Download Votive Images and Talismans in Buddhist Art

The Power of Faith & Devotion:
Votive Images and Talismans in Buddhist Art
Buddhist art came into gradual existence approximately 500 years after the death of the
historical Sakyamuni Buddha. The early Buddhist artworks did not take the forms of
Buddha himself but took the form of subject matters which were related to Buddha (eg
the Footprint which signifies the Buddha; the Bodhi Tree which signifies the
enlightenment of Sakyamuni Buddha under such Tree; the Dharmachakra Wheel which
signifies the teachings of the Buddha; and the Deer which signifies Buddha’s First
Sermon in the Deer Park in Benares, India).
Votive images are basically visual expressions of faith and devotion in Buddhist
iconography. They are usually made out of moulds. The main material used for making
votive images is basically clay. They are also made from bronze and other metal alloys.
However, gold and silver are also used to make votive images but they are rare to come
by. Votive images are indeed great works of art but being smaller in size resulted in many
museums not emphasising or highlighting them in their display. The significance of
votive images is not fully understood by many but they actually play a very important
role in everyday Buddhists’ practices, customs and beliefs.
Votive images are often used as “reminders” of the Buddha and his Teachings. By
looking at them, one could easily be inspired with faith and devotion as the Sakyamuni
Buddha himself had overcome hatred, ignorance and greed to be the Enlightened One.
Also, one can be overwhelmed with a sense of gladness, happiness, serenity and peace of
mind when one sees and appreciates such votive images. In this respect, the Indian
scholar Matrceta once said the following words most aptly:
“Your Form is a jewel to see,
your speech is a jewel to hear,
your teaching are a jewel to reflect upon.
Truly, you are a mine bearing the jewels of goodness.
Just to hear you brings joy:
just to look upon you calms the heart;
your speech refreshes and your teaching frees.”
1
It is to be noted that the making of votive images is encouraged in many major Sutras
because it is regarded as act of making, gaining and accumulating merits. As a result,
many votive images of diverse styles, forms and materials were made from different
Buddhist traditions and countries over a long period of time. Thus, in the Lotus Sutra,
the following words of guidance were taught in respect of the making of Buddha images:
“ ……If men for the sake of buddhas / Have erected images / Carved
with the [characteristic] signs, / [They} have all attained the Buddha-way.
/ Or those who with the precious seven, / With brass, red and white
copper, / With wax, lead, and tin, / With iron, wood, and clay, / Or with
glue and lacquer/ Have adorned and made buddhas’ images, / All such
ones as these / Have attained the Buddha-way. / Those who have painted
buddhas’ images / With the hundred blessing-adorned signs, / Whether
done by themselves or by employing others, / Have attained the Buddhaway. / Even boys in their play / Who with reed, wood, or pen / Or with
the fingernail / Have drawn buddhas’ images, / All such ones as these, /
Gradually accumulating merit / And perfecting hearts of great pity, /
Have attained the Buddha-way; ……”
Further, in the Sutra On The Original Vows And The Attainment Of Merits Of
Ksitigarbha Bodhisattva, the following words of wisdom were taught in the same respect:
“…… If parents or relatives of the dying person sell all of his belongings,
riches, properties, and use the money to make images of Ksitigarbha
Bodhisattva, then the dying person comes to know the meritorious deeds
on his behalf, although the person should suffer a severe disease
according to his own Karma, but instead he fully recovers very soon and
has longevity. …… If sentient beings of the present or the future who
have lost their parents, sisters or brothers during their early childhood and
think of their deceased relatives when they are fully grown up and long to
know where they have been reborn, such grown up person can make
images of Ksitigarbha Bodhisattva, hearing then his name, admiring his
image or paying homage to him from one day to seven days continuously
without any retreat although the deceased relatives may merit being cast
into the evil realms for kalpas, but due to the meritorious deeds practised
on their behalf, they are free from their punishment and will be reborn
either as devas or human receiving great bliss.”
In the Buddha’s answers to Sumati’s Questions, the Buddha explained to Sumati with
the following words to resolve her doubts:
2
“Sumati, if a Bodhisattva achieves four things, he will be endowed with a
graceful appearance. What are the four?
(1)
(2)
(3)
(4)
Not to be angry [even] with a bad friend;
to have great kindness;
to rejoice in the true Dharma; and
to make images of Buddhas.”
Quite apart from the fact that votive images were made for merit purposes and as
“reminders” of the Buddha and his Teachings, they are gradually and subsequently used
and worn as talismans particularly the smaller votive images. Many Buddhists wear them
as talismans to ward off dangers and evils and to give them protection and well-being.
This is quite understandable as votive images are receptacles or depositories of positive
and superlative power and energy. The source of such positive and superlative power and
energy emanates or derives from, inter-alia, the following:
(a)
the “presence” of the Buddha himself physically on the votive images
often with fiery and radiating halo or aureole or in His metaphysical or
spiritual aspect. It is to be noted that the Buddha himself had conquered
and defeated Mara (i.e. the Devil) and He represents the triumph over all
evils, dangers and obstacles and culminating in His Enlightenment and no
rebirth;
(b)
the consecration of such votive images with powerful Sutras and Mantras
by eminent Buddhist Masters or Lamas;
(c)
the words in the Sutras often contain passages evoking the power of
Buddha, the Dharma (i.e. Buddha’s teachings) and the Sangha (i.e. the
Order of Buddhist Monks) to give protection and guidance;
(d)
the Mantras contain sounds that evoke positive and superlative power and
energy to give strength and protection and to ward off dangers and evils;
(e)
special materials were used in the making of votive images [including
ashes and relics of eminent Buddhist Masters and Lamas and alloy of
metals in secret alchemy to give added strength and tejas (i.e. fiery
energy)]; and
(f)
special and auspicious dates were selected for the purpose of consecration
of votive images based on in depth study and understanding of astrology.
3
The wearing of votive images is especially prevalent in Theravada Buddhist Tradition
(particularly in Thailand). Apart from wearing votive images as talismans, it has become
a past time for many Thais to collect and treasure them as cultural, artistic and religious
artefacts.
The making and the giving of votive images as talismans by Buddhist Monks have taken
a special trend and development. It has become related to a Dhana offering (i.e. alms
giving to gain merits). In this respect, Buddhist Monks specially devote their time,
attention and effort to make and consecrate votive images as powerful talismans to give
to their disciples and devotees for their protection and well-being. In return, disciples and
devotees make monetary offerings to Buddhist Monks to help them in their projects to
build, upkeep and maintain temples and also to maintain the Sangha (i.e. the Order of
Buddhist Monks) and to assist in other charitable causes.
To share and enjoy the beautiful and endearing nature of votive images, Nei Xue Tang –
A Buddhist Art Museum will show case their 125 significant and rare pieces of votive
images for appreciation of this great but less known works of art. In selecting such pieces,
we have not included many Sino-Tibetan pieces because this area of collection will be
separately dealt with in another display and notes.
_______signed________
WOON WEE TENG
NEI XUE TANG – A BUDDHIST ART MUSEUM
From Matrceta’s Hyms to the Buddha – An English Rendering of the “Satapancasatka” by Ven. S.
Dhammika.
See Page 31 of Art of the Lotus Sutra edited by Bunsaku Kurata and Yoshiro Tamura (Kosei Publishing
Co.).
See Page 257 of A Treasury of Mahayana Sutras translated by C. C. Chang (Motilal Banarsidass
Publishers).
4
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