Lord Buddha Original ImagesOriginal Lord Buddha Pictures
Unrestricted free use of the best of the best things in the worid
The root of sorrow is attachment", Buddha quote. The top 10 quotations from Shakyamuni Buddha to inspiration mediation, knowledge, peace of mind and charity. Proposals to prepare and maintain a home altar by Kathryn Whittaker Huff Yalen say it looks like it is Buddha's anniversary; when is Buddha's anniversary? Integrating buddhistic teaching into our lives, we have enabled crystal throughout our home to equalize and direct energy.
? Curative crystal with Buddha. What you think, what you become. These are all your instructors who all do just the right things to help you achieve perfection in your learning of perseverance, perfection in your knowledge of knowledge, and perfection in your understanding of the world. Etsy, a man once said to Budda, "I want happiness." The Buddha answered, "First take away the ego"; that is the egos.
? The Buddhabud by Leound . Just as a lotus blossom is birthed in waters, groweth in waters, and ascends out of waters to rise above them unpolluted, so have I, birthed in the earth, grown up in the earth.
Pictures of the Buddha
OF HAPPINESS AND MENT. Thanks a lot, John, for letting us share these lovely pictures of Lord Buddha with the whole family. As a Buddhist, these images are very valuable to me. Lord Buddha God grant you his blessing. Buddha's pictures are fantastic.
In 2007 I made a movie about the Buddha's lifetime (29th to 35th year of the Lord) with the title TATHAGATA in Hindi with subtitles in German. It was at this point that I tried to gather good photos to create a file with the movie. I' m traveling to Thailand in a few short months and look forward to seeing some of these wonderful tranquil, quiet Buddha's in people.
Development of the Buddha image
Because of its great dynamics, its incredibly diverse icons, its immense size and its singular spirituality, the artistic scene of old India, the Buddha picture, which has revolutionized the whole world, seems to have had an effect on the individual spirit during the life of the Buddha himself, although it took about six hundred years to appear as a medium in the form of stones or soils.
Just as the Buddha traditions have it, even in Buddha's life, the concept of making his pictures remained in the mind of his adherents. Udayana, who commissioned Buddha's picture to depict the Great Master during his absences, and Anathapindaka, who prays Buddha to allow at least the pictures of Bodhisattvas, suggest that his adherents have considered the opportunity of concealing the Master's absences through his antropomorphic depictions before Mahaparinirvana.
Already during Buddha's life, Buddhism was a widespread phenomena, and every place and every individual dedicated to this new way appreciated the wish to sense the Master's present. Perhaps the manager of the new belief thought of making his absences good through his pictures. The ensuing iconoclastic worship of the Thousand Buddha mirrors an earlier thought process that attempted to symbolically multiply his present, one Buddha for each of his followers and for every nook and cranny of the globe where the Dharma was persecuted.
However, Buddha seems to have disheartened it, or at least there were contradictory opinions about whether Buddha, the mere being, the Dharma-kaya that Buddha was, may be converted into a physical media. The latter of these two opinions seems to have predominated, and despite the fact that subjects and periods were formed from Buddha's lives related to Buddhism, the production of the Buddha's picture was banned until quite later.
Obviously, the Buddha picture, a unit different from Buddha himself that had developed in the life of Buddha in the spirit of man, could not immediately be converted into a physical media. Remember, however thin, there is a line between the creation of an image and its discovery or conception.
The first picture of mankind, it seems, was not a thing that was carved into a picture, but such a picture was only found in it, that is, it was by mere apparition that produced the very first picture and filled the alter and spirit of man. Antropological proofs suggest that man had himself uncovered his first picture during the Neolithic Age (12000 - 8000 BC).
Searching spirit noticed in a block of stones revealing a "face" or an "image", the "image" of this "invisible protector". Perhaps this was the first picture ever of this fragment of rock, which was recreated by chiselling in the natural world. Sometimes the primal spirit took it as it was, and sometimes after shaping it into a more precise shape and outline.
This indicates that the divine picture, either found or created, and its adoration were in fashion long before Buddha's time. Sculptures of girl dancers, figures of the Virgin Mary, seal representing similarities between humans and animals, and a broad palette of terracotta found during archaeological digs at Indus and Harappan places (3000-1500 B.C.) suggest that image-based activities later expanded considerably to include both Votiv and worldly images.
The Sakya, the Klan in which Buddha was birthed, had his own Yaksha god, the Yaksha Sakyavardhana, the well-meaning guard of Sakyas. According to the practice, the infant Buddha was given to Yaksha Sakyavardhana shortly after his birthday for the long and glorious lifetime of the infant. There is a series of voice sculptures of Yakshas and Nagas, from the 4. to 1. centuries B.C., showing how widespread the practice of idolatry was.
The Buddha and Buddhism had reason to dishearten him, but also reason to at least think about it, because in those times images were one of the most widespread ways of recognizing the existence of the "non-present". Some of his devotees naturally thought of his picture to conceal his lack and increase the spread of the Dharma.
Therefore, it can be said with certainty that the Buddha picture developed first as a picture of the spirit and only then as the picture converted into a media. Within the artistic processes, the picture of the spirit always goes before the picture poured into a media and the two phases are almost inseparably connected.
However, in the Buddha picture, both include two separate and different stages of development with a large void in between. It seems that the picture of the spirit itself emerged during Buddha's life, but his aesthetic vision and conversion into a media took place around the 1. cent. A.D., about five to six hundred years later.
Obviously, this picture from the 1. cent. A.D. is in no way provisional. Obviously, this Buddha picture was not a new-born thing, but only the optical metamorphosis of the picture that had long since developed and ripened over a six hundred year time. So the two phases of the Buddha image's development are not only different, but also very significant.
Buddha's anatomic perceptions, as they had his contemporaries in their heads, could depict his identified reflection, but not the "real Buddha" or the picture that had not yet been defined and matured by traditional thought. Buddha could not characterise any physical genius because he went far beyond mere an anatomy. In Samyutta Nikaya we refer to Buddha who equates himself with Dharma.
It says, "he who sees Dharma sees me, he who sees me sees Dharma", i.e. the sculptress had to find the Dharma dimension in the anatomic dimension of the Buddha-picture. Maitreya's Uttaratantra allows only those to paint Buddha's picture who have incorporated into their beings compassion, morality, patient and the highest point of perfection, i.e. only those who have the qualities of the spirit and not the ability of the hand could do so.
Thus, before being converted into a media, the Buddha picture had to surpass its physical dimension, and the space between its first appearance and its optical metamorphosis was significant and useful. The work of the sculptress was different with Buddha's picture. Rather, he was urged to capture the "essential picture" than the pure physical nature of the Great Master.
" In summary, it can be said that the Buddha's photographic view, or the picture as it seemed to the spirit, did not include the Buddha picture alone. It was the sculptor's duty to introduce into him the spirit dimension of his being and the dimension of Dharma. Thus, after its creation and before its conversion into a visible media, the Buddha picture reached the degree of excellency it wanted, which above all depicted its mental nature and self-determined.
The first time in the Moorish period (322-180 B.C.) that subjects of Buddhism appeared in the arts was in the Moorish period, when Emperor Ashoka not only appeared with Buddha style architectural style, but also with a series of monumental columns crowned with capital animals aimed at awakening human respect for all living beings, which was the main push of Buddhism.
Buddha's attendance was realized in Stupa. Trying to engrave in rock episodes directly from Buddha's lives, teaching, worship sceneries and other Buddha topics. Buddha's antropomorphic depictions, however, were circumvented. Throughout the more than three hundred years of such buddhistic arts, his existence became evident through a number of things or icons, but he was not represented directly.
From the invisible to the visual stage, the first centuries B.C. marked the passage of Buddha's work. Archaeological digs at Chilla II (now in Pakistan) reveal date engravings from the 1 st centuries BC, which could be the first attempt to discover Buddha's antropomorphic icon. One of these woodcuts features a statue of the statue's heads in one shape, while the other carves the statue itself in anthropomorphous proportions that give the appearance of a people.
Hollows of the 2. centuries B.C. just have a stone statue, without any kind of antropomorphic representation of Buddha anchoring them, while in the following hollows engraved in the 1. centuries B.C. such stone statues have Buddha's icon in their alcoves on all four sides. Apparently, the spirit of the Buddhist sculptress, who until then had struggled between the "image" and the "non-image", had finally found the "one" in the "other," that is, the motive in the person and the person in the motive.
Actual picture, i.e. a fully developed picture with anthropomorphous dimension, appeared around the 1. cent. A.D. Among the Buddha sculptures narrated by Mathura, there is one dating back to the year 81 A.D.. Several of the Kanishka golden and silver medals that reigned from 78 A.D. onwards have Buddha images on the back.
Buddha's plaster paintings are also dated to the time around the same 1. cent. AD. The plaster painting of the Buddha in the Mathura Museum collections stylishly belonged to the same iconical group to which the Buddha painting 81 AD belonged. Many other Buddha pictures do not have an inscription, but from a stylistic point of view they also date from the 1. cent. A.D. or the former part of the 2. cent.
A mass of them so large, a variety of media, a singular dynamic, spirit and style could not be their characters unless the Buddha picture, itself as a term of spirit, had a long maturation time. In fact, metal, stone, earthenware, plaster could not all be the media of a newly created work.
What first, Mathura or Gandhara? In Mathura, the Kushan Kingdom's date d-portrait sculptures allow the dating of undated Kushan Buddha and Buddhist Buddha images. It also testifies to the impetus of the anthropomorphization of Buddha. It is almost agreed that the first and the most fully developed Buddha picture was created around the 1. cent. A.D., but it is still disputed whether such an early picture, or rather pictures, were created in Mathura or in the Gandhara area ( today known as the north-western border in Pakistan).
It is also contradictory whether such images were of India descent or whether they were the brains of the Indo-Greek emperors and were thus borne abroad. The majority of scientists claim that the Gandhara images of Buddha are former than those of Mathura. Mathura definitely began to sculpt Buddha's images in the 1 st centuries A.D. herself.
It' got a fully developed, labeled picture from A.D. 81. By the way, Mathura also unveiled a large format date-day ( 90 AD) sculpture of King Kanishka from the Kushana period, of which only the trunk is left today. Many other early Buddha pictures, among them a scarce specimen, are also from Mathura.
In their modelling, however, these pictures have a great resemblance to this Kanishka-style. So it seems certain that they also belonged to the 1. cent. A.D. and that the Buddha picture was the main topic and focus of the Mathura arts at that time. Those claiming Gandhara's precedence argue that the Buddha picture comes from Gandhara and the Mathura picture of Buddha was the product of his inspirations, although unlike the Mathura pictures dating, none of the Gandhara pictures of Buddha narrated by Gandhara have a date printed on them.
Three main hypotheses underlie such a claim: (a) India's early arts were either piconic or unthropomorphic; the icons or anthropomorphs of the divine picture came from ancient Greece through the Indo-Greek sovereigns of the Gandhara region and later through Kushanas (25 A.D. - 150 A.D.) to India; (b) early arts were bas-relief-based and the sculptures were not their styles; and (c) in their modelling, the Buddha is Buddha's modelling.
Was the first Buddha picture a copy of a Greek model or was it made from local models? Concerning the modelling of the Buddha picture, these scientists claim its non-Indian ancestry. Thus, Buddha's bulky Draperie with severe folds, an emulation of ancient Rome yoga, is non-Indian. The Buddha is known to have shaved his ownhairs.
The Buddha picture, which is modelled with felted fur (Jatamukuta), is obviously only an emulation of Grecian examples. And last but not least, the aesthetical attractiveness of the character is typical of Grecian fine arts. Gandhara's Buddha picture is based on these qualities of Mathura. Thus it constitutes a stage of the Buddha picture according to Gandhara.
History has it that Emperor Ashoka had amicable relations with Iranian and Grecian emperors and had envoys at each other's courts. At Ashoka' s farm he had several Greeks and Persians architect, artist and bricklayer and permitted them to bring the excellent arts of their land from their possession.
This was a period of large-scale exchanges of artistic and cultured value and, as is sometimes claimed, some of the monumental pillars of Athokan were the work of these Greeks carvers. Obviously the impact of Greece and Persia on India's arts cannot be ignored. However, it is hard to concede that old India arts were aniconical and had no iconical perceptions.
India, as already mentioned, has had an iconical perceptions since the New Stone Age. India already had a well-developed iconic style during the Indus era, and Buddha's picture itself had developed during his life, although for whatever reason it was not converted into a pictorial media. Vibrant, multifaceted and dynamic icons shaped the buddhistic arts of the time.
Buddha's present was represented even though not by his antropomorphic depictions. The relief itself has been formed deeply enough to reach the dimension of sculpture. Yaksha and Yakshi sculptures from the fourth, third and second centuries B.C. are an example of the well-developed and intricate sculpture that established itself in India long before it had connections with the Farsi and Hellenic world.
In fact, in a fast moving Indian cultural and spiritual environment, Buddhism found it harder and harder to dispense with the use of antropomorphic symbols. It also forced Buddhism to think about the picture of its master, which might help to counteract these determinants. Consequently, in the 1 st cent. B.C. the Buddha spirit itself had started to strive for the realization of the Divine Master in iconical depictions.
The Greek model may have further encouraged it to choose them. A lot of importance was attached to the modelling aspects of the Buddha-picture. In fact, there was a well-developed sculpture in Mathura, the east and central India. Mathura' s Buddha images are similar in their physical nature to these early examples.
The difference between them and these previous or even ancient Greeks is their spiritually realisation and bliss. Mathura images of Buddha do not have such bulky drapes as Gandhara images, which have a greater Grecian clout. Thus, it is evident that the Mathura picture of Buddha, regardless of whether it predates the Gandhara picture or the Gandhara picture, is an autonomous and fully-fledged genre that has evolved out of the native traditions and shares certain aspects of ancient Greeks arts that it achieves through its Kushana masters.
The Gandhara images of Buddha resemble more closely those of Greeks, while the Mathura images show a continuation of the own native traditions. Traditionally, the Buddha picture has longer ear lobes, fatter lips, broader eyes and distinctive nostrils. Gandhara images show the eye longer, the jaw more square, the earlobe short and the nose sharper and better defines.
Following Greek examples, the Gandhara sculptresses favoured bulky fabrics with severe folds for their paintings. At Mathura the fabric is thin and translucent, has covered folds and usually only partly coats his being. Gandhara images show more distinct locks of locks of hair while Mathura images show more of a hermit in Venetian traditions, while Mathura images show more of a winding wire of locks of hair.
The Gandhara pictures have a greater esthetic appeal than the Mathura pictures. During the later stages of Mathura the Gandhara influenced was more marked, although it was also his worsening stage and he did not have much of Buddha arts after the 3rd to 4th centuries. The Gandhara artistic genre prevailed over the Buddha scene and thus the Buddha picture for about two hundred years, i.e. over the second and third centuries, but its impact was stronger in the northwestern regions and part of India.
In centres like Ajanta, Pitalkhora, Kanheri, Amaravati, Bhaja etc. the Buddha images of the corresponding periods show very different characteristics. While the Buddha images of the Mathura and Gandhara stages were definitely great and beautiful, the Gupta images were not only different, but also without parallels before and after. Consistent with the art form perceptions of a spirit picture and the epoch, these Buddha images of the following epoch have anchored on their faces a kind of heavenly tranquility, calmness, a soft grin, godly luminosity and singular acuity.
In Sarnath, a great centre of Buddhism and buddhistic arts evolved with its own differentiation. His own picture of Buddha, uniquely in his spirit and charming in his brilliance, came out with Sarnath. There, on the Sarnath Buddha's face, a soft heavenly smiling voice immortalizes itself, and on the quiet face of the Buddha's eye, the lyric affection of a full-blooming roses.
She has kept the long ear lobes of the Mathura picture, but her solid physical shape has been superseded by a gentle, slim body with long sleeves and subtle, gentle long finger. It has a larger theme and is more evocative. About two hundred nautical miles before Sarnath, to the eastern direction, as well as about two hundred years after the development of the Sarnath picture of Buddha, Nalanda under Pala monarchs (750 - 1185 A.D.), who were themselves adherents of Buddhism, an equally important centre of Buddhism and the Buddhist arts, saw the development of the Sarnath picture of Buddha.
A great centre of Buddhist teaching, Nalanda attracted hundred of Buddha's fervent students from all over the globe to come to Nalanda to read and practice the law. Therefore the Buddhist picture changed from stones, stuccoes or clays to metal - cupper, bronzes, brasses and gold-plated coppers.
The Nalanda painting of Buddha followed Sarnath's facial expressions in style to a large extent, but the statues were now larger and the garments lay much longer under the elbows. Nalanda images have slightly open eye and a more translucent outfit. Among them, several other centres of buddhistic arts developed in the meantime, although the pictures of this time, which were kept both in metal and rock, did not represent a substantial deviation from the previous one.
In the meantime Buddhism was the dominating religious denomination in China. Consistent with its indigenous traditions, China adds to the Buddha picture the size and splendour that corresponds to an imperial and dragon-like images. It was this peculiar China influenced that returned to India and created Buddha images of the Pala time.
The pictures show an extraordinary interest in dragon-like motives and other ornamental items. The Buddhism and the Buddhistic arts lost importance in India except in the Himalaya after the Pala time. Buddhism in India today was the main religious belief of Tibet, Nepal and Ladakh like undulating areas, where it is the most important one.
Not only did these places interpret Buddhism in their own way, they also uncovered their artistic styles, idioms and media. Rock, which is deserving to be formed, is a rare occurrence, rock paintings have been avoided. Unlike before, Buddha was her kindly divinity who protected her from all her catastrophes and at the same times freed her from the circle of life and childbirth.
Buddhas' iconoclastic perceptions increased and Buddha now appeared in various different functions, from the dispenser of medicines to redemption. In the more than 2500 years since its creation, the Buddha picture has evolved and is today the most popular and favoured picture for a salon, regardless of to whom and to which country it belongs. Even today, the Buddha picture is the most popular and favoured picture for a salon.
The Mathura Kala (Catalogue of Mathura Sculptures in the National Museum): Bhattacharya, B. Indian Buddhist iconography: Collemaraswamy, A.K. L'origine de l'image du Bouddha : Daljeet, Dr. Lord Buddha (Portfolio): Beginnings of Buddhist art: Krishan, Y. The Buddha image: It' s origin and development: The Buddhist art of Gandhara: Lives of the Buddha in the Indian sculpture:
Lack of the Buddha image in early Buddhist art: