An image of a standing Buddha in a wooden sculpture. Buddha statues - what is their charm? Mudra Vitarka - transmission of teachings

Hello, dear readers!

Today we will talk about the role of art in. Having emerged in the 6th-5th centuries BC, it has always reflected a person’s desire to get closer to the ideal.

In Buddhism, such an ideal is served, and adherents of the doctrine believe that it exists in every person. For this reason, Buddhist art since the 1st century AD depicts the Buddha, detached from worldly attachments, in human form.

Unlike the Christian and Muslim religions, Buddhism masterfully represents in visual form concepts that are the highest degree of abstraction.

Tankography

One example of such representation is the visual arts.

Tankais an iconographic image that is used for visual support in various Buddhist practices.

It is usually performed on various types fabrics:

• linen,
• cotton,
• silk.

The first thangka, which depicts the wheel of samsara, comes from India.

Tanka is made with mineral paints: malachite or cinnabar. At the same time, paints from plant materials are also used: roots, petals.

They are mixed with bile and animal glue to give the paint strength. The output surface of the fabric is characterized by dullness and silkiness.

The outlines or decorations of the deity are drawn in gold. The finished work is sewn onto a border made of brocade.

After this, the work of art is consecrated by the lama during a special religious ceremony. The paintings usually depict Buddhas, great teachers, scenes from the lives of Buddhist saints and bodhisattvas, and mandalas.

Thangkas are the size of a book, and sometimes occupy the entire wall of the temple. Then such a large work is completed by several painters, and they work on it from several months to several years.

If the thangka is not on display, it may be rolled 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 relief from misfortunes.

Previously, tankography was very developed in Tibet. But, not finding government support, this art began to gradually fade away here.

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 Northern India. Forced to live in Dharamsala, they aim to preserve the unique culture of their homeland.

Architecture

A characteristic feature of any Buddhist building is its harmonious fit into the surrounding nature, merging with it, creating conditions for peace of mind, tranquility and meditation.

First architectural structures in Buddhism there were. They are a symbol of the pure nature of the mind and enlightenment.

Typically, stupas have:

• square or round base,
• hemispherical, bell- or tower-shaped middle part,
• spire-shaped pommel.

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.

Borobudur Stupa

When did they begin to appear Buddhist monasteries, the stupa usually occupied central place monastery 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 order of listing were to be located:

• central south gate
• mortar
• main temple
• sermon room
• northern utility gate

The rest of the territory contained bell towers, service rooms for monks, and a library.

Since many temples were previously carved into 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.

Contrasting colorful materials were widely used in the design of Buddhist buildings:

• gold
• silver,
• red and black varnish,
• 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 raised platform, there is a statue of 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 different shapes: square ones symbolize the earth, and round ones symbolize the sky.

There are niches in the walls of the hall where there are statues of Buddhist deities. Also, the perimeter of the room is decorated with figures of bodhisattvas, decorative stucco and thangka.

Buddhist sculpture reached its peak in the 4th and 5th centuries. The production of countless statues of Buddha and other saints dates back to this period. The material is:

• gold,
• bronze,
• painted tree,
• Ivory,
• stone.

The sizes of the sculptural masterpieces vary from two centimeters to more than fifty meters. It also happens that Buddhist buildings consist entirely of sculptures that represent a pyramid that covers the frame of the building.

Buddhism, having spread beyond India, assimilated the cultural characteristics of other countries. Therefore, one can often recognize deities belonging to more ancient cults in relief and sculptural images of temples and monastery complexes.

Throat singing of monks

Speaking about Buddhist art, one cannot fail to note the special manner of reading prayers - overtone throat singing.

The origins of this tradition are in Tibetan monasteries, from where it spread among other peoples of Mongolian and Turkic origin.

The monks used such chants to call upon their wrathful patron deities. Buddhists believe that the overtone throat singing, similar to a roar, came from the god of death Yama.

With this sound, monks terrify evil spirits; it promotes cleansing and healing.

From a physiological point of view, this is briefly explained as follows: while reciting mantras through 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 prayer:

• Dzo-ke – with the help of an overtone “roar”;
• Ran-ke - slowly, concentrated;
• Yang-ke - drawn-out, loud;
• Gyu-ke is a special throat singing technique used only in tantric monasteries.

Playing musical instruments

In the Buddhist tradition, a large role is assigned to musical instruments. They are used:

• during worship,
• when performing rituals,
• during religious processions,
• in the mysteries of Tsam.

These events may involve around fifty different instruments, most of which are percussion and wind instruments.

Among the instruments there are some outlandish ones. For example, in China, the inhabitants of monasteries are called to dinner or prayer using a suspended wooden fish. They hit her with a wooden stick.

In Tibet, short horns made of human bone were previously used. There are metal pipes up to five meters long. Their menacing sounds are designed to attract the attention of the deities to those praying and to frighten opponents of their faith.

A variety of bells, drums and other percussion instruments can exhibit magical properties with their:

• timbre,
• elements of design and decor,
• rhythm,
• separate sounds.

For classical Buddhist music, the use of bowed and lute instruments is more typical. Accompanied by them, heroic epics of different nations are performed and sutras are read.

garden art

Buddhism did not bypass its influence and gardening art. Originating 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 initially present in it. Therefore, when creating parks, Buddhist gardeners do not strive to improve something in nature, but to emphasize the existing beauty by contrast.

Great importance is attached to the synthesis of architectural forms and the natural environment.

Conclusion

The art of Buddhism is multifaceted, sophisticated and mysterious. It had a great influence on the culture and traditions of the peoples who joined the Buddhist teachings.

Friends, this is where we will finish our story today!

Among the Buddhist works of art, images of Shakyamuni Buddha were among the first to appear. There is no general opinion about when the first of them was created. According to archaeological data, the depiction of Buddha began only several centuries after his departure to Parinirvana. Before this, there were only symbolic images of the chakras, the feet of the Buddha. However, some sources speak of a statue created “from life” during the life of the Buddha. This portrait is known as the "Uddiyana image". It was created at the request of King Oddiyana. It is said that this portrait emitted “divine light.” This is what is written about this statue in the late Mahayana sutras:

“Maudgalyayana-putra, a follower of the Buddha, transported the artist to the heavenly spaces, where Buddha Shakyamuni retired for three months to convey the Teachings to his mother. There the artist saw the excellent signs of the Buddha's body and captured them in the form of a sandalwood statue. When the Tathagata returned from the heavenly palaces, the sandalwood image rose and greeted the Lord of the World.”

Of the statues found, the earliest depict the Buddha standing or sitting under the Bodhi tree. In addition, a Chinese monk traveling through India in the 7th century talks about the statue of Shakyamuni Buddha's father that stood in Kapilavastu, and about statues of his mother, wife and son in other places. He also describes the stupas he saw with the relics of the arhats and their sculptural images. Later, with the emergence of the Mahayana, images of Bodhisattvas began to appear. Although aspects such as Tara were known in very early times. Indian Vajrayana Buddhism is also characterized by portrait images of pandits and siddhas - masters of Buddhism.

In Indian art, statues were carved from sandalwood or stone. Many such stone statues can be seen in Bodh Gaya, as well as in the Sarnath Museum and National Museum in Delhi. Later, statues began to be cast from metal. The method of casting statues used in the northern schools of India influenced the artists of the Nepalese Newar tradition, who were later highly valued in Tibet. At the end of the 16th century, a flow of art objects from Nepal poured into Tibet, which gave impetus to the casting of statues, wood carving, and working with silver and gold.

Regarding the first Tibetan images, there is the following story: “Master Padmasambhava was thinking about leaving Tibet and going to Uddiyana. Then the artist Tami Göntson made a portrait replacing the Great Master. Gentzon created the image from life in the presence of the Master himself. The statue was exactly like Padmasambhava, but the size of a thumb.” When the master blessed the statue, “the earth shook, and the space was filled with rays of light of five colors, and the gods rained flowers. It was the manifestation of the Master's body, oral instructions born from the essence of all pitakas, the unsurpassed "drop of the heart", the Great Perfection" (Five Classes of Exposition). Another story says that Padmasambhava gave each of his eight disciples a bowl of clay and asked them to make his portrait. One of these eight ngadrama portraits is now kept in the Rumteka monastery in Sikkim.

In Tibet, “ngadrama” (“just like me”) statues are highly valued because they were made during the lifetime of the master and blessed by him. First of all, this tradition is closely associated with Padmasambhava. A text found in the 11th century reports that the first Tibetan buddhist statue was taken at Samye Monastery during the reign of King Songtsen Gampo, and it was his portrait, which had the title: “The King and All His Queens.” Songtsen Gampo believed himself to be the incarnation of the thousand-armed Avalokitesvara, and the statue was made in accordance with this vision. Subsequently, this statue began to be revered as a defender of the empire. The next Buddhist king was Trisong Detsen, who founded Samye Monastery. A life-size statue of the king was placed in this monastery. "The bones of the statue were made of sandalwood, the flesh of gugul resin and the skin of silver coating" - this description can be found in Chinese and Indian sources, however, other early sources indicate that this statue was made of silver. Also well known are the bone statues of Tilopa, Naropa, Marpa and Milarepa made by the Tenth Karmapa Choying Dorje.

Painting statues

Traditional Tibetan teaching style fine arts has mostly the nature of transferring practical skills and a very small theoretical part, consisting mainly of Tibetan folklore stories and legends. Theoretical knowledge is given in a piecemeal rather than a systematic manner. Apparently, chronology in the history of Tibetan art is not of particular importance to the Tibetans themselves. As for the differences in artistic styles, as Tibetan masters say, “in Tibet, if someone wanted to learn painting, he simply went to the nearest master and spent all his time next to him. Often, artists did not stray far from their village and did not even know that painting in the neighboring province was called “another style.” All these differences came later.”

Buddhist statues may be painted either entirely or partially; Only the head and some attributes can be painted. The painting itself, and especially the gilding of the face or the entire figure, is an offering to the Buddha who is depicted in the statue. Often, when studying particularly revered and ancient statues, it is clear that the original outlines of the face have been practically erased by numerous layers of gold.

It is also traditional to offer clothes to the statue. It is worth remembering the famous statue of Shakyamuni Buddha in Bodh Gaya. Every half hour she is dressed in a new dress. In Tibet, it is customary to sew a special costume made of precious brocade for statues. Often the dress itself is sewn separately from pieces of various precious materials. An intricate cape-collar is put on top. In addition, Tibetans love to decorate their statues with numerous precious stones. Sometimes, due to the abundance of jewelry and clothing, the statue itself is almost invisible. Most often, rare, precious statues are richly dressed and painted, which are also placed so high that they actually become inaccessible for viewing. But for a Tibetan who practices Dharma, this is not a hindrance at all; he simply knows that a special blessing emanates from the statue, and he turns to it with devotion in his heart.

The first statues in Tibet were made of clay and painted entirely. The clay surface itself is a very fertile basis for natural pigment paints, and they were used for painting. Making mineral paints is a rather labor-intensive task. Nowadays you can buy ready-made pigment powder, but in the old days you had to crush the precious stones and grind them into powder. Pigments can also be prepared from colored clay or earth. Hide or fish glue is added to the paint as a binding element.

The metal statues that appeared later most often had their heads painted in gold. In some cases, the entire statue was covered with gold leaf. For particularly valuable statues, the body itself may be covered with gold paint and polished (except for the face), and the clothing covered with gold leaf. Gold paint is gold powdered and mixed with glue. When applying gold paint, the surface acquires a soft golden color, and when polished it begins to shine. Clay statues' faces and naked parts of the body were also covered with gold.

Nowadays, statues are painted in exactly the same way: metal ones have a head, while plaster and ceramic ones have the whole thing. Wooden statues can be primed and painted entirely if desired. As for sculptures depicting protectors, and especially Mahakala, they are painted entirely, and the figure should be covered with a cloth so that only the face and hands remain visible.

Often the process of painting statues is called “opening the eyes”, since special importance is attached to the eyes of the Buddha. After drawing the eyes, the statue “comes to life”, although this is not enough for complete revival - in order for it to work for the benefit of the enlightenment of beings, it must be properly filled. Once filled, the statue must be blessed by one of the high lamas.

In the last 30 years, quite a number of a large number of Tibetan Buddhist statues, but information on how to “care” for a statue has only recently begun to emerge. But it is the correct handling of a Buddhist statue that makes it alive in the literal and figurative sense.
Buddhist statues in Vajrayana.

Initially, sculptures of Buddha, arhats and great lamas were created to replace their personal presence. In this case, the statue is the basis for developing devotion. The statue is a symbol of the Buddha's body (there are also symbols of speech and mind). Visualization is very important in Vajrayana practice, and the statue can serve as a basis for this. But here you need to be careful, because often the West receives statues of very poor quality, made with errors, and such statues are not a very good basis for visualization. Therefore, when choosing a personal statue, you should examine it carefully and, if possible, consult with a specialist. In addition, the statue can be used as a basis for shine practice. And of course, the statue is a great opportunity to accumulate merit. We purchase or make a statue, fill and paint it, place it on the altar, make offerings - all this creates positive energy.

There are a lot of Tibetan legends that talk about how Buddha statues came to life - they cried in difficult times for the Tibetans or talked. During the time when King Langdarma tried to destroy the Dharma in Tibet, many Buddhist sculptures were destroyed, and sometimes blood appeared on the broken parts. But this only added to the devotion of the Tibetans.

Located in Lhasa famous statue, which Tibetans call Jowo. This statue was made in India and transported by sea to China. The Chinese emperor treated the statue with great devotion and consulted it in all his affairs and problems, since in those days the statue could talk. The Tibetan king Songtsen Gampo decided to marry the daughter of the Chinese emperor, and when she went to Tibet, she took with her a statue of Jowo from China. Miraculously, the huge sculpture became completely light. However, the princess took Jovo without her father's permission, and when he discovered it was missing, he was upset and made wishes, which caused the statue to stop talking. There are many similar stories in the Tibetan Vajrayana tradition that describe the miraculous powers of ancient statues and show that for Tibetans a Buddhist statue is much more than a simple object of art.

Literature used: Portraits of the masters. Serindia Publications, Chicago

Denzong Norbu

Master of traditional Tibetan art, recognized master of thangka painting. He received the transfer of the Menri artistic style from his teacher Renzing Ladripa, but later independently mastered the Karma-Gadri style and received specific instructions in this style from the Sixteenth Karmapa, with whom he lived for more than 30 years. He supervised numerous paintings in temples of the Karma Kagyu lineage in India, Sikkim, Nepal and France, as well as the painting of a stupa in Elista, Kalmykia.

Irina Parshikova

Graduated art school them. Roerich in 1997 and a year later met her teacher in Tibetan art, Denzong Norbu. She studied thangka painting in India and France, took an active part in painting Buddhist temple in Le Bost and in the activities of the art school created there. She took part in the creation of wall paintings in Kalmykia, Denmark and India. Travels with Denzong Norbu and conducts statue painting courses in different countries Europe.

Gestures of Buddha, 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 Abhaya Mudra. It bestows the energy of fearlessness. This is a very popular gesture that is found in many home decor items featuring Buddha, be it sculptures, paintings or even candle holders.

Buddha is fearless and protective.

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 above. Looking at this hand gesture of the Buddha, one can feel the energy of protection, peace and a strong sense of inner security. This is a great addition to the Feng Shui of any home.

The best place, according to Feng Shui, for Abhaya 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 the higher energy.

Connecting with the energy of the cosmos.

The circulation of energy created by the triangle of touching thumbs of both hands also helps to cleanse any “impurities” of extraneous energy at the etheric level. Just by looking at this hand gesture of the Buddha, 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 a study.

3. Mudra Namaskara - greeting and worship

Namaskara or Anjali Mudra is a hand gesture that signifies greeting another person with utmost respect and worship to the divine in all things. As is easy to see, the greeting is expressed in the form of a gesture of prayer coming from the heart or third eye.

Only with the heart can one comprehend this world.

Namaskara mudra can be depicted with 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 everyone around is a manifestation of the same light.

It is interesting to note that the Buddha no longer made this hand gesture after achieving 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 expressing worship of something means that one is beyond what he worships.

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

4. Mudra Bhumisparsha - calling the Earth to witness

Bhumisparsha Mudra is translated as “Touching the Earth” or “Calling the Earth to Witness the Truth.” This gesture is always depicted with the right hand, and the left hand lies on the knees with the palm facing outward (Varada Mudra).

Bearing witness to the truth.

Bhumisparsha mudra is considered the gesture of the Buddha at the moment when he achieved 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 often seen in combination with other mudras such as Bhumisparsha or Abhaya.

Compassion, sincerity and fulfillment of desires.

This mudra is also called the blessing mudra because it helps impart certain qualities to the energy that are unique to an enlightened being. Often a sacred image, such as a mandala or an eye, can be seen on the palm of the Buddha. This expresses the powerful energy emanating from the 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 through which negative energy is expelled. This gesture is also called "driving out evil." Just by looking at this gesture, you can sense a very determined, focused energy.

Buddha banishing evil

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

The best place for Buddha to show Karana mudra is any place in the home that needs a lot of negativity clearing, or a problem area of ​​the home (such as windows facing a low energy alley).

7. Vazhrapradam mudra - self-confidence

Vajrapradama mudra is usually translated as “Mudra of Unshakable 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.”

I come in peace because I am the world.

He emits a whole blazing river of the most beautiful golden energy - soft, kind, shining, healing and eternal. It would be more correct to call this 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 teachings

Vitarka mudra is interpreted as a hand gesture that evokes the energy of learning and intellectual discussion or argumentation. Basically it can be expressed as conveying a certain teaching without words, and the circle formed by the thumb and forefinger creates a constant flow of energy/information.

To become wiser.

As with Abhaya Mudra, the energy created by this hand gesture allows knowledge to be transmitted 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 index fingers forming circles (similar to the Vitarka mudra). The right palm faces outward and the left palm faces the heart.

Peace passing through the heart.

This mudra is associated with the first sermon or teaching of the Buddha. It is often described as representing the teaching of cosmic order emanating through the heart.

In the apartment best place for Dharmachakra mudra there will be a home office or living room.

10. Uttarabodhi Mudra - highest enlightenment

Uttarabodhi is called the mudra of supreme enlightenment. It is formed by both hands located in the area of ​​the heart. The index fingers touch each other and point upward, the remaining eight fingers intertwine.

Internal unity.

Such a gesture of the 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 energetic shift in the body.

Uttarabodhi Mudra would be best placed in the north or south of your home or office. You can also try placing it in a prominent, high-energy place in your living room.

Can sit or stand. With his right hand, the Buddha makes the varada mudra gesture; if standing, he holds the edge of the monastic robe. This image demonstrates the altruistic qualities of the Buddha and does not have any specific stories associated with it.

Buddha in royal attire

In this image, the Buddha is adorned with royal attributes (including a crown) and jewels.

The image has several options. First, 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 of a neighboring kingdom. The Enlightened One was in the bamboo forest and watched the invasion of the kingdom of Bimbisara, 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 laid claim to the territory of King Bimbisara.

This image of 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 decorate and soften the strict stereotyped physique of the Buddha figure. The sophistication, complexity, beauty of design and skill of execution cannot be denied, but the numerous precious stones adorning the image from head to toe are perhaps unnecessary.

However, the use of royal regalia to emphasize the divine origin of characters and enhance the impression is also found in other cultural religious traditions, including Catholicism, Greek and Russian Orthodoxy.

In the original version, the royal attributes were limited to the crown on the head, but eventually 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 Thailand's most famous Buddha images. Among them, for example, is the so-called Emerald Buddha at Wat Phra Kaew in Bangkok.

Buddha eating from an alms bowl

Buddha has just ordained the son of a rich man and is now calmly eating rice from his alms pot (baht).

Buddha eating rice pudding from an alms pot

The Buddha's left hand holds a ball of rice pudding, and his right hand rests on the pot. The rice was divided into forty-nine pieces to last for seven weeks.

Buddha on Banaspati

Buddha stands on the head of Brahma, who in turn kneels on Banaspati's back.

In sad thoughts

Buddha stands with his arms crossed on his stomach (left below, right above). Under the Bodhi tree, the Buddha is busy pondering his achievements in perfect knowledge. Mara tempted him to immediately enter Nirvana, but Buddha refused, wanting to convey true knowledge to the whole world.

Taking the Dead Man's Shroud

Buddha removed the shroud from the rotting corpse, shook off the worms from it, washed it in the river and thus received clothes for himself.

Entering Nirvana

Buddha died when he was eighty years old and entered Nirvana.

Giver of forgiveness

Buddha forgives a person who comes to him and realizes the wrongness of his actions. There are many variations of this pose, among them, for example, the Buddha stands with both palms turned outward, or raising one hand (sometimes left, sometimes right) 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 Dharma throughout the world.

Demonstration of miracles to the Sakri family

The elders of the Sakri family did not show respect to the Buddha when they entered his father's palace, and the Buddha showed them his power: among other things, he caused heavy rain, which wet only those who did not show him respect, and those who treated him with respect , left dry.

Holding a begging bowl

The Buddha stands upright and holds the alms bowl with both hands at the level of his stomach.

This pose refers to the first morning in Kapilavastu after visiting the palace of Buddha's father. Buddha's relatives were ready to receive him at Nigrodharam, but leaving him in the evening, none of them invited him to breakfast. And in the morning Buddha went to the city to beg for alms.

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. Buddha himself, being in deep meditation, sits on the coils of a snake, which serve as the basis for the image. In some cases, the Buddha may be depicted completely entangled in the coils of a snake, so that only his head remains visible - the artists’ literal understanding of history 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 approaching. The huge snake wrapped seven rings around the Enlightened One’s body, and opened the cobra’s hood over his head so that nothing would disturb him. The storm allegedly raged for seven days. This image was widely circulated in central Thailand, and was also popular among the masters of Khmer and Burmese iconographic art. In India, on the contrary, it was rarely used. The Thai masters of Sukhothai also preferred not to use it from about the 14th century. In Thailand this position is called "Phra Nak Prok".

Walking in meditation

The Buddha walks with his left ankle raised and his palms crossed (left below, right above) on the upper thighs. The Buddha received comprehensive knowledge and thereafter devoted himself to teaching the Dhamra to the 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 standing firmly on the ground, holding his left hand at chest level (giving enlightenment, blessing all beings, dispelling fear), while his right hand hangs gracefully and naturally at this time. The body forms a balanced pose, curved in three places - tribhanga or S-shaped, very popular in Indian sculpture. Buddha is about to give a sermon about his insight. The figure is in a dynamic position, as if frozen in motion, as if in a paused video. This symbolizes the Buddha's care and attention to every action. He knows that he will not be reborn again.

Statement of the Great Truth

Both hands are placed in the Vitarka Mudra position.

Hair touching

In this pose, the Buddha raises his right hand, about to pluck eight hairs from his head to present to the merchants Tapussa and Bhalika as relics. After his enlightenment, 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, Buddha pours rainwater on himself.

During a drought in Kosala, Sravasti, the people turned to Buddha for help. Seeing rice suffering from lack of water, Buddha asked to wash his robes. On the way to the pond, the heavens opened and a downpour fell on the ground, under which the Buddha bathed.

Meditation

The Bodhisattva is in a yoga pose: his hands are on his feet, the left palm lies on the right and takes a cup shape. The eyes look at the tip of the nose or are completely closed. Typically, a statue in this position expresses a blissful state. This is one of the most popular poses in Thailand, where it is known as “sharp samadhi.”

This position depicts an important and heroic episode when the Bodhisattva vowed not to rise from his place until he achieved enlightenment and received the highest knowledge. He strives to find the cause of suffering and the possibility of abandoning it, 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 both pain and joy are absent, he achieved complete and final enlightenment.

According to Thai tradition, 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 a closed lotus position, with the soles of his feet turned upward, his legs tightly crossed, and his hands resting on his knees.

This pose was especially popular in the north of Thailand, and was depicted in statues found around Chiang Sien.

Instruction of the Five Disciples

Buddha sits in a yoga pose with his hands in a mudra teaching position. There are four position options in total, which differ in the use of hands. Firstly, the Buddha can be depicted with his left hand lying on his knee and his right hand located at chest level in the vitarka position (the thumb is connected to the index, the other fingers are slightly bent and directed outward). Secondly, the Buddha can be depicted in dharmachakra mudra (“turning the wheel of the law”), in the process of delivering his first sermon to five disciples. 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 encourages them to come closer.

Having achieved enlightenment, the Buddha left Bodh Gaya and went in search of five ascetics, with whom he spent six years. He shared with them his newfound knowledge in the Dhammachakra Pavattana Sutta. Here he explained to them the "Middle Path", the Four Noble Truths and the doctrine of the Eightfold Path, the basis of all forms of Buddhism. Buddha's friend Kondanna happily accepted this knowledge and then convinced four others - Vappa, Bhuddya, Mahanana and Assaja.

Pondering old age

The Buddha is in a resting position (open lotus position): his hands are placed on his knees, palms down.

IN Last year During his lifetime, the Buddha spent the rainy season in Veluvan, a grove on the peak of Rajagriha Vultures, donated by King Bimbisara. By that time he was eighty years old, he was seriously ill, but heroically endured his illness. Moreover, it served as a topic for him to preach about the transience of life. They talked about the old man Anand, who compared his body to a cart that needed to be repaired with the help of belts and bamboo, and insisted on the inevitability of old age and death for all things.

Mother's Training in Tawatimsa Heaven

Combining four alms pots

The guardians of the four directions came to the Buddha and offered alms, each in his own bowler hat. Buddha did not want to show preference to any of them, so he combined all four pots into one.

Stopping Maru

The Bodhisattva is in a yoga pose, his left hand lies on his knee, his right hand is raised, as if to repel the attacks of the three daughters of Mara. This position has two different options. One is sitting, with the left hand on the hem, and the right hand at chest level (as in Abhaya mudra), as if forbidding the daughters of Mara to seduce. The second is a meditation position with both hands on the knees.

This image also has two different interpretations. The first corresponds to the Bodhisattva repelling 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 was not yet for this, because people had not yet received the teaching, and the righteous way of life had not yet spread.

Keeping relatives from enmity

The Buddha stands with his right hand in the abhaya mudra position, and his left hand hanging down, lightly touching his clothes.

The image refers to the episode when the Buddha, after an absence of three months, returned from the heavens of Tavatisma and stopped the enmity of the relatives of his father and mother over the ownership of parts of the river that flowed between their possessions. The relatives agreed and peacefully divided the plots and, through the mediation of the Buddha, ended the confrontation.

Stopping Sandalwood Statue

The Buddha stands with his right arm hanging at his side and his left arm raised to stop his sandalwood image from approaching. An impressive image of this pose can be found in Phutthamonton Park in Nakhon Pathom Province. There this gesture is connected with the movement of the person walking. Another sculpture from Ayutthaya, ancient capital Siam, now located in Bangkok, in the eastern viharn of Wat Pho.

This position can accidentally be confused with “Keeping relatives from enmity,” but they are different positions.

According to legend, while Buddha was three months resided in the Tavatimsa heaven and preached there for his mother, on the top of Mount Meru, which is located in the center of the universe and where thirty-three gods who are responsible for the welfare of people live, King Udayana created an image of Buddha from sandalwood and placed it in the large hall in the Jetavana garden in Shravasti, in the place where 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, with his feet and right arm parallel to each other. His monastic robes traditionally reveal his right shoulder, which in this depiction typically 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 Buddha's life path 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 lying position should be the same as in a standing position, only horizontal. This explains the presence of a “flying hem” on the monastic robe, which creates an “unearthly” impression.

Opening the world. Connecting three worlds: Heaven, Earth and Hell

Having descended from Tavatimsa heaven, 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.

Vakkali's suspension

Left hand 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 one should not pay attention to appearance and physical condition, for sooner or later they will fade and decline, but instead one should follow the dharma.

First Sermon

The Buddha appeared at the Deer Park in Isipatana near Benares, where he preached his first sermon to the Five Disciples.

Commander of the Waters or Stopper of the Ocean

The Buddha stands with both palms raised, as if he is trying to push something away. The pose is similar to “Return from Heaven Tavatimsa” with double vitarka mudra, but they should not be confused.

In Thailand, this pose is called "Stopping the Ocean or Preventing the Rising Waters", but it originates from the flood in Sakharam, which is located on the banks of a river in India.

Buddha appeared at the Cassowary camp, where there were about a thousand fire worshipers, and asked to spend the night. He was settled in a dilapidated house on the river bank, which was often flooded. To prevent this, the Buddha caused the waters to subside and thus showed Cassowary and his followers the true path.

Subduing Maru or the Calling of the Earth as a Witness

Buddha sits in a yoga pose, holding his left hand on his foot, palm facing up. The right hand is placed on the knee and points to the ground, sometimes touching it lightly.

This pose, also known as Calling the Earth as Witness, is most popular in Thailand. Mara and 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 thoughts. This rejection of Mara symbolizes victory over oneself.

Pointing to a corpse

Buddha delayed the cremation of the corpse for three days; he wanted people to look at it and think about the transience of life and the temporary nature of their stay in this world.

Receiving water

On the way to Kapilavastu, 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.

Obtaining bundles of grass

One evening after dinner, the Bodhisattva received eight bundles of cut grass from the brahman Sotthiya. On this grass, Buddha was able to sit comfortably under the Bodhi tree in Bodh Gaya.

Ordination of the first student

Upatissa and Colita were ordained to the clergy, receiving the highest rank.

Predictive

Calling the Earth to Witness or the Suppression of Mara in the Crystal Palace

Rain Caller

The Buddha stands, his right hand is located at chest level, in the vitarka mudra position, and seems to call for rain, and his left palm is gathered into a handful, as if asking for an offering, rainwater should be collected in it. In some variations of the position, the Buddha can sit with his legs crossed (the position of his arms is maintained). The style of clothing may be either Kandaharian or northwestern Indian: the monastic robe falls in symmetrical waves. The feet are placed naturally, not as formally as is usually the case with other Thai statues of the same time.

This pose gained popularity during the Dvaravati Mon period. The seated version was created by order of King Rama I, and since then this image has been used in the procession of the plowing festival in mid-May. The standing version was introduced by Rama V.

Mango Host

Buddha sits in a yoga position and holds a mango in his right hand, his hand resting on his knee.

When Buddha was in Veluwan, some people demanded that he show them a miracle, thereby proving his power. Then Buddha took a mango fruit and squeezed it into a pot, drank the juice, and planted the seed in the ground, from which a huge tree immediately grew and immediately began to bear fruit abundantly.

Accepting rice treat from Sujat

The Buddha sits 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 Sujata, thereby ending his extreme asceticism. After that, he left the hermits with whom he had walked this path in Urvel, and he himself went to Bodh Gaya.

Taking the Ink Nut

Buddha holds a small ink nut in his right hand.

In the seventh week after enlightenment, Buddha sat under the Ket tree. At that moment, Indra offered him an ink nut.

Taming the wild elephant Nalagiri

Buddha stands with his right hand at waist level, palm facing down. A certain ill-wisher sent his elephant Nalagiri to the Buddha so that he would harm him. However, Buddha tamed him.

Threading a needle

The Buddha has both hands in front of his chest and is focused on threading the eye of the needle.

Buddha makes clothes from rags taken from a dead man. By doing this and concentrating on penetration, he receives insight that leads him to understand the last of the Four Noble Truths - the Eightfold Path.

Preacher Angulimala

Angulimala was a bandit 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 innocent people, 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 walked slowly, Angulimala could not catch up with him. When the robber began to lose his strength, he shouted to the Buddha to stop, but he replied: “I am already standing, Anuglimala, and always have been standing. Because I am merciful to all living things, and you are merciless. That’s why I’m standing, but you’re still not.” After this, Anlugimala threw down his sword and received the Buddha's blessing.

Preaching to 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 inspired by 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, an exception was made for Subhadda, 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), and holds his right hand on his stomach.

After recovering from an illness caused by contaminated pork, the Buddha decides to leave Vesali forever. Knowing that he will never return, he looks at the city for the last time.

Floating an empty alms pot on the water

Having eaten all forty-nine portions into which the Bodhisattva divided the rice, he lets the empty alms pot float down the Neranjara River. If the pot does not sink, but floats against the current, then this is a sign that the Buddha will achieve enlightenment. If the pot 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 position. The 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, Buddha was going to visit his father, but to do 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.

Buddha informed Ananda that he had the power to extend 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 a prediction to him that he would inevitably die and enter Nirvana.

Looking at food in a begging pot

Eight days after the Bodhisattva became a monk, the local ruler gave him food for the first time.

The decision to enter Nirvana

Buddha holds his right hand on his chest.

Buddha is immersed in thoughts about his own old age and the nearness and inevitability of death. He decides to enter Nirvana on the night of the full moon, three months before his death.

Deciding 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 staircases that connected heaven and earth. One for myself, the second for Buddha, the third for the brahmins.

Standing Buddha

The Buddha's eyes are downcast, he himself stands with his arms hanging along his body.

This pose of the Buddha indicates his complete confidence in his actions.

Solitude in the forest

Buddha was tired of the Kosambi monks, who were divided into two groups and lost harmony, and he preferred solitude in his own forest.

Here the elephant Palilayka drew the attention of him and offered the Buddha a drink of water, while the monkey brought him a beehive with honeycombs.

Pointing to Mara

The Buddha holds his right hand bent at the elbow, with the palm facing outward and the index finger pointing upward. The left arm 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

A thin and emaciated Buddha sits in a meditation position. For six whole years he practiced extreme asceticism and was on the verge of death from exhaustion. However, he eventually realized that between extreme asceticism and worldly existence there was a “middle path.”

Miracle in Sravasti

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 into the vitarka mudra position (the thumb is connected to the index finger, the rest are slightly bent), the left hand lies on the knee. In this case, the Buddha’s feet rest on the lotus. In addition, in some cases the Buddha may be depicted in a standing position.

The miracle at Sravasti is a manifestation of power before non-believers in order to convince skeptics and representatives of all kinds of religious sects. Buddha showed them his heavenly halo and revealed himself in an exalted form, which was accompanied by storms with thunder and lightning and earthquakes. Buddha also created himself by making a Double Appearance.

On the night of May 25, during the full moon, Buddhists celebrate Vesak - a holiday in honor of the birth, enlightenment and death of Gautama Buddha. It was to Buddha that people erected the most grandiose monuments made of stone, bronze and gold. We'll tell you where you can see them

1. Spring Temple Buddha

Height: 128 meters

Where: Henan Province, China

33 tons of copper, 108 kilograms of gold and 15 thousand tons of special steel - this is exactly how much material the Chinese needed to express their respect to the Buddhist heritage and build the largest statue on the planet.

The monument depicts Buddha Vairocana, one of the five sacred Buddhas representing wisdom. The idea to create a grandiose shrine came to the Chinese after the Taliban destroyed two huge Buddha statues in Afghanistan.

The height of the majestic figure is 108 meters, the base in the shape of a lotus flower is 20 meters, the pedestal is 25 meters. And if we add to this the height of the hill, recently transformed into two large stone steps, it turns out that the entire structure rises 208 meters into the sky.

2. Laukun Sectuar

Height: 116 m

Where: Sagaing Province, Myanmar

Laukun Sectuar is considered the second largest sculpture on the planet. Moreover, at the feet of the giant lies the world's largest reclining Buddha statue. The entire structure is located in a remote area of ​​Myanmar, so only a few European travelers know about it.

The construction of the monument can easily be called the construction project of the century. It lasted 12 years (from 1996 to 2008)! During the construction of the reclining Buddha, they used it as a mold to cast the clothing of his vertical counterpart. Workers lifted and connected the gold-plated plates manually, without the help of cranes.

The statue, 116 meters high, depicts Shakyamuni Buddha, and together with the pedestal reaches almost 130 meters.

3. Ushiku Daibutsu

Height: 100 meters

Where: Ushiku, Japan

The Spring Buddha from Henan Province of China has a twin in Japan. This is Ushiku Daibutsu. The incarnation of the majestic deity rises to the sky 120 meters (height with a pedestal), decorating a park in the Japanese city of Ushiku.

The statue is at least 16 meters smaller than its brother in China, but it is also majestic and large-scale. Just imagine 2.5-meter eyes, a 10-meter ear and an 18-meter arm!

The hands of the Japanese Buddha, like the Chinese, are facing the interlocutor, the right one is raised, and the left one is lowered along the body. This is the position of vitarka mudra, which symbolizes the transmission of the teachings of dharma. In other words, this is how Buddha shows everyone the path to enlightenment, liberation from suffering and attachments.

4. Guanyin

Height: 108 meters

Where: Sanya city on Hainan island, China

You will see it from the window of a plane landing at Sanya Airport. She gives the impression of a goddess walking on water. It's hard to take your eyes off the white stone figure and the shining golden halo around her head.

This is Guanyin, the female incarnation of the Buddha, also known as Avalokitesvara Bodhisattva. The goddess has three faces: she looks at visitors, holding a book in her hands, the second face is depicted with a rosary, the third with a lotus flower. Thus, the many-faced Guanyin represents the three aspects of the Buddha: past, present and future.

5. Great Buddha of Thailand

Height: 92 m

Where: Miang district, Ang Thong province, Thailand

You can also meet the Great Buddha in Thailand. Ang Thong Province is home to the largest statue in the country and the ninth tallest in the world. The Buddha, sitting in the lotus position, took 18 years to build; all work was completed five years ago. The statue is made of cement and painted with gold. It reaches 92 meters in height and 63 meters in width.

6. Grand Buddha

Height: 88 meters

Where: Wuxi City, Jiangsu Province, China

And this is the world's largest bronze Buddha statue. The figure froze in the same pose as the Spring Buddha in Henan Province and his Japanese counterpart Ushiku Daibutsu. The height of the statue, which rises on Lingshan Hill, is 88 meters. The giant weighs about 800 tons. To get close to the Buddha and touch his feet, you need to walk 217 steps.

The Grand Buddha is adjacent to the Xiangfu Temple and Taihu Lake, where tourists love to relax. Recently, a Brahma palace and a palace in the shape of Buddha's hand were built here.

7. Maitreya Buddha

Height: 71 meters

Where: Sichuan Province, China

Maitreya Buddha is another ancient Buddhist colossus. The statue of a monk radiating kindness and love is located near the city of Leshan and is visible for several tens of kilometers around. Locals They call him Da Pho, which literally means “Buddha of the Mountain.”

It’s incredible, but the 70-meter sculpture is actually carved thicker than one of the rocks of Mount Lingyunshan. The width of the shoulders reaches 30 m, the size of the head is almost 15 m, the fingers are 8 m, the length of the nose is 5.5 m. Over the course of 90 years, starting in 713, day after day, the rock gradually took on the majestic image of Buddha.

His half-closed eyes look at Mount Emeishan, and his feet rest on the river. At the level of the Buddha's head is temple complex, a park and pagoda 38 meters high. And to the right of the Buddha's head there is a lovers' park. Couples lock padlocks here and throw keys into the abyss so that they will never be separated.

8. Buddha Lantau

Height: 34 m

Where: Lantau, Hong Kong

The Buddhist symbol of clarity of thought and purity of thoughts is also in Hong Kong. This is a bronze statue of Buddha sitting on a lotus. The peculiarity of the Big Buddha on Lantau Island is that it does not face the south, like everyone else large statues Buddha, and to the north.

There are 268 steps leading up to the Buddha, but this does not stop the many tourists and pilgrims who come to Hong Kong to touch his feet.