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The top of the statue was broken, and a full decorated aureola with flying attendants initially stood behind the image of the Buddha. [8] He is flanked by two attendants holding fly whisks in a sign of devotion. The relief on the pedestal centers on a dharma wheel seen edge on, on a base, with two attendants holding flowers, and two winged ...
It is rather unassuming and not yet monumental compared to the Buddha sculptures of the following century, and may represent one of the first attempts to create a human icon, marking an evolution from the splendid aniconic tradition of Buddhist art in respect to the person of the Buddha, which can be seen in the art of Sanchi and Bharhut. [149]
Both can be seated in the Vajraparyanka (also known as Bhūmisparśa) pose, with the right hand on the right knee, palm turned inwardly, and middle finger touching the ground. [7] [10] [11] Amitābha (Japanese: Amida) is the most ancient Dhyani Buddha, embodying light and facing west, and
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Larger depictions show the Buddha descending the central one of three ladders or steps, often attended by Indra and Brahma, lords of the Tavatimsa heaven, [116] who may remain at the top of any steps, but in simplified depictions they flank a standing Buddha on either side, at a much smaller scale, sometimes one holding a parasol over the Buddha.
Seated Yakushi Nyorai (healing Buddha) and two standing attendants: Nikkō Bosatsu and Gakkō Bosatsu (Bodhisattvas of sun and moon light) 176.5 cm (69.5 in) (Yakushi) Treasure House (霊宝館, reihōkan), Daigo-ji, Kyoto —
Originally common in reliefs, and probably paintings of which few have survived, they have more recently mostly been in painted form. Narrative scenes may show the Buddha in various poses, though they tend to show the Buddha in the same standing, seated or lying positions, with other figures or a mudra indicating what moment is being depicted.
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