Considering the Evidence: Representations of the Buddha

     Transformations in Buddhist belief and practice disclosed in these images show the progression from the early depictions of the Buddha to the more prominent images of him in various cultures that survive into the modern era. The first image shows the Buddha's footprints as the main focus, which reinforces the fact that Buddha's earliest followers strongly believed that the Buddha could not be portrayed as physically present since he had passed into nirvana. Countless other portrayals of the Buddha at this time further emphasizes this belief as the Buddha has been represented "as an empty throne, a horse with no rider, a tree, a wheel, or in some other  way, while largely shunning any depiction of him in human form" (Strayer 208).

     The next image shows the Buddha in human form, which surfaced from the South Asian region known as Gandhara. Being part of the Roman Empire at the time headed by Alexander the Great, the Buddha in this image draws from some Greco-Roman influences. He is shown to have a Roman-style toga, the curly hair characteristic of the Mediterranean region, and a face like that of the Greek god Apollo. Also in the image is the Bodhi tree in which the Buddha meditated and across from the Buddha the demon Mara and her seductive daughters try to tempt and seduce the Buddha. 

     The third image is a depiction of the Bodhisattva of Compassion, which is usually portrayed as a woman, or with with obvious female characteristics. The most famous Bodhisattva of Compassion is Avalokitesvara in Mahayana Buddhism, known as Guanyin in China and as Kannon in Japan. The image is of Kannon and is shown to have "1,000 arms," with multiple arms carrying a different object, signifying the openness and acceptance of this figure to anyone and everyone who needed help. Especially since Mahayanan Buddhism was known for its acceptance of everyone regardless of their social status, and the Boddhisattva of Compassion is known for rescuing whoever calls it for assistance, the image thus portrays that belief successfully.

     The final image is of the Chinese Buddha, which is drastically different to the previous images and depictions of the Buddha. Modeled after a tenth-century monk known as Budai who was known as a fat, smiling, and contented figure who wandered around China spreading messages of happiness and cheer, this Buddha is constantly portrayed laughing.  The image shows him laughing and surrounded by his countless followers, thus enforcing the fact that this Buddha was an approachable Buddha who was removed from the message of suffering.