Essay name: Buddhist iconography in and outside India (Study)
Author:
Purabi Gangopadhyay
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture
This work aims to systematically present the development and expansion of Mahayana-Vajrayana Buddhist iconography from India to other countries, such as China, Korea, and Japan. This study includes a historical account of Indian Buddhist iconography and the integration of Brahmanical gods into the Mahayana-Vajrayana phase.
Chapter 4: Japanese Buddhist Iconography (a Comparative Study)
14 (of 101)
External source: Shodhganga (Repository of Indian theses)
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nine kinds of hand gestures are connected with the nine
grades of souls who are to be welcomed by Amida.
Nevertheless, the hand-symbols of Amida are found
to be different in various other images. As for example,
the Amida figure known as Giogo-Shii-Amida installed in the
T艒dai-ji temple in Nara, in seated posture depicts Namaskara-
mudr膩 with two hand folded together.
Two important illustrations are given here in this
connection :-
Amida Nyorai and _ attendants (Pl.II Fig. 1. )
The statue was made during the Asuka-Nara period
(7th century). It is owned by the Tokyo National Museum.
In this representation, the three statues are
standing separately on three lotus pedestal. The folds of
the drapery of the central deity reminds us of the Gupta
style of sculptural design. The hands of Amida exhibit
two different postures. The right hand shows Varada-mudra
and the left hand is in booh-giving attitude. The tuft of
of hairs of Amida also resembles the style of the Gupta
`age. The eyes of all the three figures are closed. A round
halo behind the head of Amida and the floral design around
the entire halo are artistically depicted. The halo of
the attendants, made in the pattern of a net, are also
