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Religion relies on the construction and transmission of religious messages and morals in the followers. For a successful construction and transmission of religion, it depends heavily on archetypes, arts, artworks, events, connection with natural phenomena, and so on. These all are collectively known as symbols. Religion is interpreted by the texts, rituals, and works of art as symbols. Symbols and their construction help in creating myths and expressing moral values of the religious society. It helps in the spread of teachings of the religion and builds a bond of worship amongst the believers or the followers. Buddhism is the religion of the followers of Gautama Buddha (Sakyamuni). It is a branch of Hinduism with numerous varieties in practices and conviction. Like Hinduism, Buddhism is one of the significant religions of the world with presumably more than 3.5 million disciples. Ongoing themes of Buddhism incorporate the three precepts or gems (Buddha, Dharma, and Sangha), and the objective of Nirvana. This paper discusses various iconography and religious symbolism in different Buddhist statues across the world. Introduction:
Art may have either literal or symbolic functions. Iconography- the correlation between symbolic characteristics and otherworldly concepts- is like a code. When the semiotics of the art is studied, deeper meaning can be excavated. In surveying the diverse statues of Buddha from across Asia, certain repetitious themes appear. The ways in which the various parts of the head, the hands in their mudras, the legs of the Buddha- be it seated or standing- and the accouterments that surround the Enlightened One are created to serve a heuristic function for the devotee. Once these aspects of Buddhist art are understood, additional insight into the account of Siddhartha and the way of Buddha can be more readily internalized. To gaze upon a statue of Buddha and observe the representational details of the head, arms and legs is to understand the cycle of samsara and diligently pursue Nirvana.
Art may have either literal or symbolic function. Iconography- the correlation between symbolic characteristics and otherworldly concepts- is like a code. When the semiotics of the art is studied, deeper meaning can be excavated. In surveying the diverse statues of Buddha from across Asia, certain repetitious themes appear. The ways in which the various parts of the head, the hands in their mudras, the legs of the Buddha- be it seated or standing- and the accouterments that surround the Enlightened One are created to serve a heuristic function for the devotee. Once these aspects of Buddhist art are understood, additional insight into the account of Siddhartha and the way of Buddha can be more readily internalized. To gaze upon a statue of Buddha and observe the representational details of the head, arms and legs is to understand the cycle of samsara and diligently pursue Nirvana.
Eduvest - Journal of Universal Studies
The Meaning of Buddhist Statue Symbols In Borobudur, Mendut And Plaosan Temples Based on Buddhist LiteratureBorobudur, Mendut, and Plaosan temples are representative temples in Buddhist temple architecture in Indonesia. These three temples were built with different backgrounds in their time but have a common function as places of worship. One of the main characteristics in the building of this temple is the presence of Buddha statues with their spiritual function in the religious activities of Buddhists. This research uses qualitative research methods with a phenomenological approach. Data is processed and analyzed with several stages, namely data condensation, data presentation, and drawing conclusions. The results of the study show that the Buddha statue is interpreted as an important main symbol in temple buildings. This symbol is related to the sacred meaning of the temple and puja activities carried out by the community. The Buddha statue is the most important symbol because it directly represents the Buddha. These Buddha statues are found in all three temples ...
Gandharan Art in Its Buddhist Context
Does Iconography Really Matter? Iconographical specification of Buddha images in pre-esoteric Buddhist art_20232023 •
Analisa: Journal of Social Science and Religion
The Spiritual and Cultural Symbols in a Mahayana Buddhist Temple ‘Vihara Lotus’ Surakarta2019 •
The symbols contained in a vihara is intentionally used to remind the people to something that is believed, both cultural and spiritual values. This article aims to analyze the meaning and value of spiritual and cultural symbols in Vihara Lotus Surakarta. This is a qualitative research. This article shows that (1) The meaning and value of spiritual symbols in Vihara Lotus can be found on the category of altar and statue which consist of ancestor altar, Amitabha Buddha Altar, Avalokitesvara Altar, Three Buddhas Alta, Si Mien Fo Altar, Maitreya Buddha, Si Da Tian Wang Statues, And Earth Gods. Then in category of Prayer tools consist of Ching/Gong, Muk Ie, He Che, and Tan Che. Those spiritual symbols have meaning and value in term of the Buddha teaching such as the Sigalovada sutta, sukhavati realm, reflection of Buddhas nature, concept of Tri Kaya, affection state, four nobles qualities, dharma wheel turning, awareness, equanimity concept, introspection, and catumaharajika realm. (2) ...
Oxford Encyclopedia of Buddhism (Online), ed. by Richard Payne, Oxford: OUP, 2022 https://doi.org/10.1093/acrefore/9780199340378.013.584 The overwhelming focus on textual or dharma studies in Buddhism, to the relative neglect of artistic production, has led to a bias in understanding the close and intricate relationships between Buddhist art (usually comprising sculptures, mural paintings, architectural facades and ornamental elements, illuminated paintings, cloth banners, and drawings in manuscripts), rituals, and the written word. The constant dialogue between material, visual, and ritual cultures should be approached in tandem. Visual culture is a significant part of Buddhism and must be treated as part of the same social, historical, and geographical contexts as texts and practices. Buddhist visual culture, including art media, graphic aids, and physical objects or monuments associated with Buddhist practices, does not merely serve to illustrate sacred texts, legends, and doctrines. In addition, the textual tradition does not always have to explain or justify the presence-or absence-of a material object such as a Buddha icon or a Buddhist painting. While visual culture studies have become increasingly important in various academic fields over the years, a critical and complete overview of the precise relationship between art, ritual, and text in the study of south and southeast Asian Buddhism has yet to be written.
The paper discusses the prodigious birth of the Buddha Siddhartha as represented in Gandhara sculpture and its iconographic symbolism
Transcultural Studies
The Image of the Buddha: Buddha Icons and Aniconic Traditions in India and China2011 •
This is a study of aniconic Buddhist art in India and China that refers back to the iconoclasm (Bilderstreit) of the 8th and 9th centuries in the Byzantine empire and the subsequent development of an image theory that justified the already well established image cult. By deliberately adopting methodological approaches and terms that have been used for some time in Byzantine art history, relevant visual and textual evidence about the Buddhist tradition will be restructured and evaluated, pointing out similarities and dissimilarities. Anthropomorphic Buddha images and aniconic representations of the Buddha in India and China are compared; furthermore, an overview of the establishment of a Buddhist icon cult with image worship in China is given, discussing related phenomena like narratives about the First Image, the True Countenance, and miracle-working Divine Images. Against this background, Chinese aniconic tendencies and the image discourse within the Chinese Buddhist community arou...
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