Sacred Images

SACRED IMAGES
Notes from a presentation given by Brother Richard Maidwell as part
of the Exploring Consciousness series at the Labia Theatre in Cape
Town, December 2012
Brother Richard belongs to the Catholic Redemptorist Community in
Cape Town, and his speciality is the study, restoration and
production of religious icons. He believes that icons are more than a
religious work of art, and are a source of grace, enlightenment and
merit.
Graham Williams, owner of an original Christ and the Buddha Meet
icon by Richard, assisted.

An image is part of what it means to be
human, enables us to go beyond
ourselves and access our spiritual
nature; and to express ideas and
concepts beyond verbal language and
intellect.

Images have the power to move us to
wonderment. Give us a „transcendental
perspective.‟

I hear babies cry...... I watch them grow
They'll learn much more.....than I'll never
know
And I think to myself .....what a wonderful
world

A natural labyrinth
in nature.

The previous slide brings to mind a story told by Anton Osler
(Stoep Zen):
Louis van Loon who established the Buddhist Retreat Centre in
Ixopo, Natal was asked to do renovations at a nearby Catholic
convent, badly in need of repair and brightening up. One of his
actions was to embed a large, colourful, tile flower in the passage
between the bathroom and sick bay.
Years later he learnt that Sister Magdalena had stayed in her bed
staring blankly, ignoring her bible, being sick and depressed, near
death for ever so long...............
One day a nurse found her singing in the passageway, tracing the
tile flower with her walking stick. Mother Superior commented:
"Maybe it was the Buddhist flower that helped her find her faith
again".

Pre-historic rock art,
around 20 to 30,000
years old, signify a
leap in human
evolution, a creative
explosion.

San rock art may be the result of altered
states of consciousness or images seen in
hypnotic states. The relationship between
image and religious experience is
certainly the case in Christian and
Buddhist iconography.

Image of Chauvet cave, France. (30 -35000 years old)
S. Mitten writes in “Thoughtful Foragers: A study of prehistoric decision making”. :
“...this art was a part of modern human ecological adaptation to their environment. The
art functioned to extend human memory, to hold concepts which are difficult for human
minds to grasp and to instigate creative thinking about the solution of environmental and
social problems”.

12,000 years later, an
ancient Egyptian Pharaoh‟s
image gives the text
authority. Word and image
used simultaneously

The Rosetta
stone illustrates
well that even our
modern written
language began
as image.

The icon or image - whether
Christian or Buddhist - is not the
personal expression of an individual
artist.
It is the expression of an ancient
tradition which has been distilled
over time through prayer and inner
experience of a community of Faith.
The Icon is therefore a sacred
space which one enters into ….
carefully and with the right attitude.
“Take off your shoes for this is holy
ground.”

With both Tibetan Thangkas and Christian Icons we have less of a feeling of looking
into a picture than that the person portrayed looks out at us. Their respective
traditions have much more in common.
Icon gazing has for ages applied to both traditions. Buddhist monks gaze at
mandalas until the images come to life for them. Catholic priest Henri Nouwen wrote
on the subject (“Behold the Beauty of the Lord: praying with icons”). Icon gazing is
a way of entering into sacred space and seeing with the heart, receiving wisdom
that cannot come any other way. It‟s akin to walking a labyrinth. Unlike a maze there
are no dead-ends, puzzles, problems to solve. One follows the path to the centre,
and then leaves refreshed and with new insights.

Contemplation, meditation and ultimately transformation are what these images are
really made for. The Christian Iconographic tradition has a turbulent and interesting
history resulting in a highly worked out theological basis for its existence. It also shows
how the human need for the religious image survived huge opposition in its formation.

The most comprehensive
examples of early Christian art
come from the Roman
catacombs. They show a 300
year journey of discovery in
understanding the faith and its
implications. For the then mainly
illiterate these simple images
reminded them of the verbal
teachings they had heard, about
eternal life. Many of the symbols
were taken directly from pagan
art.

Catacomb of Priscilla…..Orans figure, dove with a branch in its mouth….divine
intervention…...Good shepherd

The God Orpheus for instance who‟s history had many parallels to the life
of Christ, was adopted from pagan imagery as the good shepherd.
The fish which became a cryptogram for the name of Jesus was also a
pagan fertility symbol of the Goddess Atagartis.

Dove with olive branch –
symbol of divine intervention.
Woman at the well, Orans
figure and Chi rho, Jesus the
good shepherd portrayed as
Orpheus.
Other symbols which
gradually replaced earlier
themes show Jesus raising
Lazarus from the dead,
talking to the woman at the
well, feeding the multitude.

. The prophet Jonah being regurgitated by the whale – symbol of resurrection. The
loaves and fishes, feeding of the 5000 - symbol of the Eucharist.

Head of Jesus. Catacomb of Comadilla Rome 4th Century.
By the later part of the 3rd Century we see the Symbolic Christ being
replaced by the bearded face which associate with Jesus.

The image Of Jesus we have
come to know and recognise
soon overtook all others of a
symbolic nature.
It soon became apparent and
agreed that this is what
Jesus of Nazareth looked
like.
This was later corroborated
by the appearance of the
“Holy Cloth” or the „Sudarion‟

The previous slide shows the presentation of the Mandylion to King
Agbar. Acheiropoietos – an image not made by human hands.
Thaddaeus one of 70 unnamed Apostles. Luke 10; 1-20. King Agbar. 4
BC – AD 13-50.
A legend tells of A King Abgar of Edessa who‟s Capital Edessa would
be modern day Orfu.
King Agbar was a leper and had heard of the healings of Jesus. He
sent a servant to Christ to invite him to come and heal him.
Christ declined saying he had been called first to the lost sheep of
Israel.
It is said he took a cloth and touched it to his face which gave to the
servant to take back to the King.
As soon as the King touched the cloth he was healed.
The cloth was revered in the city until The Byzantine Emperor
Constantine Porphyrogenitus brought it to Constantinople in 944.
It disappeared during the Crusader attack on the city in the 12 Century.
This about the time the shroud appeared in Europe.

The shroud which appeared in Europe in the 12 Century underwent a carbon 14
dating test a few years ago. They came up with a 12 century date.
However this has been challenged as linen is reported to be notoriously difficult
to date using this method.

In the West we have a similar
legend called Veronica‟s veil (or
sudarium) which made its
appearance. The name
Veronica being a play on the
words „Vera Icon‟ or „The true
Image‟.

If we look at the shroud superimposed on the
famous 6th Century Icon from Saint
Catherine‟s in the Sinai, we can see that
there is a remarkable similarity and fit.
This then has become the fixed format of
features for Christ till today, and is obviously
part of the cannon.

The Icon soon became fixed according to style and
subject matter.
During this time the Christian Church was undergoing
huge changes.
By the Fourth Century and the peace of Constantine a
new flowering of Christian art began. However not an
adaptation of Pagan Greek and Roman art but the
development of a new style, obviously with elements of
the old but with a new shift best able to express the new
faith.
As the church grew and evolved in the faith and
deepening understanding of Gods revelation in Christ
the Icon reflected the dogmatic decisions of the
councils.
The next slide shows a Mosaic of Christ. Hagia Sophia.
Constantinople. 13. c.

Subtle differences, but the same
depiction

Church of S. Maria in Domnica. 817 – 24.

At the council of Ephesus (431) Mary was proclaimed
„Theotokos‟. Which meant that she was the Mother of Jesus
who is both human and divine without „confusion. We cannot
separate his human nature from his divine and visa versa. The
use of Theotokos was formally affirmed at the 3rd Ecumenical
Council held at Ephesus in 431. The competing view,
advocated by Patriarch Nestorious of Constantinople, was
that Mary should be called Christotokos, meaning "Birth-giver
of Christ," to restrict her role to the mother of Christ's humanity
only and not his divine nature.
Nestorius' opponents, led by Cyril of Alexandria viewed this as
dividing Jesus into two distinct persons, the human who was
Son of Mary, and the divine who was not. To them, this was
unacceptable since by destroying the perfect union of the
divine and human natures in Christ, it sabotaged the fullness
of the Incarnation and, by extension, the salvation of humanity.
The council accepted Cyril's reasoning, affirmed the title
Theotokos for Mary, and anathematised Nestorius' view as
heresy.

More and more Icons appeared with her holding the divine infant and the letters;
Mary now became the empress to denote her exalted dignity as the Mother of
Jesus the King. Mary wears purple reserved only for the Emperor and Empress.
In this 6th Century Icon from Saint Catherine‟s in the Sinai Mary is seated in
Imperial majesty surrounded by her court – angels and Martyrs. The Icon became
a dogmatic statement, a teaching tool.

Theotokos. The
Virgin Hodigitria. She
who shows the way.
This slide shows a
contemporary Icon in
the same style and
format as laid down
over a thousand
years ago.

In former times God, who
is without form or body,
could never be depicted.
But now when God is seen
in the flesh conversing with
men, I make an image of
the God whom I see. I do
not worship matter; I
worship the creator of
matter who became matter
for my sake, who willed to
take his abode in matter;
who worked out my
salvation through matter.
St John of Damascus

At the last Council before the great split between the East and
West church, the council stated that Holy Scripture and the Holy
image are “mutually revelatory.”
Thus the visible image is equivalent to the verbal image. Just as
the word of scripture is an image, so is the painted image a word.
No less than the written word, an Icon is an instrument for the
transition of the Christian faith and tradition.
Through sacred imagery the Holy Spirit speaks to us, revealing
truths that may not be evident to those using only the tools of
reason.
Icons are an aid to worship. Wherever an Icon is set, that place
becomes more easily an area of prayer. The Icon is not an end in
itself anymore than the Scriptures are but it assists us in going
beyond what can be seen with our physical eyes into the realm of
mystical experience.

What brought about for me the interest in elements of Buddhist
Iconography was the execution of the Christ meeting Buddha icon.
Particularly Himalayan Buddhist iconography.
Christian iconography has a very rich theological and historical
history which made the icon what it is today.
I had always had an attraction to Buddha images as I had for
icons from a very early age. As images they spoke to me.
I wanted to know why. As a Christian I studied Iconography but
only later as I said did I begin to study or look into Buddhist
iconography.
And the role of religious imagery in general.
This talk is not primarily an analysis or history of religious art
works but about the spiritual experience that went into their
creation and the spiritual role they play in our spiritual growth and
experience.
The Icon is an art at the service of the faith and dogma of the
community of the church and not the personal expression or
interpretation of an individual visual artist.

Now we turn to the Buddhist Thangka which I believe resembles the Christian Icon in so many
ways. In his book „Sacred Buddhist Painting‟ Anjan Chakraverty has this to say about religious
painting.
“In Tibet, to paint is to evoke. Every painting and sculpture is an evocation. The artist is led to a
state of ecstasy through yoga. He sees the image of the deities with the eyes of the spirit. Only
one divinised may paint. The artist identifies himself with the supreme, the immutable the
eternal...by meditation and ritual the artist projects the infinite. Thereafter the materials are
gathered, the rights of purification are performed so that the artist can begin to paint.
Iconometry regulates their design. The canons for various deities differ according to their
aspects. Manthangpa, the great art theoretician, prescribes eight aspects: monastic (nirmana-
kaya), shravakas (listeners) and pratyeka Buddhas. The treatise of Manthangpa has been
standard for centuries and it has been law to artistic schools. No transgression is possible, as
the Thangkas are plains of heavenly bliss, spheres of meditation to which the devotee ascends
when turmoil and passion cease”.
There in a nutshell gives a good idea as to what a Thangka is and its function.
However like the Christian Icon there is a wealth of history and influence that have brought the
Thangka to this point in time and „fined tuned it‟ making it what it is today.
The traditions of Buddhist art were introduced into Tibet from the eastern parts of India and
then continued by Nepalese artists.
There are two schools of thought within Buddhism regarding the creation and use of images.
One school say that Buddha was not in favour of images being made of himself. One theory
suggests that he did not want to be venerated as a person.
There are therefore no Images of Buddha until around the first century B.C.E.
Up until this time the Buddha was indicated by symbols.

These were, The eight spoked wheel, the Bodhi tree, Buddha‟s footprints, an empty throne, a
begging bowl and a lion. The most significant Buddha images, where Buddha is depicted as
a human being emerged, 2000 years ago in the Kingdom of Ghandara in what today
stretches over Afghanistan and parts of Pakistan. This area had earlier been conquered by
Alexander the great in 320 B.C and further under Demetrius 1 of Bactria in 180 B.C. In the
2nd Century the Yueh – Chih Mongolian tribes subdued Bactria. They established the Kushan
nation. They traded with the Romans down the silk Road and minted their own coins.

8 spoked wheel (dharmachakra) symbolises Buddha‟s turning of the wheel of the law.
8 spokes...8 noble truths. Centre represents Buddha, Dharma and Shanga. Stupa
symbolises the enlightened mind, also Royal status as well as the elements...earth
(base), dome (water), canopy (air), volume of stupa (space). Bhodi tree – Buddha‟s
enlightenment.

Earliest Buddha image found on coin. Kushana dynasty 100 B.C.E
In this slide we can see a Gold coin with an image og Buddha with typical
attributes: Extended earlobes, Right hand raised in
blessing, A halo. Around the first century A.D the
Kushan king Kanishka converted to Buddhism
spreading Buddhism throughout Central Asia and China.
The Kushans employed Roman and Greek sculptors
to produce new images of the Buddha.
This style became known as the Ghandaran style and
the Greek influence is quite obvious.
The clinging robe. Robe also precise but stylised.
Naked torso. Wavy hair. Stark frontality.
Deliberately realistic.

Ghandara – ancient kingdom of Kushan Kings situated in N. Pakistan and East
Afghanistan. Buddha images. Greek influence.

Good example of
Ghandaran Buddha. Heavy
Greek influence
They copied earlier
characteristics seen on
coins in stone.
They also depicted him in
a frieze depicting the four
stages of the Buddha‟s life
in the 2nd Century.
Now all the classic
elements of the Buddha
image had at last come
together.
From here Buddhist art
further developed in the
Gupta Empire around A.D
30.

Painted Buddha. Ajanta caves. 6 – 7th Century and early Tibetan Thangka of
green Tara 13th Century. Although this style developed from the previous
Ghandara style a new development was the serene downcast gaze as if in
meditation as well as „the wet‟ look treatment of robes.
It was in the Ajanta caves begun in the 2nd Century A.D that we come across
wall paintings which we can see are the direct ancestors of the Mahayana
Himalayan Thangka.

Thangka painting originated in Nepal, where
it is said to have begun began in the 11th
Century, and was introduced into Tibet

Thangkas were convenient for travel and
missionary expeditions, as they could be
easily rolled up and transported. The art of
Thangka painting can also be applied to
walls as well as manuscript covers and other
small devotional objects.
The earliest Tibetan texts on Iconography
date back to the fifteenth century.
A Thangka is
defined as an
embroidered
banner which
was hung in
the Monastery
or the family
altar and
carried by
Lamas in
ceremonial
processions.

By this time a complex visual language had grown for the Buddha image and other
deities. The complex pantheon of Tibetan Buddhism is hard define or classify.

Tibetan Buddhism adopted Tantric Buddhism with its vast
and complicated system of Deities, rituals, and
symbolism.
As well as the Tibetan Vajrayana deities there are more
than 500 deities of Tibetan conception. We will stick to
Thangkas of the historical Buddha Shakyamuni as they will best illustrate our subject

Apart from the Indian influence on Thangka painting, the painting
traditions of Nepal, China, Khotan and Persia all played a part in the
creating of a national style.
These styles are further influenced by differences within differing
geographic areas in the Himalayan region.
As we noted concerning The Christian Icon the Tibetan Thangka are a
focus for meditation and prayer.
They are meant to serve as a record of, and guide for contemplative
experience.
For example a teacher might instruct his pupil to imagine/visualise
himself as a particular deity in a specific setting. The Thangka would be
used as a reference for the details of posture, attitude, colour, clothing.
Etc.
They convey iconographic information in a pictorial manner.

The next slide shows a contemporary Thangka painting.
Buddha Shakyamuni. Late 20th Century
The image of the Buddha, who was called the greatest yogin of
all times, expresses tranquillity.
The harmony of his physical proportions are meant to convey
this harmony and physical beauty.
The required measurements are laid down in the cannon (or
standard pattern) of Buddhist art.
The span, according to Buddhist artists is the ideal for physical
proportions.

What follows is a Shakyamuni Buddha accompanied by
Christ pantocrator enthroned with Saint Veronica and Saint Theodore.
Everything, the spot between Buddha‟s eyebrows, marking the eye of
wisdom, as well as the tip of the nose, has its own special place. The
nose has a specific length just as the ears have their own exaggerated
length.
The symbol of the Buddhas greatest enlightenment is the so called
„enlightenment elevation‟ (Ushnisha) on top of the head.
It represents the visible symbol of the spiritual generative power that
strives towards heaven.
The cononic prototype of the Buddha shows him seated with his legs
crossed and the soles of his feet visible.
A pupil learning to paint will have to practise drawing for at least three
years before he picks up a brush.
As in Christianity certain images were venerated as possessing
miraculous powers.

18 century icon of the prophet Elijah being fed by ravens at the wadi Cherith. And
Milarepa, Tibets most famous yogi.
Both depictions have similar ways of portraying the wilderness or cave.

Following: Kalachakra. Considered as a device that shows the path away from
life to Nirvana. Based on the ancient Tibetan ideology it tells you the method to
reach the nirvana. It is considered a meditational device.
It is used for the positive energy and happiness in the house.
Kalachakra can be explained from the above picture of the kalachakra
mandala, working towards the centre.
The fire line is the present life - where we suffering pain,sorrow and grief.
We cross the line and reach the moment when we die.
Then we reach to a time where there is complete darkness.
After this we come across a door of Om Mane Padme Hum.
After this we come across an ocean where we need to immerse ourself and
clear our sins and clear our minds and thoughts.
We reach to a castle where there are four doors with four different colours.
Each colors represent specific quality of person.
if you have a peaceful and cleared mind then you enter from the white gate.
if you have a meditative mind then you enter from the yellow gate.
if you have graceful mind then you enter through red gate.
And if you still have dark mind then you enter from the black door.
After this there are 14 different rooms in the castle representing 14 different
steps to reach nirvana. And when you complete all the different steps then you
reach to the center to nirvana.

Role of monasticism in both the art of Christianity and Buddhism.

Buddha Statue at Polonnaruwa Sri Lanka 11 Century. Trappist monk Thomas
Merton, overwhelmed by this art: “ I don’t know when in my life I have ever had such
a sense of beauty and spiritual validity running together in one aesthetic illumination”.

A „take away‟ thought that you may start out with when
contemplating the Buddha and Christ icon in your own time:
When Christ and the Buddha meet, there is no need for them
to speak. In the face of God there is nothing to say, but
allowing God to be. In the icon they are silent but touch and
embrace.
And indeed, according to Nobel Peace Prize nominee Tich
Nhat Hanh, who sees the Buddha and Christ as brothers:
“Not only have they met today, but they met yesterday, they
met last night, and they will meet tomorrow…..Their meeting
is the hope for the world. The Buddha and Jesus have to
meet every moment in each of us”.

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