"Vinopamatthakatha", commentary on [the sutta relating to] the simile of vina, is one of the source materials quoted in the Mahanama's Saddhammappakasini (Patisambhidamaggatthakatha), which appears only once in Pali commentaries. Investigation of quotations in this text explicitly reffering to the source as an "-atthakatha", such as "Khandhakatthakatha", "Khandhakavaggatthakatha" and so on, it is evident that all quoted passages are found in the extant Pali commentaries traditionally attributed to Buddhaghosa. However, the titles of commentaries in quotations do not follow the appellations given by Buddhaghosa. Thus, "Vinopamatthakatha" which was listed as a Sinhalese source in [Sodo Mori 1984] does not refer to a kind of lost old Sihalatthakatha, but to the Pali commentary, Saratthappakasini by Buddhaghosa, which contains the identical portion, "tajjitam sutajjitam", as pointed by Oskar von Hinuber [Oskar von Hinuber 1981]. "Vinopamasuttavannana", closely similar to "Vinopamatthakatha", is a different source material which only occurs in the Dhammapala's sub-commentary on the Dighanikaya. Since the verse quoted under this material is found in the Manorathapurani commenting on a simile of vind, it is reasonable to suppose that this text again refers to Pali commentary which could be accessible to the author. Further investigation regarding the source of the quoted verse which has not been identified yet (cf. [Friedgard Lottermoser 1982]) brings a revelation. While Buddhaghosa, author of the Manorathapurani, is silent about its Indian origin, this verse can be traced back to a Sanskrit verse in the Naradiyasiksa, a phonetic manual on Vedic chants belonging to the Samaveda. It relates the svaramandala comprised of seven svaras (notes/pitches), three gramas (scales), twenty-one murcchanas (secondary scales), and forty-nine tanas (pentatonic or hexatonic scales from murcchanas). Comparison of parallel verses, on one hand, enables us to correct a reading, thana (instead of tana), often wrongly accepted in various editions and manuscripts of the Pali commentary. On the other hand, the discovery of a quoted verse in a Pali commentary of the 5th century may provide a clue to consider the date of the Ndradiyasiksa. Moreover, it reveals the cultural background of Buddhaghosa as well as Dhammapala's knowledge of Indian musicology.

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Devatannusati (recollection of deities) is the last item of the six recollections; the others being recollection of the Enlightened One, recollection of the Dhamma, recollection of the Sangha, recollection of virtue, and recollection of generosity. In the practice of devatanussati, a meditator should recollect deities, their special qualities and one's own special qualities which are equal to those deities', making the deities stand as witnesses. The purpose of devatanussati is not to experience a mysterious union with deities but to acquire an adequate concentration for further insight meditation (vipassana) by suppressing existing mental defilements. The Buddha recommended six recollections for his noble disciples, because they are free from misrecognizing the god (a deity) as the Enlightened One (the Buddha). In both the recollection of the Enlightened One and the recollection of deities, meditators are requested to focus on very complicated objects such as the ten special qualities of the enlightened one and others. The reason of this complexity is to prevent meditators from indulging in an absorption and concentration which easily produces mystical union and mythical stories. When an unenlightened meditator experiences these mystical experiences, he/she may easily embark on creating a new religious system that is quite similar to the Buddha's teaching, mistaking one's revered god as the Buddha (or replacing the Buddha with one's respected god). In the recollection of deities, a meditator recollects three types of objects; deities, their special qualities and one's own special qualities. This alternation of objects leads the meditator to deepen his insight into the nature of duality; inside and outside or oneself and others. In this way, a meditator learns the limitation of duality and transcend co-dependent relationship with others including gods and deities. In Visuddhimagga, "a figure of the Enlightened One created by Mara" is mentioned from an old Sinhalese source. An elder monk in the story could use it skillfully so as to develop vipassana. But a meditator who is immature in vipassana may be trapped in this kind of mystical vision and start constructing pseudo buddhistic belief systems, by creating a new Buddha and Bodhisattas. It seems to me that the Buddha placed recollection of the Enlightened One and recollection of deities on the first and last of six recollections that are meant only for noble disciples, knowing the subtlety of this kind of religious contemplation.

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It goes without saying that confession is a very important concept in Buddhism. In fact, we often meet the examples which describe the scenes that Buddhist monks, nuns, or lay persons confess their offenses in Buddhist literatures. But as far as the confession in Theravada Buddhism, some problems seem to be left unsolved. So in this paper, I shall collect the examples of the confessions in Pali canons, examine some problematic ones, and solve some of the problems about the concept of confession.

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The Folding Book with the illustrations kept in the Buffalo Temple is a Book of Buddhist Prayer recited at the funeral called Samut Thai made of mulberry (khoi) paper written in Pali language, Khom script. This Folding Book has a colophon telling that it was donated by Bunkham because of his wish for nibbana of his father in 1743. The size is 62.5×9.8×4.5 cm. This Book has the one-fold- painting Illustration and 1 6 paired paintings. The Buffalo Temple or the Wat Hua Krabue is located in the district of Bang Khun Thien of Bangkok Prefecture. In this paper the construction of Sutras in this book is first mentioned showing the connection between the Namakara, Sutras and the Illustrations. Those sutras are the first text [Mahabuddhaguna I and II], the second text [Vinayapitaka-Parajika] , the third text [Suttantapitaka-Dighanikaya-Brahmajalasutta], the fourth text [Abhidhammasattapakarana, i.e. Dhammasangani, Vibhanga, Dhatukatha, Puggalapannatti, Kathavatthu, Yamaka, Patthana] and the fifth text [Sahassaneyya]. And then the contents of Sutras and the Illustrations are explained.

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