$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$$ BUDDHA $ $ $ $ $ $$ if you find the ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $      N))))))))))))))))))))))n      $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ BUDDHA ;$$ $ $ $ $$ if you find the $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $$ Photographs by Jesse Kalisher $ $ $$ Foreword by Jeff Greenwald $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ ;$$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $      ; $ $ $; $ $ $; $ $ $; $ $ $; $ $ $; $ $ $; $ $ $; Photographs and introduction copyright © 2006 by Jesse Kalisher. $ $ Foreword copyright © 2006 by Jeff Greenwald. All rights reserved. $; No part of this book may be reproduced in any form without written $ $ permission from the publisher. $; $ $ $; Library of Congress Cataloging-in-Publication Data available. $ $ $; eISBN 978-1-4521-1375-3 $ $ $; $ Designed by Celery Design Collaborative $ $; $ Chronicle Books LLC $ $; 680 Second Street $ $ San Francisco, California 94105 $; www.chroniclebooks.com $ $ $; $ $ $; $ $ $; $ $ $; $ $ $; 4 $ $ $; $ $ $; $ $      N))))))))))n for Helen: You are my muse. Your love, your talent, and your never-ending belief in me made this book possible. I am, as always, madly in love with you. N))))))))))n 5      + $+ $ + $ $ $ $ + $+ $ $ $ + $+ Foreword $ $ $ $ $ + $+ $ $ $ + $+ $ $ $ $ $ + $+ $ $ N))))))))))n $ + $+ $ $ $ $ $ + + $ Some time ago, walking down a street in Istanbul, I $ $ $ + $+ $ $ came upon a riveting sight. It was the Turkish version $ + $+ $ $ of a shoeshine stand: a gleaming, multilevel plat- $ $ $ + $+ form of polished brass, like something right out of The $ $ $ + $+ Time Machine.The base of the stand was decorated $ $ $ $ $ + $+ with images in ornate gold frames. Two of them caught $ $$+ my eye: a portrait of the Virgin Mary and, beside her, $$ + $ $ $ a luscious pinup of Marilyn Monroe. The dissonance $ + $+ $ $ was shocking—like seeing the pope pulling from a $ + $+ $ $$ hip flask. $$ + + $ $ $ It occurred to me, then, how inhibitingreligious $ + $+ $ $ figures can be. Stumbling upon them, in images or in $ + $+ $ $ the flesh, can create an immediate sense of awkward- $ $ $ + $+ ness, the same gnawing self-consciousness one feels $ $ $ + $+ when driving alongside a patrol car. $ $ $ $ $ + $+ A Buddha image, on the other hand, never feels $ $ $ + $+ intrusive. Its appearance may seem ironic if one $ $ $ $ identifies him merely as the antithesis of the material $ + $+ $ $ $ + $+ $ $ $ 6 $+ $ + $ $ $ $ + $+ $ $ $ + $+ $ $ $ $ $ +      N))))))))))))))))))))))n world. But for many, especially of course throughout spoke wheel (a reminder of the Eightfold Path to lib- Asia, he’s a far more complex symbol. The Buddha eration), and the Bodhi tree (a ficus religiosa,which doesn’t simply represent a non-grasping state of sheltered the meditating Buddha). mind; he reminds us that everything we’re experi- As the centuries passed, though, a couple of encing, right here and right now, is exactly as it things happened. First, traffic along the Silk Road must be—and utterly transitory. The only way to brought artists and techniques from the Greco-Roman avoid suffering (i.e., wishing things had been better world to the Indian subcontinent—specifically to in the past, or that they will be better in the future) Gandhara, in what is now northern Pakistan. The is to inhabit the present moment with our entire legendary Buddha was an irresistible subject. Most being—whether we’re caught in traffic, running a Asian art collections have examples of these third- bank, or spinning a hula hoop. and fourth-century Buddhas. Tall, imposing, and The most ironic thing about Buddha images is sporting neat moustaches, they look more like Greek that they exist at all. Buddha himself forbade any matinee idols than Nepal-born sages. likenesses of him—and for half a millennium his The reason these images endured is that directive was honored. His presence was symbol- Buddha’s followers began to get restless. It’s no ized not by the image we know today but by evoca- wonder; anyone who has visited the Indian sub- tive symbols. These included the lotus (which is continent is aware of how seductive her gods and rooted in muck but blossoms into purity), the eight- goddesses can be. Take Laxmi, with her opened 7      N))))))))))))))))))))))n hands dripping gold coins, or Shiva, with the drum with tough-love teachings) is that Siddhartha of creation in one hand and flames of destruction Gautama, the historical Buddha, was nota god. He in the other. And who can resist elephant-headed was a human being—a guy who worked hard, med- Ganesha, Remover of Obstacles, gesturing with itated with conviction, and transcended the snares one hand while the other palms his favorite snack? of desire and attachment. A wheel, or even a tree, has nothing on these On the other hand, he’s a great visual. I mean, guys. If Buddhism wanted to stay on the map, it had here’s a guy sitting down, eyes half-closed, in a state to offer its followers an image they could identify with. of total relaxed awareness. In one traditional mudra On one hand, this was a mistake—the first step his fingers are entwined, teaching; in another, he’s toward turning Buddha into a god, and Buddhahood touching the Earth, inviting the planet itself to witness into a divine state, beyond the reach of humans. I his awakening. His face, half-smiling, has the hypnotic think Buddha himself would have been perturbed effect of a cloudscape. It’s virtually impossible to (as much as Buddha was ever perturbed) by the look at a Buddha for any length of time (including sight of people praying to his image; idol worship those fat, laughing Buddhas, who actually depict the was one of the bad habits he was trying to quell in Zen beggar-monk Hotei) without feeling a sense of ancient India. Not only that, treating Buddha as a calm and well-being. god undermines his whole achievement. The most That’s certainly the feeling that arises from encouraging thing about Buddhism (which brims Jesse Kalisher’s photographs. As with a lover—or a 8      N))))))))))))))))))))))n close relative, or good friend—meeting the Buddha course; as correct as a decorative candle, with a wick is always a welcome surprise. Like those familiar coming out of his head, as in a sun-washed temple. faces, it snaps us back to what’s truly important: Every image in this book provokes a different the joy of community, the value of kindness, and response—but all potentially bring us to the same the benefits of being focused and engaged, what- understanding. Maybe that’s why my personal ever our enterprise. favorite is the photograph of the little girl with the These are principles we can stand to be hula hoop. It reminds me of a teaching delivered to reminded of, over and over again, as we navigate me in a fortune cookie, following a dish called this baffling human realm. And binding them Buddha’s Delight: together is a central mystery, revealed to very We dance in a circle and suppose The truth sits in the center, and knows. few—but known with absolute clarity by the Buddha. It’s the mystery of why our conduct in this world matters, and what role—if any—we are meant to fill —Jeff Greenwald in the cosmos. Colombo, Sri Lanka This, too, is what the Buddha represents: the common denominator of our collective awareness, in all its riotous forms. That’s why he’s as appropriate around the neck of a Thai soldier as he is on a golf 9