The Origin and Mystery of the Aniconic Buddha

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For most, it is difficult to describe Siddhārtha Gautama (the Historical Buddha) without imagining the round, jovial human form we have become accustomed to in popular culture. For five hundred years, however, Buddhism existed entirely without a human depiction of its leader; Instead, ancient Indian cultures produced various symbols to represent him in their artwork. The symbolic meaning of these images still remains a hotly debated subject between scholars, art historians, and archeologists. Nonetheless, these emblems should not be viewed as solely Buddhist, as they carried multiple meanings that accounted for Buddhists and non-Buddhists alike.

The earliest known Buddhist artworks can be traced to the Maurya period of Ancient India (322-185 B.C.E), during the rule of King Ashoka the Great, whose reign lasted from 274-232 B.C.E. In the beginning of his rule, King Ashoka was known as a vicious tyrant who ravaged the other areas of the India Subcontinent. His most famous historical campaign was known as the Kalinga War, where he fought over a neighboring territory of India known as Kalinga. King Ashoka converted to Buddhism following the war, ashamed and disgusted by the bloodshed he caused and witnessed. In fact, he wholly adopted the religion of Buddhism as a national doctrine following this conquest, bringing peace to an entire nation of people during his time. Owing to his ambitious nature, Ashoka erected over 84,000 monuments dedicated to the Buddhist faith.

During the lifetime of King Ashoka, the famous stupa at sanchi was erected, which contains essentially all of the symbols associated with Gautama Siddhartha. A stupa is a mound-like structure which contains relics and the remains of the Buddha, and serves as a...

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...al, as the four wheels depicted likely do not represent the Historical Buddha, but are more closely related to their Vedic origins. The construction of the pillar predates the use of solely Buddhist symbolism, instead, the four lions and wheels depicted can be related to its nature as an already auspicious sign.

Works Cited

Buchthal, Hugo. The Burlington Magazine for Connoisseurs , Vol. 81, No. 476 (Nov., 1942), pp. 278-279+281

Burgess, Jas. The Journal of the Royal Asiatic Society of Great Britain and Ireland, (Jan., 1902), pp. 29-45

Dhavalikar, Madhukar Keshav. Sanchi. New Delhi: Oxford UP, 2003. Print.

Karlsson, Klemens. Face to Face with the Absent Buddha: The Formation of Buddhist Aniconic Art. Uppsala, Sweden: Uppsala University, 1999. Print.

Krishan, Y. The Buddha Image: Its Origin and Development. New Delhi: Munshiram Manoharlal, 1996. Print.

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