Ron Hunter BFA.MED.BFA.

Discovery India

Lecture: Rukmini Ravikumar

UCO 11/11/2005

Buddhist Art and Architecture

Moving from the topic to cover new unexplored areas is a use of wise efficiency. So is this with the jump off from the lecture to areas not covered.

With coming to the understanding of the image of the Buddha itself.

Looking at the Canon of the Physical Proportions of a Great Being

The image of Buddha, who was called The Greatest Yogin of all Times, expresses serene quiescence easily recognized. This comes from a harmony of his physical proportions is the expression of great beauty. There are a set of required measurements that are laid down in the canon (or standard pattern) of Buddhist art, which corresponds to ideal physical proportions. There are measurements that are used like the span is the basic measure, i.e. the distance from the tip of the middle finger to the tip of the thumb of the outspread hand it is this measurement that is used for the distance corresponds to the space between the dimple in the chin and the hair-line. Then to carry its farther in each span has twelve finger-breadths. With these guide lines you come up with a measure of the whole figure measures 108 finger-breadths or 9 spans corresponding to the macro-micro-cosmic harmony measurements.

It is this perfect proportions of a Buddha, the graciousness of his physical form, represent one of the ten qualities or powers of a Buddha. They are the characteristics of the physical harmony and beauty of a Great Being, and are described in Story of the Life of Buddha Shakyamuni.

All these are part of the measurements that come up with the thirty-two major and eighty minor characteristics. If we look at the picture we see the lines of the eight-spoked on the soles and palms of a Buddha are among them.

If we where to examin the canon of the body of a Buddha, we would realizes that every detail represents harmonious proportions. That everything, even the spot between the eyebrows, marking the eye of wisdom, as well as the tip of the nose, has its own special place. Rome and greeks latter used this same style of measurement as “the Golden mean” is that cool or not.

Understanding some of the Physical Marks

Ushnisha, the Enlightenment Elevation above the fontanelle; is the flame-topped elevation on the head of the Buddha, defined as that which emerges from the head of a http://www.buddhanet.net/gallery.htmFully Enlightened One.

Urna, the mark in the centre of the forehead, called the Eye of Wisdom, also depicted as a Bundle of Rays or fine hairs between the eyebrows.

The lower part of the body is covered by the Diamond-Seat (Vajrasana). This is the meditation pose (Dhayanasana) of utmost concentration with the legs crossed so that the soles are visible.

The Subtle Energy-Spheres of the Body

The cakra of the buddha

The Enlightenment-Centre, the Top of the Head or fontanelle above the upper cerebrum, called Sphere of the Thousand-petalled Lotus (SAHASHRARA-CAKRA).

The cerebral centre of thinking and conscious-power, called Command-Centre (AJNA-CAKRA), the forehead between the eyebrows; ascribed to lotus-centre.

The guttural centre or subtle Sphere of Speech (VISHUDDHA-CAKRA) at the base of the throat.

The cardiac plexus, the emotional Sphere of the Inner Voice (ANAHATA-CAKRA), called the Source of the Heart, situated in the central region of the thorax or chest.

The solar plexus with the gastric plexus, called `the brain of the belly', Fiery-lustrous or Navel-Centre (MANIPURA- CAKRA) in the region of the loins and connected with the lumbar plexus.

The sacral plexus, called Root-Centre (MULADHARA-CAKRA) or Secret Place, being the root of all streams of vital energy (NADIS) in the region of the rump-bone or sacrum.

The human body is the receptacle of the power of thinking described as a bundle of energy and pervaded by the so-called breath of life flowing in subtle streams throughout the body.

The Temple of Borobodur

Buddhist marvel of stone standing in the garden of Java, Indonesia

The one temple I did not get to visit on our trip to Bali and Java the fighting broke out in Jakarda the day before our crossing, and we did get to go to the tempe as pland. Thw Borobodur Temple complex is one of the greatest monuments in the world. It is of uncertain age, but thought to have been built between the end of the seventh and beginning of the eighth century A.D. For about a century and a half it was the spiritual centre of Buddhism in Java, then it was lost until its rediscovery in the eighteenth century.

The structure, composed of 55,000 square meters of lava-rock is erected on a hill in the form of a stepped-pyramid of six rectangular storeys, three circular terraces and a central stupa forming the summit. The whole structure is in the form of a lotus, the sacred flower of Buddha.

The pictures are easy recognized as one sees one of the ninety-two Dhyani Buddha statues enclosed in stupas

The great scale of this temple is huge and the scale of art work is massive for each direction there are ninety-two Dhyani Buddha statues and 1,460 relief scenes. The lowest level has 160 reliefs depicting cause and effect; the middle level contains various stories of the Buddha's life from the Jataka Tales; the highest level has no reliefs or decorations whatsoever but has a balcony, square in shape with round walls: a circle without beginning or end. Here is the place of the ninety-two Vajrasattvas or Dhyani Buddhas tucked into small stupas. Each of these statues has a mudra (hand gesture) indicating one of the five directions: east, with the mudra of calling the earth to witness; south, with the hand position of blessing; west, with the gesture of meditation; north, the mudra of fearlessness; and the centre with the gesture of teaching.

Devotional practice of circumambulate around the galleries and terraces.

Besides being the highest symbol of Buddhism, the Borobodur stupa is also a replica of the universe. It symbolises the micro-cosmos, which is divided into three levels, in which man's world of desire is influenced by negative impulses; the middle level, the world in which man has control of his negative impulses and uses his positive impulses; the highest level, in which the world of man is no longer bounded by physical and worldly ancient desire.

It is devotional practice to circumambulate around the galleries and terraces always turning to the left and keeping the edifice to the right while either chanting or meditating. In total, Borobodur represents the ten levels of a Bodhisattva's life which he or she must develop to become a Buddha or an awakened one.

The Hill of Sanchi this was covered in the lecture.

The Hill of Sanchi is situated about 9 kilometres south-west of Vidisha in Madhaya Pradesh, India. It crowning the hilltop of Sanchi nearly 91 metres in height, a group of Buddhist monuments commands a grand view even from a distance. It is unique not only in its having the most perfect and well-preserved stupas but also in its offering a wide and educative field for the study of the genesis, efflorescence and decay of Buddhist art and architecture for a period of about thirteen hundred years, from the third century B.C. to the twelfth century, A.D., almost covering the whole range of Indian Buddhism.

The foundation of the great religious establishment at Sanchi destined to have a glorious career as an important centre of Buddhism for many centuries to come, was probably laid by the great Maurya emperor Asoka (circa 273-236 B.C.), when he built a stupa and erected a monolithic pillar here.

The political vicissitude which northern India went through immediately before and after the Christian era, when the Scytho-Parthians and Kushans invaded and annexed a large part of the land, had perhaps its repercussions at Sanchi as well, resulting in a slackening of structural activities. The establishment of a foreign power in the Malwa region under the Kshatrapas, engaged in chronic warfare, hardly provided any incentive for the dormant workshop. However, like the contemporary Buddhist centres of north and south-east India, Sanchi freed itself, during the period, from the earlier aniconic tradition, but its contribution to the evolution of the image of Buddha was nil, and it depended for such images on imports from Mathura.

It is not known how end came to the Buddhist establishment at Sanchi. No Buddhist monument can be assigned to the thirteenth century A.D. on the other hand, to this period belong a number of Brahmanical plaques containing representations of Vishnu, Ganega, Mahishasuramardini, etc. We do not know if the Buddhists deserted the place or gradually lost their vital forces to maintain their individuality thus succumbing to the all absorbing force of Brahmanism, which was one of the potent causes of the extinction of Buddhism in the land of its birth.

Exploration and Preservation

View of Stupa 3 with carved gateway 1st Century A.D.
The relics of Sariputra and Maha Moggalana, the two foremost disciples of the Buddha, were found by Colonel Cunningham in 1851 in this stupa, enshrined at the centre of at the centre of the dome on the level of the terrace.

Symbolism of the Stupa / Chorten

We now note that the perfect proportions of the Buddha’s body corresponds to the design of religious monuments. Its architecture developed from the pre-Buddhist Indian grave-mound. Under these mounds the saintly ascetic were buried; their bodies were seated on the ground and covered with earth. These dome-shaped graves, or tumuli, of the saints were regarded as holy places. And were destinations for pilgrimage for the devotional and places of practice for meditators.

Looking at Ruwanweliseya, or the "Great Stupa", above, is regarded as the most important of the stupas at Anuradhapura, Sri Lanka. Standing at 300 feet, it is the oldest but smallest of the three giant edifices in brick in the world. The stupa, decorated by coral brought from the Mediterranean by an envoy of the Sri Lankan king who had an audience with the Roman Emporer Caesar Augustus, was restored by successive rulers. The stupa built by King Duttugamunu, is surrounded by an elephant wall, a restored design of an earlier expression. This design has been repeated in Thailand, Burma, and other countries where Buddhism was taught by monks from Sri Lanka.

Tibetan Style Chortens

The basic structure of a Chorten consist of a square foundation symbolizing the earth, a dome symbolizing water, and thirteen tapering steps of enlightenment symbolizing the element of fire. These steps lead to a stylized parasol, the symbol of wind, which is topped in the ethereal sphere by the well-known ‘twin-symbol’ uniting sun and moon, which is the shimmering crown of the Chorten.

The Analogy with the Symbolism of the Stupa

The Seed of Highest Enlightenment, also depicted as a Tongue of Flame (Bindu) to be realized above the double symbol crowning Chorten.

The double symbol (Surya Chandra) of Sun and Rising Moon is an emblem of the Twin-unity of the Absolute Truth (of the sphere beyond normal comprehension) and the Relative Truth (of the worldly sphere).

The stylized Parasol (Chattra) symbolically giving protection from all evil.

The thirteen Steps of Enlightenment, i.e. the first ten Steps of Enlightenment (Dasha-Bhumi) and the three higher levels of supraconsciousness (Avenika-smrityupashthana).

The dome, corresponding to the primeval mound, as Receptacle of Relics or offerings (Dhatu-Garbha); the dome-line edifices of Old Indian Stupas were also called egg or water-bubble (Budbuda).

The base (Parishada) is square and four-stepped, its sides facing the four directions. Analogous to the underworld.

Here is some art that I found interesting we saw in the Traditional India Dance. These are part of not only dance but the art work related to the Buddha.

Hand Mudras - Symbols of Deeper Meaning

The symbolic gestures of the hands of Buddha images, called mudras, are picture tools of identification of deeper meaning:

The Gesture of Teaching (Dharmacakra Mudra) with both hands in front of the breast, tips of the index finger and the thumps touching.

The Gift bestowing Gesture of Compassion (Varada Mudra) the right hand pendant with the palm turned outwards.

The Gesture of Meditation (Samadhi Mudra) with both hands resting on the lap, palms upwards.

The Gesture of Fearlessness (Abhaya Mudra) the right hand slightly elevated, the palm turned outwards, also called the Gesture of Renunciation.

The Gesture of Debate explaining the Buddha’s teachings (Vitaka Mudra) with the hands raised and the tips of the forefingers and the thumbs touch each other.

The Gesture Warding off Evil (Tarjani Mudra) with forefinger and little finger outstretched.

The Gesture of Prayer (Namaskara Mudra) with the palms folded together.

The Gesture Beyond Misery (Buddha-Shramana Mudra) also called an ascetic’s Gesture of Renunciation.

The Gesture of Warding off Evil (Bhutadamara Mudra) this is a protection gesture.

Resources of info related to information in this paper.

Buddhist Art and Architecture, http://www.buddhanet.net/gallery.htm

Ann Shaftel is an Elected Fellow of the American Institute for Conservation and the International Institute for Conservation. She has published and lectured on thangkas and served as consultant and conservator for monastic and museum collections for the past 25 years. She holds an MSc in Conservation from Winterthur (1978), an MA in Oriental Art History from the University of Michigan, Ann Arbor (1972), and a BA from Oberlin College (1969). She also studied at UNESCO-ICCROM. She apprenticed to Tibetan master painters for 15 years. 

Acknowledgments
The Author is indebted to the late Vajracarya, the Venerable Chögyam Trungpa, Rinpoche, the late H.E. Jamgon Kongtrul, Rinpoche, and to Khenpo Tsültrim Gyamtso, Rinpoche.  

With kind permission of the Dharmapala Centre - School of Thangkas Paintings.
(This website sells Tibetan art for the benefit of artists in Nepal and an orphan house in Katmandu).

The Buddhist Art of Thangka - Nicolai Dudka's website

Nicolai N. Dudka was born on the first of May, 1962 in Dessau, Germany. He received a European art education at college in Ulan-Ude, buryatia, Russia, and at the Academy of Art in Kiev, Ukraine. His first exposure to the complex science of Buddhist religioun, philosophy and art occurred in 1986. buryatian Lama Dharmadoddi and abbot Jimba-Jamso were his first spiritual teachers. Later, Nicolai met his main spiritual master Namkhai Norbu Rinpoche. At the beginning of the 1990's he began an intensive study of thangka painting with visits to Mongolia, Nepal and India. Following this was a year-long period of work and education at the Library of Tibetan Works and Archives (LTWA) in Dharamsala, India under the guidance of Ven. Sangei Yeshe, the personal artist of HH the Dalai Lama.

Brown, Percy. Indian Architecture. Bombay: Taraporevala and co., 1959.

Michell, George. The Penguin guide to the monuments of India, Vol I. London: Viking, 1989.

Tadgell, Christopher The History of Architecture in India. London: Phaidon Press, 1990.