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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.
Representations of the five Dhyani Buddhas, who are abstract aspects of Buddhahood rather than Buddhas or gods, have elaborate differences. [6] Each must face in a different direction (north, south, east, west, or center), and, when painted, each is a different color (blue, yellow, red, green, or white).
Narrative images of episodes from the life of Gautama Buddha in art have been intermittently an important part of Buddhist art, often grouped into cycles, sometimes rather large ones. However, at many times and places, images of the Buddha in art have been very largely single devotional images without narrative content from his life on Earth.
Gathering of Four Buddhas, Joseon, 1652. Buddhist painting, Butsuga (仏画) in a broad sense, refers to Buddhist paintings in general, including Buddhist biographies, Jataka tales, Pure Land variant paintings (such as Taima mandala), Raigō, Buddhist narrative paintings such as the Two Rivers White Path and Six Paths paintings, Ancestors biographies, Emaki, E-toki, Ancestors drawings, Chinsō ...
In the Buddhist Art at early sites such as Bharhut and Sanchi, the dharmachakra was often used as a symbol of Gautama Buddha himself. [ 18 ] [ 14 ] The symbol is often paired with the triratna (triple jewel) or trishula (trident) symbolizing the triple gem , umbrellas ( chatra ), symbols of sovereignty and royal power, gems and garlands.
The art of Gandhara was influenced by Ancient Greek art, leading to the development of Greco-Buddhist art with anatomically well-proportioned and realistic figure of the Buddha. One of the most influential Buddhist art was Gupta art and the later Amaravati style. From India the depiction of Buddha spread to the rest of Asia.
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.
Thangka often overflow with symbolism and allusion. Because the art is explicitly religious, all symbols and allusions must be in accordance with strict guidelines laid out in Buddhist scripture. The artist must be properly trained and have sufficient religious understanding, knowledge, and background to create an accurate and appropriate thangka: