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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
Mandala of Eight Disciples of Buddha describing the Shakyamuni Buddha at center and Eight great disciple in eight major directions. Mandala of Buddhas is the mandala consisting of nine major Buddhas of the past and the present Gautama Buddha occupying the ten directions.
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).
Dhyana Buddha Mudra – Amitabha Buddha: This mudra has the left hand resting on the lap with the palm facing upwards, the right hand on the top of the left one (also with its palm facing upwards), and the two thumbs touching each other. Sometimes a bowl is placed above his palms.
Buddhist art is visual art produced in the context of Buddhism.It includes depictions of Gautama Buddha and other Buddhas and bodhisattvas, notable Buddhist figures both historical and mythical, narrative scenes from their lives, mandalas, and physical objects associated with Buddhist practice, such as vajras, bells, stupas and Buddhist temple architecture. [1]
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.
The Buddha, represented by the Bodhi tree, attended by animals, Sanchi vihara. The position and treatment of animals in Buddhism is important for the light it sheds on Buddhists' perception of their own relation to the natural world, on Buddhist humanitarian concerns in general, and on the relationship between Buddhist theory and Buddhist practice.