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Standing Buddha with a halo, 1st–2nd century AD (or earlier), Greco-Buddhist art of Gandhara Jesus and nine of the Twelve Apostles depicted with "Floating" disk haloes in perspective (detail from The Tribute Money, illustrating Matthew 17:24–27, by Masaccio, 1424, Brancacci Chapel)
Bhaiṣajyaguru is typically depicted seated, wearing the three robes of a Buddhist monk, holding a lapis-colored jar of medicine nectar in his left hand and the right hand resting on his right knee, holding the stem of the Aruna fruit or Myrobalan between thumb and forefinger. In the sutra, he is also described by his aura of lapis lazuli ...
The mandala in Nichiren Buddhism is a moji-mandala (文字曼陀羅), which is a paper hanging scroll or wooden tablet whose inscription consists of Chinese characters and medieval-Sanskrit script representing elements of the Buddha's enlightenment, protective Buddhist deities, and certain Buddhist concepts.
In Mahāyāna Buddhism, including the traditions of Esoteric Buddhism, the 32 major characteristics and 80 minor characteristics are understood to be present in a buddha's sambhogakāya, or reward-body. [3] In contrast, a buddha's physical form is understood to be a nirmāṇakāya, or transformation-body. [3]
Buddhism and Buddhist art are already gained prominence in Mathura during the 1st century CE under the patronage of the Northern Satraps. [167] The Kushans adopted the anthropomorphic image of the Buddha, and developed it into a standardized mode of representation, using "confident and powerful imagery" on a grand scale. [168]
Citipati (Sanskrit: चितिपति), Chitipati or Shmashana Adhipati is a protector deity or dharmapala in Tibetan Buddhism and Vajrayana Buddhism of the Himalayas. It is formed of two skeletal deities, one male and the other female, both dancing wildly with their limbs intertwined inside a halo of flames representing change. [1]
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The earliest Buddhist art is from the Mauryan era (322 BCE – 184 BCE), there is little archeological evidence for pre-Mauryan period symbolism. [6] Early Buddhist art (circa 2nd century BCE to 2nd century CE) is commonly (but not exclusively) aniconic (i.e. lacking an anthropomorphic image), and instead used various symbols to depict the Buddha.