Notes:

[1] Bodhi Lankarama's chanting (led by Bhante Ānandajoti Bhikkhu) is excerpted from http://www.bodhilankarama.net/Chanting/03-Bodhi-Puja-09-01-10.mp3. For more information, see the "Acknowledgments."

For web browsers that do not embed mp3 players, a clickable blue "play" icon () is displayed; click on this icon to popup an mp3 player that will play the selected chant. Note that this page's "LOOP" feature does not work with these browsers.

[2] While not strictly an offering (pūjā), the verse entitled "Cetiya Vandanā" is sometimes grouped with the offering chants (e.g., as in Gunaratana, 2008, pp. 20-1). On this web site, this verse is not included with the other homage (vandanā) chants because those chants have special authority: they directly concern the Triple Gem of the Buddha, the Dhamma and the Sangha; they are chanted at the beginning of most ceremonies (after the refuges and precepts, if undertaken); and, they can be found dozens of times in the Pali Canon itself. The Ceitya Vandanā on the other hand deals with representations of the Buddha (not the Buddha per se); if chanted, is chanted after the other three homages, sometimes before the offering chants (e.g., Ānandajoti, 2008, p. 9; Gunaratana, 2008, pp. 20-1; Indaratana, 2002, pp. 9-10) and sometimes afterwards (e.g., Nārada & Kassapa, 2008, p. 14); and, while this type of homage can be found in the Pali Canon (e.g., DN 16, Ja No. 479), the Cetiya Vandanā verse itself does not appear in the Canon.

The title for this verse, "Cetiya Vandanā," is taken from Indaratana (2002), p. 10 (where it is translated into English, p. 9, as "Salutation to the Pagodas"). Gunaratana (2008), pp. 20-1, provides no specific title for this verse but includes it as the first verse under the general title of "Pūjā" ("Offering"). Nārada & Kassapa (2008), p. 14, head this verse with the English title, "Homage to the Three Symbols." Ānandajoti (2008), p. 9, entitles this "Cetiya–sārīrika–dhātu–mahā–bodhi–pūjā" (which he translates as "Honouring the Cetiyas, Bodily Relics, and Bodhi Tree").

For the purposes of supporting the learning of Pali chants, one modification to the Pali text from the cited sources (Nārada & Kassapa, 2008; and, Indaratana, 2002) has been made. Following Gunaratana (2008), p. 20, the second line's first word (sabbaṭṭhānesu) has been separated into two words connected with a hyphen (sabba–ṭhānesu), so that the second syllable (ba) is metrically lightened. (Alternately, the second syllable could have been directly lightened with a diacritical mark, sabbăṭṭhānesu, but such a change is not seen in any of the referenced chanting books.) This change better reflects what is actually chanted (both here and elsewhere).

[3] The Pali text for this verse, Cetiya Vandanā, is not found in the Pali Canon. However reverence for such artifacts can be found in the Canon.

For instance, regarding the paying of homage at a shrine (cetiya), a canonical passages referencing such can be found in the "Mahāparinibbāna Sutta" (DN 16; D.ii.142), here translated by Vajira & Story (1998):

... and at a crossroads also a stupa should be raised for the Tathagata. And whosoever shall bring to that place garlands or incense or sandalpaste, or pay reverence, and whose mind becomes calm there – it will be to his well being and happiness for a long time.

Likewise, regarding veneration of the Buddha's bodily relics (sārīrika–dhātu) and their associated shrines (dhātu–cetiya), the "Mahāparinibbāna Sutta" (DN 16; D.ii.167-8) concludes (trans. by Vajira & Story, 1998):

	Eight portions there were of the relics of him,
	The All-Seeing One, the greatest of men....
	For thus the relics of the All-Seeing One are best honored
	By those who are worthy of honor  –  by gods and Nagas
	And lords of men, yea, by the highest of mankind.
	Pay homage with clasped hands! For hard indeed it is
	Through hundreds of ages to meet with an All-Enlightened One!

[4] ^{a b c} These verses for offerings are not found in the Pali Canon although their practice could be justified on some canonical passages (such as in DN 16, see note [3] above). These verses can be found in a number of traditional chanting books, including: Ānandajoti (2008), pp. 12, 14; Gunaratana (2008), pp. 20-1; Indaratana (2002), pp. 9-12; and, Nārada & Kassapa (2008), pp. 12-14. For this web page, primarily, Nārada & Kassapa (2008) is used for the Pali text and English translation; the Pali and English titles are based on those found in Indaratana (2002).

In terms of the Nārada & Kassapa (2008) Pali text, the following minor modifications have been made for this page:

• In the "Padīpa Pūjā" ("Light Offering") text of Nārada & Kassapa (2008), the Pali word "daṃsinā" is found; however, the other aforementioned texts use "dhaṃsinā" which appears to be supported by Rhys Davids & Stede (1921-5), p. 334.
• In the "Puppha Pūjā" ("Flower Offering") text of Nārada & Kassapa (2008) (as well as in other chanting texts referenced on this page), on the fourth line, the Pali word "sirī" is spelled with a long second "i"; Ānandajoti (2008) spells this word with two short vowels, "siri". Both spellings are allowed by Rhys-Davids & Stede, 1921-25, p. 711; and, based on a search of the SLTP using BodhgayaNews's search engine, neither spelling can be found in the Pali Canon but both spellings are used in post-canonical texts. Moreover, in recordings of this chant (including the one found on this page led by Bhante Ānandajoti Bhikkhu himself), it appears that "siri" (with two light syllables) is what is chanted; and, thus, the latter spelling is used here.
• In the "Puppha Pūjā" ("Flower Offering") text of Nārada & Kassapa (2008), the seventh line of Pali text reads: "Pupphaṃ milāyati yathā idam-me." However, all of the other texts referenced above as well as the recordings used on this page and elsewhere identify this line as: "Pupphaṃ milāyāti yathā idaṃ me." Supporting the former spellings are Rhys Davids & Stede (1921-25), p. 533, and a search of the SLTP Pali Canon (using BodhgayaNews' search engine, which turns up one instance of "malāyati" at S.i.126, and no instances of "malāyāti").

[5] According to Rhys Davids & Stede (1921-5), p. 301, entry for "Ti–," the tiloka ("three worlds") are: kāma–loka ("world of desire"); rūpa–loka ("world of form"); and, arūpa–loka ("world of formlessness"). Rhys Davids & Stede identify the post-canonical Saddhammopayana as a Pali text that makes use of this term. This term can also be found in the Khuddaka Nikāya's hagiographic Apadāna.

[6] The text used here for the English translation (Ñārada & Kassapa, 2008) of the "Puppha Pūjā" chant's first verse does not readily line up with the Pali text on a line-by-line basis. (Nor do any of the English translations provided by any of the other chanting texts mentioned on this page.) Moreover, no simple shuffling of lines (as is done elsewhere on this site) would remedy the difficulty. Thus, the published loose translation is copied verbatim here. Nonetheless, a more literal translation, paraphrasing the current text, might be:

	Colorful, fragrant and excellent
	flowers, as long as they last, with these
	I revere the Lord of sages'
	Sacred Feet on the lotus.

It might be worth further noting that a significant number of this verse's Pali words are open to multiple meanings and thus different translations may better suit a particular chanter or congregation. For instance, Ānandajoti (2008), p. 12, translates: guṇa as "qualities" (and thus vaṇṇa–gandha–guṇopetaṃ as "endowed with the qualities of beauty and fragrance"); santatiṃ as "long-lasting" (and thus kusuma–santatiṃ as "long lasting flowers"); and, siripāda–saroruhe as "the glorious lotus feet."

[7] Instead of the Pali words, "ca hotu," Ānandajoti (2008), p. 13, has "labhāmi," which he translates as "may I gain." This alternate wording is also reflected in the Bodhi Lankarama chant (led by Bhante Ānandajoti Bhikkhu) used here. The wording "ca hotu" is maintained here for consistency with other texts and recordings. (Note that, in terms of meter, both "ca hotu" and "labhāmi" have three syllables that are equally stressed — light-heavy-light — and thus are chanted in a similar fashion.)