Buddha Images as Objects of Transferrable Power

Author(s):  
Angela S. Chiu

Modern scholars explain the development of Thai Buddhist art as driven by a long-standing tradition of copying revered models. Nonetheless, how people of the past determined which models to copy has been deliberated by only by a handful of scholars. The work of A. B. Griswold, M.L. Pattaratorn Chirapravati, Piriya Krariksh and Stanley Tambiah indicates the interplay of doctrine, politics and prestige which influenced which Buddha images were most revered and copied. Evidence from chronicles shows that powerful statues were not visually distinctive, a positive characteristic that facilitated copying. Images were usually described by their material, weight and size, which reflect the donor’s financial outlay and therefore merit-generating potential of the image. The limited set of iconographies facilitated the comparison of statues in this monastic ‘economy’ of donation and merit exchange. Though the Buddha image was ‘singularized’ by its enshrinement, it was still understood as a ‘commoditized’ object.

2021 ◽  
pp. 33-64
Author(s):  
Karen Armstrong

Ever since John Locke argued that religion was essentially a “private search” and must be radically excluded from political life, we have prided ourselves in the West on the separation of church and state. John Esposito, of course, has famously ignored this shibboleth. In the past, students were not content to acquire a purely academic understanding of their faith; their aim was not to earn a doctorate or a professorship. Instead, they expected to be spiritually transformed by their studies—an experience that propelled them out of the classroom and back into the mundane, messy, and tragic world of politics. This essay traces this theme in Indian and Chinese traditions as well as in the three monotheistic faiths. All insist that poverty, inequity, cruelty, and exploitation are matters of sacred import and that after achieving Enlightenment one must, as the Buddha insisted, “return to the marketplace” and work practically and creatively to heal the suffering of humanity—a message that is sorely needed in our tragically broken world.


1964 ◽  
Vol 96 (2) ◽  
pp. 104-119
Author(s):  
Y. Krishan

I. The Gandhāra and Mathurā Schools of Art made a revolutionary contribution to the traditions and history of Buddhist art. Early Buddhist art was aniconic. At Bhārhut, Sānchi and Amaravātī before the 1st century a.d., the Buddha was represented only in symbols; a riderless horse, the tree or wheel, stūpa, and the rest indicated the great renunciation, enlightenment, preaching of the doctrine and the nirvāṇa. In Gandhāra and Mathurā art, however, the Buddha was represented in human form, and many sculptures representing bodhisattvas have been found in Gandhāra.


Author(s):  
K.L. Dhammajoti

Abhidharma had its origin in certain systematizing, analytical, and exegetical features found in the Sūtra, particularly, mātṛikā (summary list), abhidharma-kathā (discussion about the doctrine), vibhaṅga (“analytical exposition”), and upadeśa (exegetical elaboration). Buddhist philosophies may have been primarily initiated and vigorously elevated in the Abhidharma tradition. However, while the Abhidharma treatises undoubtedly exhibit highly developed scholastic and hermeneutical components, Abhidharma is essentially a soteriology. The Sarvāstivāda Ābhidhārmikas consistently claim that Abhidharma is truly “Buddha-word,” being the sine quo non for ascertaining the true intents of the sutras—it constitutes the ultimate authority for discerning the definite and explicit discourses (nītārtha-sūtra) of the Buddha. Sarvāstivāda, the “All-exist School,” was undoubtedly one of the most important Buddhist schools in the period of Abhidharma Buddhism. Since its establishment around the 2nd century bce, it exerted tremendous impact, directly or indirectly, on the subsequent development of Indian Buddhism. This school possesses a complete set of seven canonical Abhidharma texts, nearly all of which are now preserved in Chinese translation, and one, the Prajñapti-śāstra, is preserved in a complete Tibetan translation. A huge compendia, The Great Abhidharma Commentary (Abhidharma-mahāvibhāṣā), whose gradual compilation must have spanned over more than half a century and was fully completed around 150 ce, is now extant only in Chinese. This compendia, encyclopedic in scope, defines the doctrinal positions of the orthodox Sarvāstivādins based in Kaśmīra, who subsequently came to be known as the Vaibhāṣikas. The central thesis of the school is sarvāstivāda or sarvāstitā (/sarvāstitva), which claims that all “dharmas”—fundamental realities or real entities of existence—sustain their unique intrinsic natures throughout the three periods of time. That is, whether future, past, or present, a dharma’s intrinsic nature remains the same, even though its mode of existence (bhāva) varies. This thesis was vehemently challenged by the Vibhajyavādins (Distinctionists) who denied the reality of the past and future dharmas. The reverberation of this “Sarvāstivāda-versus-Vibhajyavāda” controversy can be observed to have generated decisively significant doctrinal implications throughout the history of Buddhist thoughts. The Savāstivāda school was also known as Hetuvāda, a “school which expounds on causality.” Kātyāyanīputra (c. 150 bce), often regarded as the effective “founder” of the Sarvāstivāda school, was credited with the innovation of a theory of sixfold causes, of which the coexistent or simultaneous causality was the most important legacy. For the first time in human history, he systematically articulated a form of causality in which the cause and its effect coexist simultaneously. This theory contributed importantly to Buddhist doctrinal development, particularly its epistemology. Mahāyāna Yogācāra had embraced it from their very inception, finding it indispensable for the establishment of many of their fundamental doctrines, including “store consciousness” (ālaya-vijñāna) and “cognition-only” (vijñaptimātratā).


1928 ◽  
Vol 60 (4) ◽  
pp. 815-841 ◽  
Author(s):  
Ananda K. Coomaraswamy

A modern student of Buddhism, unfamiliar with Buddhist art, and accustomed to think of the Buddha only as a human and historical figure, would naturally expect to find the Śākya sage represented in art like any other Buddhist friar, with a shaven (muṇḍa) head; and to suppose that such representations could only have existed as memorials, and not as objects of a cult. As a matter of fact, however, the Buddha is always represented, although not in royal garb, as a deity, with a nimbus, lotus or lion throne, and certain physical peculiarities proper to the conception of a MahāPuruṣa and Cakravartin or King of the World. But crowned and otherwise ornamented Buddhas are not unknown, and again, the earliest Indian type differs in several respects from the established formula of the Gupta and later periods. Thus the Buddha iconography presents a number of difficult problems; and amongst these are those referred to in the title of this paper.


Filomat ◽  
2020 ◽  
Vol 34 (6) ◽  
pp. 2091-2099
Author(s):  
Ishtaq Ahmad ◽  
Neyaz Sheikh

Wavelet frames have gained considerable popularity during the past decade, primarily due to their substantiated applications in diverse and widespread fields of engineering and science. In this article, we obtain the characterization of nonhomogeneous wavelet frames and nonhomogeneous dual wavelet frames in a Sobolev spaces on a local field of positive characteristic by means of a pair of equations.


2017 ◽  
pp. 121-127
Author(s):  
Sabita Kumari

This paper is an attempt to study the verbal discourses in general and visual depictions of Peninsular India in particular related to the theme of Mara-vijaya of the Buddha. It closely studies the panels depicted Mara’s attack and the great victory of the Buddha from various sites of Peninsular India


Author(s):  
Claudine Bautze-Picron

The image of the Buddha appeared in the north of the South Asian subcontinent around the 1st century ce, following a period when no actual representation had been produced. Detailed considerations on how to represent this human being who had reached the highest spiritual plane are clearly illustrated in the highly elaborate portrayal in the literary sources and led to the visual formulation of an image based on strict iconographic rules, texts and art being both sides of the same issue. The texts include lengthy lists of either thirty-two or eighty marks that characterize the body of the Buddha, some being actually seen in the visual depiction, such as the tuft of hair between the eyebrows, the protuberance on the head, and the webbed hands, all of which contribute to the manifestation of a metamorphosed body that can become a powerful source of magic. This image does not stand on its own but is 1ed in a set of motifs—the throne, the nimbus, the aura, the lotusseat—that bring out the supramundane nature of the Buddha; further additions were to be the crown and the necklace, transforming the simple monk into a king. The various gestures that the Buddha displays reflect different aspects of his personality, as protector, as paradigm of generosity, as the ultimate teacher. Elements such as the monachal robe or hair style showed up in various forms in the early phase; however, the stylistic evolution progressively led to a uniformized figure that appeared in the 4th–5th century and became standardized in South Asia before finding its way to faraway regions. This figure was also used to represent the Buddhas of the past or the Tathāgathas and became the visual element unifying all Buddhist schools.


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