In elements of Buddhism

A detailed Summary of In elements of Buddhism

In Elements of Buddhist Iconography, Ananda Coomaraswamy analyzes the function of three symbols crucial to Buddhism and its representation in art: the tree of life, the earth-lotus and the word-wheel. Coomaraswamy convincingly demonstrates that these symbols can be found before their earliest representations in Buddhist art in the aniconic period of the Brahmanical Vedas as well as throughout the Rg Vedic period. He further asserts that these symbols continue in use into the present day and throughout their existence, they represent a universal Indian symbolism and a more or less constant set of theological concepts.

After establishing a framework from which to understand Indian imagery in general and Buddhist imagery, specifically, Coomaraswamy presents a comprehensive explanation of how a particular image, that of the lotus throne, finds its place in Buddhist art.

The views expressed in Elements of Buddhist Iconography are both consistent with and extensions of Coomaraswamy's earlier works and ideas, particularly those of The Origin of the Buddha Image. As Walter Clark notes in his foreword, Coomaraswamy's work has significance in large part because "objective linguistics is apparently near the end of its resources in deal

In The Origin of the Buddha Image, Coomaraswamy contests the view, expressed by M. Foucher, that Greek or Eurasian craftsman had created the first figural images of the Buddha. This argument was based upon the early emergence of the Buddha figure in Gandhara following a period in which the Buddha is only represented in figural terms. The Apollo-like characteristics of the Gandhara Buddhas added credence to this argument. Coomaraswamy, however, demonstrates on several grounds that the earliest representations of the Buddha are the product of a long tradition, both literal and art historical, of Indian symbols. These symbols comprise a common 'language' understood by all Indians and were therefore suited to visually convey the message of the religion of Buddhism when the time came.

Having set forth such an argument, in Elements of Buddhist Iconography, Coomaraswamy early on asserts the universality of his analysis technique: "If any particular stress seems to be laid on Buddhism, this is strictly speaking, an accident. Buddhism in India represents a heterodox development...its symbolism being derived from the primordial tradition...indeed the greater part of what is said could be directly applied to the understanding of Christian art (3-4)." Such universality is a point that the author returns to throughout the text, the effect of which is to create both a more sound and a more interesting argument. In uniting symbols and their use in religious art and thought from the Vedic period to m

Some common words found in the essay are:
Kalingabodhi Jataka, Buddhism India, Rg Vedic, Boddhi-tree Dharma-cakra, Buddhism Coomaraswamy, Gandhara Buddhas, Rig Vedic, Life Sanci, Ananda Coomaraswamy, Vedas Upanisads, buddha image, tree life, elements buddhist iconography, buddhist art, elements buddhist, buddhist iconography, earliest representations, credence argument, vedic period, figural buddhas, origin buddha, origin buddha image,

Approximate Word count = 1014
Approximate Pages = 4 (250 words per page double spaced)

Category: English