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Some Common Elements in Brahmanism and Buddhism

By Ratilal N. Mehta

Vol. 191994-1995pp. 50-62English

Summary

R.N. Mehta’s essay examines shared elements between Brahmanical and Buddhist traditions by weaving personal reminiscence with archaeological evidence. He begins with an evocative description of a *mantrajāgaraṇa* (night‑long chanting) where Brahmins, Buddhists and Jains jointly recited mantras, suggesting that rituals were not confined to one communityfile:///home/oai/share/520769%20(19)%201-182.pdf#:~:text=Introduction%20It%20was%20an%20occasion,that%20was%20worshipped%20by%20he. He then recounts excavations at sites like Ajanta, Ankai‑Tankai and Uperkot, noting how caves and sculptures reveal iconographic and architectural motifs common to Vedic, Buddhist and Jain art: yakṣa figures, lotus symbols, and stūpa‑like forms appear across traditions. Mehta argues that the Buddha grew up in a Vedic milieu and that early Buddhists adopted many Vedic practices, including fire‑sacrifice, while giving them new meaningsfile:///home/oai/share/520769%20(19)%201-182.pdf#:~:text=the%20son%20of%20Suddhodana%20was,the%20career%20of%20unfolding%20the. The essay concludes that Buddhism did not arise in opposition to Vedic culture but as an internal reform movement; both traditions continued to influence each other through shared rituals, ethical ideals and pilgrimage circuits. He calls for a more integrated study of Indian religious history that recognises syncretism rather than sharp boundaries.

Conclusion

By juxtaposing rituals, art and personal experience, the article demonstrates that Brahmanism and Buddhism are intertwined strands of a single cultural fabric. Recognising their common heritage helps to dissolve sectarian narratives and invites scholars to explore how doctrines evolve through dialogue rather than rupture. The conclusion advocates further interdisciplinary research into shared ritual sites and artistic motifs.

Article order

In this issue

Vol. 19
1-20Origin and Development of Theatre in Ancient IndiaRadhavallabh Tripathi21-23Reconsideration of Sri Śaṅkuka’s Views on Rasa‑NispattiTapasvi Shambhuchandra Nandi24-42Visvanātha’s Kavyaprakāśadarpana and SahityadarpaṇaJagruti S. Pandya43-47On MIA *lagg* Used as a ‘Vector’ VerbHarivallabh Chunilal Bhayani48-49A Puzzle for the Scholars of Buddhist HistoryNagin J Shah50-62Some Common Elements in Brahmanism and BuddhismRatilal N. MehtaCurrent article63-65The Jain Concept of Śramaṇa in the Aupapātika SūtraCh. Lalitha66-73Karma and Freewill: A Comparative Study of Hinduism, Buddhism and JainismArvind Sharma74-79Recent Research in the History of GujaratHariprasad G. Shastri80-85Management of Temples at Nāḍol during the Caūhān PeriodRam Vallabh Somani86-90Continuity of Tradition in Medieval Sculpture and Painting in Western IndiaShridhar Andhare91-99मन्त्रार्थवर्तन में यास्क एवं वेदकृतादिभाष्यकारों का वैचित्र्यBharti Satyapal Bhagat100-107संस्कृत साहित्य में नूतन प्रयोगJaiprakash Narayan Dwivedi108-111भरतपुर क्षेत्रीय चित्रित स्थल एवं चित्रण विषयTanuja Singh112-122‘त्रिवेन्द्रम्‑रूपक’ मां सन्स्कारुपनो विशेष विनियोगVasantkumar M. Bhatt123-125ક多少ક प्रतीरूप अभिलेखो (Gujarati title approximated)Lakshmanbhai Bhojak126-128चौलक्य भीमदेव … तामपत्र (वि सं १२६३)Narayan M. Kansara129-133अनुवादवृत्तिरस्मिः: प्रामाण्याप्रामाण्यम्Lalita Chakraborty134-154The Tarka‑Bhāṣā‑Vārtika of ŚubhāvijayaNarayan M. Kansara155-175ReviewsNarayan M. Kansara176-178ObituariesJitendra B. Shah, Shridhar Andhare

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