Imagery in Buddhism - Essay Example

Imagery in Buddhism Introduction Visual culture is a distinct part of Buddhism as many understand it today; not only does it have an effect on the religious experiences of its followers, but it also accounts for the formation of identity and their view of the world. The Buddha founded the faith, so it is a matter of great interest to see how visual depictions of this character affected the religion as well as the culture surrounding it. This analysis will revolve around the past and present understandings of Buddhist visual culture. Imagery Use of visual representations in the Buddhist culture has created continuity in the faith as it has been a bridge between the oral culture prevalent during the founder’s faith and the written culture subsequently. The Buddhist faith ascribes special meaning to four aspects of its founder’s life; his birth, death, enlightenment and wheel of Dharma. Most believers claim that some of the visual signs from the past were used by pilgrims who had visited the four sites to confirm biographies about the Buddha. However, other scholars believe that the reverse is actually true; visual culture through trees, flowers, and other signs found at Buddha sites inspired the narrative of his life.1 At the time when Buddha lived, there was no writing culture, so it is difficult for one to know much about the life of the pioneer of the faith. Details concerning how the leader lived are scanty and disjointed; a complete biography of Buddha was only possible numerous centuries after he lived. Initially, the story of Buddha was transmitted orally among believers; however, in subsequent centuries, written text was introduced and details about his life became available. In fact, if one compares accounts of the Buddha’s life in earlier centuries, one realizes that they are not as elaborate as the ones from subsequent periods. Religious people wrote about the life of the Buddha in order to illustrate how extraordinary the person was as their founder. Other followers in subsequent generations would either reject or embrace certain depictions in order to propagate a common ideal that they had about the founder of their faith. One may state that the movement created the narrative of the Buddha even as the Buddha founded the religion, so a reciprocal relationship exists.2 It is for this reason that the image of the Buddha was significantly different in certain parts of the world during ancient times. For instance in the southern part of the Indian subcontinent, the image of the Buddha most commonly depicted is one of a king; he looks subhuman to some extent. Conversely in the northwest section, statues are human and typical of a man living in the world. Therefore, told stories formed the foundation for the creation of a narrative of Buddha in earlier times; this served to enforce the history and beliefs of the people. Visual culture in the Buddhist tradition is a depiction of doctrines, legends and texts of the time; influences from the environment have been as instrumental to the Buddhist faith as the founder has been on them. Early forms of visual culture thus strengthened the Buddhist movements as they tended to become components of the social and cultural parts of their lives. Other generations then interpreted the visual signs of the former communities and used them to popularize the movement.3 Imagery sometimes acts as a mechanism for preserving one’s cultural traditions as explained by a Korean American who studied the significance of the laughing Buddha. He explains that the laughing Buddha has a relatively big belly and an equally big smile; it is also evident in several Asian markets and restaurants in the United States. This prototype comes in the form of figurines, gold statutes and paintings, so because of its portability, it can be found in Asian Americans’ offices, stores and homes. While the visual representation of the Buddha has its own religious implications, another meaning can also be attached to the laughing Buddha; this is a form of a cultural relic for Asians in the Diaspora. Many Asians miss their homeland so images of the Buddha are sometimes a source of nostalgia. Several people who own these statues will remember their homeland as well as the cultural history that sets them apart from majority culture in western nations. It is thus a form of ethnic identification, predominant among the minorities.4 Sometimes the use of imagery in the culture has undermined spiritual encounters that non Asian followers of the Buddhist faith would like to have. The TV Buddha is an art exhibit in which an artist called Paik placed the image of the Buddha in front of a mound of soil embedded with a mirror. The statue of the Buddha is then seen looking at itself through the mirror; several other versions of the TV Buddha have been made. This form of depiction has encouraged Western art philosophers and thinkers to gain an interest in Buddhist culture. However, their analyses often lack the experience and background associated with years of devotion to the faith. A case in point is an interpretation of the TV Buddha by some western thinkers who sometimes mention transcendence. Buddhist believers have criticized these philosophers for their lack of understanding concerning the discipline as one must master the concept in order to achieve such transcendence. Some philosophers in the Buddhist school of thought have affirmed that silence is the means with which to understand the image of the Buddha in its state of self contemplation. While outsiders have looked at Buddhist visual imagery as a method of representing their traditions and religious beliefs, only personal experiences with the faith will enable proper understandings of the same.5 Actual followers of the Buddhist faith have stated that images like TV Buddha tend to make principles embodied in those presentations superficial. It is a basic truth in this religion that nirvana or enlightenment is achieved when one reaches the indefinable and transcendent state, and meditation can sometimes assist in this process as it is one of the mantras that govern the faith. However, foreign art enthusiasts would not know about this and would thus trivialize the concept. How the introduction of personal portrayals of the Buddha affects the practice of Buddhism The personal portrayal of Buddha has created folk beliefs surrounding this image.6 For instance, many followers believe that if they rub the statue of the Laughing Buddha, their wishes will be granted. Others claim that it brings them riches since the large stomach symbolizes prosperity. Several temples place symbols of the Laughing Buddha at the doorway in order to allow people to ask for blessings. These folk beliefs actually stem from the life of a monk who inspired the creation of the statue; he was a generous leader who often gave the needy material things. He also had the gift of granting people their wishes, so it comes as no surprise that subsequent followers would ask for similar blessings through a personal portrayal of the Buddha. Most of the features on the above spiritual leader have significant religious meaning to the followers. The sack or bowl that the Laughing Buddha often carries signifies plenty as the real 10th Century monk who carried the sack often placed rice and sweets in them for the needy. One deduce that personal portrayals of the Buddha have thus perpetuated folk beliefs, which revolve around the life and example of the religious teacher from whom they were modeled.7 In some instances, the portrayal of the personal Buddha even inspired formation of certain cults; one such instance was the healing Buddha cult. Japan and China has several adherents who ascribe to the faith; they normally appeal to the healing Buddha to cleanse them and heal them from all manner of disease. Although some form of symbolism is ascribed to these personal representations, it is not uncommon for one to find many followers directing their chants to the healing Buddha. Religious rites stemming from the latter figure have now emerged and some of them include chanting, offerings and utterances to the figure. Meditations have also been directed towards these personal representations; even rites lasting for several days can be formed on the basis of those alterations. The healing Buddha is assumed to save people from violent deaths such as wild beasts, drowning, illness, starvation and burning.8 Conclusion The analysis has shown that imagery in Buddhism led to continuity and strengthening of the faith by giving the Buddha life story more substance. However, to a smaller extent is perverted the meaning of fundamental concepts when foreigners started envisioning these visual representations as art. Some imagery became a source of nostalgia for ethnic immigrants who ascribed to the Buddhist faith. Personal portrayals of the Buddha influenced followers to create beliefs and practices revolving around the image. The healing Buddha even inspired a culture around the representation that still exists today. Bibliography Chen, Thomas and Peter Chen. “The healing Buddha.” Journal of Medical Biography 12, no. 4(2004): 239-241. Karisson, Klemens. “The formation of early Buddhist visual culture.” Material Religion 2, no. 1(2006): 68-95. Khan, Dominique. “Reimagining the Buddha.” Journal of Indian Philosophy 33, no. 4(2005): 321-342. Shin, Ryan. “Why does the Buddha laugh? Exploring ethnic visual culture.” Art Education 63, no. 3(2010): 33-39. Smith, Walter. “Nam June Paik TV Buddha as Buddhist art.” Religion and the Arts 4, no. 3(2000): 359-373. Read More