{'fraction_non_alphanumeric': 0.018979057591623036, 'fraction_numerical': 0.0, 'mean_word_length': 4.947470817120623, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Crowned Buddha images of Lanna kingdom and "contamination by Mahayana" paradigm

The study is a continuation of a series of articles that provide a critical analysis of the dominant paradigm in Buddhist Studies, which links the emergence of the crowned Buddha image with the relatively late ideas of the Mahayana. The existence of the image in the Theravada world is explained from this point of view by the "contamination” from the Great Vehicle. The article shows the difficulties faced by this concept, which is forced to explain the transition from the "early” image in the guise of a monk by referring to the custom of decorating existing statues with real jewelry. In this regard, the author explores the features of the demonstration of monastic robe in combination with royal regalia in Buddhist iconography, from Indian samples of the Pala to the Khmer type of image. It is shown that, contrary to the widespread point of view, the traditional arrangement of jewelry is not on top of the monastic vestments, but under it, which cannot be explained in principle on the basis of said custom. Since the monk's clothing is thought of as an obstacle that prevents one from seeing the features of the supernatural anatomy of the Buddha and the signs that distinguish him as a Great Man, it is depicted as an almost invisible transparent cover, which ultimately "disappears" in images with a "naked" torso, where only barely noticeable lines on the body indicate the invisible presence of monastic robe. The practice of making crowned Buddha images in the Lanna kingdom, following this tradition, turns a reception with decorations partially hidden by a monk’s clothes into a kind of "manifestation” that the symbolism of the image is much deeper than the simple transformation of a temporary addition into a permanent attribute. An analysis of the adornments allows us to conclude that they have no obvious Indian prototypes and a conscious choice of a special type of regalia of the highest royal power, referring to the narrative about the relationship between the Buddha and the Cakkavatti. In connection with this narrative, the crowned image appears, on the one hand, as a symbol of the subordination of secular power to the goals proclaimed by the Buddhist teaching, on the other hand, as an monographic embodiment of the model of power, which allows reconciling the imperial ambitions of the rulers with the ideals of Buddhism. The article also formulates a hypothesis about the "re-Indianized” style of the Lanna crowned Buddha images, that is, the formation of this style as a result of reconstruction based on texts devoted to Indian iconography, as well as available samples, presumably originating from Srivijaya, which reveal traces of influence from both north-east and south of India. Based on the analysis of one of the provincial types of the crowned Buddha, it is shown how the image acquires local ethnic features, absorbing traditional cults and becoming a symbol of national self-identification, protection of the path of ancestors.