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)
17 (of 101)
External source: Shodhganga (Repository of Indian theses)
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101
is a common attribute of Yakushi Nyorai or Healer Buddha
Bhai峁jyaguru. He is generally regarded as the healer of all
spiritual diseases or such psychological ailments that hinder
the progress of the worshippers to the paths of spiritual
achievements. The whole composition of the body and linear
arrangement of the drapery are very well proportioned.
elogated ear-ring and the crown of the deity is quite artistic.
As usual in the case of the Buddha images, the hairs are
depicted in the Rahotsu or Snail-shell pattern.
Kannon-bu
The
The next important division is known as Kannon-bu in
which the images of god or goddess of Mercy (Avalokite艣vara)
such as Ek膩da艣amukha (J奴ichimen Kannon), Hayagriva (Bat艒 Kannon),
Amoghap膩艣a (F眉k眉 Kensaku Kannon), Sahasrabhuja (Senju Kannon),Can岣嵞�
(Juntei Kannon), T膩r脿, Nilaka峁囜弓ha, Cint膩ma峁噄cakra are included
in this division. A group with six particular Kannons form the
well-known group which is commonly known as Roku Kannon or
Sada Kannon.
There are as many as thirty-three manifestations
of Kannon or Avalokite艣vara which together form another separate
group in Japan. These images are of different types and there
are many varieties among them.
In Indian Buddhist Iconography there are 108 forms of
Avalokite艣vara鲁. Some of them are Hayagriva Loke艣vara, Hal膩hala-
Loke艣vara, Harihariharv膩hana-Loke艣vara, M膩y膩j膩lakrama Loke艣vara,
da
IBI, pp. 394鈥�431.
