Three Ramayana, Rama Jataka, and Ramakien: A Comparative Study of Hindu and Buddhist Traditions

Three Ramayana, Rama Jataka, and Ramakien: A Comparative Study of Hindu and Buddhist Traditions

In the history and literature of religions few stories have been told as many different times in as many different ways as the story of Rama. For at least two thousand years—and probably longer—various versions of the story have been told in India and Sri Lanka; for over a thousand years—and probably much longer still—these and other versions have been told in Central and Southeast Asia, in China and Japan. Now, increasingly, the story is being told in the West as well.[1]

The story of Rims has been recited, sung, and commented on by bards, priests, and monks. It has been dramatized and danced in royal courts and in rustic villages. It has been depicted in the sculpture and art of innumerable temples in capital cities and faraway provinces. Its characters have been the subjects of worship, and the events that the story recounts have been associated with famous places that mark the geography of various locales.

What is more, certain episodes in the story have been singled out, taking on special significance in particular contexts. Segments of the story have been presented in order to evoke religious devotion, to glorify royal sponsors (often in direct opposition to other royal competitors), to inculcate moral values, to express and cultivate aesthetic sensitivities, and—perhaps most of all—simply to provide popular entertainment. Particular segments of the story have also been performed for other less obviously related purposes. For example, in certain very popular rituals in southern Thailand the enactment of certain episodes from the Rama story (most notably that in which Rama kills Ravana) serves as a substitute for the performance of animal sacrifice.[2]

For the most part the story of Rama has been presented and interpreted as a Hindu story told primarily in Hindu contexts. And there is some justification for this emphasis. Certainly it is within Hinduism that the Rims story has had its most elaborated and sophisticated tellings and has exercised its greatest popular appeal. This emphasis, however, tends to throw into the shadows the possibility, already raised in Ramanujan's essay, that the story of Rama is better understood as an Indian/Southeast Asian story that has been crystallized (to use his image) in the context of a variety of religious traditions including, but not limited to, Hinduism.[3]

I propose here to consider the religious structure of the classical Rama stories belonging to the Hindu tradition, and the parallel but contrasting religious structure of the classical Rama stories that belong to the tradition of Theravada Buddhism.[4] With this background established, I will go on to raise a fundamental question concerning the great tradition of Rama narratives that has been prominent in Thailand at least since the late eighteenth century. Is this so-called Ramakien (Glory of Rama) tradition essentially Hindu in character, as many scholars have presumed? Or is it—as one might expect given its sitz im leben in Thailand—essentially Buddhist? It is my hope that by exploring this question we will gain a better understanding not only of the relevant literary texts but of the correlated forms of dance, sculpture, and painting as well.[5]

Concluding Comments

When the literary, performative, iconic, and cultic aspects of the Ramakien tradition are all taken fully into account, it is necessary to conclude that this rendition of the Rama story—at least since its reformulation in the late eighteenth century—tilts more toward Buddhism than Hinduism. In fact, I would go still further and claim that the Ramakien crystallizations generated by King Rama I and his successors represent a third classical type of Buddhist-oriented Rama story that should be considered alongside the first type presented in the Dasaratha Jataka and the second type represented by the Phra Lak/Phra Lam tradition.

To be sure, the Ramakien versions of the Rama story do not exhibit the full-fledged Buddhist structure characteristic of earlier Buddhist tellings. Nowhere is the story attributed to the Buddha or presented as an account of events associated with one of his previous lives, nor does it occur in the kind of cosmogonic context that Buddhists traditionally affirm.[31] However, it is a tradition which self-consciously sets the Rama story in explicitly Buddhist contexts, thereby giving it an explicitly Buddhist significance. In the literary and performative strand of the tradition, the Buddhist significance remains relatively muted and largely audience-dependent. In the iconic and cultic strand, the vision of Rama as a royal hero who embodies Buddhist values is vividly portrayed for all to see. Coexisting and subtly interacting, these two strands of the Ramakien tradition have, over the past two centuries, maintained the story of Rama as an integral, Buddhist-oriented component in Thai religion, culture, and politics.

by: Frank E. Reynolds
Sumber: UC Press E-Books Collection, University of California Press.
URL: publishing.cdlib.org/ucpressebooks/view?docId=ft3j49n8h7&chunk.id=d0e3418&toc.depth=100&toc.id=d0e3418&brand=eschol

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