Insight: The Many Images of Buddha

Buddha images have been integral to Burmese fine arts for almost 1,500 years, reflecting the creative skill of the country’s artisans and their deep religious beliefs.

Images of the Buddha in Myanmar come in many styles. Experts divide them into various groups, distinguished either by historical period or by region of origin. The earliest major group derives from Bagan and dates from the 11th to 13th centuries. Bagan-style Buddhas, whether of bronze, stone or wood, are usually heavy-set with broad shoulders and large faces. The head, set on a short neck, often tilts slightly forward.

An equally distinguished but separate tradition developed in Rakhine around Mrauk U. This Rakhine style, which favoured stout Buddhas with square faces, joined eyebrows and often elaborate crowns, was responsible for the famed Mahamuni image taken from Mrauk U in 1784 and now displayed in the Mahamuni Pagoda in Mandalay. This image, the most revered in Myanmar, is coated in so much gold leaf that the lower part of the body is difficult to distinguish.

Mon images, by contrast, are often slimmer and more etiolated in design, with fuller faces, downcast eyes and very long ears. Again quite distinct, Shan Buddha images tend to have semi-triangular-shaped faces narrowing towards the chin. A broad forehead arches over narrowed eyes, partly open. Earlobes are long, noses fairly pronounced, and necks shortened. Mandalay-style images are common. Earlier images dating from the Inwa (Ava) period are often carved from alabaster, while later images are made of bronze, gilded wood or lacquer. Eyebrows are slightly raised, and nostrils flared.

Buddha at Sun U Ponya Shin Pagoda, Sagaing, near Mandalay.

Corrie Wingate/Apa Publications

Asana and Mudra

The Buddha is invariably depicted in one of four traditional basic postures, or asana. These are standing, sitting cross-legged, walking or reclining. In the first three of these postures, the Buddha is perceived as teaching or meditating. In the fourth asana, by contrast, the Buddha’s death and attainment of parinirvana (nirvana beyond death) is celebrated. Equally important and conventional are the various hand postures or mudra of the Buddha. In the bhumisparsa mudra, or “earth-witness” posture, the right hand of the seated Buddha image touches the ground while the left rests on the lap. In the dhammachakka mudra or “turning the wheel of dharma”, the thumb and forefinger of the image form a circle while the other fingers fan out to symbolise the preaching of the First Sermon. In the abhaya mudra, or “have no fear” posture, the palm of the right hand is raised and turned outwards to show the palm with straight fingers. In the dhyana mudra or “meditation” position, the hands rest flat on the lap, one on top of each other, while in the dana mudra or “offering” position the right hand is palm up and parallel to the ground.