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The Buddha is always represented with certain physical attributes, and in specified dress and specified poses. Each pose, and particularly the position and gestures of the Buddha's hands, has a defined meaning which is familiar to Buddhists. In other Buddhist countries, different but related iconography is used, for example the mudras in
In the Pali Canon a paragraph appears many times recording the Buddha describing how he began his quest for enlightenment, saying: [8] So, at a later time, while still young, a black-haired young man endowed with the blessings of youth in the first stage of life—and while my parents, unwilling, were crying with tears streaming down their faces—I shaved off my hair & beard, put on the ochre ...
Mudra is used in the iconography of Hindu and Buddhist art of the Indian subcontinent and described in the scriptures, such as Nātyaśāstra, which lists 24 asaṁyuta ("separated", meaning "one-hand") and 13 saṁyuta ("joined", meaning "two-hand") mudras. Mudra positions are usually formed by both the hand and the fingers.
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.
The Buddha called upon mother earth to bear witness to his attainment of Enlightenment. To indicate this, he touched the earth with his right hand as witness to his perfection. This mudra is related to the Maravijaya attitude. Varada Buddha Mudra – Ratna Sambhava: In this mudra right hand lies open near his right knee. His left hand is seen ...
The sign of the horns is a hand gesture with a variety of ... It is commonly found on depictions of Gautama Buddha. [1 ... the gesture may take a different, ...
Vajrapāṇi (Sanskrit, "Vajra in [his] hand") is one of the earliest-appearing bodhisattvas in Mahayana Buddhism. He is the protector and guide of Gautama Buddha and rose to symbolize the Buddha's power. Vajrapāṇi is extensively represented in Buddhist iconography as one of the three protective deities surrounding the Buddha.
As set out in the Lakkhana Sutta or 'Discourse on Marks', the ūrṇā is the thirty-first physical characteristic of Buddha. [4] It is generally thought to be a whorl of hair and be a mark or sign of the Buddha as a mahāpuruṣa or great being. [citation needed] The device is often seen on sculptures from the 2nd century CE. [citation needed]