried to kill him, but his shell was too thick for them to break. The turtle then took his own life so that the men would be able to eat and survive.
Three panels. 1) Top left, the Bodhisattva, a giant turtle swims in the open sea; 2) top right, men are caught on a shipwreck, on the right we see a shark waiting to eat them; 3) bottom, the Bodhisattva, having saved the men, now teaches them Dharma for their welfare. Another panel at Borobudur shows the men on the back of the Bodhisattva, but it is omitted here.
In the past, a queen who had, in fact, committed wrongdoing vowed to become a horse-faced Yakkhinī if she was guilty. After her death, she transformed into a Yakkhinī and lived in a forest cave, devouring travelers. She captured a brahmin but, overcome by affection, spared him and made him her husband. They had a son, the Bodhisatta, who grew up questioning their life. Discovering his mother was a Yakkhinī, he devised a plan to escape with his father. Using his mother’s knowledge of her territorial limits, he carried his father beyond her reach. Heartbroken, the Yakkhinī died, and the Bodhisatta returned to Benares. There, he demonstrated his skill in tracking stolen treasure, revealing the king and priest as the thieves through clever storytelling. The people, realizing the king’s deceit, overthrew him and crowned the Bodhisatta as their new ruler.
Two panels, four scenes. 1) Top left, the horse-headed Yakkhinī captures a Brahmin; 2) top right, she carries him off, rather than devouring him; 3) bottom left, the Yakkhinī holds her son by the Brahmin on her waist; 4) bottom right, the son leads the father outside of the Yakkhinī’s range. The death of the Yakkhinī and the latter part of the story are not illustrated. Called Ashwamukha Jataka in the Park.
The Bodhisatta, born as a monkey king, leads a troop of 80,000 monkeys in the Himalayas. They rely on a mango tree by the Ganges for food. Foreseeing danger, the Bodhisatta ensures no fruit falls into the river, but one fruit falls, escaping notice. The fruit reaches King Brahmadatta of Benares, who, enchanted by its flavor, seeks the tree. Upon finding it, the king plans to kill the monkeys for their meat. The Bodhisatta devises a daring escape plan, using a bamboo shoot as a bridge, sacrificing himself to save his troop. One of the monkeys, a previous incarnation of Devadatta, jumped on him from a great height, breaking his back. Impressed by the Bodhisatta’s selflessness, the king spares him, and the Bodhisattva teaches him Dharma.
At the bottom we see King Brahmadatta’s army with the king preparing to shoot the monkeys, in the river is the tasty mango; above we can see the Bodhisattva making a bridge of himself so that the monkeys can escape; while centre-left we see the Bodhisattva teaching Dharma to King Brahmadatta.
The Bodhisatta is born as the Nāga king Campeyya, ruling a Nāga realm near the river Campā. King Magadha, fleeing a battle, plunges into the river and is saved by Campeyya, who helps him conquer his enemies. Later, the Bodhisatta, desiring virtue, leaves his palace to observe the Uposatha precepts but is captured by a snake-charmer. Despite enduring torture, he refuses to harm the charmer, adhering to his vow of non-violence. His wife, Sumanā, discovers his plight and pleads with King Uggasena of Benares for his release. The king, moved by the Nāga’s virtue, frees him. Campeyya reveals his divine palace to the king, explaining his desire to be reborn as a human to attain enlightenment.
Two panels. In the top panel we see the snake-charmer capturing Campeyya, and putting him into a jar; the bottom panel shows King Uggasena listening to Dharma from Campeyya. Surprisingly we do not see the Nāga-queen Sumanā pleading for his release.
Although Dukūlaka and Pārikā are born in hunter families they are devoted to non-violence, and leave their homes to become ascetics in the Himalayas. They are blessed with a son, Suvaṇṇasāma (Sāma), who cares for them after they are blinded by a snake’s venom. One day, King Piliyakkha, hunting in the forest, mistakenly shoots Sāma, who was out fetching water, with a poisoned arrow. Sāma, dying, urges the king to care for his blind parents. The king, remorseful, agrees and guides Sāma’s parents to their son. Through their heartfelt lamentations and solemn truths, Sāma is miraculously revived, and his parents regain their sight. Sāma teaches the king the importance of duty, compassion, and virtue. The king, transformed, returns to his kingdom, practices righteousness, and attains heaven. Sāma and his parents, after living virtuously, also ascend to the Brahma Realm.
At the top right we can see Dukūlaka and Pārikā living in their hermitages, with the sacred fire blazing away; at bottom right we see Sāma fetching water, while on the left he has been struck with an arrow by King Piliyakkha. At the top left are the king, and the parents, Sāma and a Brahma god after they have ascended to the Brahma Realm. Called Syama Jataka in the Park.
The panel is identified in the Park as the Mahā-ummagga Jātaka (Ja 546), which is a long and complex collection of wisdom stories that illustrate the rise of Mahosadha to become the Chief Advisor of King Vedeha, despite other advisors plotting against him. Eventually he learns of a trap laid by King Cullaṇī to capture and kill King Vedeha, and successfully thwarts the plan, and Cullaṇī is converted because of Mahosadha’s wisdom and justice. I have been unable to match any story to the scenes shown on the relief. What is more, the relief is supposedly copied from the Barhut stūpa, but this does not appear to be the case. I think maybe there is a misidentification here, of both Jātaka story and the original reliefs.
The reliefs shows two panels. At the top we see a king, and on his left a queen with a raised sword, below them two men carry a large bell, and there are three faces on stones; on the bottom relief a king sits with his hand raised dramatically, his sword has apparently fallen to the floor. Around him his court sit or stand, some with hands raised in añjali.
King Kāliṅga, eager for battle, sent his four beautiful daughters across Jambudīpa to provoke a war. No king dared accept them until they reached Potali, where Assaka’s wise minister, Nandisena, welcomed them, making them queens. Kāliṅga, angered, prepared for war. The Bodhisatta, an ascetic, predicted Kāliṅga’s victory, but Sakka revealed that Assaka’s resolve and courage would ensure his triumph. Nandisena rallied Assaka’s forces, and during the battle, Assaka’s tutelary deity, a black bull, defeated Kāliṅga’s white bull. Kāliṅga fled, and Assaka emerged victorious. Nandisena demanded a dowry for the princesses, which Kāliṅga paid, leading to peace between the two kings.
There are five scenes. 1) Top left, King Kāliṅga is surrounded by his four daughters; 2) top middle, King Assaka and his wise minsiter Nandisena; 3) top right, the Bodhisattva consults with Sakka about the outcome of the battle; 4) bottom left, Assaka attacks Kāliṅga who is on horseback, defeating him. The two bulls are the two tutelary gods of the nations; 5) bottom right, Assaka marries the four princesses of Kāliṅga. Simply called Kalinga Jataka in the Park.
In ancient Benares, King Dasaratha, a righteous ruler, had two sons, Rāma the Wise and Lakkhaṇa, and a daughter, Sītā, from his eldest queen. After her death, the king remarried, and his new queen bore him a son, Bharata. The queen, seeking power for her son, demanded the kingdom, but the king refused, fearing treachery. He sent Rāma, Lakkhaṇa, and Sītā to live in the forest for their safety, promising they would inherit the throne after twelve years. When the king died, Bharata sought to return the kingdom to Rāma, but Rāma insisted on honoring their father’s command and remained in the forest for three more years. During this time, Bharata ruled with Rāma’s straw slippers as a symbolic placeholder. After three years, Rāma returned to Benares, was crowned king, and ruled righteously for 16,000 years.
Four scenes. 1) Top left, it is not entirely clear, but by the look on the queen’s face it is probably the queen demanding that her son, Bharata, inherit the throne; 2) top right, and 3) bottom left, both appears to show Rāma and Sītā going to the forest; 4) this is probably Rāma ruling righteously after his return from exile. A scene that is omitted is Bharata ruling with the sandals on the throne.
On the southern slope of Mount Kailāsa, a magnificent golden peacock named Suvarṇaprabhāsa lived with his retinue. His beauty and melodious cry captivated Queen Khemā of Benares, who begged King Brahmadatta to bring the peacock to her. The king, fearing for her life, ordered hunters to capture Suvarṇaprabhāsa. Despite their efforts, the hunters failed for seven days. Moved by compassion, the peacock instructed them to prepare Benares with decorations and chariots, promising to visit if the king came in person. King Brahmadatta followed the peacock’s instructions and traveled to Mount Kailāsa with his army. Suvarṇaprabhāsa, riding a jeweled chariot, accompanied them to Benares, where his cry delighted the entire city. The king honored him daily, but when another queen, Anupamā, committed adultery and feared exposure, she tried to poison the peacock. However, the poison only enhanced his beauty. Suvarṇaprabhāsa exposed her deceit, causing her to fall ill and die, leading to her rebirth in hell.
Three panels. 1) Top panel, the hunters listen to Suvarṇaprabhāsa as he offers to come to Benares; 2) middle panel, the king, accompanied by Queen Khemā, bring Suvarṇaprabhāsa back to the city; 3) bottom panel, Suvarṇaprabhāsa, atop a throne teaches Dharma to the king and his court. We do not see Queen Anupamā, or her fall from grace. Called Suvarnaprabhasa (Mora) Jataka in the Park.
King Satyarata of Pañcala had two wives: Lakṣaṇā, who bore a son named Alolamantra, and Sudharmā, who gave birth after the king’s death. Fearing a prophecy that Sudharmā’s unborn child would kill Alolamantra, Sudharmā hid her son, Kavikumāra, among fishermen. As Kavikumāra grew, the king discovered his existence and ordered his death. Sudharmā warned her son, giving him a crest jewel for protection. Pursued by soldiers, Kavikumāra escaped multiple times, aided by a minister, a washerman, a potter, and a Yakṣa. Disguised as a dancer with the help of a sage, he returned to his kingdom, captured his stepbrother, and eventually killed him to claim the throne.
The relief poorly matches the story’s key events. On the top right, we see what looks like the king on his death bed, and on the left at the top horsemen, and below another horseman, with a boy holding a sack – presumably Kavikumāra being taken to the fishermen, whom he is seen with, at the bottom right.
In the Park this is identified as Losaka Jātaka (Ja 41), which retells the Mittavindaka story. The panel, however, doesn’t fit the story. It is copied from a roundel at Phanigiri, and it is there identifed as the Matakabhatta Jātaka. If we compare with relief number three above we can see this is correct. There, as here, though, we would expect the goat to be talking to the Brahmin, not the king. In this case we could understand the Brahmin as bringing the goat to the king so he could hear her prediction of the working out of karma.
The Bodhisattva, once a chief of fishes in a beautiful lake, was devoted to helping others, even in his fish form. He cared for his fellow fishes as if they were his own offspring, fostering harmony and protecting them from harm. However, a drought caused by the neglect of the rain Devas led the lake to dry up, leaving the fish vulnerable to predators. Witnessing their suffering, the Bodhisattva resolved to save them through his virtue of truthfulness. He vowed that if he had never harmed any being, even in distress, the rain god should fill the lake. His sincere declaration, supported by his merit and divine favor, summoned rain clouds that poured down rain, replenishing the lake and saving the fish. Śakra, the king of gods, praised the Bodhisattva’s virtue and promised to protect the region from future droughts.
The relief shows the Bodhisattva, a big fish, surrounded by herons, some of whom have caught smaller fish, as the lake dries up. We can see how cramped the lake has become owing to a lack of rain. Called both Maccha and Matsya Jataka in the Park.
In ancient Benares, the Bodhisatta was reborn as an antelope, living near a lake with two friends: a woodpecker and a turtle. One day, a hunter set a trap, and the antelope was caught. Hearing his cries, the woodpecker and turtle devised a plan to save him. The turtle gnawed at the trap’s leather straps, while the woodpecker distracted the hunter by attacking him as he left his hut. Despite the hunter’s persistence, the woodpecker delayed him until the turtle nearly freed the antelope. When the hunter finally arrived, the antelope broke free and fled. However, the exhausted turtle was captured. The antelope lured the hunter deep into the forest, then doubled back to rescue the turtle. After freeing him, the antelope advised his friends to flee to safety: the turtle to the water, the woodpecker to a distant tree. The hunter returned to find nothing and left empty-handed.
The relief shows the three friends and the hunter. The deer has been caught in a trap which is around his leg, and the turtle is biting through the rope. The woodpecker is in the tree and will distract the hunter long enough for the deer to escape. Misspelt Kurunga Miriga Jataka in the Park.
The Bodhisattva, in a past life, was a wild buffalo of dark, grim appearance, yet he practiced righteousness despite his animal state. Though bound by karma to this lowly form, he retained compassion and a deep understanding of virtue. A mischievous monkey, recognizing the buffalo’s gentle nature, repeatedly tormented him – jumping on his back, obstructing his grazing, and mocking him. The buffalo endured these insults with patience, seeing them as opportunities to practice forbearance. A Yakṣa, witnessing this, questioned why the buffalo tolerated such abuse, urging him to use his strength to retaliate. The buffalo explained that true virtue lies in enduring wrongs from the weak. He emphasized that anger and retaliation only lead to further suffering, while patience fosters growth in virtue. Impressed, the Yakṣa praised the buffalo’s wisdom, removed the monkey, and bestowed a protective charm before disappearing.
Three panels. 1) Top left, a monkey teases the buffalo while another looks on from the tree; 2) top right, the monkey jumps on the buffalo’s back, watched by a Yakṣa; 3) bottom panel, the buffalo explains why he lives by Dhamma. On the right, however, the monkey still appears to be tormenting the buffalo!
Five hundred merchants, seeking wealth, gather at the shore of the great ocean. The captain describes the ocean’s treasures, inspiring them to set sail, but the ship becomes overloaded and begins to sink. The captain then warns of the ocean’s dangers, causing most to disembark. Only a few remain, and the ship sails to Ratnadvīpa (Treasure Island), where the merchants collect jewels. On their return journey, they encounter the sea monster Timiṅgila, whose massive form threatens to devour their ship. In desperation, the merchants pray to various gods, but to no avail. A lay disciple of the Buddha suggests they focus their minds on the Buddha, and they collectively chant, “Praise to the Buddha!” Hearing this, the monster, fearing wrongdoing, gently closes its mouth, sparing the ship. The merchants return safely to Śrāvastī, attributing their survival to the Buddha’s power. They offer their treasures to him, but the Buddha declines, emphasizing spiritual wealth. Inspired, the merchants renounce their worldly lives, become monks, and eventually attain arhatship.
We can see two scenes from this story at the top the merchants are sailing in their ship, and below they are on the verge of being swallowed by the giant Timiṅgila, before gaining release. This is called Timingala Jataka in the Park.
At one time the Bodhisattva was reborn as a great elephant, and dwelt far from the haunts of men, deep in the forests. One time, when he was out walking, he heard the plaintive cries of people in the distance, and came towards them. They were afraid as they had no strength to flee, but the Bodhisattva told them they had to need to fear. They explained that their troop of seven hundred were the pitiful remains of one thousand men who had been sent into exile by a cruel king. The great being, realising they could not escape from that forest without water and meat, decided to sacrifice himself for their safety. He told them to go down the mountain where they would find water in a lake, and nearby a recently dead elephant they could feast on. They thanked him and proceeded on their way. Meanwhile the Bodhisattva rushed to the same spot by a quicker route and sacrificed himself by jumping off a cliff. When they found him they realised what he had done, and honoured him by accepting his sacrifice as intended.
Four panels. 1) Top left, we see a man in front of the Bodhisattva explaining his plight and that of his men; 2) top right, the elephant throws himself down near the pool to serve as food for the weary men; 3) bottom left, the men, honouring the sacrifice, prepare a fire to cook the meat; 4) the Bodhisattva is honoured with a stūpa by the men. Only the first and the last are copied from Borobudur; there is a 3rd scene there, of the men moving towards the lake, and a fourth of the elephant preparing to sacrifice himself.
In ancient Benares, King Brahmadatta encountered a woman gathering sticks in a grove and fell in love with her. Their union resulted in the conception of the Bodhisatta. Before parting, the king gave her his signet-ring, instructing her to bring their child to him if it was a boy. When the Bodhisatta was born and grew older, he questioned his mother about his father. She revealed his royal lineage and showed him the ring. Determined to meet his father, the boy and his mother went to the palace. The king, ashamed before his court, denied paternity. The woman, with no other proof, appealed to truth by throwing the boy into the air, declaring that if he was the king’s son, he would remain suspended. The Bodhisatta remained in mid-air, reciting a verse affirming his lineage and urging the king to acknowledge him. Convinced, the king embraced him, made him viceroy, and elevated his mother to queen-consort. Later, the Bodhisatta became king, ruling righteously as King Kaṭṭhavāhana, and lived a life of virtue.
Seven panels. 1) Top left, the king riding in the forest comes across a beautiful woman gathering sticks; 2) top middle, the king takes the woman off for intercourse; 3) top right, after making love with her the king gives her a signet ring; 4) bottom left, she has a child who then questions her about his parentage; 5) bottom mid left, the woman takes the child to court; 6) bottom mid-right, she throws the child into the air with an assertion of truth; 7) bottom right, the king accepts the child and installs him as viceroy.
Prince Vessantara was renowned for his extreme generosity. When a neighboring kingdom suffering from drought requested his kingdom’s rain-bringing elephant, Vessantara gave it away, angering his people. As a result, he was exiled with his wife Maddī and their two children. During their exile, Vessantara continued his acts of generosity, giving away his horses, chariot, and even his children to a Brahmin named Jūjaka. Later, he gave away his wife Maddī to the god Sakka, who disguised himself as a Brahmin. Sakka, testing Vessantara’s virtue, returned Maddī and restored the children to him. Eventually, Vessantara’s father, the king, discovered his whereabouts and reunited the family. The people, realizing Vessantara’s unparalleled generosity, welcomed him back, and he was restored to his rightful place as king.
Five panels. 1) Top left, Vessantara is seen riding the marvellous white elephant; 2) top middle, Vessantara gives the elephant to the Brahmins who ask for it, pouring the waters of donation over the Brahmin’s hand; 3) top right, Vessantara goes into exile with his wife and children; 4) bottom left, three scenes, on the left Vessantara and Maddī pull the cart after he gave away the oxen, middle, they carry the children after giving away the cart, right, Vessantara gives away his children to the Brahmin Jūjuka; 5) bottom right, two scenes, left, Maddī returns to find her children gone, right, Vessantara is reunited with Maddī and the children.
The Railing
The railing at the end of the Jātaka Park is modelled after the original railing at Amaravati, and has copies of some of the main roundels from the same. Surrounding the main railing itself are other roundels copied from Amaravati.
Close up view of the railing, showing some of the main roundels, including the taking of Siddhārtha’s turban to heaven, the presentation of Siddhārtha to King Śuddhodana, the Buddha teaching gods and humans, the descent from Tāvatiṁsa at Saṅkasya, and more. Illustrated along the top of the railing are more stories from the Life of the Buddha; and elephants, oxen and lions are presented as decorative items at the bottom.
The back of the railing shows decorative patterns, with different lotus designs on the roundels, a long garland being carried at the top, and elephants, oxen and lions at the bottom again. In between the roundels are shown scenes of worshipping an aniconic Buddha and the stūpa, and figures from Buddhist mythology.
Many of the Jātaka stories shown now, have already occurred in the Jātaka Park, but are repeated here as most are different visualisations of the same story. For the stories see the numbers I have referenced below. The first is the same scene as shown at 1 above, Sumedha worshipping Buddha Dīpaṅkara, as pictured at Amaravati.
A different illustration of the Chaddanta Jātaka (22 above), this one shows the hunter at the top going away with all six tusks. The wonderfully-imagined forest below show the elephants in their natural habitat, with panthers, lions and deer in the forest.
Another representation of the Śibi Jātaka (16 above). This one shows at the bottom King Śibi weighing his whole body against the weight of the pigeon, being prepared to give everything to prevent the destruction of the bird.
Above at 31 we have three scenes from Borobudur, this roundel shows the crucial scene of the peacock teaching Dharma to the king in the midst of his court.
Another visualisation of the Jātaka shown at 15 above. Here we see the king of the geese, the Bodhisattva, sitting on a chair and teaching Dharma to the king and his court.
When the time was right the Devas came to the Bodhisattva to request that he be born again for the salvation of Devas and humans, reminding him he did not fulfil the perfections for the sake of being a Deva, but for the sake of becoming a Buddha.
After she became pregnant with the Bodhisattva Queen Mahā Māyā retired to the Aśoka Park, and requested the king to come and see her there. The king came but could not enter the park until the Śuddhāvāsa Devas announced that the queen was now bearing the Bodhisattva. The queen asked the king to bring the Brahmins to interpret her dream.
This is a heavily populated roundel, but the principal scene is center-top which shows Mahā Māyā presenting a cloth to King Śuddhodana. Although it is hardly visible, there are footprints on the cloth, which represent the aniconic and newly reborn Bodhisattva.
After gaining Awakening and spending seven weeks in the vicinity of the Bodhi Tree the Buddha was persuaded by Brahma’s appeal to start teaching. He then went to Isipatana where the group-of-five ascetics were living, and taught the Discourse That Set the Dharma Wheel Rolling (Dharmacakrapravartanasūtra) in the Deer Park.
In the roundel we see the Buddha sat in the middle holding the Dharmacakra mudrā, and the five ascetics in front of him listening to the discourse. In the background we see the trees and the deer in the park.
When Devadatta’s assassins failed to kill the Buddha, he conceived the idea of setting a wild elephant in musk upon the Buddha. The Buddha responded with loving-kindness (maitrī) and the elephant was subdued.
In the roundel we see two scenes: on the left the elephant Nāḷāgiri is running wild; while on the right he is worshipping at the feet of Lord Buddha, having felt the latter’s loving-kindness. The townsfolk look on, some in fear.
I do not know if this is a specific or a general scene, but what we see is the Buddha in the middle, with three lay people on the left and four monastics on the right. It looks like behind his halo are flames sprining forth.
In the last of these roundels we see two scenes, on the left the people worship the Dharmacakra and the vajrāsana (the seat of Awakening); on the right they worship the Bodhi Tree and the vajrāsana. Two Devas fly over the palm tree which divides these scenes. Both are aniconic representations indicating the continued presence of the Buddha.
