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The boy Buddha appearing within a lotus. Crimson and gilded wood, Trần-Hồ dynasty, Vietnam, 14th–15th century. In the Aṅguttara Nikāya, the Buddha compares himself to a lotus (padma in Sanskrit, in Pali, paduma), [3] saying that the lotus flower rises from the muddy water unstained, as he rises from this world, free from the defilements taught in the specific sutta.
There may be an image in the figure's crown, [2] or the figure could be holding a book, thunderbolt, vase, jewel, or lotus flower or stem. [3] Mandalas created for Japanese Shingon Buddhism and Tibetan Buddhism can contain hundreds of different figures that may need interpretation.
The lotus symbolizes purity and renunciation. Although the lotus has its roots in the mud at the bottom of a pond, its flower lies immaculate above the water. The Buddhist lotus bloom has 4, 8, 16, 24, 32, 64, 100, or 1,000 petals. The same figures can refer to the body's 'internal lotuses', that is to say, its energy centres . [6] [7]
The lotus flower holds high spiritual significance across Hinduism, Buddhism and different Asian cultures alike. In China, for example, the lotus symbolizes associated with purity, grace and beauty.
Zhiyi also linked the teachings of the Lotus Sūtra with the Buddha nature teachings of the Mahāyāna Mahāparinirvāṇa Sūtra. Zhiyi also interpreted the Buddha of the Lotus Sūtra as referring to all three Buddha bodies of the Trikaya. According to Stone and Teiser, for Zhiyi "the dharma body is the truth that is realized; the reward body ...
The Buddha was able to stand and take seven steps almost immediately, [28] a lotus flower springing up where each step went, and the baby standing on the final lotus may be shown, often in addition to him emerging from his mother's side. He raises his right hand towards heaven and declares "I alone am honoured in heaven and on earth.
Just below the pool is the stem of a lotus, branching left and right. Nine lotus flowers appear above the stem, five on the right and four on the left. There are animals and tributes on each lotus, representing the "nine courses to the afterlife" (i.e. bless the people in time to ascend to the western paradise). [6] Kalaviṅka
To separate different scenes, the artists have drawn a tree, a river, or a house. The pictures of people were drawn in Parshawa Darshi Kramaya [pārśava-darśī-kramaya], or drawing the faces and legs facing to a side. The background of the frescoes were painted in a dark red color, and flowers like Lotus, Pandanus flowers are used to fill the ...