Buddhas and bodhisattvas in art
A relief carving at the Plaosan temple in Java dates to the 9th century and depicts the bodhisattva Avalokiteśvara. Viewers often struggle to distinguish this figure from the historical Buddha known as Gautama or Siddhārtha Gautama. Clues to a figure's identity appear in physical characteristics, hand gestures called mudras, and sitting positions known as asanas. An image might show a crown on the figure's head or hold specific objects like a book, thunderbolt, vase, jewel, or lotus flower stem. Carl B. Becker, a professor at Kyoto University, described how these visual elements function within complex mandalas created for Japanese Shingon Buddhism and Tibetan Buddhism. These mandalas can contain hundreds of different figures that require careful interpretation by scholars and practitioners alike.
Representations of the five Dhyani Buddhas display elaborate differences despite being abstract aspects of Buddhahood rather than gods. Each deity must face in a distinct direction such as north, south, east, west, or center when painted. Artists assign each figure a unique color including blue, yellow, red, green, or white to differentiate them further. Every Dhyani Buddha possesses a specific mudra and symbol while embodying a particular aspect, type of evil, and cosmic element. They also have different consorts and spiritual sons alongside animal vehicles like elephants, lions, peacocks, harpy-like garudas, or dragons. Sakya texts note these distinctions across pages 35 and 76 where detailed descriptions exist for each member of this group.
Vairocana serves as the first Dhyani Buddha embodying sovereignty and occupying the central position among the five deities. This figure remains distinct from Gautama and is not normally confused with him despite some visual similarities. The Bamiyan Buddhas once stood near Vairocana before being blown up by the Taliban which China mourned and tried to replace with the world's tallest statue named Spring Temple Buddha. Japanese Pure Land Buddhists believe that Vairocana and other Dhyani Buddhas are manifestations of Amitābha instead. Conversely Japanese Shingon Buddhists argue that Amitābha and other Dhyani Buddhas are manifestations of Vairocana rather than the reverse. Akshobhya represents steadfastness and faces east while sharing indistinguishable features with Gautama in many artistic traditions.
Early Buddhist art commonly showed bodhisattvas appearing in pairs flanking Gautama Buddha as protective figures usually at a smaller scale. Sometimes they became the main figure in an image but developed their own iconography over time. After about 600 CE these figures became increasingly prominent within religious contexts. Art created for Vajrayana uses began to replace images of the historical Buddha entirely during this period. Images of Avalokiteśvara might be mistaken for Gautama due to evolving stylistic choices made by artists across centuries. This shift reflects changing theological priorities within Mahayana and Vajrayana traditions regarding who deserves central veneration in temples and shrines today.
Images of Avalokiteśvara represent the bodhisattva of compassion and appear frequently throughout Buddhist history. He is incarnated in the Dalai Lama who serves as a tulku and stands as the most revered Tibetan Buddhist monk according to Hawkins pages 66 and 109. Westerners often confuse the Laughing Buddha with Gautama or believe he originated Buddhism when his true identity differs significantly. Budai carries a bag of sweets which he eats and gives to children while being known in Chinese as The Laughing Buddha. His name means Cloth Sack reflecting the physical object he holds in artistic depictions. Admired for happiness and contentment he sometimes appears in English texts as The Fat Buddha despite these labels lacking precise theological accuracy.
Western audiences frequently mistake Budai for an incarnation of the future Buddha Maitreya who will come to Earth 4,000 years after Gautama disappears. Sakya page 43 clarifies that this confusion stems from misinterpreting the relationship between historical figures and prophesied saviors. Budai's name translates directly to Cloth Sack referring to the bag of sweets he carries and distributes freely. He embodies joy through his appearance as The Laughing Buddha or The Fat Buddha in many cultural contexts. This figure represents a bodhisattva rather than the historical Gautama himself despite common misconceptions held by non-specialists worldwide. Scholars emphasize distinguishing between actual doctrinal roles and popular cultural associations that develop over time.
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Common questions
How can viewers distinguish the bodhisattva Avalokiteśvara from Gautama Buddha in 9th century Plaosan temple carvings?
Viewers identify the figure by examining physical characteristics, hand gestures called mudras, and sitting positions known as asanas. The relief carving at the Plaosan temple in Java dates to the 9th century and depicts the bodhisattva Avalokiteśvara wearing a crown or holding specific objects like a lotus flower stem.
What are the distinct directions and colors assigned to each of the five Dhyani Buddhas according to Sakya texts?
Each deity must face in a distinct direction such as north, south, east, west, or center when painted. Artists assign each figure a unique color including blue, yellow, red, green, or white to differentiate them further while embodying particular aspects and cosmic elements.
Why do Japanese Shingon Buddhists argue that Amitābha is a manifestation of Vairocana instead of the reverse?
Japanese Shingon Buddhists argue that Amitābha and other Dhyani Buddhas are manifestations of Vairocana rather than the reverse. This theological stance contrasts with Japanese Pure Land Buddhists who believe that Vairocana and other Dhyani Buddhas are manifestations of Amitābha instead.
When did images of the historical Buddha begin to be replaced by bodhisattvas in Vajrayana art after 600 CE?
Art created for Vajrayana uses began to replace images of the historical Buddha entirely during this period after about 600 CE. Early Buddhist art commonly showed bodhisattvas appearing in pairs flanking Gautama Buddha as protective figures usually at a smaller scale before they became increasingly prominent within religious contexts.
Who is the Dalai Lama considered to be according to Sakya page 66 and 109 regarding Avalokiteśvara incarnations?
He is incarnated in the Dalai Lama who serves as a tulku and stands as the most revered Tibetan Buddhist monk according to Hawkins pages 66 and 109. Images of Avalokiteśvara represent the bodhisattva of compassion and appear frequently throughout Buddhist history.
What is the true identity of Budai compared to the future Buddha Maitreya according to Sakya page 43?
Western audiences frequently mistake Budai for an incarnation of the future Buddha Maitreya who will come to Earth 4,000 years after Gautama disappears. Sakya page 43 clarifies that this confusion stems from misinterpreting the relationship between historical figures and prophesied saviors while Budai's name translates directly to Cloth Sack referring to the bag of sweets he carries.