The Story Of Buddhism By Donald M. Rodriguez Jr.

Pensive Bodhisattva has typical features of the Buddhist artworks. Also, the interesting aspect is we can see the unique features of the Three Kingdom Period’s artwork through this sculpture. When we see this sculpture at first, the most noticeable point is the bodhisattva’s posture. He sits on the dais and he puts his right leg over his left leg. The right leg also props his right elbow and his fingers especially the forefinger and the middle finger touch his right chin and he rests his left hand neatly on his right ankle. The description of his fingers and toes are very realistic. When we see the fingers and toes, we can feel how the artist put his or her blood into sculpting each fingers and toes. However, his posture seems agonizing. When we take a closer look his face, his eyes are closed and he puts gentle smile on his lips. For that reason, his posture reminds us his anguish, but at the same time, his facial expression

Later images display attributes of both genders. One interpretation of this development contends that the bodhisattva is neither male nor female but has transcended sexual distinctions, as he has all other dualities in the sphere of samsara (the temporal world). According to this opinion, the flowing drapery and soft

The central Buddha figure, Shakyamuni is the original Buddha who can not be spoken or thought of in terms of birth or death, self or other and is the source of all other manifestation of Buddha hood. He appears cross-legged on a pedestal representing the “cosmic mountain.” The Shaka displays several of the important iconographic, symbolic traits of the Buddha, including the usis, a cranial protrubence; the snail-shell curls of hair the urna, a mark on the brow between the eyes; the elongated ears; and the gilt which indicates the golden color of the Buddha’s skin. He holds his right hand in a gesture of protection or reassurances known as abhaya mudra, the left in the vara mudra. These features appear

Whenever I thought of Buddhist I saw bald men or women with orange robes, white socks, and brown sandals. Obviously, not the older woman with gray hair that was now facing me and the other twenty congregants in the meditation room. She was obviously the leader.

Here the idealized face of a full-blown Tang beauty from Tianlongshan, with a small, slightly opened mouth, is so expressive that it seems as though he is about to speak. The shape of the head is rounder and the carving for facial features is softer with time going by, so the bodhisattva is more and more nearly human looking.

Although Buddhism, from the outside view, can come across as a relaxed religion this image seems to depict a destructive demon. Without any knowledge of what the illustrations represent, it would be immensely easy to make this quick assumption. In analyzing the piece, though, it can be understood that this Bodhisattva is being depicted in his Tantric form. Like the Tantric Kali from the Hindu religion, God(s)/Goddess(s) or sacred figures can sometimes be seen in the wrong light which leads to an un-informed view of that character. In actuality, if you take a closer look at the illustration it can be seen that Manjusri, being the Bodhisattva of wisdom, wields a sword of wisdom that can cut through ignorance as well as the Perfection of Wisdom Sutra in his left hand.

These two seated Buddha represent the meaning and the embodiment of Buddha. Both of these sculptures convey Buddha and represent key aspects of Buddhism, but these two sculpture do not convey and represent the symbolism entirely of what Buddha is in other art pieces. Rock cut stone sculpture of Buddha is represented in a peaceful nature as he gives the first sermon, the sun, the lotus flower, the knot on his head, the elongated earlobes, the slightly closed eyes and cherubs up above are common symbols that represent Buddha. Where the Grand Buddha at Ling Shan is an 88 metre tall bronze statue, that stand upward, and has very little Buddha symbolism represented. He has the knot on his head, slightly closed eyes, standing on an opened lotus flower

3. The inclusion of the yakshis add to the message of this image because they represent the Indian female earth spirits that are suggesting fertility, the message it displays is that the Buddhists believe

Emily, this sculpture is interesting to me in a way that Buddha’s head is not present. The body and the half circle seem to serve as the eyes and mouth. Also, because it is a sculpture of fasting Buddha, it seems to show the inside of the body as bony and enduring the fasting season. After reaching enlightenment, Buddha meditated and fasted for forty-nine days. Thus, showing him as an emaciated renouncer relates to his enlightenment and his status as a yogic ascetic who has ultimate control over his body. Other characteristics that relate to his enlightenment include the sitting on top of the seven people under him shows the Buddha's teachings to his followers.

The group of objects chosen for this paper comes from the collection of the Saint Louis Art Museum. The title of both pieces is called Seated Bodhisattva Avalokitesvara (Guanyin). Both these pieces which are statues were sculpted in china. The earliest statue was made during the Tang dynasty. While, the later statue was made during the Northern Song dynasty. These statues were chosen because the same deity is depicted and were made in a similar geographic and cultural location. This allows for the comparison of the different styles between the 2 periods. The statue made during the Northern Song dynasty depicts the Bodhisattva Avalokitesvara sitting in a pose called the relaxed pose or easy pose. This statue also depicts the Bodhisattva adorned in lavish silk garments while a jeweled crown sits atop his head. The statue is carved from wood and painted with gesso, pigments, and gilding. The statue made during the Tang Dynasty depicts the Bodhisattva sitting in the easy pose as well. It also depicts the Bodhisattva in flowing robes while wearing a string of jewels.

The statue is of Buddha sitting in the lotus position that is used for meditation and teaching (SITE.GOOGLE.COM). His hands and face are more or less life size, but his body is smaller (SITES.GOOGLE.COM). He is looking serenely in the distance, with his eyelids lowered (SITES.GOOGLE.COM). His hair is up in a bun, symbolizing Buddha’s wisdom

Within the time period in which it was crafted, figures of the Buddha, like that of Sarnath, have begun to displace the stupa, a mound-like structure that contained relics, as the norm in sacred Buddhist Architecture. The sandstone sculpture depicts a seated, soft, and full-bodied depiction of the Buddha; these soft and relaxed characteristics are evident in both the sculpture of the Seated Scribe from Egypt, as well as many other pieces of Buddhist art. A monastic robe covers both of his shoulders and his heavy lidded eyes are downcast in meditation. The figure of the Buddha is shown above the infamous wheel of law; this wheel was used within ancient representations in order to signify royalty or a universal monarch. In addition to showing the wheel of law, the figure is depicted with its hands in front in the Dharmachakra-mudra, otherwise known as the gesture of preaching or ‘turning the wheel of law’. Furthermore, there is a certain idealism applied to this statue of The Buddha, much like other Buddha representations that are created elsewhere, in order to emphasize spirituality. The earlobes of The Buddha are elongated, a symbolic reference to the former wealth of The Buddha while he was a prince. Although The Buddha left the palace to become an ascetic while on the search for the

The frontal presentation of The Head of the Buddha, is very simplified and symmetrical. From the side, the head becomes less round and tapers off by the exaggerated ears. This marks an end to the more rounded edges and becomes more angular. To a viewer, this demonstrates that the artisan wanted to display a more naturalistic view of the head, as it would be viewed on all sides. The frontal presentation of The Head of the Bodhisattva, conversely, is more decorated with a slightly tilting head, but the side of the head follows the same pattern as the Buddha head, as it changes from a rounded edge to more angular. Both sculptures present simplified faces with basic features. The Head of the Bodhisattva, nevertheless, appears to be rougher than The Head of the Buddha. One can observe that the Bodhisattva head still reveals the original grain of the wood, whereas the Buddha head has been sanded down to diminish those lines. As these two pieces are sculptures, the heads take on a volumetric form, as they appear to be carved on all sides. This would suggest that the pieces would not have necessarily had a background behind them, as those pieces would not be carved on the back of the sculpture. The faces, however, follow a standard form for religious figures. The sculptures are most likely not individualized, but they follow visual properties that were common for Buddhist

The sheer amount of weapons the bodhisattva, including the ax, trident, and spear, strikes fear in those who disobey. This image instills a sense of reverence because of the danger that could come from being bad in nature. It also promotes the desire to worship and become a devout Buddhist because of the consequences that one could face on other paths of life. If on Buddhist path, one has this bodhisattva to protect and guide them. It elevates the value of Buddhism and its teachings; the viewer will see Buddhism as the way of life that will help them reach Heaven and achieve an afterlife that other religions cannot achieve. To go along with the weapons, there are eight arms in total, all doing different things: between holding objects and signing mudras. It is overwhelming to see eight arms because of how otherworldly it is; furthermore, the arms all have their own function. This being has the capability to control more than two arms, without any difficulty. The admiration for the power and strength of the bodhisattva develops as the viewer takes in the the arms and weaponry. It would be necessary to take multiple visits to see the bodhisattva to begin to process everything the arms are doing and what their positions are. While this is outrightly stunning, the finer details remain to be found by the viewer, an example being the patterned

It is said that the Buddha was reluctant to accept images of himself, as he did not like to be viewed as a person. To symbolise the Buddha in the very early art, one used mainly the Eight Spoked Wheel and the Bodhi Tree, but also the Buddha's Footprints, an Empty Throne, a Begging Bowl and a Lion are used to represent him.