Buddhism Japanese Vs. Chinese Buddha Term Paper

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D.). Rather than standing alone and interacting with the gazer, this Buddha holds back and is flanked by attendants, creating his own scene in the context of the relief. The Buddha's divinity, rather than his humanness is stressed in the design. The Buddha's hand is in a gesture of reassurance, conveyed from on high, as he sits upon an elevated platform.

Three seated Buddhas in the halo symbolize the deity's eternal nature, a concept that gained importance in China in the fifth century a.D" ("Seated Buddha with Attending Bodhisattvas," Early 6th century a.D.). Rather than being of the moment, and simplicity, the unique and eternal nature of the divine Buddha is stressed.

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The man's extraordinary, rather than ordinary qualities are at the forefront of the work. The limestone work is also embedded with scenes of the life of the historical Buddha and fantastical legends about his many incarnations over the remaining surface. It is thus didactic content in a very explicit and fanciful way, rather than trusting the gentle presence of the Buddha to teach the visitor like the Japanese design. For the Japanese design, instruction would seem to come through philosophical reflection and apprehension of the Buddha, while the Chinese Buddha is much more explicit in the ways that religious lessons are taught, through the Buddha's life and position.

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