An aureole is a luminous or colored ring, circle of light or halo that surrounds the head or body of deity, holy person or saint in a painting or sculpture that represent his/her divinity and saintliness as an enlightened being and also the divine energy emanating from the deity. Referred to as an aura or glow of sanctity it is a radiant light or luminous cloud encircling a sacred personage. According to Buddhist sutras, Buddha’s body shone with a great radiance that filled the world that is shown in artistic representation as an aura of light which in Tibetan and Nepalese Buddhism is called a prabhamandala and is depicted as circles of light. Aureoles can be in several forms, such as lotus shaped or a fiery protuberance arising from the head in sculptures of the Buddha that is sometimes referred to as the flame aureole – a light burning with spiritual intensity. Hindu deities such as Ganesha may be represented with an aureole.
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This Lao Buddha reflects Theravada Buddhism, the original conservative tradition practiced in Southeast Asia depicting the Buddha, by closely following proscribed cannons in ancient texts. Lao sculptural styles resemble those of Northern and Northeastern Thailand where Buddha statues closely reflect the lakshana, the 32 “auspicious marks” or physical traits by which the Buddha can be…
Carved wood Guanyin images were enormously popular in China’s provincial regions created by local artisans who did not follow proscribed court artistic rules or iconography and integrated elements from Buddhist, Taoist and Popular Folk Religion traditions into a syncretic blend as one of the Great Chinese Goddesses (Irwin). She sits on a raised lotus rising…
The close association of the lotus and Guanyin (Sanskrit Padmapani meaning “born of the lotus,”) is depicted in this Guanyin image sitting on a flat, round open yellow lotus padmapitha pedestal held up by a stem flanked by red lotuses facing out in a folk art tradition. As one of the Great Chinese Goddesses (Irvin),…
This Nanhai Guanyin sits in her cave home on the island of Putuo represented by pierced openwork, craggy surfaces and open area at the cave top. Guanyin’s image almost fills the cave’s opening seated in dhyana (meditation), thumbs forming a triangle symbolizing the triratna, the Three Gems of Buddhism (the Buddha, the Dharma (Buddha’s teachings)…
This Tibetan Repoussé image presents various symbols of the Enlightenment of the Shakyamuni-Buddha. He sits within a trefoil arch on a lotus base (padmapitha) under the bodhi tree in bhumisparsha mudra (earth witnessing or hand touching position) symbolizing the moment of his enlightenment legs bent in (padmasana). The detailed trefoil arch surrounding the Buddha’s head…
Most Hindus have images of one or more murtis (gods and goddesses) on their home altar to help them in their daily prayers (puja), focus their attention and help visualize them. A murti is treated with the utmost respect, care and reverence but devotees never worship the objects and instead use them used only to…
Guanyin, the Bodhisattva of Compassion, is one of the most beloved Mahayana Buddhist deities, the embodiment of loving-kindness who hears the cries of all beings, and who is one of the Great Chinese Goddesses – who are compassionate protectors who grant health, long life and safety to all devotees regardless of their social position. During…
Irvin identifies Guanyin and the Queen-Mother of the West as two of three of the Great Chinese Goddesses, all who were imperially sanctioned and revered by all sectors of society with small local shrines, large temples and monasteries dedicated to them. They are syncretic deities embraced by Popular Folk Religion, Taoism and Buddhism, share the…
This mid 20th century Buddha Shakyamuni in Earth Witnessing position is carved in rural Lao style. Covered with gilt, the small rustic and simply carved image follows Lao artistic canons for depicting a Buddha: a curved hairline and high arched eyebrows that meet at the bridge of the nose, distinct hair curls, long ears, and a flame-shaped radiance emerging from his ushnisha. Its very large base is as tall and wide as the image, reflecting Laotian beliefs that a high pedestal reflects a deep respect for the Buddha. A base has been added for display purposes. Authentic old Lao images, even small personal ones like this, are difficult to find.
This finely cast metalwork brass Shakyamuni Buddha reflects the conservative tradition of Nepalese sculpture which experienced few changes in proportion or decorative details over the past several hundred years. Originating stylistically from Gupta and later Pala Indian art, Nepalese artists created their unique style from the 6th-7th centuries that evolved to a distinctive physiognomy including…
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