Buddhist sculpture. The origin of the Buddha image. Bathing in the rain

Sculpture

Fine art in the form of sculptural works has become widespread in Tibetan Buddhism. Back in India, the first images of the Buddha were precisely the creations of sculptors, since it was they who, even before the murals and frescoes of Ajanta, began to decorate stupas from Sanchi to Borobudur with stucco reliefs reflecting scenes from the life of the Buddha.

The tradition of creating statues comes from the Buddha himself. He recommended making them in order to honor the living Buddha in the form of a man, as well as for the ritual of sacrifice to the Buddha, who had gone to Nirvana. The first statues, according to the ancient sutras, were wooden, but later sculptures began to use other materials, including stone.

During the Kushan Bactria, the art of the Gandhara tradition flourished, leaving behind examples of high achievements in the synthesis of Greek and Indian canons. At this time, more affordable and faster production of cult products from clay and alabaster began to develop. They are represented by sculptural works of images of Buddha and bodhisattvas, amazing in depth and expressiveness, in the Central Asian temples of Merv and Karatepe. Entire ensembles of sculptures and monuments were carved out of solid rocks, and especially soft sandstone. These include the giant 60-meter Buddha statues at Bamiyan in Bactria (modern Afghanistan), which stood in carved rock niches until they were destroyed by the Taliban in 2001.

The Tibetan masters assimilated and adopted the traditions, experience and proportions of their Indian predecessors. If in India and Central Asia Buddhist statues were made mainly of stone or alabaster, then the Tibetans worked mainly with stone. Many compositions carved from stone of various sizes, from 20 cm to several meters, have been preserved.

Works made of metals are most widely used in Tibetan esoteric art. This was facilitated by the achievements of the Tibetans in mining and their high skill in metallurgy. Working with copper, gold, silver and iron is rooted deep in Tibetan history, and cultural ties with surrounding countries made it possible to assimilate new experience. Initially, attempts were made to widely use iron and copper, but starting from the 7th century. the most widely used bronze casting. The manufacture of bronze statues, as well as the attributes of the cult (vajras, bells, ritual daggers, bowls, musical instruments, etc.) became widespread in Tibet. At the same time, along with bronze, various alloys were used, such as the "alloy of the five precious metals", which included iron, copper, silver, gold and lead. Rock crystal, graphite (diamonds) and mercury were present in other alloys. The process consisted of mixing in certain proportions, melting, shaping (carving, casting, etc.) and final rituals.

Since the construction of the first monastery at Samye, the casting of small and huge statues depicting Buddha and yidam has become ubiquitous. For the manufacture of such a statue, a special day was chosen, calculated by astrologers. The master spent a certain amount of time in meditation and prayer before he set to work. Bronze statues inside were hollow, they were cast in parts and already in place, in the temple, they were made into a single structure. Each statue was consecrated with a special ritual, while placing in its cavity sacred texts dedicated to the depicted object of Refuge. After that, the statue, as a rule, from below, was sealed with a special seal (sacred syllable) and was considered "alive". Even the smallest sculptures were subjected to this procedure, from any material, bronze, wood or clay. The statues at the Temple of Ramoche and the Big Buddha at Zhokkhang near Lhasa were the first such examples.

Together with artistic casting, the manufacture of statues from clay and wood became widespread. According to legend, the famous wooden statue of Buddha "Cangdan Zhu" was made of sandalwood. Of course, it is difficult to imagine such a long preservation, however, it is permissible to assume that this is a copy from an ancient wooden original. The temples, which did not have funds for expensive bronze items, made statues from papier-mâché. Highly artistic masks for tsam were made from the same material.

Initially, from the 10th century, when Buddhism finally took root in Tibet, bronze statues of Buddha and yidams stood on stone or brick pedestals, holding the same bronze attributes in their hands. The statues were made according to all the canons, but they were undressed, not covered with inlays and had nothing but bronze details.

Lama Tsongkhava changed this position. Under him, statues began to be made from precious metals, such as gold and silver, and copper and bronze began to be decorated with intricate inlays of precious and semi-precious stones. The heads of yidams began to be decorated with golden crowns, with yahonts, emeralds, rubies and especially turquoise of various shades inserted into them. Earrings, bracelets and anklets were also made of silver and gold and worn on bronze bodies. The corresponding places of the statues, faces, hair were painted with mineral paints.

Then the bodies of the bronze Buddhas began to be covered with the thinnest layer of forged gold, and later the technique of gold plating began to be used. Natural gold was used for gilding sculptural works. However, sometimes gold was applied to the surface in such a thick layer that it held weakly and fell in small grains. These grains were called "shal-sir" (zhal-gser, "personal gold"), which were highly valued and were used exclusively for gilding icons in painting. At the same time, the figures of Buddhas and Yidams began to dress in brocade and silk clothes.

Over time, in Tibet, not a single temple could do without bronze statues, spreading this type of art to the entire area of ​​​​Tibetan Buddhism, including outside the country. The central figure of the Buddha and the main characters of the pantheon in any Tibetan temple are always presented in the form of statues or sculpture, be it bronze casting, painted and glazed clay or papier-mâché. This and other facts allowed the Italian Ippolito Desideri, who entered Tibet in the 17th century, to write about the similarities between Catholic and Tibetan temples.

In addition to temple interiors, sculpture has become widespread in the form of figures of lions guarding the gates, or other animals - tigers, garudas, dragons, decorating the portals of almost all large monasteries, as well as in the form of bas-reliefs on stupas and walls.

It is impossible not to mention a special type of miniature earthenware, with a front surface in the form of a bas-relief, called in Tibetan "tsa-tsa" (phyag-tsha) and widely used in Tibet. The material for them was clay, where mineral dyes and plant components were added. Mixed with water, it was further stamped with wooden or stone clichés and left to dry in a ventilated room. After that, "tsa-tsa" were painted. Like statues, they were also subjected to a ritual of consecration. As a rule, well-known and especially revered bodhisattvas, yidams, such as Amitayus, Yamantaka, Yama, Vajrapani, Manjushri, Mahakala, Tara, were depicted on the "tsa-tsa", and they took their place in home altars, they were taken with them on the road and considered protective amulets from evil spirits and diseases.

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. One way or another, the main feature of this image is the royal outfit 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 jewels, or a full-fledged prince's outfit. The latest version features 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 an 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 Mucalinda 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 the last year of his life, 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 the left hangs down, while slightly 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 between the relatives of his father and mother because of 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, the ancient capital of Siam, is now 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 was impressed by the appearance of the Buddha, but the Buddha told him that it was not the appearance and physical condition that should be paid attention to, because sooner or later they would fade and decline, 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 "trial 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 heavy security, 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.

The study of Buddhism has inspired people to create masterpieces of art all over the world, the most notable of these works being the Buddha statues known as Buddharupa (literally translated as the Awakened One) that adorn Buddhist temples from generation to generation. Listed here are ten of the most famous and beautiful statues in the world.

Some of these Buddha statues are among the largest in the world.

10. Buddha statue at Hussein Sagar Lake

The Buddha statue is located in the middle of an artificial lake in the city of Hyderabad and is one of the most famous Buddha statues in India. She is a whopping 17 meters (56 feet) tall and weighs 320 tons. It is the largest monolithic statue in all of India and was made by a group of artisans from a single piece of stone. Unfortunately, during the installation of the statue in 1992, it tipped over and fell into the lake, killing 8 workers. The government restored the statue and placed it in the middle of the lake.

9. Tian Tan Buddha

The Tien Tan Buddha, sometimes called the Big Buddha, is located on Lantau Island in Hong Kong. The statue, made of bronze and completed in 1993, is the main feature of Po Ling Monastery, symbolizing the harmony between man, nature, people and religion. The statue is called Tien Tan Buddha because its base is a replica of the Tien Tan - Temple of Heaven in Beijing. The statue sits on a lotus throne at the top of a three-tiered altar. At 34 meters (110 feet) tall, the Tian Tan Buddha is presented in a calm pose. His right hand is raised to deliver disaster. His left hand rests on his knee, symbolizing happiness.

8. Buddha in Monywa

Moniwa is a city in central Myanmar. Located on the banks of the Chindwin River. To the east of the city are Po Khaung Taung, a series of hills where you can see the Maniwa Buddha, the largest reclining Buddha statue in the world. 90 meters (300 feet) long. The head alone is 18.2 meters (60 feet) tall. The Maniwa Buddha was built in 1991 and is hollow inside, allowing visitors to walk inside the statue from head to toe. Inside the figure, there are metal images of the Buddha and his disciples depicting various important events in the life of the Buddha.

A giant standing Buddha statue has recently been built on top of Po Kaung Hills. 132 meters (433 feet) tall and is one of the largest Buddha statues in the world.

7. Buddha head in Ayutthaya

Ayutthaya is a city in Thailand that is home to one of the most unusual Awakened (Buddha) statues in the world. Among the ruins of Wat Mahathat (Temple of the Great Relic) are the remains of a statue of the Buddha, whose body has been lost for centuries, but the head of this statue has miraculously found its home among vines and tree roots. Around this statue there are many architectural buildings that have survived the attacks of time.

6. Gal Viharaya

Located in central Sri Lanka, Polonnaruwa is home to one of the world's most breathtaking Buddha images, the Gal Viharaya. This massive rock temple was built by Parakramabah the Great in the 12th century. The main attraction of the temple is 4 large Buddha statues carved directly into the granite rock. Among these gigantic stone figures are a statue of a reclining Buddha, 14 meters (46 feet) long, and a standing statue 7 meters (23 feet) high.

5. Ushiku Daibutsu

The Ushiku Daibutsu is located in the city of Ushiku in Japan. The statue, completed in 1995, is one of the tallest statues in the world - 120 meters (394 feet) high including a 10 meters (30 feet) base and 10 meters tall lotus which is the platform for the statue. Visitors to the Buddha statue can take the elevator to the platform where the observation deck is located.

4. Temple of the Reclining Buddha

Located in Bangkok, Wat Pho is famous for its Reclining Buddha statue. This is one of the largest temples in Bangkok, and also one of the oldest, it was built almost 200 years ago, before Bangkok became the capital of Thailand. Wat Pho holds a kind of record in Thailand, as it houses the largest statue of the Reclining Buddha in the country and the largest number of Buddha images. The gilded Reclining Buddha statue is 46 meters long and 15 meters high, and shows the last moments of the Buddha's life before he passed into Nirvana. The eyes and legs of the statue are decorated with mother-of-pearl engraving. On the soles of the feet, 108 auspicious characteristics of a true Enlightened One are depicted.

3. Great Buddha Kamakura

Kotoku-in is a Buddhist temple of the Jodo Shu sect located in the city of Kamakura in Japan. The temple is famous for its large Buddhist statue (or Daibutsu). Cast in bronze. The height of the great Buddha is over 13 meters (40 feet) and weighs about 93 tons.

The first mention of the statue goes back to 1252. It is believed that the statue was erected by the Buddhist monk Joko, who also collected donations for the construction of the statue. Although the Buddha statue was originally housed in a small wooden temple, the Great Buddha is now outdoors as the temple was washed away by a tsunami in the 15th century.

2. Temple of the Emerald Buddha

Another one of the Buddhist temples in Bangkok. Wat Phra Kaew - Temple of the Emerald Buddha, located on the territory of the Grand Royal Palace. The main building is the central structure that houses the Emerald Buddha, one of the oldest and most famous Buddha statues in the world.

The jade statue is adorned with a golden robe. The Emerald Buddha is said to have been created in India in 43 BC. in the city of Pataliputra, where he remained for 300 years. In the 4th century AD, it was taken to Sri Lanka by Buddhist monks to save it from destruction. The statue eventually made its way to Thailand and was moved to Wat Phra Kaew in 1779. The statue has three different sets of golden robes, which are changed by His Majesty the King of Thailand during the ceremony of the changing of the seasons.

1. Giant Buddha Leshan

The Leshan Giant Buddha is a giant Buddha statue carved into the rock in Sichuan Province, western China. The majestic sculpture represents the figure of Maitreya - the Bodhisattva traditionally depicted in a sitting pose. Construction started in 713 during the Tang Dynasty could not be completed until 803, even with a large labor force.

Thus, 90 years were spent on construction. This statue is immortalized in stories, poems and historical writings as the largest Buddha image in the world. The sculpture is about 71 meters (233 ft) tall and has fingers 3 meters (11 ft) long on each of its huge hands. Today it is a popular tourist attraction in China.

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 sites, particles of the relics of Buddhist saints, medicinal plants and other things, are prepared in the 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 hundred of the highest monuments in the world, despite the fact that the level of modern technology has risen 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. Just as the towers of Gothic cathedrals rushing into the sky and the light penetrating through stained-glass windows were called upon to evoke thoughts about the Creator and his heavenly kingdom in the Christian soul, so 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 without politics in Buddhist monumental sculpture. 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. Even Islamic countries such as Pakistan, Saudi Arabia and Egypt put pressure on the Taliban government. 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 ​​transferring the monuments to the territory of 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.

Buddha gestures, or how to use mudras in the house.

1. Mudra Abhaya - fearlessness

Let's start with one of the most popular hand gestures of the Buddha, called the Abhaya Mudra. It bestows the energy of fearlessness. This is a very popular gesture that is found in many Buddha home decor items, be it sculptures, paintings or even candle holders.

So what is Abhaya Mudra? "Abhaya" is translated from Sanskrit as "fearlessness". This gesture is performed with the open palm of the right hand extended outward at chest level or slightly higher. Looking at this Buddha hand gesture, one can feel the energy of protection, peace and a strong sense of inner security. This is a great feng shui addition to any home.

The best place, according to feng shui, for the Abhay mudra is the hallway or living room.

2. Mudra Dhyana - meditation

Dhyana or samadhi mudra is a hand gesture that promotes the energy of meditation, deep contemplation and oneness with higher energy.

The circulation of energy created by the triangle of touching thumbs of both hands also contributes to the purification of any “impurities” of extraneous energy at the etheric level. Just by looking at this Buddha hand gesture, one can connect with the energy of deep peace and serenity.

The best place, according to Feng Shui, for Dhyana mudra is a meditation room, an altar, the center of the house or an office.

3. Mudra Namaskara - greeting and worship

Namaskara or Anjali mudra is a hand gesture that means greeting another person with utmost respect and worship of the divine in everything. As you can easily see, the greeting is expressed in the form of a gesture of prayer emanating from the heart or third eye.

The Namaskara mudra can be depicted with the palms at the level of the heart or forehead, since only with the heart or deep spiritual insight (third eye) can a person comprehend that everything around is a manifestation of the same light.

It is interesting to note that the Buddha no longer made this gesture with his hands upon attaining enlightenment. The reason for this is quite simple - when he became one with the light and divine energy, he no longer needed to express adoration, because the expression of worship for something means that a person is beyond what he worships.

The best place in the house for Namaskara mudra is the front door, dining room, living room or home office.

4. Mudra Bhumisparsha - calling the Earth to witness

Bhumisparsha Mudra translates as "Touching the Earth" or "Invoking the Earth in order to testify to the truth." This gesture is always depicted with the right hand, and the left hand rests on the knees with the palm outward (Varada Mudra).

Bhumisparsha mudra is considered to be a gesture of the Buddha at the moment when he attained enlightenment. It symbolizes unshakable strength and truth, as well as the liberation of the Buddha, which helped him overcome the darkness (Mara) that threatened the Buddha before he reached the light.

The best place for Bhumisparsha mudra is the center of the house, the front door or the altar.

5. Mudra Varada - compassion, sincerity and fulfillment of desires

Varada mudra expresses the energy of compassion, liberation and benefit. This mudra is done with the left hand and is most commonly seen in combination with other mudras such as Bhumisparsha or Abhaya.

This mudra is also called the blessing mudra because it helps to give the energy certain qualities that only an enlightened being has. Often, a sacred image, such as a mandala or an eye, can be seen in the palm of the Buddha. This expresses the powerful energy emanating from an enlightened being through his hands.

The best place, according to feng shui, for the Buddha showing Varada mudra is the northwest corner of the house or office.

6. Mudra Karana - expelling negativity

Karana mudra expresses a very powerful energy, with the help of which negative energy is expelled. This gesture is also called "casting out evil". Just by looking at this gesture, you can feel a very determined, focused energy.

If someone has an image of the Buddha showing the Karana mudra, one must be very careful about where to place it, whether at home or in the office. It is impossible for Kanana Mudra to “look” at the front door(the energy of greeting should be near it). Similarly, you should not place this image in your bedroom or children's room.

The best place for the Buddha showing the Karan mudra is any place in the house that needs a strong clearing of negativity, or a problem area of ​​the house (for example, windows facing a low-energy lane).

7. Mudra Vazhrapradama - self-confidence

The Vajrapradama Mudra is usually translated as "The Mudra of Unwavering Self-Confidence", but this hand gesture means much more. Or at least not what is commonly understood as self-confidence. Perhaps the first words that come to mind when a person looks at this gesture of the Buddha are: "I come in peace, because I am the world."

It radiates a whole flaming river of the most beautiful golden energy - soft, kind, radiant, healing and eternal. It would be more correct to call it a gesture of trust in the "I" - the true "I", which is one with the Divine energy.

The best place, according to Feng Shui, for Vajrapradama mudra is the center of the house, the living room or the front door.

8. Mudra Vitarka - transmission of the teachings

Vitarka mudra is interpreted as a hand gesture that awakens the energy of learning and intellectual discussion or argument. It can basically be expressed as the transmission of a certain teaching without words, and the circle formed by the thumb and forefinger creates a constant flow of energy/information.

As in the case of the Abhaya Mudra, the energy created by this hand gesture allows the transfer of knowledge in a protected way, so that no fears interfere with it.

The best place for this mudra is a home office or library.

9 Mudra Dharmachakra - wheel of Dharma (cosmic order)

The Dharmachakra mudra expresses the continuous energy (symbolized by the wheel/chakra) of the cosmic order. The hands are placed at the level of the heart, with the thumbs and forefingers forming circles (similar to the Vitarka mudra). The right palm is facing outward, and the left palm is facing the heart.

This mudra is associated with the first sermon or teaching of the Buddha. It is often called the presentation of the doctrine of cosmic order emanating through the heart.

In an apartment, the best place for Dharmachakra mudra would be a home office or living room.

10. Mudra Uttarabodhi - the highest enlightenment

Uttarabodhi is called the mudra of supreme enlightenment. It is formed by both hands located in the region of the heart. The index fingers touch each other and point upwards, the other eight fingers are intertwined.

Such a gesture of hands clearly evokes a feeling of unshakable unity within oneself. If you try to perform the Uttarabodhi mudra for a couple of minutes, you can feel a subtle energy shift in the body.

Uttarabodhi Mudra is best suited to the north or south of your home or office. You can also try placing it in a prominent, high-energy area in your living room.