Burmese White Marble Buddha Statue

Carved from a single block of white marble and painted with gold leaf and other pigments, Lord Buddha is seated on a lotus throne in “adamantine position” (vajrasana) with his legs crossed and the soles of both feet turned up. His hands are in the gesture of Bhumisparsha mudra (earth touching gesture).

This beautiful white marble Buddha has a serene facial expression. After the Burmese capital was moved to Ava in 1636 during the Second Empire of the Toungoo dynasty (1551-1752), Buddha images were increasingly made of marble with a smooth finish on the surface and minimum decoration, rendering the image with a simple and pure appearance.
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Avalokiteshvara Amoghapasha Buddha Statue

This very rare and unique finely modeled Buddha is decorated with hundreds of small Buddhas and elephants throughout. Lord Buddha is depicted standing in a straight pose on a square base, dressed in a short dhoti secured with a pendant belt. His eight radiating arms holding a vajra, ax, sutra, monkey, chakra, rosary (malas), kundika (vase) and phurpa, his broad face surmounted by a tall crown with a diminutive Amitabha nestled in his chignon. Amoghapasa represents a tantric form of Avalokiteshvara and is particularly popular in Nepal, where he is regarded as the tutelary deity of the Kathmandu Valley. A special rite, performed on the eighth day of the moon’s brighter two weeks of each month was dedicated to him, and it is possible that this sculpture was the focus of such a ritual.

In this eight-armed form, Avalokiteshvara is known as Amoghapasha, “he whose noose is unfailing,” after the noose (pasha) he uses to remove impediments to enlightenment. The complexity of casting a multi-armed figure attests to the sophistication of the metal workers. A very unique style of Khmer art!
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Buddha Quotes

“Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment.” – Buddha

Bhumisparsha Mudra Buddha

“Just as treasures are uncovered from the earth, so virtue appears from good deeds, and wisdom appears from a pure and peaceful mind.” – Buddha

This hand carved Cambodian Buddha is seated in the ‘earth touching’ gesture or ‘earth witness’ also known as bhumisparsha mudra. This gesture is performed by extending the right hand downwards to touch the ground with its fingertips. It symbolizes the precise moment when the awakening Buddha, Shakyamuni, vanquished the army of Mara beneath the bodhi tree and summoned the goddess of the earth, Sthavara, to bear witness to his countless acts of sacrifice. Shakyamuni Buddha is commonly represented upon his enlightenment throne with his right hand touching the earth, and his left hand resting upon his lap in the gesture of meditation. This symbolizes the union of his method or skillful means in overcoming Mara (right hand), through the perfect wisdom of his deep meditation upon emptiness (left hand).
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Cambodian Soapstone Buddha

Soapstone also known as “steatite” or “soaprock” is a stone which is notable for its high degree of resistance to heat. In Cambodia, soapstone, which mostly comes from the province of Pursat (in the western part of the country) has been used to carve religious effigies since the 17th century. Any variation in the color of the stone is inherent to the very nature of the material, its array varies from yellow-green to gray and deep purple.

This Buddha has a distinct Cambodian style. Lord Buddha is in the the ‘earth touching’ gesture or ‘earth witness’ also known as bhumisparsha mudra. He is seated on a separately carved single lotus base. Lord Buddha is depicted with heavy eyelids that evoke a mood of introspection and detachment, enhanced by the hint of a smile on the full lips. The distended earlobes, a legacy of Prince Siddhartha’s discarding his heavy gold jewelry further indicates the Buddha’s enlightened status. A simple yet elegant carving. It is unpolished and thus has a matte finish.

This sculpture is a one of a kind statue, hand carved by the very talented artists of Cambodia. Every piece is truly unique!

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Buddha’s Disciple, Praying Orant of Angkor Wat Statue

This piece is inspired by the Adorned Orant of Angkor Wat, a XVth century piece found in the National Museum of Phnom Penh. Orants are compassionate beings, disciples of the Buddha. They are also symbols of good luck and are often placed in the entrance of homes welcoming guests. This Orant is kneeling, expressing humility. His hands are in anjali mudra, the universal greeting and gesture of respect throughout the Buddhist world. This mudra is formed by placing the palms together at the level of the heart, with the fingertips pointed upward.

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Beautiful Antique Wood Buddha Statues with Unique Blush Tones

These 3 beautiful antique wood Buddha statues have unique blush tones. The Buddha’s are marked with symbols of Lord Buddha’s enlightened state such as the cranial protuberance (ushnisha), which symbolizes the Buddha’s wisdom and openness as an enlightened being as well as elongated earlobes, a vestige of the Buddha’s life as a prince when he wore extravagant jewelry. They display the protection gesture also known as the abhaya mudra. These wood sculptures are one of a kind statues, hand carved by the very talented artists of Cambodia.

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Beautiful Rama and Sita

These beautiful Rama and Sita carvings are made from a hibiscus flower tree. The gradation of color in the wood is absolutely striking and the details are just brilliant! You can immediately see how the artist has succeeded in creating exceptional detail, as evidenced in the emotive faces and very intricate crowns which adorn each piece. It took the artist 3 months to carve these stunning masterpieces.

Lord Rama is the seventh incarnation of Lord Vishnu. Rama represents an ideal man. In the story of Ramayana, Rama’s personality depicts him as the perfect son, devoted brother, true husband, trusted friend, ideal king, and a noble adversary. Rama is always ready to destroy evil and protect righteousness. He is himself an embodiment of dharma. Sita symbolizes an ideal daughter, wife, mother, and queen. Whereas Rama symbolizes standards of perfection that can be conceived in all the facets of a man’s life, mother Sita represents all that is great and noble in womanhood, the perfect embodiment of purity in thoughts, words, and deeds. She is revered as an incarnation of Goddess Lakshmi, the divine consort of Lord Vishnu.

These masterpiece wood sculptures are entirely hand carved by the very talented artists of Bali, Indonesia. Every piece is truly unique!

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The Eight Buddhist Auspicious Symbols

This beautiful hand made incense burner and incense storage box is decorated with the eight auspicious symbols (Ashtamangala in Sanskrit). They are a group of Buddhist symbols that appear on many Buddhist textiles, objects and paintings. Each symbol represents an aspect of Buddhist teaching and when they appear together, their powers are multiplied.

The Parasol (Chhatra) symbolizes the wholesome activity of preserving beings from illness, harmful forces, obstacles and so forth in this life and all kinds of temporary and enduring sufferings of the three lower realms, and the realms of men and gods in future lives. It also represents the enjoyment of a feast of benefit from under its cool shade.

The Golden Fish (Matsya) symbolizes the auspiciousness of all living beings in a state of fearlessness, without danger of drowning in the ocean of sufferings, and migrating from place to place freely and spontaneously, just as fish swim freely without fear through water.

The Treasure Vase (Kalasa) symbolizes an endless rain of long life, wealth and prosperity and all the benefits of this world and liberation

The Lotus Flower (Padma) symbolizes the complete purification of the defilements of the body, speech and mind, and the full blossoming of wholesome deeds in blissful liberation.

The Conch Shell (Sankha) which coils to the right symbolizes the deep, far-reaching and melodious sound of the Dharma teachings, which being appropriate to different natures, predispositions and aspirations of disciples, awakens them from the deep slumber of ignorance and urges them to accomplish their own and others’ welfare.

The Endless Knot (Shrivasta) symbolizes the mutual dependence of religious doctrine and secular affairs. Similarly, it represents the union of wisdom and method, the inseparability of emptiness and dependent arising at the time of path, and finally, at the time of enlightenment, the complete union of wisdom and great compassion.

The Victory Banner (Dhwoja) symbolizes the victory of the activities of one’s own and others body, speech and mind over obstacles and negativity. It also stands for the complete victory of the Buddhist Doctrine over all harmful and pernicious forces.

The Wheel of the Dharma (Dharmachakra) symbolizes the auspiciousness of the turning of the precious wheel of Buddha’s doctrine, both in its teachings and realizations, in all realms and at all times, enabling beings to experience the joy of good deeds and liberation.

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Nagas & Naga Kanyas, Serpent Spirits of the Underworld

The Nagas are the serpent spirits that inhabit the underworld. They have their origin in the ancient snake cult of India, which probably date back to the early Indus valley civilization (circa 2500 BCE). In the Hindu Puranic legends the Nagas were the offspring of Kadru, the sister of Vinata who gave birth to Garuda. Both the Nagas and Garuda shared a common father, Kashyapa, but due to an act of treachery by Kadru they became mortal enemies. Kadru gave birth to a thousand serpents, each with many heads, which populated Patala, the region below the earth. This subterranean realm is rich in treasures, with beautiful palaces ruled over by three great Naga kings named Sesha, Vasuki, and Takshaka, who figure prominently in several puranic legends. Historically the Nagas were an ancient Indian race, of whom very little is known other than the serpent cult legacy that they appear to have left within Indian culture.

This legacy was absorbed into Buddhism at an early date, with the Buddhist Nagas inheriting much of their ancient Indian symbolism. They dwell in the underworld below land and sea, especially in the aquatic realms of rivers, lakes, wells and oceans. In Buddhist cosmology they are assigned to the lowest tier of Mt. Meru, with their Garuda enemies placed on the tier above them. Nagas are the underworld guardians of treasures and concealed teachings and they can manifest in serpent, half-serpent, or human form. The great second century Indian Buddhist master and philosopher, Nagarjuna, was perhaps the first person to receive a ‘hidden treasure text’ or terma (Tib. gter-ma) from the Nagas, in the form of the Prajna-paramita-sutra.

Nagas can have a beneficial, neutral or hostile influence on human beings. Like their Chinese dragon counterparts, the Nagas are responsible for controlling the weather, causing droughts by withholding rain when they are offended and releasing rain when they are propitiated. Pollution of their environment or disrespectful acts such as urinating or washing soiled clothes in a Naga inhabited stream, can result in illnesses or Naga afflictions. Leprosy, cancer, kidney problems and skin ailments are all viewed as possibly being Naga related diseases.

Eight great Naga kings (Skt. nagaraja; Tib. klu’i rgyal-po) are commonly listed in Buddhism. These nagarajas are often described as being crushed underfoot, or worn as adornments by certain wrathful deities. The Nagas are also divided into a fivefold caste based upon the Hindu caste division or social order. In the east are the white kshatriya or warrior caste, in the south the yellow vaishya or merchant caste, in the west the red Brahmin or priestly caste, in the north the green shudra or laborer caste and at the center the black chandali outcastes or ‘untouchables’. This color placement corresponds with the traditional directions of the Five Buddha mandala, with blue-black Akshobya at the center. Wrathful deities often wear these eight nagarajas, or the five castes of Nagas, as one of the ‘eight great attires of the charnel ground’, known as the ‘revolting snake ornaments’. These consist pairs or clusters of ferocious, writhing, coiling and hissing poisonous serpents worn as body adornments by these wrathful deities. The coiling white serpents of the warrior caste are wreathed around the half-vajra on a wrathful deities crown. Clusters of yellow serpents of the merchant caste hand or coiled as the deity’s earrings. The deity’s necklace or sacred thread is formed from a wreath of red serpents of the Brahmin caste. As the sash or chest garland the deity wears an entwining bunch of long green serpents of the laborer caste. As bracelets, armlets and anklets, the deity wears encircling wreathes of small black snakes, which represent the outcaste or untouchable caste.

In their individual iconography the Nagas are usually depicted with a human upper body and a coiling serpentine body below their waists. Nagas are most commonly white in color, with one face and two hands, often with their hands folded in supplication or offering jewels. A hood of one, three, five or seven small serpents arises like a crest above a Naga’s head and these serpents are often individually colored to correspond to the five castes of Nagas or to the eight great Naga kings. The motif of a multi-headed serpent crowning the head of an Indian Naga may possibly have originated from the seven or nine estuaries or mouths of the ancient River Indus.

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