Search results
Results from the WOW.Com Content Network
14th century Goryeo painting of Ksitigarbha holding a cintamani Mani stone. In Buddhism, the wish fulfilling jewel (Skt. maṇi, cintā-maṇi, cintāmaṇi-ratna) is an important mythic symbol indicating a magical jewel that manifests one's wishes, including the curing of disease, purification of water, granting clothing, food, treasure etc ...
Jewels, pearls, moons, and tides are common motifs among Indian, Chinese, and Japanese dragons. [20] [21] The nyoi-ju 如意珠 "cintamani; wish-fulfilling jewel" in Japanese Buddhism, [1] magic jewels of Nāga kings in Hindu mythology, and the pearl associations of Chinese dragons in Chinese mythology.
He is represented with the features of a Chinese warrior on horseback, carrying a pilgrim’s staff and a cintamani. Popular imagery sometimes also symbolizes him by statuettes of a horse carrying a cintamani on its back. The support animal or messenger of this Atago Gongen is the wild boar, the symbol of courage, strength, and perseverance.
The English phrase "Mani Jewel" is thus in essence a translation of the Chinese term. The use of the Mani Jewel in Buddhist literature includes various magical relics such as the wish-fulfilling cintamani as well as metaphorical devices to illustrate several ideas such as Buddha-nature (Om mani padme hum) and Śūnyatā.
Sendai Daikannon (仙台大観音), officially known as the Sendai Tendou Byakue Daikannon (仙台天道白衣大観音), is a large statue located in Sendai, Japan.It portrays a woman, the bodhisattva Byakue Kannon (白衣観音, "white-robed Kannon") holding the cintamani gem (如意宝珠, Nyoihōju) in her hand.
Kṣitigarbha (Sanskrit: क्षितिगर्भ, Chinese: 地藏; pinyin: Dìzàng; Japanese: 地蔵; rōmaji: Jizō; Korean: 지장 (地藏); romaja: Jijang; Vietnamese: Địa Tạng (地藏), Standard Tibetan: ས་ཡི་སྙིང་པོ་ Wylie: sa yi snying po) is a bodhisattva primarily revered in East Asian Buddhism and usually depicted as a Buddhist monk.
Six-armed Cintāmaṇicakra in the Hall of Great Compassion in Jade Buddha Temple, Shanghai, China. Cintāmaṇicakra is depicted as having anywhere from two to sixteen arms, with the two-armed and six-armed forms being the more common in Chinese and Japanese art.
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.