Buddhism on the ground
Bodhisattvas
In Mahayana Buddhism, a Bodhisattva is an ‘enlightened being’ who chooses to stay in the world of suffering in order to help others attain enlightenment. Anyone can become a Bodhisattva, but there exist a number of ‘celestial’ Bodhisattvas, who embody traits associated with enlightenment. They are depicted widely across Buddhist literature and art, each with their own characteristics.
Whilst Buddhists do not worship a God or creator, Buddhists will often use Bodhisattvas as objects of worship and as a focus for their meditation. They may chant mantras associated with the Bodhisattva, or visualise their forms. There are many Bodhisattvas across the Buddhist schools, and different cultures place special emphasis on some over others. In China, there are four principle Bodhisattvas and these are associated with the ‘Four Sacred Mountains of Buddhism’. Many of the paintings found in the Mogao caves at Dunhuang depict these Bodhisattvas.
Avalokitesvara
One of the most ubiquitous Bodhisattvas is Avalokitesvara, who is the embodiment of compassion. In Indian sculptures, this deity was originally male, but later in China became a female figure, associated with the sacred Mount Putuo.
Thousand-armed, thousand-eyed Avalokitesvara
This is a mid-10th century painting on paper depicting Avalokitesvara. It was discovered in Mogao Cave 17, or the ‘library cave’, at Dunhuang. Avalokiteśvara is a bodhisattva, a cosmic Buddhist deity. He is the embodiment of compassion and typically is portrayed helping those in trouble.
This painting shows a simplified version of a common manifestation of Avalokiteśvara, the thousand-armed, thousand-eyed form. This depiction represents Avalokitesvara’s ability to hear and reach out to all suffering beings. However, this image only shows ten arms in any detail, four of which hold the sun, the moon, a skull-headed mace and a trident. The artist has indicated the rest of the arms in the halo. Although the iconography is clear, the execution suggests a poorer donor who could neither afford silk nor a professional artist.
The name Avalokitesvara (Guanyin in Chinese and Chenrezi in Tibetan) can be translated as ‘He who looks upon the World’ or ‘The one who hears the cries of the World’. Avalokitesvara features in The Lotus Sutra, in which he is able to take any form in order to come to the aid of humans.
Illustrations of Avalokitesvara often show him helping those in trouble. He is usually shown holding a lotus, symbolising love and compassion. In Tibet, Avalokitesvara is typically pictured with many arms and heads. This represents Avalokitesvara’s ability to hear and reach out to all the suffering beings in the world.
Manjusri
Manjusri on lion with two attendants
This woodblock-printed prayer sheet depicts Manjusri, the bodhisattva who embodies wisdom. The print was discovered in Mogao Cave 17, or the ‘library cave’, at Dunhuang.
In Buddhism, bodhisattvas are enlightened beings who stay in the world of suffering in order to help others reach enlightenment. There also exist celestial bodhisattvas, deities such as Manjusri, who embody the traits of enlightenment.
Here, Manjusri (or Wenshu in China) is pictured on a lion, holding a sword, flanked by two attendants. Underneath the illustration is a short prayer and a dharani, a statement that has protective powers when recited or chanted.
Another iconic Bodhisattva is Manjusri, the embodiment of wisdom. In Sanskrit, his name translates to ‘Gentle glory’. In China he is known as Wenshu, and is associated with Mount Wutai. He is often shown riding a lion, or resting on a blue lotus. He usually wields a flaming sword known as the Vajra Sword of Discriminating Light or Wisdom, which cuts through ignorance. He is also often pictured holding a scroll representing the Prajnaparamita sutra, the Mahayana scriptures that explain the path to perfecting wisdom. Manjusri is pictured on a prayer sheet found at Dunhuang. Written underneath his figure is a short prayer and a dharani, a statement that has protective powers when recited or chanted.
Samantabhadra
Samantabhadra
This is a section from a silk painting depicting the bodhisattvas Samantabhadra, Manjusri, and various forms of Avalokiteśvara. This section, taken from the bottom left of the painting, depicts Samantabhadra. It dates back to 864 CE and was discovered in Cave 17, or the ‘library cave’, at Dunhuang.
In Buddhism, bodhisattvas are enlightened beings who stay in the world of suffering in order to help others reach enlightenment. There also exist celestial bodhisattvas, deities such as Samantabhadra, who embody the traits of enlightenment.
Samantabhadra (Or Puxian in China) is associated with Buddhist meditation and practice and is considered the protector of those who teach the dharma. His name means ‘universal worthy’ or ‘all good’. Here, he is shown sitting on a white elephant surrounded by a halo and flanked by attendants. In the full painting, Samantabhadra is pictured opposite the bodhisattva Manjusri, mirroring each other’s pose.
Often seen in art as a counterpart to Manjusri is Samantabhadra, who is associated with Buddhist meditation and practice. His name means ‘universal worthy’ or ‘all good’. In China, he is known as Puxian, and is associated with the sacred Mount Emei.
In Buddhist art, Samantabhadra is portrayed with either male or female characteristics. He is often depicted sitting on a white elephant with three heads or six tusks, sometimes holding a lotus. He is mentioned in the epilogue of the Lotus Sutra, and is a key figure in the Gandavyuha Sutra. He is considered the protector of those who teach the dharma.
Ksitigarbha
Ksitigarbha is known as the guardian of beings in the ‘Hell Realm’ (Naraka), one of the six realms one can be born into through karma and rebirth. He is known for his vow never to enter nirvana until this realm has been emptied of all beings. He is also seen as a guardian of the deceased, especially children, between death and the next life. In Buddhist art, he is often represented as a monk, which is said to represent his vow. He is also pictured carrying prayer beads and a staff with six rings on it, representing the six realms. Ksitigarbha is particularly popular in China, where he is known as Dizang, and is associated with Mount Jiuhua.
Ksitigarbha
This 9th century silk painting depicts the bodhisattva Ksitigarbha. It was discovered in Cave 17, or the ‘library cave’ at Dunhuang.
In Buddhism, bodhisattvas are enlightened beings who stay in the world of suffering in order to help others reach enlightenment. There also exist celestial bodhisattvas, deities such as Ksitigarbha, who embody the traits of enlightenment.
Ksitigarbha (or Dizang in Chinese) is known as the guardian of beings in the ‘Hell Realm’ (Naraka), one of the six realms one can be born into through karma and rebirth. He is known for his vow never to enter nirvana until this realm has been emptied of all beings. He is also seen as a guardian of the deceased, especially children, between death and the next life. In Buddhist art, he is often represented as a monk, which is said to represent his vow. This representation can be seen in this painting, where Ksitigarbha can be seen with a shaven head, wearing a patchwork robe or kasaya.
