Budai | |||||||||||||||||||||||
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 Glazed ceramic sculpture of Budai. China,Ming dynasty, 1486. | |||||||||||||||||||||||
| Died | 28 March 917[1] | ||||||||||||||||||||||
| Chinese name | |||||||||||||||||||||||
| Chinese | 布袋 | ||||||||||||||||||||||
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| Alternative Chinese name | |||||||||||||||||||||||
| Chinese | 笑佛 | ||||||||||||||||||||||
| Literal meaning | Laughing Buddha | ||||||||||||||||||||||
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| Second alternative Chinese name | |||||||||||||||||||||||
| Chinese | 胖佛 | ||||||||||||||||||||||
| Literal meaning | Fat Buddha | ||||||||||||||||||||||
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| Third alternative Chinese name | |||||||||||||||||||||||
| Chinese | 快乐佛 | ||||||||||||||||||||||
| Literal meaning | Happy Buddha | ||||||||||||||||||||||
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| Vietnamese name | |||||||||||||||||||||||
| Vietnamese alphabet | Bố Đại | ||||||||||||||||||||||
| Chữ Hán | 布袋 | ||||||||||||||||||||||
| Thai name | |||||||||||||||||||||||
| Thai | พระปู้ไต้ | ||||||||||||||||||||||
| RTGS | Phra Pu Tai | ||||||||||||||||||||||
| Korean name | |||||||||||||||||||||||
| Hangul | 포대 | ||||||||||||||||||||||
| Hanja | 布袋 | ||||||||||||||||||||||
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| Japanese name | |||||||||||||||||||||||
| Kanji | 布袋 | ||||||||||||||||||||||
| Hiragana | ほてい | ||||||||||||||||||||||
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Budai (Pu-tai, Jpn. Hotei)[a] is a nickname given to the historical ChinesemonkQieci (Chinese:契此;pinyin:qiècǐ) in theLater Liang Dynasty, who is often identified with and venerated as the future BuddhaMaitreya inChan Buddhism and Buddhist scripture. With the spread of Chan Buddhism, he also came to be venerated inVietnam,Korea, andJapan.[2] Budai is said to have lived around the 10th century CE in theWuyue kingdom.[contradictory]
The name "Budai" literally means "cloth sack",[2] and refers to the bag he is usually depicted carrying as he wanders aimlessly. His jolly nature, humorous personality, andeccentric lifestyle distinguish him from most Buddhist masters or figures. He is almost always shown smiling or laughing, hence his nickname in Chinese, the "Laughing Buddha".[b][3][4] Budai is traditionally depicted as overweight and having a huge stomach (possibly asymbol of abundance or forgiveness) and many stories surrounding Budai involve his love of food and drink. Because of this, he is also referred to as the "Fat Buddha", especially in theWestern world, where he is often mistaken for the original Buddha,Siddhartha Gautama.[5]
The main textual record of Budai's life resides in a collection ofChan Buddhist monks' biographies known asThe Transmission of the Lamp.[6]
Budai has origins centered on cult worship and local legend.[7] He is traditionally depicted as a fat, bald monk wearing a simple robe. He carries his few possessions in a cloth sack, being poor but content.[8] He would excitingly entertain the adoring children that followed him and was known for patting his large belly happily. His figure appears throughout Chinese culture as a representation of both contentment and abundance. Budai attracted the townspeople around him as he was able to predict people's fortunes and even weather patterns.[6] The wandering monk was often inclined to sleep anywhere he came to, even outside, for his mystical powers could ward off the bitter colds of snow and his body was left unaffected.
A recovered death note dated to 28 March 917, which the monk himself wrote, claims that he is an incarnation ofMaitreya, the Buddha of the Future.[6] A body allegedly belonging to Budai was embalmed and displayed at the eastern section of the Great Hall at Yuelin Temple inFenghua District,Zhejiang.[9]
Budai was one of several "uncommitted saints"[c] that became incorporated into theChan pantheon.[7] Similar "eccentric" figures from thelamp histories were never officially inducted or appropriated into theChan patriarchal line. Instead, these obscure figures represented the "special transmission" that occurred during the early to mid 12th century. This transmission did not rely on patriarchal lineage legitimacy but instead used the peculiar personalities and qualities of various folkloric figures to illustrate the Chan tradition's new commitment to the idea of "awakening" and the propagation of Chan to a larger congregation. The Chan Masters,Dahui Zonggao (1089–1163) andHongzhi Zhengjue (1091–1157), were both leaders in the initial merging of local legend and Buddhist tradition.[7] They hoped the induction of likable and odd figures would attract all types of people to the Chan tradition, no matter their gender, social background, or complete understanding of the dharma and patriarchal lineage.[7]
Bernard Faure summarizes this merging of local legend and Chan tradition by explaining, "One strategy in Chan for domesticating the occult was to transform thaumaturges into tricksters by playing down their occult powers and stressing their this-world aspect..."[10][7] The movement allocated the figures as religious props and channeled their extraordinary charismas into the lens of the Chan pantheon in order to appeal to a larger population. Ultimately, Budai was revered from both a folkloric standpoint as a strange, wandering vagabond of the people as well as from his newfound personage within the context of the Chan tradition as a 'mendicant priest'[7] who brought abundance, fortune, and joy to all he encountered with the help of his mystical "cloth sack" bag.
Budai is almost always depicted with his cloth sack that looks like a large bag. The bag serves as a prominent motif within the context of Chan Buddhism as it represents abundance, prosperity, and contentment. Ink paintings such as these attributed to Budai often had an inscription and seal that signaled to high-ranking officials. For example,Budai and Jiang Mohe was inscribed by Chusi Fanqi, who was closely related toSong Lian (1310–1381) and Wei Su (1295–1372).
After Chan Buddhism was transmitted to Japan around the 13th century asZen Buddhism, the devout monastics and laymen of the area utilized figure painting to portray the characters central to this "awakening" period of Zen art.[7] Many of the eccentric personalities that were inducted into the Zen tradition like Budai were previously wrapped up in the established culture and folklore of Japan. The assimilation and reapplication of these wondrous charismas to the Zen pantheon assisted in the expansion of the Zen tradition.
As the images demonstrate, Budai is most jubilant when in the presence of others, especially children. When depicted with other gods in theSeven Lucky Gods, Budai maintains a solemn or even depressed countenance. Budai's round figure comes into practical use through the sculpting of the incense box (18th century) that splits the monk's body into two halves. The newer images such asHotei and Children Carrying Lanterns (19th century) employs much more color, dramatization of physical features, and detail than the older pieces such asHotei fromMokuan Reien (1336) that employs much more wispy and heavily contrasting outlines of his figure with no color or assumed setting.
Japanese iconography, like that of Zen masterHakuin Ekaku, shows Budai in a multiplicity of representative actions, like entertaining passersby, sheltering children under an umbrella andmeditating using his sack as acushion. In an especially known motif, Budai appears smoking in akiseru and exhalingOtafuku, an ugly but charming prostitute that embodies Zen happiness, in a humorous reflection of the tradition according to whichShandao exhaledAmida,Kannon andSeishi with a prayer.[11][12] Thesmooth lumpfish is known in Japan ashotei-uo ("Budai fish") due to its rotund appearance.[13]
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Angida was one of the originalEighteen Arhats. According to legend, Angida was a talented Indian snake catcher whose aim was to catch venomous snakes to prevent them from biting passers-by. Angida would also remove the snake's venomous fangs and release them. Due to his kindness, he was able to attainbodhi.
In Chinese art, Angida is sometimes portrayed as Budai, being rotund, laughing, and carrying a bag.[14]
In theWestern world, Budai is often mistaken forGautama Buddha himself, and thus is nicknamed the "Fat Buddha".[5]
In Mongolia, Budai is called Enkh Amaglan Khan, which is identical to the Mongolian name for theKangxi Emperor. Because of this, Budai is often mistaken for the Kangxi Emperor.
InThailand, Budai is sometimes confused with thearhatKaccāyana, known in Thailand asPhra Sangkajai orPhra Sangkachai. Buddha praised Phra Sangkajai for his excellence in explaining sophisticated concepts of thedhamma in an easily and correctly understandable manner. Phra Sangkajai is also known for composing theMadhupindika Sutta.
One story fromThai folklore relates that Phra Sangkajai was so handsome that even a man once wanted him for a wife. To avoid a similar situation, Phra Sangkajai decided to transform himself into a fat monk. Another tale says he was so attractive that angels and men often compared him with the Buddha. He considered this inappropriate, so disguised himself in a fat body.[15]
Although both Budai and Phra Sangkajai may be found in both Thai and Chinese temples, Phra Sangkajai is found more often in Thai temples, and Budai in Chinese temples. Two points to distinguish them from one another are:
梁貞明三年三月三日，布袋和尚涅槃。此石方四尺五寸，安置千佛閣下。順治間，提督田公駐劄，為兵所損，尚存片碣焉。
Learning materials related toBuddha oracle#36 Laziness (The Happy Buddha) at Wikiversity| Buddhas 如来部 (Nyorai-bu) |  | |
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| Bodhisattvas 菩薩部 (Bosatsu-bu) | ||
| Wisdom Kings 明王部 (Myōō-bu) | ||
| Heavenly deities 天部 (Ten-bu) |
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| Circumstantial appearances 垂迹身部 (Suijakushin-bu) | ||
| Religious masters 高僧・祖師部 (Kōsō・Soshi-bu) | ||
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