Aniconism in Buddhism in the context of "Aniconic"

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⭐ Core Definition: Aniconism in Buddhism

Since the beginning of the serious study of the history of Buddhist art in the 1890s, the earliest phase, lasting until the 1st century CE, has been described as aniconic; the Buddha was only represented through symbols such as an empty throne, Bodhi tree, a riderless horse with a parasol floating above an empty space (at Sanchi), Buddha's footprints, and the dharma wheel.

This aniconism in relation to the image of the Buddha could be in conformity with an ancient Buddhist prohibition against showing the Buddha himself in human form, known from the Sarvastivada vinaya (rules of the early Buddhist school of the Sarvastivada):

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👉 Aniconism in Buddhism in the context of Aniconic

Aniconism is the cultural absence of artistic representations (icons) of the natural and supernatural worlds, or it is the absence of representations of certain figures in religions. The prohibition of material representations may only extend to a specific supreme deity, or it can encompass an entire pantheon, it can also include depictions of a prophet, saints, or sages, or even depictions of living beings and anything in existence generally. It is generally codified by religious traditions and as such, it becomes a taboo. When it is enforced by the physical destruction of images, aniconism becomes iconoclasm.

Aniconism has historical phases in both Buddhism and Christianity, though these movements have been largely rejected as Buddha in art, life of Buddha in art, Buddhas and bodhisattvas in art, God the Father in Western art, Holy Spirit in Christian art, the depiction of Jesus, The Trinity in art, and Manus Dei are common. By contrast Islam has predominantly been aniconistic throughout their histories, including representations of major figures such as Muhammad. The view of aniconism in Judaism has been challenged, with a number of medieval Ashkenazi illuminated manuscripts collected by David Kaufmann. The earliest phases of ancient Greek religion were rich in aniconic representation, even though Greek mythology is heavily anthropomorphic.

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Aniconism in Buddhism in the context of Nirvana (Buddhism)

Nirvana or nibbana (Sanskrit: निर्वाण; IAST: nirvāṇa; Pali: nibbāna) is the extinguishing of the passions, the "blowing out" or "quenching" of the activity of the grasping mind and its related suffering, stresses, and unease. Nirvana is the goal of many Buddhist paths, and leads to the soteriological release from dukkha ('suffering') and rebirths in saṃsāra. Nirvana is part of the Third Truth on "cessation of dukkha" in the Four Noble Truths, and the "summum bonum of Buddhism and goal of the Eightfold Path."

In all forms of Buddhism, Nirvana is regarded as the highest or supreme religious goal. It is often described as the unconditioned or uncompounded (Skt.: asaṃskṛta, Pali: asankhata), meaning it is beyond all forms of conditionality — not subject to change, decay, or the limitations of time and space. Nirvana is typically seen as being outside the realm of dependent arising (pratītyasamutpāda), representing a truth that transcends cause and effect, as well as all conventional dualities such as existence and non-existence, or life and death. Nirvana is also said to transcend all conceptual frameworks, being beyond the grasp of ordinary human perception.

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Aniconism in Buddhism in the context of Buddharupa

Much Buddhist art depicts the historical Buddha, Gautama Buddha, in forms known as Buddharūpa (lit. 'Form of the Awakened One') in Sanskrit and Pali. These may be statues or other images such as paintings. The main figure in an image may also represent another individual who has attained Buddhahood, or a bodhisattva, especially within the various traditions of Mahayana Buddhism. Other Buddhas and bodhisattvas in art have become increasingly common over the centuries, perhaps now even outnumbering images of the historical Buddha.

In its first centuries Buddhism was largely or entirely aniconic, not showing the person of Buddha except by symbols and relics. This changed, and figures of the Buddha became very common in the art of Gandhara and Gupta art. As forms of esoteric Buddhism developed, other figures from the expanding array of Buddhist sacred persons became more prominent. In Theravada Buddhism this was much less the case, and figures of the historical Buddha remain the most common main images in temples and shrines to the present.

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LINKED FROM (PARENTS)
← Nirvana (Buddhism) ← Aniconic ← Aniconism ← Buddharupa ← Buddha in art
LINKS TO (CHILDREN)
Kapilavastu (ancient city) → Suddhodana → Buddha → Buddhist art → Aniconic → Gautama Buddha → Hetoimasia → Bodhi → Sanchi → Buddha footprint → Dharma wheel → Sarvastivada → Vinaya →