Wat Buddhapadipa: Difference between revisions

Content deleted Content added
m Reverted edits by 82.44.64.219 (talk) to last version by CardinalDan
Juxian (talk | contribs)
Added artists' names and more information about murals; removed questionable assertions about the Buddha images; added "Further Reading" section
Line 1: Line 1:
Situated in [[Wimbledon, London|Wimbledon]], the '''Buddhapadipa temple''' was the first [[Buddhism|Buddhist]] [[temple]] to be built in the [[United Kingdom|UK]]. It is home to monks and nuns, but welcomes visitors of any faith to view the grounds and temple as long as they are respectful.
Situated in [[Wimbledon, London|Wimbledon]], the '''Buddhapadipa temple''' was the first Thai [[Buddhism|Buddhist]] [[temple]] to be built in the [[United Kingdom|UK]]. It is home to monks and nuns, but welcomes visitors of any faith to view the grounds and temple as long as they are respectful.


Its white exterior walls are put into contrast by the red and gold colours of the roof and decorations of the frames of the windows and doors.
Its white exterior walls are put into contrast by the red and gold colours of the roof and decorations of the frames of the windows and doors.


Inside the temple hall though, the walls are covered with paintings showing the life of the [[Gautama Buddha|Buddha]]—from his birth to his death. There are pictures of his birth in Lumbini ([[Nepal]]), his renunciation, his [[Bodhi|enlightenment]], and finally his death. The main doorway leading out from the shine room has a grand painting of the Buddha [[meditation|meditating]] to reach enlightenment, directly above it. On the right side of the Buddha are angry [[Mara (demon)|Mara]], trying to disrupt the Buddha, and distract him from reaching enlightenment. On the left side of the Buddha are the Mara looking more subdued, and respectful. The name 'Mara' means delusion. They are like this because the Buddha has reached enlightenment, and they could not distract him. There are two sides of the Mara shown, and this is reflected below, where on the left side of the doorway an angry eye can be seen, with a mouth that looks evil. On the right side of the doorway, there is an eye that looks more gentle, and the mouth does not curve in such a way that it looks angry. It symbolises the fact that when you go out into the world, you are entering a world full of evil, and you are leaving a spiritual world.
Inside the temple hall, the walls are covered with paintings showing the life of the [[Gautama Buddha|Buddha]]—from his birth to his death. There are pictures of his birth in Lumbini ([[Nepal]]), his renunciation, his [[Bodhi|enlightenment]], and finally his death. The murals were painted by artists Chalermchai Kositpipat and Panya Vijinthanasarn in a surreal style using brilliant colors that, at first glance, seems very unlike classical Thai painting. However, they revive the tendency found in traditional Thai mural paintings to situate episodes from Buddhist myth into scenes populated with figures and objects from contemporary life. The murals were started in the 1980s, and among the many figures in the scenes are portraits of Mother Theresa and Margaret Thatcher, as well as the temple's patrons and the artists themselves.


The main doorway leading out from the shine room has a grand painting of the Buddha [[meditation|meditating]] to reach enlightenment, directly above it. On the right side of the Buddha is the angry figures of [[Mara's (demon)|Mara]] army, trying to disrupt the Buddha, and distract him from reaching enlightenment. The name 'Mara' means delusion. On the left side of the Buddha is the army of Mara looking more subdued and respectful. They are like this because the Buddha has reached enlightenment, and they could not distract him. Just above the doorway is the figure of Nang Thoranee, the earth goddess. During the climax of Mara's assault, the Buddha touches the earth with his hand. The earth goddess appears to bear witness to the merit the Buddha has accumulated in his many lives, and the water she squeezes from her hair washes away the armies of Mara.
Also in the room is a great shrine built for the Buddha. There are three statues of the Buddha in it; the back one is black, the middle statue is gold, and the front statue is green and smaller than the other two. The green statue is only a copy of a much more valuable statue—the Jade Buddha. The gold statue is not real gold, because that would prevent the Buddhists from touching it; if they did it would break the tenth precept of refraining from touching gold; this is 20 to 30 years old. Lastly, the black statue is the most valuable of the three; it is 800 to 900 years old. These statues are surrounded by candles and other decorations.

Also in the room is a great shrine built for the Buddha. There are three statues of the Buddha in it; the back one is black, the middle statue is gold, and the front statue is green and smaller than the other two. These statues are surrounded by candles and other decorations.


Also within the grounds are a house, pond, and several bridges. In the gardens signs are stood, each sign giving a message of wisdom to those who stop to read them.
Also within the grounds are a house, pond, and several bridges. In the gardens signs are stood, each sign giving a message of wisdom to those who stop to read them.


===Further reading===
* Sandra Cate, ''Making Merit, Making Art: A Thai Temple in Wimbledon'' (2003) University of Hawai'i Press ISBN 0-8248-2357-5


==External links==
==External links==

Revision as of 21:53, 12 June 2008

Situated in Wimbledon, the Buddhapadipa temple was the first Thai Buddhist temple to be built in the UK. It is home to monks and nuns, but welcomes visitors of any faith to view the grounds and temple as long as they are respectful.

Its white exterior walls are put into contrast by the red and gold colours of the roof and decorations of the frames of the windows and doors.

Inside the temple hall, the walls are covered with paintings showing the life of the Buddha—from his birth to his death. There are pictures of his birth in Lumbini (Nepal), his renunciation, his enlightenment, and finally his death. The murals were painted by artists Chalermchai Kositpipat and Panya Vijinthanasarn in a surreal style using brilliant colors that, at first glance, seems very unlike classical Thai painting. However, they revive the tendency found in traditional Thai mural paintings to situate episodes from Buddhist myth into scenes populated with figures and objects from contemporary life. The murals were started in the 1980s, and among the many figures in the scenes are portraits of Mother Theresa and Margaret Thatcher, as well as the temple's patrons and the artists themselves.

The main doorway leading out from the shine room has a grand painting of the Buddha meditating to reach enlightenment, directly above it. On the right side of the Buddha is the angry figures of Mara army, trying to disrupt the Buddha, and distract him from reaching enlightenment. The name 'Mara' means delusion. On the left side of the Buddha is the army of Mara looking more subdued and respectful. They are like this because the Buddha has reached enlightenment, and they could not distract him. Just above the doorway is the figure of Nang Thoranee, the earth goddess. During the climax of Mara's assault, the Buddha touches the earth with his hand. The earth goddess appears to bear witness to the merit the Buddha has accumulated in his many lives, and the water she squeezes from her hair washes away the armies of Mara.

Also in the room is a great shrine built for the Buddha. There are three statues of the Buddha in it; the back one is black, the middle statue is gold, and the front statue is green and smaller than the other two. These statues are surrounded by candles and other decorations.

Also within the grounds are a house, pond, and several bridges. In the gardens signs are stood, each sign giving a message of wisdom to those who stop to read them.

Further reading

  • Sandra Cate, Making Merit, Making Art: A Thai Temple in Wimbledon (2003) University of Hawai'i Press ISBN 0-8248-2357-5