Buddhist Iconography and Religious Symbolism in different
Buddhist Statues
Dr. Preeti Oza
St. Andrew’s College
University of Mumbai
Abstract:
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. On-going 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.
Key-words: Buddhism, iconography, Religious Symbolism, History of Symbols, Religion
and Symbolism
Introduction:
There are many images, statues and artefacts of Buddha across the world. Each is designed,
created and worshipped under the cultural influence of local place and people. The Monastic
Buddhist images in the South-east Asia are very different form the Buddhist images where
Buddhism is popular as a socially engaged religion.
For example, in The Handbook of Tibetan Buddhist Symbols, Robert Beer portrays the rich,
multifaceted, and profound symbolism of Tibetan sacred art. He provides a deep and
encompassing insight into the vast array of symbols and attributes that appear within the
complex iconography of Tibetan Buddhism. It processes the drawings which reveal the
origins, meanings, and functions of these symbols. There are multiple layers of symbolism
and meaning contained within the iconography. There are many Buddhist symbols and
motifs, including the various groups of auspicious symbols; cosmological symbols; natural
and mythical animals, such as the dragon, garuda, and makara; the entire assembly of ritual
tantric implements and weapons; magical and wrathful symbols; handheld emblems,
attributes, and plants; esoteric Vajrayana offerings; and mudras, or ritual hand gestures.(
Beer,2003)
The Buddha
Buddha was an amazing ruler (or the son of a king), who established the significant world
religion (c. the fifth century B.C.). The word Buddha is Sanskrit for ‘Awakened’ or the
'stirred one'. The balancing projections of the Buddha should address astuteness, however,
initially, they probably showed the Buddha's ears burdened with studs. Buddha sculptures
across Asia are illustrative of the lessons and life of Gautama Buddha. Every sculpture
highlights basic actual credits, stances, and stances that characterize its motivation and
significance.
Gestures, Postures and Meanings:
The hand gestures of the Buddha, called mudras, demonstrate instructing, reflection,
illumination, and astuteness. Also, the stances of the Buddha each have particular importance.
Buddha is frequently addressed in three positions: sitting, standing, or leaning back. Even
though more uncommon, there are a couple of portrayals strolling Buddha, also.
Iconography and Symbolic Postures in Buddhist Statues:
Iconography—the connection between authentic qualities and supernatural ideas—resembles
a code. At the point when the semiotics of the craftsmanship is considered, further
importance can be uncovered. "The iconography of the Buddha… has been moved from his
human condition" and into his otherworldly hypostasis. In Asian sculptures of the Buddha,
each piece of the sculpture is profoundly representative and contains actual enunciations of
strict goals. In the making of such sculptures, the craftsman is aware of the profoundly
figurative subtleties she has made. These models are finished with the expectation that
aficionados will upgrade their comprehension of illumination through the survey and
disguising the significance of the Buddha. ( Richie, 2014)
The four stances of the Buddha are:
1. Leaning Back Buddha
2. Sitting Buddha
3. Standing Buddha, and
4. Strolling/ Walking Buddha
Leaning Back Buddha
The leaning back Buddha is in the last phase of natural life, before arriving at nirvana in the
afterlife. The leaning back Buddha includes the Buddha lying on his right side with his head
upheld by a pad or his set up hand and elbow. Although this portrayal of the Buddha can
show sleeping or resting, it is most normally a portrayal of the last minutes toward the finish
of the existence of the Buddha. Called parinirvana, this temporary state happens just to the
individuals who have arrived at illumination, or nirvana, during their lifetime. The
individuals who accomplish nirvana are delivered from samsara, the pattern of resurrection,
and karma. All things being equal, when they bite the dust, they arrive at nirvana-after-death
or the unceasing Self.
( Fig-1 Leaning back Buddha)
Sitting Buddha
The sitting Buddha is frequently educating or reflecting, however, more can be gained from
the mudras, or hand positions. The sitting Buddha is the most widely recognized portrayal of
the Buddha. These Buddha sculptures can address educating, reflection, or an endeavour to
arrive at edification. Hand signals, or mudras, are fundamental in figuring out what a sitting
Buddha implies. For instance, the bhumisparsha mudra, or the situation wherein the Buddha
rests his left-hand palm up on his lap and his right hand palm down, fingers toward the earth
shows that the sculpture is calling the earth to observe. There are three unique places of the
sitting Buddha: virasana, vajrasana, and pralambanasana.
Virasana, otherwise called saint's posture or half lotus, portrays the legs got over one
another and the underside of one foot is rotated toward the sky.
Vajrasana, additionally called the resolute stance, lotus, or precious stone portrays the
legs collapsed over one another with the two bottoms of the feet rotated toward the
sky.
Pralambanasana, likewise called the European Sitting Pose, portrays the Buddha
situated upstanding in a seat.
( fig.2- Sitting Buddha)
Standing Buddha
The standing Buddha is ascending to instruct after arriving at nirvana. The standing Buddha
is demonstrative of being fixed, with the two feet fixed immovably one next to the other.
During this position, the Buddha has halted, and the justification for this end can be
controlled by the mudra of the hands. Regularly, the standing Buddha is repulsing struggle or
ascending from contemplation to show the Four Noble Truths in the wake of arriving at
nirvana. Remarkably, the feet of the Buddha are planted immovably on the ground, showing
the Buddha is prepared to start voyaging and educating. On the other hand, when the bottoms
of the feet are confronting upward, as in vajrasana, the Buddha is in the getting position,
during contemplation.
( fig.3- standing Buddha)
Strolling/ Walking Buddha
The strolling Buddha is either starting his excursion toward illumination or getting back from
showing a lesson. The strolling Buddha is the most un-regular of the Buddha stances, seen
solely in Thailand. It includes the Buddha remaining, with one foot put before the other with
the robe moved aside, as though moving. This position demonstrates inward harmony and
effortlessness. The Buddha is regularly viewed as either starting his excursion to the
instructor getting back from paradise after conveying a lesson. Even though frequently the
strolling Buddha is said to have effectively arrived at nirvana, there are a few portrayals of
the strolling Buddha wearing shoes. These shoes imply that however, the excursion toward
edification has started, the shoes are keeping him from associating with the earth. He needs to
eliminate his natural longings before he can arrive at edification.
( Fig. 4- Strolling Buddha)
History of Buddha Iconography (For what reason do we have various sculptures):
Sequentially, as the Buddha moves from the extensive stretch of situated contemplation to the
acknowledgment of Nirvana, he at that point has his spot as a Bodhisattva who helps others
in the excursion to edification. This is done through instructing, voyaging, and lecturing. It is
nothing unexpected, at that point, that there are numerous opposite sculptures of the Buddha.
Past this useful utilization of deifying the transitory Buddha is the more profound perusing of
way of life that might be gathered from the sculptures (Ritchie,2014). Imaginative
iconography of the Buddha previously showed up between the first and second hundreds of
years A.D. in India, the geographic source of Buddhism. As Buddhism spread into Southeast
Asia, creative portrayals of the Buddha started to show up in Thailand and Laos, too.
These first symbols of the Buddha were not made until hundreds of years after the
demise of Siddhartha Gautama, and they were never expected to address the actual credits of
the man. All things being equal, each picture addresses the soul of the lessons of Buddha.
Along these lines, these symbols have a spirit or a soul. The craftsmen who make the
sculptures should be in a condition of otherworldly connectedness to address the soul of the
lessons of the Buddha.
Creators and the Creation:
The craftsman's interpretation of the rich practices of the Buddha into models and
sculptures are pretty much as assorted as the actual specialists. However, appreciation of the
imagery is dependent upon the discernment and scholarly ability of the believer. To one who
can peruse the sculpture that has been composed [the exacting importance of "iconography"],
incredible profundity and detail are gathered. To the individuals who only see a piece of
craftsmanship, just shallow ends can be made. Iconography, accordingly, isn't only training
for the creative tip-top, yet a custom of fans in all phases of otherworldly traveling. It is "not
just the origination of the figure regarding mass and worked on planes, yet the way wherein
the structures seem to rise out of the plain foundation of the stone" that cause a lifeless thing
to get deserving of dedication and study. ( Moore. 1997)
Emblematic Gestures ( Mudras) in Various Buddhist sculptures:
Buddhas and Bodhisattvas regularly are portrayed in Buddhist craftsmanship with adapted
hand motions called mudras. "Mudra" is Sanskrit for "seal" or "sign," and every mudra has
particular importance. Buddhists now and again utilize these emblematic motions during
customs and contemplation. The rundown that follows is a manual for regular mudras.
Abhaya Mudra
The Abhaya mudra is the open right hand, palm out, fingers facing up, raised to about the
tallness of the shoulder. Abhaya addresses the achievement of illumination, and it implies the
Buddha following his acknowledgment of edification. The Dhyani Buddha Amoghasiddhi
regularly is portrayed with the Abhaya mudra. Frequently buddhas and bodhisattvas are
imagined with the correct hand in Abhaya and the left hand in the varada mudra. It couldn't
be any more obvious, for instance, the Great Buddha at Lingshan
( fig.5- Abhaya Mudra)
Anjali Mudra
Westerners partner this signal with the petition, yet in Buddhism, the Anjali mudra addresses
"suchness" (tathata) - the real essence, everything being equal, past differentiation.
( Fig. 6 – Anjali Mudra)
Bhumisparsha Mudra
The bhumisparsha mudra is likewise called the "earth observer" mudra. In this mudra, the
left hand lay palm up on the lap, and the right hand comes to over the knee toward the earth.
The mudra reviews the narrative of the verifiable Buddha's edification when he requested that
the earth take the stand concerning his value to turn into a buddha. The bhumisparsha mudra
addresses immovability and is related to the Dhyani buddha Akshobhya just as with the
verifiable Buddha.
(Fig. 7 – Bhumisparsha Mudra)
Dharmachakra Mudra
In the Dharmachakra mudra, the thumbs and pointers of two hands contact and structure a
circle, and the circles contact one another. The three different fingers of each hand are
broadened. Regularly the left palm is moved in the direction of the body and the correct palm
away from the body. "Dharmachakra" signifies the "dharma wheel." This mudra reviews the
Buddha's first lesson, which is here and there alluded to as the turning of the dharma wheel. It
likewise addresses the association of capable methods (upaya) and intelligence (prajna). This
mudra additionally is related to the Dhyani Buddha Vairocana.
( Fig.8- Dharmachakra Mudra)
Vajra Mudra
In the vajra mudra, the correct pointer is wrapped by the left hand. This mudra additionally is
known as the Bodhyangi mudra, the mudra of incomparable shrewdness or the clenched hand
of astuteness mudra. There are various understandings for this mudra. For instance, the
correct pointer may address astuteness, covered up by the universe of appearances (the left
hand). In Vajrayana Buddhism, the motion addresses the association of male and female
standards.
( Fig. 9 – Vajra Mudra)
Vajrapradama Mudra - In the Vajrapradama mudra, the fingertips of the hands are crossed.
It addresses immovable certainty.
( Fig 10 – Vajrapradama Mudra)
Varada Mudra
In the varada mudra, the open hand is held palm outward, fingers pointing down. This might
be the correct hand, even though when the varada mudra is joined with the Abhaya mudra,
the correct hand is in Abhaya and the left hand is in varada. The varada mudra addresses
sympathy and wish-allowing. It is related to the Dhyani Buddha Ratnasambhava.
( Fig.11- Varada Mudra)
Vitarka Mudra
In the Vitarka mudra, the correct hand is held at chest level, fingers facing up and palm
outward. The thumb and pointer structure a circle. Now and then the left hand is held with
fingers pointing descending, at hip level, likewise with palm outward and with the thumb and
pointer framing a circle. This mudra addresses the conversation and transmission of Buddha's
lessons.
( Fig. 12 – Vitarka Mudra)
The Dharma Wheel (Dharmachakra) Symbol in Buddhism
The Dharma wheel, or Dharmachakra in Sanskrit, is perhaps the most established image of
Buddhism. Throughout the planet, it is utilized to address Buddhism similarly that a Cross
addresses Christianity or a Star of David addresses Judaism. It is likewise one of the Eight
Auspicious Symbols of Buddhism. Comparative images are found in Jainism and Hinduism,
and it is likely the dharmachakra image in Buddhism developed out of Hinduism.
( Fig. 13 – Dharmachakra)
A customary dharma wheel is a chariot wheel with differing quantities of spokes. It tends to
be in any tone, even though it is frequently gold. In the middle, there might be three shapes
twirling together, a yin-yang image, a subsequent wheel, or an unfilled circle.
What the Dharma Wheel Represents
A dharma wheel has three fundamental parts: the middle, the edge, and the spokes. All
through the long haul, various teachers and customs have proposed grouped ramifications for
these parts. Here are some ordinary understandings of the wheel's symbolism:
• The circle, the round condition of the wheel, addresses the faultlessness of the
dharma, the Buddha's teaching.
• The edge of the wheel tends to insightful obsession and care, which hold practice
together.
• The focus tends to moral control. The three spins habitually seen on the middle point
are occasionally said to address the Three Treasures or Three Jewels: Buddha, dharma,
sangha. They may similarly address bliss.
The spokes suggest different thoughts, dependent upon their number:
When a wheel has eight spokes, the spokes address the Eightfold Path. An eight-
talked wheel is the most notable kind of wheel in Buddhism.
• When a wheel has ten spokes, the spokes address the ten-course—in fact, everywhere.
• When a wheel has twelve spokes, the spokes address the Twelve Links of Dependent
Origination.
• When a wheel has 24 spokes, the spokes address the Twelve Links of Dependent
Origination notwithstanding the pivoting of the Twelves Links and independence from
samsara. A 24-talked dharma wheel is moreover called an Ashoka Chakra.
• When a wheel has 31 spokes, the spokes address the 31 spaces of essence from out-
of-date Buddhist cosmology.
• When a wheel has four spokes, which is remarkable, the spokes address either the
Four Noble Truths or the four dhyanas.
The wheel consistently has spokes distending past the wheel, which we may imagine are
spikes, though generally, they don't look sharp. The spikes address distinctive entering pieces
of information.
The Ashoka Chakra
( Fig 14 – Ashoka Chakra)
Among the most settled existing cases of a dharma wheel are found on the sections raised by
the Ashoka the Great (304–232 B.C.E.), a leader who controlled a considerable amount of
what is by and by India and past. Ashoka was an unprecedented ally of Buddhism and
empowered its spread, notwithstanding the way that he never compelled it concerning his
issue. Ashoka raised colossal stone sections all through his domain, a significant part of
which are at this point standing. The sections contain decrees, some of which encouraged
people to practice Buddhist significant quality and tranquility. There is ordinarily at any rate
one lion on the most noteworthy place of each section, tending to Ashoka's norm. The
segments moreover are done with 24-talked dharma wheels.
In 1947, the public authority of India got another public standard, in the point of convergence
of which is a maritime power blue Ashoka Chakra on a white establishment.
Turning the Dharma Wheel
"Turning the dharma wheel" is a delineation for the Buddha's training of the dharma in the
world. In Mahayana Buddhism, it is said the Buddha turned the dharma wheel on numerous
occasions. The essential turning was the exercise in the deer park, after the Buddha's
enlightenment. Here, the Buddha explained the Four Noble Truths. The resulting turning was
the introduction of the perfection of knowledge exercises on the possibility of sunyata
(opportunity). The third turning was the introduction of the guideline of Buddha Nature
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