The Buddha rises from his coffin to speak with his mother following his death. This anonymous hanging scroll painting belongs to the Kyoto National Museum.

Preface and Story

The story of the future Buddha’s birth is one of the most familiar across the Buddhist world. The place of his mother in it is tragic. Mahamaya (or just Maya) died shortly after giving birth, and her child was to be raised by her sister and his adoptive mother, Mahaprajapati Gautami. The miraculous conception of the future Buddha is also one of the most familiar across the Buddhist world: Mahamaya’s pregnancy was the result of a dream that she had about a white elephant.

That dream is mentioned in the story here about Mahamaya’s descent from heaven, where she had been reborn, to see the body of her son in its coffin. Mahamaya finds his body lying under Sala trees, the kind of tree under which she had given birth to him. The Buddha rises from his coffin to speak with his mother one last time.

This story is from a Chinese Buddhist scripture, the Mahamaya Sutra, and the striking scene in it may be unique in Buddhist literature. There is no version of the story in Sanskrit or Tibetan, but it was widely known in China and Japan. In the record of his pilgrimage to India, the 7th-century Buddhist monk Xuanzang recounts this story when he tells about his visit to Kushinagara, the town where the Buddha died.

At that time, Maya, in heaven above, saw the five signs of decay: one, the wilting of the flowers on the head; two, the sweating under the arms; three, the extinguishing of the corona; four, the frequent blinking of the eyes; and five, not enjoying the original seat. She also had five horrible dreams in the night.

One, she dreamed that Mount Sumeru collapsed and that the water of the four seas dried up.

Two, she dreamed that demons holding knives were vying to poke out the eyes of all living beings. Then, a dark storm came, and the demons all ran home to the snowy mountains.

Three, she dreamed that the gods of the desire and form realms suddenly lost their jeweled crowns. They had cut off their own gems and and were not at peace in their original seats. Their bodies were without radiance, like lumps of ink.

Four, she dreamed that the king of wish-granting jewels was above a tall banner and was raining down jewels to all around. Four fire-breathing evil dragons blew the banner down and inhaled the wish-granting jewels. A fierce wind of sickness and evil blew and submerged them into the abyss.

Five, Mahamaya dreamed that five lions came down from the sky and bit her breast, entering on her left side. Her body and mind ached as if she had been stabbed with a sword.

After Mahamaya had seen these dreams, she was suddenly startled awake, and she spoke these words:

“What I faced happened in my sleep. Suddenly, I saw these inauspicious events that caused my body and mind extreme anguish. Long ago I was in the pure royal palace, and I fell asleep during the day and had a strange dream. I saw a god with a golden body riding a white elephant king. Wondrous music came from the gods. The essence of this day-vision entered my right side. My body and mind were at ease, joyful, and without pain or worry. I then became pregnant with Prince Siddhartha, who illuminated the family line as the light of the world. Now, these five dreams were extremely frightening. They must be bad omens that my son Shakyamuni, the Thus Come One, is entering complete nirvana.”

She then turned toward the other gods and spoke at great length about the events she had seen in her dreams.

At that time, Worthy One Aniruddha, who had seen the encoffined corpse, the body of the Thus Come One, ascended to Trayastrimsa Heaven. He went to where Mahamaya was and spoke these verses:

The great teacher, the most excellent god among gods,
the virtuous guide in all the worlds,
has now been swallowed up by that sea of impermanence,
the great fish sea monster.
He is in Kusinagara in Magadha,
Between the twin trees in the sala grove.
Before long, he will leave the city’s eastern gate.
There are various offerings and a funeral pyre.
The assembly brims with gods, humans, and eight kinds of beings.
The cries shake the billion worlds.

After Aniruddha had spoken these verses, he went back down to the place of the Thus Come One’s coffin.

When Mahamaya heard these verses from Aniruddha, she fainted and fell to the ground. The goddesses sprinkled cold water on her face, and after a while, she was revived. She pulled out her hair and cut off all her adornments. Moved to tears, she said these words:

“Last night, I had five bad dreams. They must mean that the Buddha is entering nirvana. Now, as a result, I have seen Aniruddha, who came to say that the cessation is between the twin trees. Before long, I should go to the funeral pyre. Oh, what suffering! The eye of the world has passed into extinction. Oh, what sickness! The fortune of humans and gods is exhausted.

In former days, I was in the pure palace. Seven days after giving birth, I reached the end of my life. In the end, I did not raise him or nurture our affection as mother and son. I entrusted this to Mahaprajapati, made her his aunt-mother, and her milk nourished him. When he grew up and reached the age of nineteen, and he crossed the city walls in the middle of the night and left. The entire palace, inside and out, was grieved. Since achieving the Way, he has opened the wisdom eye of the world and protected all like a compassionate father. How can it be that he must enter nirvana so soon? The burden of impermanence is extremely cruel, and it could harm my child of true awakening.”

Then, amid the assembly, she spoke these verses:

For immeasurable eons
we have always been together as mother and son.
Since you achieved true awakening,
these conditions were forever severed.
Furthermore, in this moment,
you are entering complete nirvana.
It is like a tall, great tree:
a flock of birds rely on it and roost there,
each departing at dawn
and returning at dusk to gather.
Together with you, as mother and son,
we have been at the tree of birth and death.
Since achieving the result of the Way,
you have long severed these original roots.
Furthermore, you are reaching complete extinction.
There will be no more occasions of coming together.

Having spoken these verses, Mahamaya wept and was overcome by anguish.

Surrounded by her retinue of numberless goddesses, who created wondrous music, burned incense, scattered flowers, and chanted praises, she came down from the sky to the site of the twin trees. After arriving among the Sala trees, she saw the Buddha’s coffin from afar, and she fainted and was overcome by anguish. The goddesses sprinkled water on her face, and only then was she revived.

Before arriving at the site of the coffin, she bowed her head and paid her respects. With tears falling in sorrow, she said these words:

“In the past, for innumerable eons, we have long been mother and son and have not been separated. From now on, there will be no more occasions of seeing each other. Oh, the suffering! The merit of all beings is exhausted. Now they will be in delusion. Who will be their guide?”

Then, she scattered divine mandara flowers, mahamandarava flowers, manjusaka flowers, and mahamanjusaka flowers on the coffin and spoke these verses:

Now, between these twin trees
are many gods, nagas and eight kinds of beings.
There is only the sound of weeping,
no one knowing what to say.
Like parrots that squawk in confusion,
they cannot get the words out.
Crowded together on the ground
like birds with broken wings,
they cannot get up and fly toward
the nirvana grove of the Thus Come One.
For vast eons, they have gathered affection
like cataka birds.
Now, the wind of impermanence
sends them to various places.
Living beings in suffering
yearn for the sweet dew of Dharma
like jialanti birds
who long for heavenly rain.
Why must it be now
that he enter nirvana?
His body is hidden in a heavy coffin.
I do not know what comes next for me.

After Mahamaya spoke these verses, she turned and saw the Thus Come One’s patchwork robe and alms bowl together with his staff. Holding them with her right hand, she clapped her head with the left. Her whole body fell to the ground like a crumbling mountain. Her cries of grief subsided, and she said these words:

“In days gone by, my son held these, spreading merit in the world for the benefit of gods and people. Now, these things are empty, without an owner. Oh, the suffering! The pain is unspeakable.”

The eight types of beings and the fourfold assembly saw Mahamaya’s sorrow. It doubled their feelings of sadness, and their tears fell like rain, which Indra transformed into a flowing river.

In that moment, the World Honored One used his great supernatural powers to make all the coffin’s coverings open of themselves. He emerged from the coffin with hands in prayer. Like a lion king first coming out of its cave, he was energized and strong. A thousand beams of light shone from the pores of his body. In each and every beam of light were a thousand transformation buddhas, all pressing their palms together in Mahamaya’s direction. In a pure, gentle voice, they greeted his mother, saying,

“You have descended from afar here to Jambudvipa. I wish that you who practice the Dharma would not weep.

Then, on behalf of his mother, they spoke these verses:

Among all the fields of merit,
the Buddha’s field of merit is best.
Among all women,
the treasure among women-jewels is best.
Now, the mother who gave birth to me
is most excellent, incomparable.
She can give birth in the three worlds
to the Buddha, Dharma and Sangha treasures.
For this reason, I have arisen from my coffin
with hands together in joyous praise.
Gratitude from kindness received
has taught me filial affection.
Though buddhas pass into extinction,
the Dharma and Sangha treasures always abide.
I wish that my mother would be without sorrow
and would clearly perceive the unexcelled practice.

After the World Honored One had spoken these verses, Mahamaya was a little comforted. Her face became delighted, like a lotus flower in bloom.

In that moment, Ananda had seen the Buddha rise up, and he had also heard his words in verse. With tears falling and choked words, he restrained himself, pressed his palms together, and spoke to the Buddha:

“In the subsequent age, living beings will surely ask me about the time when the World Honored One was approaching complete nirvana. What do I say? How shall I respond to them?”

The Buddha proclaimed to Ananda, “You should answer in these words: ‘After the World Honored One had entered complete nirvana, Mahamaya came down from heaven to the site of the golden coffin. At that time, the Thus Come One, for the benefit of unfilial living beings of future generations, emerged from his golden coffin like a lion king, strong and energized. From the pores of his body shone a thousand beams of light. In each and every beam of light were a thousand transformation buddhas, all pressing their palms together in Mahamaya’s direction. Altogether, they spoke the verses mentioned above.’”

Ananda also said, “What should this sutra be called? How should we hold it in the mind?”

The Buddha proclaimed to Ananda, “Previously, I ascended to Trayastrimsa Heaven and preached the Dharma for my mother, and Queen Mahamaya also had something to preach herself. Now, furthermore, we are seeing each other here as mother and son. For the benefit of living being of future generations, you can expound this sutra in turn. It is called the Mahamaya Sutra, also known as the Dharma Sutra on the Buddha Ascending to Trayastrimsa Heaven on Behalf of His Mother or the Sutra of Mother and Son Seeing Each Other as the Buddha Approaches Nirvana. Hold it in the mind this way.”

Having spoken these words, the World Honored One bid farewell to his mother, and spoke these verses:

What I was born with has been exhausted.
The pure practices have long been established.
What was created has all been done.
I will take no further existence.
I wish that my mother is comforted
and that she need not suffer and grieve.
All phenomena are impermanent
and abide in this Dharma of arising and ceasing.
Since arising and ceasing have ceased,
serene cessation is the highest joy.

Translated from Chinese for this website by Georgia Kashnig.

The story was read by Georgia Kashnig.

Resources for
Reflection

There are many ways to read a text, just as there are many ways to spend time with a good friend. Included here are a variety of resources for reading and reflection. They are like conversation-starters meant to facilitate an encounter between a reader or readers and a text.

Each of the activities can be used to read any one of the stories. Additionally, the same activity can be used to read the same story on separate occasions. If you are reading alone, treat the prompts as opportunities for individual reflection, journaling, or meditation. If you are reading in community, use the prompts as jumping-off points for group discussion.

Feel free to modify any activity based on your own interests and accessibility needs, or to create your own! 

Read through the text, either silently or aloud. Then, turn your mind to the experience you just had. What is memorable for you? What was especially moving or touching? Was there anything that you found yourself resisting or something that was particularly challenging? Do you have any lingering questions? If you have a religious or spiritual practice, do you have a sense of how the text might be of benefit to that practice?

In his introduction to Stirring and Stilling: A Liturgy of Cambodian Dharma Songs, Trent Walker quotes the female Cambodian lay priest Koet Ran as saying, “Dharma songs stir us and still us if we have affinity for the Dharma” (2011, 6).

In Buddhist teaching, “stirring” (Pāli: saṃvega) refers to an unsettling experience caused by the shock of impermanence. “Stilling” (Pāli: pasāda) is a settling of the mind or heart, a feeling of resolution, joy or equanimity.

Read through the text. Then, reflect: What stirs you? What stills you?

Further reading: Walker, Trent. 2011. Stirring and Stilling: A Liturgy of Cambodian Dharma Songs, http://www.stirringandstilling.org. 

Read through the text, either silently or aloud. Then, imagine yourself into the world of the text and tell the story, or a particular moment in the story, from a different point of view. You might focus on the viewpoint of a certain character, explore something that is not explained in the text itself, or re-tell the story in your own way. This activity can be done in written form (prose, poetry, script, interview, etc.), as an embodied practice (a play, a dance), or through any other medium. Be creative!

If you are working in a group, make space for each person to share what they have created, if they wish.

Afterwards, reflect on the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions? 

Read through the text, either silently or aloud. Then, formulate a question about something that takes place within the world of the text. You might focus on a moment that surprised you or on something that the text does not explain fully. For this activity, the best questions are ones that do not have clear answers but have a variety of possible answers.

Brainstorm possible answers to your question, taking time to contemplate how any given answer might shift your understanding of the story. If you are working in a group, take turns sharing your questions and offering possible answers or interpretations. 

Buddhist texts come to us from times long ago, but that doesn’t mean they can’t be put in conversation with our world today. In this activity, read one of the Buddhist stories alongside a contemporary work that addresses the topic of gender.

After exploring the contemporary work, summarize or discuss key insights or impressions. Then, read the Buddhist text with attention to the ideas that you just explored. Does anything jump out to you now as you read, perhaps that you hadn’t noticed before? Do you have lingering questions about how gender appears in the text, or about how the contemporary work relates to the Buddhist text?

Some suggestions for contemporary sources on gender:

For this activity, it can be helpful to listen to the text rather than to read it. You might listen to the recording or, if you are working in a group, invite one person to read the text aloud.

As you listen to the text, close your eyes (if you feel comfortable doing so) and imagine yourself into its world. Perhaps you imagine yourself as a particular person in the story, named or unnamed, or simply as an observer.

As the story unfolds, pay attention to your sensory experiences. What do you hear? What do you smell? What do you see? What can you touch, or taste? What information about this world can you gather through your senses?

Afterwards, share your experience with your group, or use your experience as a prompt for individual reflection. Then, consider the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions? 

Print out the text onto a piece of paper. Then, use scissors to cut out the individual lines so that each sentence or phrase is on its own slip of paper (in the case of longer texts, choose a shorter section for this activity). Place the slips of paper on a surface with the words facing down so that you cannot see what is written on them.

If you are working alone, choose three slips of paper and place them one below the other in the order you pulled them. If you are working in a group, invite each person to choose a slip, and then place them one below the other in the order they were pulled. If your group is large, you may want to split up into groups of three to five people for this activity.

Read your new text aloud three times or invite each person in the group to read it aloud in turn. Then, reflect on the meaning of your “found poem.” What jumps out at you when you focus on these particular lines? Does the order in which they appear suggest any new meanings? Does the poem invoke new questions, surprises, or delights?

If you are working in a large group, come back together and share your “found poems” with each other. 

Read through the text, either silently or aloud. Then, take some time to reflect on what you have learned from a character in the text, named or unnamed, and to draft an expression of appreciation or gratitude for that person. You might write a letter, a poem, or choose any other medium. Feel free to be creative!

If some guidance is helpful, the following three-part blessing is a place to start:

  1. An expression of thanks (i.e., “Mahaprajapati, thank you for…”)

  2. An acknowledgement (i.e., “You have taught me…”)

  3. A wish for the future (i.e., “May the world know your teachings.”)

If you are working in a group, allow time for each person to share their expression of gratitude, if they wish. 

This activity is best done in a group.

Invite someone in your group to read the text aloud. Then, as a group, choose a particular person in the story whose perspective you will focus on for the duration of the activity. If the story is long, you may also want to choose a particular moment to explore from this person’s point of view.

As a group, brainstorm a list of emotions that you think capture something about the experience of this person (emotions are words like: joyful, awed, grieved, tired, calm, etc.). If you have a whiteboard or large piece of paper, it is helpful to write the list down or to ensure in some other way that everyone in the group has access to the list.

Break up into small groups of three or four people. In your small group, choose one word from the list and create a “body sculpture” that illustrates that emotion in some way. The sculpture should not act out the story itself; it should be a creative or associative interpretation of the word. For example, if your group chose “joyful,” you might depict a scene where a person is picking up a loved one from an airport. Make sure that everyone who wants to participate is included in the sculpture. Each body can represent a person, an object (i.e., a suitcase), an energetic force (i.e., wind), or anything else that occurs to you. Be creative! Be silly! Have fun!

Come back to the larger group and invite a small group to share their “body sculpture.” Treat this sculpture as its own sacred text. Reflect together: What do you notice? What sensations or emotions arise in you when you observe the sculpture? What insights, opportunities, surprises, or questions does it inspire? How might you incorporate these insights into your understanding of the written text?

Allow space for each group to share their “body sculpture,” if they so wish, and to reflect together on their insights and opportunities for interpretation.

Finally, reflect on the activity as a whole. Was it difficult or easy? Was it similar or different from ways that you usually read? Did you gain any insights? Do you have any lingering questions?

Further reading:

Boal, Augusto. 1992. Games for Actors and Non-Actors. Rranslated by Adrian Jackson. London: Routledge.

Rue, Victoria. 2005. Acting Religious: Theatre as Pedagogy in Religious Studies. Cleveland: The Pilgrim Press. 

This activity brings two texts in conversation with each other. You might choose texts that you have read on other occasions so that you already have some familiarity with the stories, or you could use completely new stories.

Read through each of the two texts, either silently or aloud. Then, investigate: How do these texts relate to one another? Do they offer different insights into a particular person? Does one pick up the story where the other leaves off? Does one text make you interpret the other differently? Are the moments where the texts use similar language? What insights, questions or delights arise from their juxtaposition? 

Background
Resources

  1. Sumeru, Mount.  In traditional Buddhist cosmologies, Sumeru, also known as Meru, is the mountain that stands at the center of the world.

  2. Prince Siddhartha.  The personal name given to the future Buddha at birth in its Sanskrit form.  Translated literally, it means “One whose aims have been fulfilled.”

  3. Thus Come One. A translation in English from the Chinese of the Sanskrit (and Pali) epithet Tathāgata, given to the Buddha after his awakening.   While the Sanskrit and Pali could be rendered as “Thus Gone One” (as it often is in English translations, as well as “Thus Come One,” the standard Chinese translation is always “Thus Come One.”

  4. Aniruddha. Aniruddha is a younger cousin of the Buddha and thus Mahamaya is his aunt.  He is among the Buddha’s chief disciples.

  5. Trayastrimsa Heaven.  The name of a heaven in traditional Buddhist cosmologies.  The Buddha’s mother was reborn there after her death shortly after given birth to him and Buddhist literature includes different stories of the Buddha visiting her there to share hist teachings with her.  Trayastrimsa Heaven is where the future Buddha was before Mahamaya’s conception when he “descended” from there to her womb.

  6. Kushinagara.  Kushinagara (or Kushinara) is the place of the Buddha’s death and cremation.  The Buddha died in a grove of Sala trees in Kushinagara.  Kushinagara is one of the four most sacred places associated with the life of the Buddha, the others being Lumbini the place of his birth, Bodh Gaya, the place of his awakening, and Sarnath, the place of his first sermon.

  7. Magadha.  A great kingdom or empire at the time of the Buddha in northern India; Magadha was in what is today western Bihar.  The great kingdom of Magadha played an important role in the emergence and development of both Buddhism and Jainism as spiritual movements.

  8. JambudvipaIn traditional Buddhist cosmologies, one of four continents that surround Mount Sumeru (see above in this glossary).  Jambudvipa is the only continent where future Buddhas are born and it is the only continent where it is possible to become a Buddha.
  1. “five signs of decay.” The inhabitants of the heavens in traditional Buddhist cosmologies enjoy lives of extreme length and extreme pleasures but they are not immortal.  They do die but the reminders of mortality, that color human lives, especially sickness and death, are not experienced by them, dominated as the lives are by extraordinary pleasures.  The first appearances of decay, like body odor, portend that death is part of their lives too.  Here Mahamaya sees the five signs of decay not because of her own approaching death, but because of her son, a poignant indication of her enduring connection to him.

  2. “five dreams in the night.” In Buddhist cultures, just as in many cultures, dreams have a predicative quality that the prudent attend to.  Mahamaya knows that these dreams indicate the death of her son, but it is striking that at this moment, she remembers her dream of the white elephant, emphasizing that these five bad dreams are the inverse of that earlier dream, just as death is to birth.

  3. “gods of desire and form realms.” There are three strata in traditional Buddhist cosmologies, a realm of corporeal beings with desire, a realm of corporeal beings without desire, and a realm of beings with neither bodies nor desires.  Humans and gods of heavens like the Trayastrimsa Heaven (see the Glossary of Names for this story) live in the realm of desire together with many other kinds of embodied beings, including animals and the denizens of hells.

  4. “complete nirvana.” A Buddha experiences Nirvana at his Awakening (also called his Enlightenment.  After Awakening, his subjective experience of the world is profoundly transformed but his embodied existence continues.  At death, when his embodied existence ends, he thus experiences “complete nirvana.”

  5. “Eight kinds of beings.”  These are “superhuman” beings who inhabit the realm of desire with other embodied beings like humans, animals, the denizens of hells.  A list of these eight is commonly found among Buddhists in East Asia, only the first of which has even a rough analog in cosmologies that can be traced to ancient Greece and Rome and pre-Christian Europe:  gods, nagas, yakshas, gandharvas, ashuras, garudas, kimnara, and mahoragas.  These embodied beings are “superhuman” in so far as they have powers to act, like being able to fly or change shape, that humans do not have, but like all inhabitants of the realm of desire, they are mortal.

  6. “divine mandara flowers, mahamandarava flowers, manjusaka flowers, mahamanjusaka flowers.”  As “divine” flowers growing in heaven, these different varieties of flowers are of extreme beauty and perfection, but they can be connected to varieties of flowers that bloom in the world that humans know and tracing these connections can help us to visualize them with our minds’ eyes and also to trace cultural associations that deepen the significance of mentioning them in this story.   Manjusaka, for example, is a common name in the Buddhist East Asia for the Red spider lily (Lycoris radiata), pictures of which can be easily found on the Internet using Google Images.  The manjusaka flower has many cultural associations that are relevant to appreciating the mentioning of them in this story.  In Japan, for example, manjusaka flowers are used in funerals and their presence can portend that you will never see a particular person again. The manjusaka blooms only once a year, at a time in the autumn “when according to the Buddha’s teachings during the 7 days of autumn, the living can enter the world of the dead to meet their ancestors. This is also the time when Japanese people often visit and repair the graves of deceased ancestors.” (See: https://medium.com/@gamesbx7/red-spider-lily-%E5%BD%BC%E5%B2%B8%E8%8A%B1-painful-memories-79a3f4788292 [accessed 6 July 2024]).  The mandara is a hibiscus. The prefix maha on both mandara and manjusaka means “great” or “large,” and thus indicates another variety of these flowers distinguished by their size.

  7. cataka birds.” A mythical bird with a beak on the top of its head that awaits rain.

  8. jialanti birds.”  (迦蘭提 jialanti). This could be an alternative transcription of the kalavinka (迦蘭伽 jialanqie), a fabulous creature with a human head and a bird’s torso that has a beautiful voice. However, the passage suggests a meaning similar to the aforementioned cataka bird.  A reference to the Kalavinka bird is found in the story, “Gopa Stands in her Power.” 

The Mahamaya Sutra (Mohemoye jing 摩訶摩耶經; T. 383; the story translated here can be found at T383 1012a16-1013b13]) is comprised of two parts. In the first part, the Buddha ascends to Trayastrimsa Heaven to see Maya, where she has been residing since her death shortly after giving birth to Prince Siddhartha. In the second part, Maya descends from heaven to visit the site of the Buddha’s coffin. The selection of text here opens after the Buddha has passed into complete nirvana. 

While the translation of the Mahamaya Sutra is attributed to Tanjing (曇景), a translator who worked under the Southern Qi (479-502), the language of the text does not resemble Tanjing’s other attributed work, and so the providence of the text remains mysterious. There is no version of the story in Sanskrit or Tibetan, but it was widely known in China and Japan. Scholars have often cited the text’s theme of filial piety as evidence for the text’s original composition in China but it should be kept in mind, as Michael Radich has recently pointed out, that “the old stereotype that ‘filial piety’ was an innovation and monopoly of Chinese Buddhism may be based upon a superficial characterization of Indic Buddhism, and such considerations are therefore circumstantial at best” (Radich 2018: 11). 

The image found on the webpage with the story is from an eleventh-century Japanese scroll housed in the Kyoto National Museum. It shows the Buddha surrounded by humans, animals, and other types of beings rising up from his coffin. The light that surrounds him illustrates the beams of light emanating from his pores, and within that light are transformation buddhas. Maya and the Buddha are looking in each other’s direction. The full image can be viewed here: 

https://en.wikipedia.org/wiki/Shaka_rising_from_the_Gold_Coffin# (accessed 6 July 2024)

Durt, Hubert. 2007. “The Post-Nirvāṇa Meeting of the Buddha with Māyā in the Trāyastriṃśa Heaven: Examination of the Mahāmāyā Sūtra and its Quotations in the Shijiapu―Part I.” Kokusai bukkyōgaku daigakuin daigaku kenkyū kiyō 国際仏教学大学院大学研究紀要 11: 45-66.

[available online at:
https://icabs.repo.nii.ac.jp/record/68/files/%E7%A0%94%E7%A9%B6%E7%B4%80%
E8%A6%81%E3%80%80%E7%AC%AC11%E5%8F%B7%EF%BC%88%E6%A8%AA%E7
%B5%84%EF%BC%9AHubert%20Durt%EF%BC%89.pdf
 (accessed 6 July 2024)]

Durt, Hubert. 2008. “The Post-Nirvāṇa Meeting of the Buddha with Māyā: Examination of the Mahāmāyā Sūtra and its Quotations in the Shijiapu―Part I.” Kokusai bukkyōgaku daigakuin daigaku kenkyū kiyō 国際仏教学大学院大学研究紀要 12: 1-35.

[available online at:
https://icabs.repo.nii.ac.jp/record/58/files/%E7%A0%94%E7%A9%B6%E7%B4%80%
E8%A6%81%E3%80%80%E7%AC%AC12%E5%8F%B7%EF%BC%88%E6%A8%AA%E7
%B5%84%EF%BC%9AHubert%20Durt%EF%BC%89.pdf
(accessed 6 July 2024)]

Lee, Sonya S. 2010. Surviving Nirvana: Death of the Buddha in Chinese Visual Culture. Hong Kong: Hong Kong University Press. See especially “Chapter Two, Transformation: Pictorial Narratives,” pg. 83-137.

Radich, Michael. 2018. “A Triad of Texts from Fifth-Century Southern China: The *Mahāmāyā-sūtra, the Guoqu xianzai yinguo jing, and a Mahāparinirvāṇa-sūtra ascribed to Faxian.” Journal of Chinese Religions 46, no. 1 (May): 1-41.

[available online at:
https://www.academia.edu/36602857/_A_Triad_of_Texts_from_Fifth_Century_Sout
hern_China_The_Mah%C4%81m%C4%81y%C4%81_s%C5%ABtra_the_Guoqu_xianzai
_yinguo_jing_and_a_Mah%C4%81parinirv%C4%81%E1%B9%87a_s%C5%ABtra_as
cribed_to_Faxian_
(accessed 6 July 2024)]