The paradox that Ames sees as tied into Buddhist ideas of salvation is its achievement only by passing into a state of Nirvana. However, the existing world is filled with boredom and vices, in conditions of which it is impossible to approach the state of bliss (Ames, 2022). Thus, the paradox is that in order to achieve Nirvana, it is necessary to know bliss, to achieve which it is necessary to approach Nirvana. At the same time, the earthly world and continuous rebirths are not conducive to this, since people are too far from enlightenment, so salvation seems almost impossible.
I agree with the arguments of Ames and believe that it is really difficult for a person to achieve salvation if they are not a clergyman. An ordinary person is attached to things, feelings, ideas and people, therefore, most likely, they will endlessly go through rebirth without approaching salvation.
I actually liked the movie for many reasons: firstly, it is the plot and the happy ending that gave me strength after watching. The most important aspect that attracted me to this film was the authentic depiction of the traditions of old Ceylon and the excellent atmosphere of the festival (TRACKS, 2020). The film serves to show the viewer the vivid contrasts that exist both specifically in Buddhism and in any religion. For example, the film demonstrates Buddhism focuses around peace, love and tranquility. However, at the same time, even in this religion there are punishing forces that contradict the general concept of peacefulness, which is reflected in the film.
I think the happy ending of the film is not a coincidence; the fact that the son is found has a symbolic meaning. It seems to me that a successful outcome is part of the karmic path that a family goes through. This is a consequence of the previous deeds of the heroes, and incidents in the current incarnation, which contribute to the accumulation of positive energy.
The leading “Social Change and the Deities” helps inform and clarify aspects of the film. For example, the origin of the ritual of walking on hot coals at the festival can be traced in it. While studying the concept of Naraka, the mentioning of “hell of great heat” can be found (Obeyesekere, 1977). Those who “cut off the roots of the good” fall there; it is hot and there is molten iron underfoot (Obeyesekere, 1977). Most likely, by becoming participants in the action during one’s lifetime, one can work out their karma.
The Christian Greek fire walkers perform this ritual as proof of the existence of higher powers and the importance of the fortress of faith. This ritual is used for practical concern: fire walkers demonstrate that if faith is strong enough, the Almighty will protect even from burns (National Geographic, n.d.). The villagers of Landagas in Greece on the holidays of St. Constantine and St. Helena dance on glowing coals, clutching icons with images of these saints to their chests. It is believed that icons make them invulnerable to the action of fire, and protect them from burns. In the article on the Card game fire walkers, several parallels can be traced. First of all, this is the religious background of the rite associated with achieving inner enlightenment through strengthening faith. Moreover, during the ritual people prove the strength of their faith and unite among themselves; these aspects of fire walking are common to both Greek Christians and Kartagama fire walkers.
References
Ames, M. M. (2022). Magical-animism and Buddhism. Cambridge, England: Cambridge University Press.
National Geographic. (n.d.). Firewalking: National Geographic [Video file]. Web.
Obeyesekere, G. (1977). Social change and the deities: Rise of the Kataragama cult in modern Sri Lanka. Man: New Series, 12(3/4), 377-396.
TRACKS. (2020). Kataragama: A God for all seasons. Disappearing world [Video file]. Web.