POSTGRADUATE INSTITUTE OF PALI AND BUDDHIST STUDIES

MASTER OF ART IN BUDDHIST STUDIES-2020

UNIVERSITY OF KELANIYA

ASSIGNMENT PART 1
MABS 23

Iconographical features of Buddha Statue

LECTURE: Dr PRINSLY PEIRIS

STUENT: VEN JAVANA (Myanmar)
REG NO: 2020/MABS/E/112
DATE: 30, July, 2020

Iconographical features of Buddha Statue

In Buddhism, the very nature of a sculptural image is complex. Not only

have the conception and function of images varied over the course of Buddhist
history, but also according to the particular ritual, devotional, and decorative
context in which they are situated. Although there has been considerable scholarly
debate about the matter, it seems clear that Buddhists began to depict the Buddha
very early on, perhaps even before he died, although no such images survive.
The Buddha himself is recorded in some commentaries on the Pali sutta s
to have said that images of him would be permissible only if they were not
worshiped; rather, such images should provide an opportunity for reflection and
meditation. However, in other commentarial texts images also are discussed as
viable substitutes for the absent Buddha. In any case, virtually all Buddhist
temples and monasteries throughout the world contain sculptural images—of the
Buddha, bodhisattvas, minor divinities, yakṣas, and significant monks and saints.
These images range from very simple early Indian stone sculptures of the Buddha,
standing alone delivering a dharma talk, to incredibly intricate medieval Japanese
depictions of a bodhisattva like Kannon with a thousand heads, elaborate hand
gestures, and iconographic details. Here let us discuss about the icongraphy of
Buddha's stutas.

Images of Śākyamuni (The "Historical Buddha")

The earliest surviving Buddhist sculpture dates to roughly the third

century bce, and the images that were produced contextually functioned as
decorations and visual "texts" in monasteries. Significantly, however, the Buddha
himself is absent from these very early images. Instead of his physical form, early
Buddhist artisans employed a range of visual symbols to communicate aspects of the
Buddha's teachings and life story:

1. The wheel of dharma, denoting the preaching or "turning" of his first

sermon, and also, with its eight spokes, the eight-fold Buddhist path.
2. The bodhi tree, which represents the place of his enlightenment (under
the tree) and comes to symbolize the enlightenment experience itself.
3. The throne, symbolizing his status as "ruler" of the religious realm,
and through its emptiness, his passage into final nirvāṇa.
4. The deer, evoking both the place of his first sermon, the Deer Park at
Sārnāth, and also the protective qualities of the dharma.
5. The footprint, which denotes both his former physical presence on earth
and his temporal absence.
6. The lotus, symbolic of the individual's journey up through the "mud" of
existence to bloom, with the aid of the dharma, into pure enlightenment.
7. The stupa, the reliquary in which the Buddha's physical remains are
contained—a powerful symbol of both his physical death and continued presence in
the world.
Later Buddhism added countless other symbols to this iconographic repertoire. In
the Mahāyāna, for instance, the sword becomes a common symbol of the incisive
nature of the Buddha's teachings. In the Vajrayāna, the vajra, or diamond (or
thunderbolt), is a ubiquitous symbol of the pure and unchanging nature of the
dharma.
Much of the very early art produced in India is narrative in both
form and function, presenting episodes from the Buddha's life and, particularly,
scenes from his prior lives. At sites such as Bhārhut and Sāñcī in modern Madhya
Pradesh, Bodh Gayā in modern Bihar, and Amarāvatī in modern Andhra Pradesh, huge
stupas were erected as part of the large monastic complexes that were built in
these locations beginning in the third century bce. In addition, elaborate carvings
were made on and around these stupas, particularly on the railings that encircled
the monuments themselves. Many of these were scenes from the Buddha's prior lives,
which also were verbally recorded in the Jātaka and Avadāna literature. These
included representations of prior Buddhas, as well as depictions of key events in
the Buddha's life such as miraculous conception, his birth, and his departure from
the palace in search of enlightenment.
Typically, it has been assumed that because the earliest Buddhist
artistic images did not depict the Buddha, there must have been a doctrinally-based
prohibition against such depictions. First articulated by the French art historian
Alfred Foucher in 1917, this idea—generally referred to as the "aniconic thesis"—
has deeply influenced our understanding of early Buddhist art. The basic assumption
has been that there must have been a prohibition against representing the Buddha in
the early centuries after his death. Perhaps this was because the Buddha had, at
the time of his parinirvāṇa, passed forever out of existence, and therefore could
only be represented by his absence.
In the late twentieth century scholars began to rethink this basic
assumption, arguing that perhaps these early sculptures are not reflective of a
theological position, but instead frequently represent scenes after the Buddha's
death, scenes of worship at prominent places of pilgrimage linked to key events in
his life—such as Bodh Gayā, Lumbinī, and Rājagaha—and are thus intended to serve as
ritual records and blueprints, and visual prompters for correct veneration. In any
case, what seems clear is that early Buddhists had a complex understanding of both
the form and function of the Buddha's representations, and that any attempt to
articulate a univocal theory of early Buddhist art is probably misguided, precisely
because of the complex interactions of original intent, ritual and aesthetic
context, and individual disposition. Fundamentally, then, Buddhist images project
an open potential.
Actual images of the historical Buddha began to appear sometime around
the turn of the first millennium, prominently in two regions: in Mathura, near
modern Agra, and in Gandhara, in what is now modern Afghanistan. In Mathura, large
standing images of the Buddha were made in red sandstone. The Buddha in these
images is depicted as broad shouldered, wearing a robe, and marked by various
lakṣana s, the thirty-two auspicious marks with which he was born. Described in
several early texts, these included the uṣṇīṣa, or protuberance atop the head,
elongated earlobes, webbed fingers, and dharmacakra on the palms. In the Gandhara
region, the Buddha typically was depicted in what appears to be a Greek style of
representation, wearing a robe that resembles a toga, and with distinctly Western
facial features.
These details may be evidence that an iconographic exchange took place
with the Greeks who inhabited the region at the time of Alexander the Great. Many
of the Gandharan Buddha images depict him seated, forming the dharmacakra mudrā —
literally the "turning of the wheel of dharma gesture"—with his hands. In other
images he is presented in a meditative posture, his body withered by the years of
extreme asceticism that preceded his enlightenment. These different iconic forms
were employed by Buddhist artisans (and their royal, monastic, and lay patrons) to
emphasize different moments in the Buddha's life story, and to convey visually
different aspects of the dharma.

By the fifth century ce, the Buddha was represented in a large array of forms
and sizes. Some of these representations were truly colossal, cut from cliffs and
reaching upward of 100 feet—a practice that would continue throughout the Buddhist
world for the next millennium. The sheer size of these images seems to have been
intended to convey an understanding of the superhuman qualities of the Buddha, many
of which were also expressed in contemporary biographical stories contained in
various Nikāyas, the Lalitavistara, Buddhacarita, and several other well-known
texts.
Furthermore, such massive images would have served as a potent means of
attracting new followers.
Stone and metal sculptures of the Buddha were produced in abundance throughout
India. These were in addition to painted images, many of which were in caves, such
as those that form the massive monastic complexes at Ajantā and Ellora. Many of
these images presented the Buddha in a single pose, representing a particularly
significant moment in his life. Among these, the giving of his first sermon was
especially common. The Buddha typically is seated in such images, forming the
dharmacakra mudrā. Oftentimes, he is flanked by several smaller figures: the five
monks who first heard the sermon, the laywoman Sujatā who offered him the modest
gift of food that gave him strength to attain enlightenment, two deer, and an image
of the wheel.
Another common form is the Buddha at the moment of defeating the evil
Māra—the embodiment of temptation, illusion, and death in Buddhism. In these
images, the Buddha is seated in what is sometimes called the bhūmisparśa mudrā, or
"earth-touching gesture," visually evoking the moment when the Buddha calls the
earth goddess as witness to his enlightenment, and marking the final defeat of
Māra. This iconographic form, sometimes presenting the Buddha as a crowned figure
and including the seven jewels (saptaratna ) of the ideal king, became extremely
popular in medieval north India, where it seems to have been complexly involved in
royal support of Buddhism by the Pālas, the last line of Buddhist kings in India,
evoking as it does the image of the Dharmarāja, the righteous ruler.
By the eighth century, a fairly common means of representing the Buddha—
especially in the monastic stronghold of northeastern India—was a standardized set
of eight scenes known as the aṣṭamahapratiharya. This presented a kind of condensed
version of the Buddha's life—birth, enlightenment, first sermon, various miraculous
events in his biography, and death—that enabled the viewer of the image to
participate ritually and imaginatively in the entire life of the Buddha by looking
at and venerating a single image. In this sense, then, such images were more than
visual texts or narratives; they served as means to embark upon visual pilgrimages.
As such, they not only recorded past events in the Buddha's life and ongoing ritual
activity, but also allowed the viewer to participate in the Buddha's life. In
short, they evoke a sense of the Buddha's continued presence in the world despite
his physical absence.

Time to Appearance of Buddha Images

Perhaps because the Buddha put so much emphasis on self-denial no

images of him were made for some time after his death. When images were made they
were not true likenesses. Instead they were highly stylized and symbolic with
features like long era lobes, stretched by earrings, a sign of royal birth; wheel-
shaped marks on the soles of his feet, reminders that his ministry had started the
wheel of truth spinning.
Buddhist images are not idols. They do not represent any god and strictly-speaking
are meant as a tool to help a person on the road to enlightenment. Even so they
must be treated with great respect. In the old days people who desecrated the
images or scraped the gold off them endured harsh punishments.
While it is difficult to imagine Buddhism without the Buddha image or
Rupa, it was not until about 500 years after the passing away (Parinirvana) that
the practice of making images of the Buddha started. Since that time, Buddha images
have been the object of Buddhist devotion and identify for over 2000 years, acting
as the inspirational focus and the means for devotees to express their reverence
and gratitude for the Buddha's Dharma or Teachings.
Technically, Buddha statues should not exist. They could be condemned as
idolatry because the Buddha asked that no images be carved in his likeness. After
his death devotees only paid tribute to representations of his identity —
footprints, the chair he sat on, among other relics."Eventually, the devotional
impulse won out,"’ scholar Gary Gach told the Malaysian newspaper The Star.
The reasons for the Buddha image in shrine or temple are: 1) to remind one
of the qualities of Perfect Wisdom and Perfect Compassion of the Buddha; 2) to
inspire Buddhists to develop these qualities as we recall the greatness of the
Buddha and His Teachings. According to Buddhanet.com: Some days, we may feel
agitated, angry or depressed. When we pass by a shrine in our homes or visit a
temple, and see the peaceful image of the Buddha, it helps us to remember that
there are beings that are peaceful and we can become like them too. Automatically,
our minds settle down.
Vidya Dehejia, a professor at Columbia University, wrote: “The Buddha
is usually portrayed wearing a monastic robe draped so as to cover both shoulders
or to leave the right shoulder bare. The Buddha is said to have had thirty-two
marks of superhuman perfection. The ushnisha, a cranial bump that signifies his
divine knowledge, was transformed by artists into a hair knot, while the urna, a
tuft of hair between the eyebrows, was depicted as a rounded mark. Elongated
earlobes, indicating divine or elevated status, are given not only to the Buddha
but also to all Hindu and Jain deities and to saintly figures. Images of the Jain
tirthankaras (jinas) are similar to the Buddha; however, they have a shrivatsa
emblem on the chest, are often unclothed, and do not have the ushnisha or urna."
[Source: Vidya Dehejia, Department of Art History and Archaeology, Columbia
University Metropolitan Museum of Art]
According to the Asia Society Museum: “Buddhist images are remarkably
recognizable, regardless of their country or period of origin. They are usually
made according to descriptions found in Indian texts intended to help the
practitioner mentally invoke the form of the deity. These texts provide the artist
with the basic schema of the image, detailing what an image should look like, from
the posture, gesture, and color of the deity, to the attributes (objects he or she
holds that symbolize specific powers or knowledge). Further similarities stem from
the tendency of artists working elsewhere to emulate Indian models. Coming from the
homeland of Shakyamuni Buddha and his teachings, such models held religious
authority.
The most prominent differences of period or culture of origin are usually
seen in the images' details of costume, hairstyle, jewelry, body type, and facial
characteristics. However, as is evidenced by the array of styles, artists working
outside India did not simply copy Indian models-they created their own distinctive
works. The artistic result of a religion that spread thousands of miles across a
multiethnic landscape is a corpus of images based on a similar set of beliefs but
marked by regional personalities. [Source:Asia Society Museum asiasocietymuseum.org
]

Types of Buddha Images

Traditionally, Buddhist artists have sought to depict one of 12 episodes

of Buddha's life: 1) his prior existence in Tusita Heaven; 2) his conception; 3)
his birth 4) his education; 5) his marriage; 6) his renunciation; 7) his period of
asceticism; 8) meditating under the Bodhi tree; 9) the defeat of Mara; 10) his
enlightenment; 11) his first sermon; and 12) his death. Some of these episodes are
depicted more often in paintings than in sculpture.
Statues Buddha is nearly always depict Buddha in one of half dozen or so
position. The most common position shows a sitting Buddha with one hand raised (the
sermon position). The second most common one shows The Buddha sitting with one hand
on top of the other (the meditation position). The reclining Buddha symbolizes the
sage in "an attitude of entering nirvana" and depicts The Buddha at the moment he
leaves his earthly body and achieves the state of nirvana, or enlightenment. The
standing Buddha is rare. He is thought to represents The Buddha as a teacher or
perhaps giving a blessing.
Common Buddha images found in Japanese Buddhist temples include 1)
Sakyamuni (the Historical Buddha), recognizable by one hand raised in a praying
gesture; 2)Yakushi (the Healing Buddha), with one hand raised in the praying
gesture and the other holding a vial of medicine; 3) Amitabha (The Buddha of
Infinite Light and Buddha of the Western Paradise), sitting down with the knuckles
together in a meditative position; 4) Dainichi (the Cosmic Buddha), usually
portrayed in princely clothes, with one hand clasped around a raised a finger on
the other hand (a sexual gesture indicating the unity of being); and Maitreya
(Buddha of the Future).
Buddhist art often contains a central image of Buddha surrounded by
numerous other images, which can include scenes from Buddha life, different
manifestations of Buddha, different Bodhisattvas and deities. Bodhisattvas often
appear on either side of The Buddha. They are often distinguishable by their more
human-like appearance; serene smiles which represent joy and compassion." and a top
knot of hair or a headpiece, sometimes with smaller figures in the crown. Some
images of Buddha are accompanied by images of Buddha's first two disciples, young
Ananda and old Kasyapa.

Present, Past and Future Buddha Images

Sakya Thukpa (Sakaymuni) is the historical Buddha, who lived in Nepal in

the 5th century B.C. He has blue hair and a halo of enlightenment around his head.
He is always depicted in a sitting position, with his legs crossed in the lotus
position and has 32 marks on his body, including a dot between his eyes, the Wheel
of Law on the soles of his feet, and bump on the top of his head. Manifesting the
“witness” mudra, he holds a begging bowl in his left hand and touches the earth
with his right hand. He is often flanked by two bodhisattvas.
Marmedze (Dipamkara) is the Past Buddha. He preceded the historical
Buddha and spent 100,000 years on earth. His hands are pictured in the “protection”
mudra and he is often pictured with the Present and Future Buddha.
Jampa (Maitreya) is the Future Buddha. He is currently in the form of a
bodhisattva and is waiting for his chance to return to earth, 4000 years after the
death of Sakaymuni. He is usually seated, with a scarf around his waist, his legs
hanging down and his hands by his chest in the turning of the Wheel of Law

Other Tibetan Buddha Images

Amitabha Opagme (Amitabha) is the Buddha of Infinite Light. He resides in

the “pure land of the west," where he looks after people on their journey to
nirvana, and is regarded as the original being from which the Panchen Lama was
reincarnated. He is red. His hands are held together on his lap with a begging bowl
in the “meditation” mudra.
Dhyani Buddhas, or the five Contemplation Buddhas, are: Amitabha (red), Vairocana,
Akshobhya (white), Ratnasambhava (yellow) and Amoghasiddhi (green) “are major
focuses of meditation. Also known as the five Jinas (eminent ones), or dhyani-
Buddha, they control the different regions of paradise where Buddhists may be
reborn. Each is a different color and has different symbols and mudras associated
with it.
Tsepame (Amitayus) is the Buddha of Longevity. Like Opagme, he is red and his hands
are pictured in the “meditation” mudra, but he holds a vase containing the nectar
of immortality.
The Medicine Buddha (Menlha) holds a medicine bowl in his left hand and
herbs in his right hand. He is often depicted in a group of eight Buddhas. These
Buddhas have different manifestations. The many-headed Hevajra is a wrathful
manifestation of Akshobhya (the Imperturbable Buddha). Symbolizing the
transformation of the poisons such as anger, he is often depicted in an embrace
with his consort Nairatmya. Their passionate embrace represents the enlightened
state that come from the union of wisdom and compassion. Hevajra is often shown
stomping his own image, showing the defeat of egoism.

Symbols and Features on Buddha Statues and Image

There are many symbolic gestures and objects found on images of The
Buddha that have important meanings. A raised hand means no fear. Curly hair,
elongated ears and hands with eyes are symbols of wisdom. Bare feet and monks cloak
represents asceticism. Often The Buddha has a nimbus or halo around his head,
expressing enlightenment. When The Buddha touches the ground it is a sign of
compassion.
Important features and symbols on a Buddha statue:
1. The Bump of Knowledge at the top of the head, symbolizing spiritual
wisdom or accumulated wisdom reached at a higher spiritual level (The bump is often
covered by curls of hair symbolizing enlightenment);
2. The Jewel, radiating the light of wisdom;
3. curly hair, representing enlightenment, is said to represent the
stubble left on Gautama Siddhartha's head after he cut off his hair, according to
one legend, by pulling his hair together into a top knot and lopping it off,
leaving fine curls (spiraling to the right) that never needed cutting again; 4) The
all-seeing spiritual third eye, in middle of forehead; which appears on all Buddha
statues, from which rays of light are emitted to enlighten the world (the eye is
often represented with a crystal or gemstone;
4. The Robe stitched from rags in manner used by early monks;
5. mudras, hand positions,
6. halo, representing the magnificent light radiating from the Buddha;
7. leg position, here we see the cross-legged Lotus Position, one of three
basic poses, which shows The Buddha "grew" out of the "mud" of the material world
like a beautiful lotus, which grows out of the mud at the bottom of a ponn.
Among the 32 signs of a “superman” ( mahopurusha ) are:
(1) a wisdom bump ( ushnisha ), a cranial bump covered by top knot of hair
representing omniscience, also associated with ancient Indian wandering ascetics;
(2) a small tuft of hair ( urna ), or dot between the eyebrows, symbolizing
renunciation. Other superman signs include elongated ears, antelope-like legs, skin
so smooth that dust doesn't collect on it, intensely black eyes, cow-like
eyelashes, 40 teeth, sheath-cloaked genitals, raised palm (the boon-granting
gesture), and long and straight toes. [Diagram and information in the picture on
the right is from sotozen-net.or.jp and onmarkproductions.com For a more detailed
look at a Japanese Buddha statue see onmarkproductions.co ]
Each of the episodes of Buddha's life have their own distinctive
symbols. After The Buddha achieved enlightenment, for example, he was surrounded by
a six-Lord aura that was 20 feet in diameter. After he meditated for another
several weeks his aura was invaded by the serpent king Mucalinda, who. opened its
hood and wound its coils seven times around The Buddha to protect him from a rain
storm.

Mudras

The hands are in stylized poses called mudras . They include

(1) the meditative pose, with cupped hands resting on the lap;
(2) the protection pose, with the right hand raised;
(3) the teaching pose, with one hand raised and the index finger touching the thumb
of the same hand.
(4) If a Buddha holds a wheel of dharma in his left hand and a scripture in the
right hand its signifies he is a good teacher.
(5) Touching the ground symbolizes a call to Mother Earth to witness his defeat of
Mara as well as compassion.
Buddha of Medicine holds a medicine box in his left hand and makes a
devil-expelling gesture with his right hand. Symbolic objects found on Bodhisattvas
and deities include swords used to cut down disruptive passions and desires; cords
used to pull wayward people back to the correct path.
According to Lotussculpture.com: Mudras are a non-verbal mode of
communication and self-expression, consisting of hand gestures and finger-postures.
They are symbolic sign based finger patterns taking the place, but retaining the
efficacy of the spoken word, and are used to evoke in the mind ideas symbolizing
divine powers or the deities themselves. The composition of a mudra is based on
certain movements of the fingers; in other words, they constitute a highly stylized
form of body or hand language. It is an external expression of 'inner resolve',
suggesting that such non-verbal communications are more powerful than the spoken
word.
Many such hand positions were used in the Buddhist sculpture and
painting of India, Tibet, China, Korea and Japan. They indicate to the faithful in
a simple way the nature and the function of the deities represented. Mudras are
thus gestures which symbolize divine manifestation. They are also used by monks in
their spiritual exercises of ritual meditation and concentration, and are believed
to generate forces that invoke the deity.
But a mudra is used not only to illustrate and emphasize the meaning of an
esoteric ritual. It also gives significance to a sculptural image, a dance
movement, or a meditative pose, intensifying their potency. In its highest form, it
is a magical art of symbolical gestures through which the invisible forces may
operate on the earthly sphere. It is believed that the sequence itself of such
ritual hand postures may have eventually contributed to the development of the
mudras of Indian Classical dance.
Another interesting meaning is given to the idea of the mudra. It
reveals the secret imbibed in the five fingers. In such an interpretation, each of
the fingers, starting with the thumb, is identified with one of the five elements,
namely the sky, wind, fire, water, and the earth. Their contact with each other
symbolizes the synthesis of these elements, significant because every form in this
universe is said to be composed of a unique combination of these elements. This
contact between the various elements creates conditions favorable for the presence
of the deity at rites performed for securing some desired object or benefit. That
is, mudras induce the deity to be near the worshipper.
But it is not just the divine Buddha who is credited with making
mudras. Every position assumed and every gesture performed by our mortal body may
be said to imprint its seal on the Ether, and sent forth a continuous stream of
vibrations that impress the atmosphere. But to be really effective there must be a
deliberate and intended arrangement of the body or parts of the body. Such an
arrangement is nothing but the yoga of mudra. It is interpreted as being able to
bring the physiological system in harmony with the cosmic forces and so form a
magical microcosm through which the macrocosm can be represented, channeled, and
utilized. The mudra in all its variations is, therefore, a traditional body
pattern; an archetypal posture of performed occult significance.
We perform mudras in every action, every moment of the day. Each
action is a symbol of our underlying mental and physical condition and results
because of the various energy patterns forming within our being. These patterns
determine our personality character and mannerism and expressions. Thus our every
moment is an expression of our inner-nature. Consciously performing mudras allow us
to become more aware of inner energy and to control it so that we make the most of
each moment. The effect is total, at once subtle but powerful. In this way, we
learn to integrate our dissipated thoughts and actions, so that life becomes a
graceful flow of energy and understanding. Our whole being can then become a mudra,
a gesture of life within, reflecting into our external life.

Different Mudras
Vitarka Mudra:

Intellectual Argument, Debate, Appeasement: The gesture of discussion and

debate indicates communication and an explanation of the Dharma. The tips of the
thumb and index finger touch, forming a circle. All other fingers are extended
upwards. Sometimes the middle finger and thumb touch, which is gesture of great
compassion. If the thumb and ring finger touch, they express the mudra of good
fortune.

Dharmachakra Mudra:

Teaching Preaching, Turning the Wheel of Dharma: Dharmachakra in Sanskrit

means the 'Wheel of Dharma'. This mudra symbolizes one of the most important
moments in the life of Buddha, the occasion when he preached to his companions the
first sermon after his Enlightenment in the Deer Park at Sarnath. It thus denotes
the setting into motion of the Wheel of the teaching of the Dharma. In this mudra
the thumb and index finger of both hands touch at their tips to form a circle. This
circle represents the Wheel of Dharma, or in metaphysical terms, the union of
method and wisdom. The three remaining fingers of the two hands remain extended.
These fingers are themselves rich in symbolic significance:The three extended
fingers of the right hand represent the three vehicles of the Buddha's teachings,
namely: (1) The middle finger represents the 'hearers' of the teachings. (2) The
index finger represents the 'realizers' of the teachings. (3) The little finger
represents the Mahayana or 'Great Vehicle'. The three extended fingers of the left
hand symbolize the Three Jewels of Buddhism, namely, the Buddha, the Dharma, and
the Sangha. Significantly, in this mudra, the hands are held in front of the heart,
symbolizing that these teachings are straight from the Buddha's heart.

Bhumisparsha Mudra:

Earth Touching, Calling the Earth to Witness, or The Victory Over

(Subduing) Mara Literally Bhumisparsha translates into 'touching the earth'. It is
more commonly known as the 'earth witness' mudra. This mudra, formed with all five
fingers of the right hand extended to touch the ground, symbolizes the Buddha's
enlightenment under the bodhi tree, when he summoned the earth goddess, Sthavara,
to bear witness to his attainment of enlightenment.
The right hand, placed upon the right knee in earth-pressing mudra, and
complemented by the left hand-which is held flat in the lap in the dhyana mudra of
meditation, symbolizes the union of method and wisdom, samasara and nirvana, and
also the realizations of the conventional and ultimate truths. It is in this
posture that Shakyamuni overcame the obstructions of Mara while meditating on
Truth. The second Dhyani Buddha Akshobhya is depicted in this mudra. He is believed
to transform the delusion of anger into mirror-like wisdom. It is this
metamorphosis that the Bhumisparsha mudra helps in bringing about.

Varada mudra:

Charity, Compassion: This mudra symbolizes charity, compassion and boon-

granting. It is the mudra of the accomplishment of the wish to devote oneself to
human salvation. It is nearly always made with the left hand, and can be made with
the arm hanging naturally at the side of the body, the palm of the open hand facing
forward, and the fingers extended. The five extended fingers in this mudra
symbolize the following five perfections: (1) Generosity, (2) Morality, (3)
Patience, (4) Effort and (5) Meditative Concentration. This mudra is rarely used
alone, but usually in combination with another made with the right hand, often the
Abhaya mudra (described below). This combination of Abhaya and Varada mudras is
called Segan Semui-in or Yogan Semui-in in Japan.
Dhyana Mudra: Meditation:

The Dhyana mudra may be made with one or both hands. When made with a
single hand the left one is placed in the lap, while the right may be engaged
elsewhere. The left hand making the Dhyana mudra in such cases symbolizes the
female left-hand principle of wisdom. Ritual objects such as a text, or more
commonly an alms bowl symbolizing renunciation, may be placed in the open palm of
this left hand. When made with both hands, the hands are generally held at the
level of the stomach or on the thighs. The right hand is placed above the left,
with the palms facing upwards, and the fingers extended. In some cases the thumbs
of the two hands may touch at the tips, thus forming a mystic triangle. The
esoteric sects obviously attribute to this triangle a multitude of meanings, the
most important being the identification with the mystic fire that consumes all
impurities. This triangle is also said to represent the Three Jewels of Buddhism,
mentioned above, namely the Buddha himself, the Good Law and the Sangha.
The Dhyana mudra is the mudra of meditation, of concentration on
the Good law, and of the attainment of spiritual perfection. According to
tradition, this mudra derives from the one assumed by the Buddha when meditating
under the pipal tree before his Enlightenment. This gesture was also adopted since
time immemorial, by yogis during their meditation and concentration exercises. It
indicates the perfect balance of thought, rest of the senses, and tranquility. This
mudra is displayed by the fourth Dhyani Buddha Amitabha, also known as Amitayus. By
meditating on him, the delusion of attachment becomes the wisdom of discernment.
The Dhyana mudra helps mortals achieve this transformation.

Abhaya Mudra:

Protection, Reassurance, Blessing: Abhaya in Sanskrit means fearlessness.

Thus this mudra symbolizes protection, peace, and the dispelling of fear. It is
made with the right hand raised to shoulder height, the arm crooked, the palm of
the hand facing outward, and the fingers upright and joined. The left hand hangs
down at the side of the body. In Thailand, and especially in Laos, this mudra is
associated with the movement of the walking Buddha (also called 'the Buddha placing
his footprint'). It is nearly always used in images showing the Buddha upright,
either immobile with the feet joined, or walking.
This mudra, which initially appears to be a natural gesture, was
probably used from prehistoric times as a sign of good intentions - the hand raised
and unarmed proposes friendship, or at least peace; since antiquity, it was a plain
way of showing that you meant no harm since you did not carry any weapon. Buddhist
tradition has an interesting legend behind this mudra: Devadatta, a cousin of the
Buddha, through jealousy caused a schism to be caused among the disciples of
Buddha. As Devadatta's pride increased, he attempted to murder the Buddha. One of
his schemes involved loosing a rampaging elephant into the Buddha's path.
But as the elephant approached him, Buddha displayed the Abhaya mudra,
which immediately calmed the animal. Accordingly, it indicates not only the
appeasement of the senses, but also the absence of fear. The Abhaya mudra is
displayed by the fifth Dhyani Buddha, Amoghasiddhi. He is also the Lord of Karma in
the Buddhist pantheon. Amoghasiddhi helps in overcoming the delusion of jealousy.
By meditating on him, the delusion of jealousy is transformed into the wisdom of
accomplishment. This transformation is hence the primary function of the Abhaya
mudra.

Buddhist Sculpture

There are more statues of Buddha in the world than of any one else. Some
scholars claim that the idea of making Buddha statues was introduced to Asia from
Europe. The earliest images of Buddha had Greco-Roman influences. In many of the
early depictions, Buddha resembled Apollo.
Most of the really old art works found in Asia are Buddhist sculptures.
More sculptures remain than paintings because more sculptures were probably made
and paintings tend to deteriorate with time. Buddhist sculptures are generally made
from wood or bronze. Some are gilt. Buddha images, whatever conditions they are in,
are considered sacred. Climbing on them, and in some cultures, photographing them
is considered disrespectful.
There are several Maha Muni Buddha statues in Myanmar. According to
legend: " During thelifetime of the Gotama Buddha there lived a heretic king named
"Pyar Zoombu" (Zabupadi in Myanmar) who was so filled with arrogance, vanity and
pride that he even refused to pay obeisance to the Lord Buddha. The Lord Buddha in
his omniscience realized that this handsome king, though blinded by his own pride
and power, had the seed of wisdom lying dormant in him which could flower and bear
fruit to set him free from lust anger and ignorance. So the Lord Buddha one day
appeared before him in kingly attire with a richly jewelled crown and intricately
ornamented gold sash, seated majestically on a magnificent throne.
The Buddha in this form epitomised a grandeur and power immeasurably
beyond that of "Pya Zoombu". The king was thus jolted out of his egocentricism and
eventually repented and became a devoted disciple of the Buddha. To commemorate
this incident, the king of Dinnyawaddy (Rakhine) and the local people immediately
cast a replica image in bronze. The Buddha image later came to be known as the Maha
Muni.

Iconography and Meaning of Pagan Sculpture: The Enlightened Buddha

Dr. Richard M. Cooler wrote in “The Art and Culture of Burma”: “One of
the peculiarities of Buddhist sculpture is that the most important event in the
Buddha's life from the point of view of mankind is not the event most frequently
represented in sculpture. Depiction of the Buddha's personal enlightenment vastly
outnumber representations of all other events in his life including that of his
first sermon in which he shared his recently discovered knowledge with all
humankind.
The multiple images of the Buddha in Burmese art are excellent examples of
this peculiarity in which the Buddha is most frequently shown seated with legs
folded; left hand in his lap, palm upward; right hand on his shin, palm inward with
fingers pointing toward the earth (bhumisparsa mudra). This hand gesture is
symbolic of his overcoming the last obstacle to enlightenment, self-doubt. After
years of asceticism and many days’ meditation under the Bodhi tree, the Buddha
began to doubt that his past lives had been sufficiently perfect to warrant
attaining enlightenment. This was because he believed in rebirth - a belief that
the soul, like energy, cannot be created or destroyed, but instead experiences
changes only from one form to another.
Therefore, the Buddha, like all mankind, had innumerable past lives,
all of which would have had to have been lived to perfection if the Buddha was to
achieve Nirvana. His difficulty lay in the fact that, like other mortals, he could
not remember all his actions in all his former lives. Therefore, he could not be
absolutely sure that enlightenment was eminent. By placing his hand on his shin and
pointing towards the earth, he summoned the Earth Goddess to come to his
assistance. Since in his former lives, the Buddha had participated in the common
practice of pouring water on the ground to witness each of his meritorious acts,
the Earth Goddess was able to wring a "tidal wave" of water from her hair that had
accumulated over the Buddha's many previous lifetimes which was proof of his
steadfastness and perfection.
The Earth Goddess (Vasundari - Pali or Wathundaye - Burmese) is
presented as a woman wringing water from the tresses of her hair, which constitutes
one of the rare instances where women played an important role in the Buddha's
life. This role, however, was not trivial. It was of pivotal importance because
without her witness and assistance the Buddha would not have gained enlightenment.
 Since the Buddha's complete enlightenment occurred immediately after
"Calling the Earth Goddess to Witness" and since enlightenment takes place within
the body without necessarily any outward indication, the iconographic position of
"Calling the Earth to Witness" has come to be accepted as representing the
enlightenment of the Buddha. To enhance this association, the cranial protuberance
(usnisha = cosmic consciousness or supramundane wisdom) and the enigmatic "smile of
enlightenment" were also employed. “
"Images of The Buddha seated in bhumisparsa mudra have been endlessly
replicated in the art of Southeast Asia because it is a reminder to all mankind
that there is a way to end human suffering. Therefore, as such, the creation of
every additional image of the Buddha is a meritorious act that improves the donor's
karma. The multiple images of this event stamped on clay votive plaques evidence
the zeal of ancient donors who at times created forty or even one hundred images of
the Buddha with a single impression of a metal mould. Because of the large number
of Buddha images, these plaques were thought to be especially efficacious in
assuring the ritual purity and power of a specific site and, therefore, were often
placed in underground chambers below the center-most point of the sanctum in a
Buddhist building."

Standing Buddha

A stone standing Buddha from Burma from the second half of 7th century
is a traditional frontal and static one with identifying marks and mudras derive
from Indian models, yet his facial type and proportions have been altered to
satisfy local tastes. The face is almost heart-shaped, with a broad forehead, wide
eyes, long nose, upturned mouth, square jaw, and small chin. The unusually large
head, the wide shoulders and hips, and the tapering legs have lost a close
correspondence with the human form. Attention is drawn to the Buddha's expression
by the crisp patterns of his hair, which contrast with the otherwise smooth and
simplified shapes."
The ovals of his head and rounded cheeks are repeated in the volumes
of the shoulders, chest, and thighs. The Buddha's monastic robes cling to his body
as if they were transparent, revealing the belt of the under-robe and his robust
upper body. The outer robe, devoid of folds, flares outward beneath his arms in a
flat plane from which the upper body projects as if in high relief.

Reclining Buddhas

David Wilson wrote in The Star, a Malaysian newspaper: “Traditional reclining

Buddhas have the left arm aligned along the body while the right serves as a pillow
with the hand propping the head. Sometimes no longer than a grain of rice, the
reclining Buddha is more often on the scale of a large boat. The icon appears
mirage-like everywhere, from Penang and Bangkok to Yangon in Burma... The reclining
Buddha's “home” may be a temple, grotto or fresco — anywhere with a touch of width
and mystique. [Source: David Wilson. The Star, August 15, 2009]
The statue represents Shakyamuni Buddha — the historical Buddha — at his death at
80. It is said that when the Buddha knew the end was near, he asked his disciples
to prepare a couch for him in a grove, then reclined on his right side, facing
west, with his head propped on his hand. On the last day of his life, instead of
just turning ashen, he kept teaching. So, despite their decadent aura, the statues
embody — as it turns out — the devotion to duty that the Buddha displayed at the
last gasp.
But two puzzles remain. The first is the smile that plays on the lips,
which may seem odd especially to anyone familiar with the reality of death or
Christian images of wretched saints and angels. The smile, it transpires, is simply
meant to express “the supreme joy” that comes with enlightenment, Gach explains.
The reclining Buddha at Gal Vihara in Sri Lanka measures 14m in length while the
upright one is 7m high. The Buddha knew that he was not destined for everyday death
but “parinirvana” — a state defined as “the extinction of the endless round of
illusion and needless suffering”.
The second puzzle is the typically extravagant size, which may seem
outrageous to anyone familiar with Christian statues or the Buddhist emphasis on
moderation. This time, the explanation is less simple, with roots in a legend that
has a Freudian fairytale feel. The legend centres on a giant called Asurindarahu,
who had more pride than a NBA megastar. When confronted with an opportunity to meet
the Buddha, the giant was torn. On one hand, he yearned to see the Buddha. On the
other, because he was equipped with an ego on par with his epic proportions, he was
loath to bow before him, the story goes.
So, while lying down, the Buddha engaged in magic, projecting an image
of himself that dwarfed the giant. The Buddha then showed him the realm of heaven
populated by a multitude of celestial figures that were smaller than the Buddha
but, again, dwarfed the giant. Just to rub it in, the Buddha commented that the
giant was only a big fish in a small pond. Humiliated by the lecture and the
awesome display of soft power, Asurindarahu duly kowtowed, even cringing “like a
spider clinging to the hem of his robes”.
The size and splendour of reclining Buddha statues may make the
traveller feel humbled, too. In particular, the reclining Buddha that graces
Bangkok's Wat Pho is tremendously imposing, all the more so because its feet and
eyes are engraved with mother-of-pearl. Equally impressive is the reclining Buddha
at Shanghai's Jade Buddha Temple, which is carved from a single chunk of jade
almost two meters in length.
Another bewitching but spectacular reclining Buddha occupies
Chaukhtatgyi Temple in Burma's capital, Yangon. It boasts what resembles heavy
makeup, a shimmering golden robe and huge feet. It is squeezed into an open-sided,
steel-and-corrugated iron structure. A 200 meter statue is believed to be hidden
under the earth in Bamiyan, central Afghanistan, near the ruins of the two large
standing Buddhas destroyed in 2001 by the Taliban.
There are several very large reclining Buddha's in Myanmar. The Burmese
like their reclining Buddhas to be sensational. The hollow reclining one in Monywa,
central Burma, which you can walk through, stretches 90m and is acclaimed as the
world's largest. A stone reclining Buddha being carved in east China's Jiangxi
Province will reportedly stretch 416m — the length of an oil tanker. However
dazzled you may be by the grandeur and glamour, just remember one thing: do not to
fall into the trap of referring to any reclining Buddha as “sleeping”. True, the
Buddha, being human, took nightly downtime like anyone else. But his name means
“The Awakened”.
In the conclusion , a Pali text dated 1st century BCE provides a list of
32 physical attributes of the Buddha According to Digha Nikaya. Some of the
attribute mentioned in this text is poetic or fanciful while others are more
specific. There is mentioned some attributes like- legs like an antelope's, feet
with level tread, projecting heels, long and slender fingers and toes etc.
although Buddha Statues images doesn't reflect all those attributes. In the text,
it is mentioned that the Buddha had a protuberance on the top of his skull, the
Usnisha which is shown as a spike and sometimes as a small bump. Another
peculiar characteristic of Buddha is long earlobes. Therefore there will be
different statues in different countries but the attributes of buddha are the same.