Buddhist monumental gigantomania or why Buddha statues are in the top of the highest monuments in the world. Art in Buddhist culture Sculpture of Buddhism
In recent years, Mongolia has been busy raising funds for the construction of a giant statue of Maitreya Buddha in the vicinity of Ulaanbaatar. The widely replicated sketch of the monument is amazing. A graceful copy of the bronze sculpture of Zanabazar, 54 meters high, stands against the background of a 108-meter snow-white stupa with gilding. The contents of the statue, usually consisting of prayers and mantras printed on paper, earth from sacred places, particles of the relics of Buddhist saints, medicinal plants and other things, is prepared in Indian Dharamsala. The project has already received the blessing of His Holiness the Dalai Lama and is considered a priority by the Mongolian government. At the same time, there are already two giant Buddhist statues in Ulaanbaatar: the 27-meter Avalokiteshvara in the main temple of the Gandan monastery and the Golden Buddha at the foot of the Zaisan-tolgoi mountain, 23 meters high.
Why does Mongolia need another terribly expensive project in the framework of Buddhist monumental megalomania? This is a complex question for which there is no single answer. Not only religious (it is believed that the erection of such statues generates great merit and improves collective karma) and economic (tourists appreciate spectacular sights, especially those with the prefix “most”) play a role here. The phenomenon of Buddhist monumental sculpture has cultural and political dimensions. Let's start with culture.
Destruction of Buddha statues in Bamiyan
Huge stouts of Buddha and Buddhist deities were erected by ancient masters. Let us recall the long-suffering standing buddhas of Bamiyan (58 and 38 meters), which, alas, no longer exist. Kushan Buddhists carved them into the rock as early as the 6th century. Giant Buddha of Leshan (803 years, 71 meters), Buddha from Lashaoji (559 years, 60 meters), Buddha Amitabha from Xishan (576 years, 41 meters), Seated Buddha from Shandan (35 meters, 7th century), Avalokiteshvara from Tazawako ( 35 meters, VIII century), Maitreya Buddha from Dunhuang (694, 26 meters) and others were built during the heyday of Buddhism in Central Asia and China during the Kushan Empire and the Tang Dynasty. These monuments are still in the top 100 high monuments world, despite the fact that the level modern technologies rose high. The Bamiyan Buddhas, until their tragic death in 2001, remained the tallest statues carved from stone (today the palm in this category has passed to the Leshan seated Buddha). Much more similar monuments were erected, but not all of them have survived to this day, having died from earthquakes (like the Kyoto Vairochana in 1596) or at the hands of fanatics (the great Mughal emperor Aurangzeb tried to demolish the Bamiyan Buddhas before the Taliban).
Of course, the most important incentive for the construction of such colossi was and remains the desire to touch eternity. The grander the sculpture, the more likely it is to be seen by future generations. Such monuments can only be destroyed by earthquakes with an amplitude of at least 7 points or anti-tank mines in combination with massive air defense shelling at Taliban methodology. Another important idea that guided the initiators of the construction was and remains the desire to accumulate virtues. Buddhists believe that the systematic performance of good deeds, especially for the glory of the teachings, contribute to the accumulation of good karma. Accordingly, the higher and grander the statue, the greater the effect it will have on the fate of those involved in its construction. Often, statues of this size were built in order to calm the wrath of the elements (for example, river floods), since it was believed that Buddha images could have a beneficial effect not only on people, but also on the area.
Leshan Buddha statue in China
But the main meaning that the creators put into the size of the statue is the ability to influence the minds of believers. Like towers soaring into the sky gothic cathedrals and the light penetrating the stained-glass windows were called upon to evoke in the soul of a Christian thoughts about the Creator and his heavenly kingdom, just as the colossal statues of buddhas and bodhisattvas served as the best object for meditation. The grandiose dimensions were intended to generate in the practitioner an atmosphere of the grandeur of the cosmic consciousness of the Buddha. Just as the contemplation of snowy mountains or the boundless ocean can lead us into a special state, so the giant Buddhas created around themselves an atmosphere of majestic calm and purity. No wonder we see numerous monastic cells around these monuments. As Osho put it, Buddhist statues are not idols, but sacred geometry that continues in the Buddhist mind.
Not done in the Buddhist monumental sculpture and no politics. It is worth taking a look at the list of the tallest Buddha statues once, you can immediately notice that most of them were erected in this millennium: Buddha from the Lushan Temple of Spring (2002, 128 meters), Buddha from Moniwa, in Myanmar (2008 ., 116 meters), Bodhisattva Guan Yin from Hainan (2005, 108 meters), Great Buddha from Thailand (2008, 92 meters), Guan Yin from Vietnamese Da Nang (2010, 70 meters). standing Maitreya from Taiwan (2011, 58 meters), Buddha from Sri Lankan Aluthgama (2007, 49 meters). The list can be continued for a long time. In this context, the construction of a statue of Maitreya in Mongolia seems quite logical.
What is this? Vanity Fair Buddhist states? So the Tibetan refugees joined this strange championship a long time ago, initiating the grand Maitreya project to build a 152-meter-high Buddha statue! The preliminary cost estimate for the project is $20 million. It is known that the project is subjected to harsh criticism from the Indian public, which believes that against the background of many social problems and appalling poverty, the construction of such an expensive statue in one of the poorest states of India looks like a feast during the plague. This criticism has already forced the organizers of the project to significantly moderate their ambitions.
The avalanche-like process of building giant Buddha statues began after the barbaric destruction by the Taliban of the Buddha statues we have mentioned more than once in Bamiyan, Afghanistan. Then, despite numerous appeals from the UN, the international community and such Buddhist countries as Japan, China, Sri Lanka, and India, the Taliban decided to destroy the ancient monuments. The Taliban government was pressured even by Islamic countries such as Pakistan, Saudi Arabia and Egypt. And in Afghanistan itself, many opposed this action. Japan offered a lot of money in exchange for abandoning plans to destroy the monuments. New Delhi voiced the idea of moving the monuments to India. However, on March 6, 2001, the statues were destroyed. Mullah Mohammed Omar on the results of the operation: “Muslims should be proud that they razed idols to the ground. Praise be to Allah that we destroyed them."
The Buddhist response was unexpected. As a chain reaction, in the countries of Buddhist Asia, one after another, projects were initiated to build giant Buddhas. I am by no means claiming that all these projects are a direct response to the barbarism of the Taliban. I want to say that behind all these initiatives is the shock experienced by the Buddhists, and with them the rest of humanity, when the ancient Buddhas, after a thousand and a half years of majestic existence, collapsed to the ground under the jubilation of Islamic fundamentalists. Having collapsed to the ground, the Bamiyan Buddhas caused many other Buddha images to emerge from non-existence - from Sri Lanka to Mongolia. Buddhist monumental megalomania has received a new impetus, and no one knows when this impulse will come to naught.
He also possessed
32 PURE BODY SIGNS OF A GREAT HUSBAND.
The most prominent iconographic feature of the Buddha
USHNISH -
a semicircular protrusion on the head, a feature of the structure of the skull, indicating extreme wisdom.
In addition to it, there must be
Urn -
a mark between the eyebrows (a symbol of the endless movement of the Sun),
long, knee-length, HANDS,
FINGERS on the hands of the same length and
the same on the legs
long earlobes reaching to the shoulders.
In countries South-East Asia THREE main types of sculptural images of the founder of the doctrine are widespread, you
and you yourself noticed and can list, so :), correctly:
STANDING Buddha
SEATED Buddha
reclining buddha
Images of the Buddha who has reached nirvana are usually of the same type:
he lies on his right side, his head rests on his right arm, bent at the elbow, the whole figure personifies peace and tranquility.
One of these figures is shown to all tourists who come on an excursion to Royal Palace and the nearest famous temples of Wat Prakeo and Wat Po. In Wat Po, there is a large golden Buddha in this classical pose,
where everyone bypasses it and throws coins into the bowls that stand along its contour.
There are TWO main postures of the seated Buddha.
Pose MARAVIJAY -
means the victory of the Buddha over the demon-tempter Mara. In it, the Buddha sits cross-legged, the right hand rests on the right
knee.
Another posture - SAMADHI -
corresponds to the lotus position - a symbol of balance, absolute calmness and the victory of the mind over the senses.
In addition, the figures of the standing and seated Buddha, as more attentive art lovers have noticed, differ
WISDOM - Skt. GESTURE)
symbolic positions of hands and fingers, each of which carries a deep meaning.
ABHAYA-MUDRA - a gesture of fearlessness -
the right hand is bent at chest level, the palm with straight and pressed fingers looks outward. This gesture shows
that the Buddha's teaching gives protection, brings peace and eliminates fear.
VARADA-MUDRA - a gesture of beneficence -
the right and left hands are half-lowered, the open palm is pointing down, which symbolizes compassion and goodness.
The combination of both gestures is especially characteristic of sculptural representations in Thailand and Laos.
As a rule, a standing or walking Buddha is depicted with this position of the hands.
For example, the famous walking Buddha (14th century) which is kept in Bangkok in Pentyamabophit wat.
Dharmachakra-mudra - gesture of the wheel of dharma -
The Buddha, who has already attained enlightenment, is depicted during the first sermon, when he revealed the dharma to his disciples, otherwise
speaking, turned the wheel of dharma. The index and thumb of the left hand of the Buddha are in contact, symbolically depicted
while pressing the wheel of dharma, three straightened fingers symbolize the three jewels of Buddhism - Buddha, dharma and sangha.
DHYANA-MUDRA - a gesture of mediation -
the left or both hands rest on the knees, palms up. The gesture symbolizes meditation. In the art of Southeast Asia
the meditating Buddha is sometimes depicted under the hood of the many-headed serpent king Muchchilinda.
BHUMISPARSH - MUDRA - gesture of touching the earth -
one of the Buddha images often found in Southeast Asia. The teacher is depicted in a state of deep contemplation,
at the moment of attaining enlightenment, His left hand is resting on his knees, the palm is turned up, his right hand is lowered
down and touches the earth - the Buddha calls the earth to witness the accomplished enlightenment.
Well, now we have learned something from some postures and gestures, as it turned out, there are much more of them in Hinduism.
But here we were looking at images of Buddhas in Thailand.
But the next time you enter the temple, carefully looking at the hands and fingers of the teacher,
remembering this text, let's release a beautiful sound into space - - - - - - - - - - - - - - - VARADA-MUDRA!
Hello dear readers!
Today we will talk about the role that art plays in. Having arisen in the 6th-5th centuries BC, it always reflected a person’s desire to get closer to the ideal.
In Buddhism, it serves as such an ideal, and the adherents of the teaching believe that it is in every person. For this reason, Buddhist art from the 1st century AD depicts the Buddha, detached from worldly attachments, in human form.
Unlike the Christian and Muslim religions, Buddhism masterfully presents in visual form concepts that are the highest degree abstraction.
Tankography
One example of such representation is the fine arts.
Tanka- This is an iconographic image that is used for visual support in various Buddhist practices.
It is usually performed on various types of fabric:
- linen,
- cotton,
- silk.
The first tanka, which depicts the wheel of samsara, comes from India.
Tanka is made with mineral paints: malachite or cinnabar. At the same time, paints from vegetable raw materials are also used: roots, petals.
They are mixed with bile and animal glue to give the paint strength. The surface of the canvas at the exit is characterized by dullness and silkiness.
The contours or decorations of the deity are drawn in gold. The finished work is sewn to the border made of brocade.
After that, the work of art is consecrated by a lama during a special religious ceremony. The canvases usually depict Buddhas, great teachers, scenes from the lives of Buddhist saints and bodhisattvas, and mandalas.
Tanka are the size of a book, and sometimes occupy the entire wall of the temple. Then such a large work is done by several painters, and they work on it from several months to several years.
If a thangka is not on display, it may be rolled up into a scroll, which is what the word means in Tibetan.
In India, images of White and Green Tara are popular. They are involved in meditation practices for longevity, health and getting rid of misfortunes.
Previously, tankography was very developed in Tibet. But, not finding state support, this art here began to gradually fade away.
After a significant part of the Tibetans were forced to leave their homes as a result of Chinese aggression in the middle of the last century, many tank painters settled in North India. Forced to live in Dharamsala, they aim to preserve the unique culture of their homeland.
Architecture
A characteristic feature of any Buddhist structure is its harmonious integration into the surrounding nature, merging with it, creating conditions for peace of mind, peace and meditation.
The first architectural structures in Buddhism were. They are a symbol of the pure nature of mind and enlightenment.
As a rule, stupas have:
- square or round base
- hemispherical, bell- or tower-shaped middle part,
- spiked top.
The appearance of the stupa has a complex sacred meaning and personifies the vertical model of the world and the gradual path to nirvana.
The largest stupa on Earth is Borobudur, which means "many buddhas". It is located on the island of Java.
Stupa Borobudur
When Buddhist monasteries began to appear, the stupa, as a rule, occupied the central place of the monastic complex and was the object of worship in it.
The monastery buildings were surrounded by a fence. According to the plan, on the main axis in the order of enumeration should have been located:
- central south gate
- mortar
- main temple
- room for preaching
- northern economic gate
In the rest of the territory there were bell towers, service premises for monks, library.
Since many temples used to be carved into the rocks, the location of the buildings could change. The presence of a path remained unchanged, along which it was necessary to perform a ritual walk around the buildings in a clockwise direction.
In the design of Buddhist buildings, contrasting colorful materials were widely used:
- gold
- silver,
- red and black lacquer
- colored glass,
- porcelain,
- foil,
- nacre,
- gems.
You can read more about temple art in Buddhism.
Sculpture
Usually in the main hall of the temple on a dais there is a statue of the Buddha or one of the bodhisattvas (a saint who was able to achieve nirvana, but voluntarily remained in samsara to help other people break its chains).
The elevation, which is a kind of altar, rests on steps of various shapes: square ones symbolize the earth, and round ones symbolize the sky.
Niches are arranged in the walls of the hall, where statues of Buddhist deities stand. Also, the perimeter of the room is decorated with figures of bodhisattvas, decorative stucco and tanka.
Buddhist sculpture reached its peak in the 4th and 5th centuries. This period includes the production of countless statues of Buddha and other saints. The material is:
- gold,
- bronze,
- painted tree,
- Ivory,
- stone.
The sizes of sculptural masterpieces vary from two centimeters to more than fifty meters. It also happens that Buddhist buildings consist entirely of sculptures, which are a pyramid that covers the frame of the building.
Buddhism, spreading beyond India, assimilated cultural characteristics other countries. Therefore, often in the relief and sculptural images of temples and monastic complexes one can recognize deities belonging to more ancient cults.
Throat singing monks
Speaking of Buddhist art, one cannot fail to note a special manner of reading prayers - overtone throat singing.
The origins of this tradition are found in Tibetan monasteries, from where it spread to other peoples of Mongolian and Turkic origin.
The monks used this chant to call upon angry patron deities. Buddhists believe that overtone throat singing, similar to a roar, came from the god of death, Yama.
With this sound, monks terrify evil spirits, it promotes purification and healing.
From the point of view of physiology, this is briefly explained as follows: while reciting mantras with throat singing, breathing and all processes in the body slow down, energy is released, and as a result, the state of health gradually improves.
In the monastic tradition, there are several ways to say a prayer:
- Zo-ke - with the help of an overtone "roar";
- Ran-ke - slowly, with concentration;
- Yang-ke - drawling, loud;
- Gyu-ke is a special technique of throat singing used only in tantric monasteries.
Playing musical instruments
In the Buddhist tradition, an important role is assigned to musical instruments. They are used:
- during worship,
- when performing rituals
- during religious processions,
- in the mysteries of Tsam.
About fifty different instruments can be involved in these events, most of which are percussion and wind instruments.
Among the instruments there are outlandish ones. For example, in China, the inhabitants of monasteries are called to dinner or prayer with the help of a suspended wooden fish. They beat her with a wooden stick.
In Tibet, short horns made of human bone used to be used. There are metal pipes up to five meters long. Their menacing sounds are designed to draw the attention of the deities to those who pray and to frighten the opponents of their faith.
A variety of bells, drums and other percussion instruments can exhibit magical properties in their:
- timbre,
- elements of construction and decoration,
- rhythm
- separate sounds.
For classical Buddhist music, the use of bowed and lute instruments is more characteristic. Accompanied by them, heroic epics of different nations are performed and sutras are read.
garden art
Buddhism did not bypass its influence and garden art. Having originated in India at temples, it spread to other Buddhist countries, absorbing local flavor and characteristics.
Buddhists are very sensitive to nature, they believe that beauty and harmony are originally present in it. Therefore, when creating parks, Buddhist gardeners seek not to improve something in nature, but to emphasize the already existing beauty in contrast.
Great importance is attached to the synthesis of architectural forms and the natural environment.
Conclusion
The art of Buddhism is multifaceted, refined and mysterious. It had big influence on the culture and traditions of the peoples who joined the Buddhist teachings.
Friends, this concludes our story today!
Can sit or stand. With his right hand, the Buddha makes the varada mudra gesture, if he is standing, he holds the edge of the monastic robe. This image demonstrates the altruistic qualities of the Buddha and has no specific stories associated with it.
Buddha in royal dress
In this image, the Buddha is adorned with attributes of royalty (including a crown) and jewels.
The image has several options. Firstly, the Buddha can stand with both hands making the abhaya mudra gesture, or only the right hand can be raised in abhaya mudra, and the left hand can hang freely below. Secondly, the Buddha can sit in any of the above positions. Anyway, main feature This image is the royal attire of the Buddha.
The story associated with the image tells how the Buddha was summoned by his patron King Bimbisara when he was threatened by King Jamburati from a neighboring kingdom. The enlightened one was in the bamboo forest and watched the invasion of the Bimbisara kingdom, and then revealed himself in full royal regalia to King Jamburati and demonstrated beneficent powers so that he became his faithful disciple and never again claimed the territory of King Bimbisar.
This image in the image of the Buddha spread at the end of the 16th century, when the decorative and ornamental art of Ayutthaya reached its peak. It would seem that both the religious and artistic value of the image should suffer from the excessive colorfulness of the outfit. Most likely, this was done in order to beautify and soften the strict formulaic physique of the Buddha figure. One cannot deny the sophistication, complexity, beauty of design and skillful execution, but the numerous gems that adorn the image from head to toe are perhaps redundant.
At the same time, the use of royal regalia to emphasize the divine origin of the characters and enhance the impression is also found in other cultural and religious traditions, including Catholicism, Greek and Russian Orthodoxy.
In the original version, the royal attributes were limited to a crown on the head, but in the end they covered the entire body of the Buddha. Moreover, the outfit is depicted in two versions: either a monastic robe covered with jewelry, or a full-fledged prince's outfit. IN latest version executed some of the most famous Buddha images in Thailand. Among them, for example, the so-called Emerald Buddha at Wat Phra Kaew in Bangkok.
Buddha eats from an alms bowl
The Buddha has just ordained a rich man's son and is now calmly eating rice from the alms pot (bat).
Buddha eats rice pudding from an alms pot
In the left hand of the Buddha is a ball of rice pudding, and the right hand rests on the bowler hat. The rice was divided into forty-nine pieces to last for seven weeks.
Buddha on Banaspati
The Buddha stands on the head of Brahma, who, in turn, kneels on the back of Banaspati.
In sad thoughts
The Buddha stands with his arms folded on his stomach (left below, right above). Under the Bodhi tree, the Buddha is busy contemplating his achievements in perfect knowledge. Mara tempted him to immediately enter Nirvana, but the Buddha refused, wanting to convey true knowledge to the whole world.
Taking the shroud of the dead
The Buddha removed the shroud from the rotting corpse, shook off the worms from it, washed it in the river and thus received his own clothes.
Entering Nirvana
The Buddha died when he was eighty years old and entered Nirvana.
Giver of Forgiveness
The Buddha forgives the person who came to him, who realized the wrongness of his actions. There are many variations of this posture, among them, for example, the Buddha stands with both palms turned outward, or with one hand (sometimes left, sometimes right) raised with the palm turned outward.
Giver of the first law
making a footprint
Buddha makes an imprint of his right foot. Its symbolic meaning is the movement and spread of the Dharma throughout the world.
Demonstration of miracles to the Sakri family
The elders of the Sakri family did not pay respect to the Buddha when they entered his father's palace, and the Buddha demonstrated his power to them: among other things, he caused a heavy rain that wet only those who did not show him respect, but those who treated him with respect left dry.
Holding a begging bowl
The Buddha stands straight and holds the begging bowl with both hands at the level of the abdomen.
This posture refers to the first morning in Kapilavastu after a visit to the palace of the Buddha's father. The Buddha's relatives were ready to receive him at Nigrodharam, but leaving him in the evening, not one of them called him to breakfast. And in the morning the Buddha went to the city to beg.
Protected by Mucalinda
A huge snake protects the Buddha, the hood of a seven-headed cobra rises from behind his back and hangs over his head. The Buddha himself, being in deep meditation, sits on the rings of the snake, which serve as the basis for the image. In some cases, the Buddha can be depicted completely entangled in snake rings, so that only the head remains visible - a literal understanding of history by artists led to such an image.
For 42 days, the great snake king Mukalinda guarded and protected the Buddha, immersed in bliss and unaware that a terrible storm was coming. A huge serpent wrapped seven rings around the body of the Enlightened One, and opened the hood of a cobra above his head so that nothing would interfere with him. The storm allegedly raged for seven days. This image was widely distributed in central Thailand, and was also popular among the masters of Khmer and Burmese iconography. In India, on the contrary, it was rarely used. The Thai masters of Sukhothai also preferred not to refer to it from around the 14th century. In Thailand, this position is called Phra Nak Prok.
Walking in meditation
The Buddha is walking, left ankle raised, palms crossed (left below, right above) on the top of the thighs. The Buddha acquired complete knowledge and thereafter devoted himself to teaching the Dhamra to suffering and unfortunate people throughout the earth.
Walking or walking Buddha
The Buddha walks with his right foot slightly raised above the ground, and his left foot firmly on the ground, holding his left hand at chest level (granting enlightenment, blessing all beings, dispelling fear), while the right at this time gracefully and naturally hangs down. The body forms a balanced pose, curved in three places - tribhanga or S-shaped, very popular in Indian sculpture. The Buddha is about to give a sermon on his insight. The figure is in a dynamic position, as if frozen in motion, as if on a paused video recording. This symbolizes the care and attention of the Buddha to every action. He knows that he will not be reborn again.
Statement of the Great Truth
Both hands are in the vitarka mudra position.
Hair touch
In this posture, the Buddha raises his right hand, about to pull out eight hairs from his head to present to the merchants Tapussa and Bhalika as relics. After enlightenment, the Buddha did not eat for forty-nine days, and they offered him rice, and later became his first disciples.
Bathing in the rain
With his right hand, the Buddha sprinkles himself with rainwater.
During a drought in Kosala, Sravasti people turned to the Buddha for help. Seeing rice suffering from a lack of water, the Buddha asked to wash his robes. On the way to the pond, the heavens opened up and a downpour fell on the ground, under which the Buddha bathed.
Meditation
The Bodhisattva is in a yoga position: the hands are on the feet, the left palm is on the right and takes a bowl shape. Eyes look at the tip of the nose or are completely covered. As a rule, the statue in this pose expresses a blissful state. This is one of the most popular postures in Thailand and is known as the "sharp pain of samadhi".
This position depicts an important and heroic episode when the Bodhisattva vowed not to leave his place until he attained enlightenment and received higher knowledge. He seeks to find the cause of suffering and the possibility of abandoning them, and in the process of searching he becomes a Buddha. Having entered the deepest stage of immersion in thoughts - dhyana, a state of complete calm, in which there is no pain or joy, he achieved complete and final enlightenment.
According to Thai tradition, the Buddha in a state of meditation is most suitable for people born on Thursday. They most often become judges, lawyers and teachers.
Meditation in the Diamond Position
The Buddha is in the position of a closed lotus, the soles of his feet are turned up, while his legs are tightly crossed, and his hands are on his knees.
This pose was especially popular in the north of Thailand, and statues found around Chiangsien were made in it.
Instruction of the Five Disciples
The Buddha is seated in a yoga pose with his hands in a teaching mudra position. There are four positions in total, which differ in the use of hands. Firstly, the Buddha can be depicted with his left hand resting on his knee and with his right hand located at chest level in the vitarka position (the thumb is connected to the forefinger, the other fingers are slightly bent and directed outward). Secondly, the Buddha can be depicted in the dharmachakra mudra (“turning the wheel of the law”), in the process of delivering the first sermon in front of five students. Thirdly, he can simply sit in a state of meditation. Fourthly, it can be depicted with a raised right hand, which attracts the attention of students and urging them to come closer.
Having attained enlightenment, the Buddha left Bodh Gaya and went in search of five ascetics, with whom he spent six years. He shared his newfound knowledge with them in the Dhammachakra Pavatthana Sutta. Here he explained to them the "Middle Way", the Four Noble Truths and the doctrine of the Eightfold Path, the foundation of all forms of Buddhism. Buddha's friend Kondanna accepted this knowledge with joy and then convinced four others - Vappa, Bhuddya, Mahanana and Assaja.
contemplating old age
The Buddha is in a resting position (open lotus position): his hands are on his knees, palms down.
IN Last year During his lifetime, the Buddha spent the rainy season in Veluvana, a grove on the peak of Rajagriha Vultures, brought as a gift by King Bimbisara. By that time he was eighty years old, he was seriously ill, but he heroically endured his illness. Moreover, she served him as a topic for a sermon on the transience of life. They told about the old man Anand, who compared his body to a wagon that must be repaired with belts and bamboo, and insisted on the inevitability of old age and death for all things.
Mother's education in the skies of Tawatimsa
Combining four bowls for alms
Guardians of the four directions came to the Buddha and offered alms, each in his bowler hat. The Buddha did not want to show preference to any of them, so he combined all four bowlers into one.
Stopping Maru
The Bodhisattva is in a yoga position, the left hand is on the knee, the right is raised, as if to repel the attacks of the three daughters of Mara. This position has two different options. One - sitting, with the left hand on the hem, and with the right - at chest level (as in the abhaya mudra), as if forbidding the daughters of Mary to seduce. The second is the position of meditation, when both hands are on the knees.
Also this image has two different interpretations. The first corresponds to the repulsion by the Bodhisattva of the attack of the daughters of Mara. The second refers to the moment when the Bodhisattva was in bliss under the Banyan tree, and Mara himself tempted him to immediately enter Nirvana. However, the Bodhisattva refused, saying that the time for this was not yet the time, because people had not yet received the teachings, and the righteous way of life had not yet spread.
Keeping relatives from enmity
The Buddha is standing, his right hand is in the position of abhaya mudra, and his left hangs down, while lightly touching the clothes.
The image refers to the episode when the Buddha, after a three-month absence, returned from the heavens of Tavatism and stopped the enmity of the relatives of his father and mother over the ownership of sections of the river that flowed between their possessions. The relatives agreed and peacefully divided the plots and, with the mediation of the Buddha, stopped the confrontation.
Stop sandalwood statue
The Buddha is standing with his right hand hanging by his side and his left hand raised to stop his sandalwood image from approaching. An impressive depiction of this pose is located in Phutthamonthon Park in Nakhon Pathom Province. There, this gesture is connected with the movement of the walker. Another sculpture from Ayutthaya, ancient capital Siam, now located in Bangkok, in the eastern viharn of Wat Pho.
This position can be accidentally confused with "Keeping relatives from enmity", but these are different postures.
According to legend, while the Buddha spent three months in the heavens of Tavatimsa and preached there for his mother, on the top of Mount Meru, which is in the center of the universe and where thirty-three gods responsible for the welfare of people live, King Udayana created a Buddha image from sandalwood and placed it in the great hall in the Jetavana garden at Shravasti, in the place where the Buddha used to sit. When the real Buddha finally returned, the statue miraculously came to life and greeted him. However, the Buddha stopped the wooden image with his left hand and ordered it to return to its place in order to serve as a model for future statues that would be made after his death.
Resting or Sleeping Buddha
The Buddha lies on his right side, his feet and right hand lie parallel to each other. His monastic robes traditionally open his right shoulder, which in this image usually rests on a pillow. In this case, the left arm is parallel to the body, and the left shoulder is closed.
In the Indian tradition, this position of Mahaparinibbana is the end of the life path of the Buddha and entry into nirvana. However, in Thailand after the Sukhothai period, it is perceived differently. There, such a position means that the Buddha is simply resting. In addition, again, according to Indian tradition, the image of a figure in a recumbent position should be the same as in a standing position, only horizontal. This explains the presence of a “flying floor” in the monastic robe, which creates an “unearthly” impression.
Opening world. Connecting the three worlds: Heaven, Earth and Hell
Having descended from the heavens of Tavatimsa, the Buddha performed a miracle: he united the three worlds - Heaven, Hell and Earth, and the inhabitants of each of them were able to see each other.
Suspension of Wakkali
The left hand of the Buddha lies on his knees, and with his right hand he makes a gesture of withdrawal.
Brahmin Vakkali impressed appearance Buddha, however, the Buddha told him that it is not the appearance and physical condition that should be paid attention to, because sooner or later they will fade and fall into decay, instead one should follow the dharma.
First sermon
The Buddha appeared at the Deer Park in Isipatana near Benares, where he delivered his first sermon to the Five Disciples.
Ruler of the Waters or Stopping Ocean
The Buddha is standing, both palms up, as if he is trying to push something away. The pose is similar to Return from Tavatimsa Heaven with a double vitarka mudra, but the two should not be confused.
In Thailand, this pose is called "Stopping the Ocean or Preventing the Rising Waters", but it comes from the flood in the Sahara, which is located on the banks of the river in India.
The Buddha came to the Cassowary camp, where there were about a thousand fire worshipers, and asked for an overnight stay. He was settled in a dilapidated house on the banks of the river, which often flooded. To prevent this, the Buddha caused the waters to subside and thus showed Cassowary and his followers the true path.
Subduing Mara or Calling the Earth as a Witness
The Buddha sits in a yoga pose, holds his left hand on his foot, palm turned up. The right hand is located on the knee and points to the ground, sometimes touching it slightly.
This pose, also known as Calling the Earth as a Witness, is most popular in Thailand. Mara with his horde tempted the Bodhisattva: the demons promised him power, wealth and carnal pleasures. However, the Buddha rejected them all with contempt and continued his meditations. This rejection of Mara symbolizes victory over oneself.
Pointing at a corpse
The Buddha delayed the cremation of the corpse for three days, he wanted people to look at him and think about the transience of life and the temporality of their stay in this world.
receiving water
On the way to Kapilavastu, the Buddha was overcome by illness. He asked Ananda to bring some water from a nearby river. However, many carts had already crossed the river that day, so the water was incredibly dirty and hardly drinkable. But when Ananda scooped up the water, it turned out to be clean.
Getting Bundles of Grass
One evening after supper, the Bodhisattva received eight bundles of cut grass from the Brahmin Sotthiya. On this grass, the Buddha was able to sit comfortably under the Bodhi tree in Bodh Gaya.
Initiation into the spiritual order of the first disciple
Upatissa and Kolita were ordained to the clergy, receiving the highest rank.
predictive
Calling the Earth to Witness or the Suppression of Mary in the Crystal Palace
calling rain
The Buddha is standing, his right hand is located at chest level, in the position of vitarka mudra, and as if calling for rain, and the left palm is gathered into a handful, as if asking for an offering, rainwater should collect in it. In some positions, the Buddha can sit cross-legged (the position of the hands is preserved). The dress style can be either Kandahar or northwestern Indian: the monastic robe falls in symmetrical waves. The feet are placed naturally, not as formal as other Thai statues of the same time usually have.
This posture gained popularity in the Dvaravati of the Mon period. The seated variant was created by order of King Rama I, and has since been used in the arable festival procession in mid-May. The standing variant was introduced by Rama V.
Mango host
The Buddha sits in a yoga position and holds a mango in his right hand, the hand resting on his knee.
When the Buddha was in Veluvana, some people demanded that he show them a miracle, thereby proving his power. Then the Buddha took a mango and squeezed it into a pot, drank the juice, and planted the stone in the ground, from which a huge tree immediately grew and immediately began to bear fruit abundantly.
Acceptance of rice treat from Sujat
The Buddha is seated in a meditation position with his palms open and turned outward. After the Bodhisattva realized that mortification was not the path to enlightenment, he accepted food from Sujat, thus ending his extreme asceticism. After that, he left hermits in Urvel, with whom he went this way, and he himself went to Bodh Gaya.
Acceptance of the ink nut
The Buddha holds a small ink nut in his right hand.
On the seventh week after enlightenment, the Buddha sat under the Ket tree. At that moment Indra offered him an ink nut.
Taming the wild elephant Nalagiri
The Buddha is standing, his right hand is at waist level, the palm is turned down. A certain ill-wisher sent his elephant Nalagiri to the Buddha, so that he would harm him. However, the Buddha tamed him.
Threading a needle
Both of the Buddha's hands are in front of his chest, he is focused on threading the eye of a needle.
The Buddha makes clothes from rags taken from the dead. By doing this and concentrating on penetrating, he gains insight that leads him to understand the last of the Four Noble Truths, the Eightfold Path.
Preacher Angulimale
Angulimala was a gangster and serial killer who had to pay his mentor a debt - a thousand fingers of his right hand. To pay off this debt, he killed the innocent, cut off their fingers and made a garland out of them. But one day in the forest he met a lonely Buddha. The killer took out his sword and ran after him, but despite the fact that the Buddha was walking slowly, Angulimala could not catch up with him. When the robber began to lose his strength, he shouted to the Buddha to stop, but what he replied: “I am already standing, Anuglimala, and always standing. Because I am merciful to all living things, and you are merciless. That's why I'm standing and you're still not." After that, Anlugimala threw down his sword and received the blessing of the Buddha.
preaching to the father
Buddha preaching for the last time
On the last day of Buddha's life, Ananda, on his orders, went to the city in order to carry his word to the people. A traveler of another faith named Subhadda came to the Buddha to ask some questions. The Buddha explained to him that it is impossible to achieve enlightenment outside of Buddhism. Subhadda was imbued with his ideas and even decided to become a monk. Although for followers of other religions, as a rule, there is a "probationary period" before entering the priesthood, but for Subhadd, an exception was made, and he immediately became the last direct disciple of the Buddha.
Farewell to Vesali
Buddha stands, looks over his right shoulder (sometimes over his left), holds his right hand on his stomach.
After recovering from an illness caused by infected pork, the Buddha decides to leave Vesali forever. Knowing that he will not return, he looks at the city for the last time.
Throwing an empty alms-pot into the water
Having eaten all the forty-nine portions into which the Bodhisattva has divided the rice, he releases the empty bowl for alms to float along the Neranjara River. If the bowler hat does not sink, but floats against the current, then this is a sign that the Buddha will achieve enlightenment. If the bowler hat floats against the current and does not sink, this will mean that enlightenment is achievable for the Bodhisattva.
Travel by ship
The Buddha is seated, and in the so-called western position, also known as the European one. An image can have two options. In one hand, they rest on their knees, in the other, the right hand is at chest level, and its palm is turned outward.
Having achieved enlightenment, the Buddha was going to visit his father, but for this he needed to cross the river.
Omens explained
The right hand of the Buddha is located on the knee, the palm is turned. In this case, the left hand is at chest level, and its palm is turned outward.
The Buddha informed Ananda that it was in his power to prolong his life if he asked. However, Ananda twice rejected the Buddha's proposal, as he fell under the influence of Mara. Then the Buddha sent Ananda away and made him a prediction that he would inevitably die and enter Nirvana.
Examining food in an alms bowl
Eight days after the Bodhisattva became a monk, the local ruler gave him food for the first time.
The decision to enter Nirvana
The Buddha keeps his right hand on his chest.
The Buddha is immersed in thoughts about his own old age and the closeness and inevitability of death. He decides to enter Nirvana on the night of the full moon, three months before his death.
Decision to become a monk
Despite being heavily guarded, Siddhartha leaves the palace for Kapilavastu on horseback, accompanied by his charioteer Chandaka.
descending from heaven
Indra created three ladders that connected heaven and earth. One for myself, one for the Buddha, one for the Brahmins.
standing buddha
The Buddha's eyes are downcast, he himself is standing with his arms dangling along his body.
This posture of the Buddha testifies to his complete confidence in his actions.
Solitude in the forest
The Buddha was tired of the monks Kosambi, divided into two groups and lost harmony, and he preferred solitude in his own forest.
Here the elephant Palilaika drew attention to him and offered the Buddha a drink of water, while the monkey brought him a beehive with honeycombs.
Pointing to Maru
The Buddha holds his right hand bent at the elbow, her palm is directed outward, and the index finger points upwards. The left hand hangs freely along the body.
The Buddha visited the recently deceased and pointed to Mara looking around in the clouds in the vain hope of catching the spirit of the deceased.
Mortification of the flesh
The thin and emaciated Buddha sits in a meditation posture. For six whole years he practiced extreme asceticism and was on the verge of death from exhaustion. However, in the end, he realized that between extreme asceticism and worldly existence there is a “middle way”.
Miracle in Sravasti
The Buddha sits in a "European" manner, as if on a chair. The legs are slightly apart, the right hand is located at chest level and folded in the vitarka mudra position (the thumb is connected to the index finger, the rest are slightly bent), the left hand lies on the knee. At the same time, the feet of the Buddha rest on a lotus. In addition, in some cases, the Buddha may be depicted in a standing position.
The miracle in Sravasti is a manifestation of power before unbelievers in order to convince skeptics and representatives of all kinds of religious sects. The Buddha showed them his celestial halo and revealed himself in an exalted form, accompanied by thunder and lightning storms and earthquakes. The Buddha also created himself by making the Double Appearance.
Mortar
kinds
1) Buddhist stupa from stone. Tibet.
2) Stupa in the Japanese pagoda.
Features of the shape of the stupa in different areas India were determined by local traditions,
but in plan it must necessarily be round with a round or square base.
In the system of Buddhist symbolism, the stupa was seen as a vertical model of the universe.
(a square is a symbol of order and stability, a circle is a symbol of movement and development).
prototype architectural structure the type of stupa could be stone burial hills round in plan, which had a circular fence with a gate, or an Indian hut in the form of a beehive with a pole inside, supporting the ceiling at the zenith. In Vedic times, such huts were common in northern India. The Buddha himself, when asked about the shape of his future tomb, as if instead of answering, folded his cloak several times, on which he hoisted, turning upside down, his round bowl for collecting alms.
What geometric figures lie at the base of the stupa?
What does each of them symbolize?
What was the prototype of the stupa? (Find illustrations of these structures, show a visual similarity).
BIG STUPA
3rd century BC – 1st century AD in Sanchi, Madhya Pradesh.
The base of the stupa is a stone drum with a strong fence around the edge and a double staircase. Symbolism The base of the stupa symbolizes the earth, the world of the god Mary, personifying death and various temptations that a person is subjected to in the world.
Above the plinth rises a majestic hemisphere made of layers of raw brick, lined with blocks of red sandstone. Symbolism The stone hemisphere, according to the ancient cosmological scheme, is the second level of the Universe, the world of gods and demigods, means the nirvana of the Buddha and himself, affirming the physical existence of the teacher. In addition, it is also a model of Mount Meru, a traditional Buddhist object of worship.
In the center of the hemisphere of the stupa there is a cubic chamber with a reliquary urn. Symbolism This image top level A universe where only those beings who have reached Enlightenment move.
The stupa has a vertical axis in the form of a mast from the base to the top, which is completed with a pyramid of umbrellas. Symbolism The central pole symbolizes the axis of the Universe, the World Tree, victory over ignorance and death. Umbrellas, attributes of royal power, and protection from evil deeds, in Buddhism mean the steps of ascent to nirvana.
List the 4 main attributes of the Great Stupa at Sanchi. Describe one of them?
Find a picture of a stupa in Nepal (Swayambanath). Conduct a comparative analysis: what is the common stupa in Nepal with the Stupa in Sanchi?
What are the differences?
What elements of Swayambanath indicate dogmatic features?
Sculpture.
Big Buddha
The height of the statue is 34 meters, the weight is 250 tons, which made the Big Buddha the tallest bronze Buddha statue until 2007. To reach the statue, visitors need to climb a 268-step staircase, although there is also a small winding highway leading to the Buddha. The Big Buddha faces north, which is unique as all large Buddha statues face south.
Buddhism introduced very definite social ideas into art; these are the ideas of non-commitment of evil and violence, which in art have acquired a concrete-figurative character. For example, since ancient times there has been a traditional sculptural image of the thousand-armed Buddha: the Buddha sits on a lotus flower, around his head and shoulders, like a halo, a thousand hands are thrown up (the number, of course, is arbitrary), in the open palms of which, respectively, a thousand eyes are depicted. The social meaning of this religious image is as follows: the Buddha has a thousand eyes in order to see all the injustices committed on earth, and a thousand hands to extend a helping hand to all those who suffer, to avert grief and misfortune from them.
What is the social meaning of the "neutralism" of Buddhism?