Indian art is religious in nature, and is a form of symbolic worship. Visual depictions of Gods and Goddesses gained momentum in India inspired by Buddhism. Early images of Buddha depicted him only in the symbolic form - dhammakaya, using motifs like the lotus, srivasa symbol, his footprint, the lucky knot, the bodhi tree, etc. Gradually, Buddha began to be depicted in Rupakaya or anthropomorphic form.
The basic iconographic traits for Buddha include the following - the ushnisha (the top knot on his head), symbolising spiritual attainment and supreme wisdom; the urna (the dot between his eyebrows), that represents insight and compassion; elongated earlobes, symbolising renunciation and the ability to listen to the suffering of all; his serene expressions with eyes half closed, indicating meditation; a soft smile indicating inner peace and a halo behind him to show enlightenment.
Gautam Buddha in Madhubani by Priti Karn
Buddha is depicted with his hands in various mudras or gestures, each carrying a symbolic meaning.
In the Bhumisparshana mudra, Buddha is depicted sitting in meditation with his left palm upright in his lap, and right hand touching the ground. This signifies the calling of Earth to witness his nirvana.
Buddha in Sikki Grass work by Suraj Kumar Sahu
The Dhyanamudra is considered to be a mudra for meditation. This indicates Samadhi or yoga mudra. It depicts Buddha with both hands in his lap with the back of the right hand resting on the palm of the left hand with fingers extended. This is the mudra used by Buddha for his final meditation under the Bodhi tree.
Buddha Under Bodhi Tree in Sikki Grass work by Suraj Kumar Sahu
Lord Buddha in Sikki Grass work by Suraj Kumar Sahu
Lord Buddha under peepal leaves in Tikuli painting by Ashok Kumar
The Vitarka mudra indicates teaching and discussion or intellectual debate. The tips of the thumb and index finger touch and form a circle. This symbolises the constant flow of energy, and the belief that there is no beginning or end, just perfection. The right hand is positioned at a shoulder level, while the left stays in the lap, with the palm facing upwards.
Buddha in Viktara Mudra Kalamkari Painting by Siva Reddy
Buddha in Zardozi by Md. Bilal
Lord Buddha in Madhubani by Priti Karn
The Dharmachakra mudra signifies turning the wheel of Dharma or law, involving both hands to show balance. Mystic circles are formed to create the cycle of movement. This mudra was exhibited by Buddha after his enlightenment, at his first sermon at Sarnath.
Buddha: Kalamkari painting by Harinath.N
The Abhaya mudra, indicating protection and fearlessness is shown by the right palm at a shoulder level, while the Varada mudra represents giving, with an open left palm resting the thigh, with the five fingers each giving the blessings of morality, patience, generosity, effort and meditative concentration.
Harmony in Hues: The Enlightening Buddha at Mandapa Pattachitra Painting by Apindra Swain
In artworks, Buddha is depicted wearing simple robes - sanghati, with symbols like the lotus (representing purity and divine birth), Bodhi tree (indicates enlightenment), dharmachakra (the wheel of law) , deer (symbolic of his first sermon at the Deer Park at Sarnath), the lion throne, etc. surrounding him, each telling a story of their own importance.
Buddha under Bodhi Tree in Madhubani Painting By Ambika Devi
He is shown in three postures. The first being sitting in padmasana, meditating.
Enlightenment in Wood: The Captivating Saga of Buddha's Story with Raw Sandalwood Carving by Om Prakash
Lord Buddha in Kantha Embroidery by She Kantha
He can also be portrayed standing, usually when he is preaching or on a journey.
Buddha in Madhubani by Priti Karn
Buddha: Pattachitra painting by Gitanjali Das
In a few cases, he is also seen reclining during his Mahapariniravana.
In Vajrayana Buddhism, also known as Tibetan or tantric Buddhism, Buddha is depicted in five different forms - the Dhyani Buddhas. The Adi Buddha, or original Buddha is depicted in a dark blue color, holding a vajra and a bell, as depicted in the below Thangka painting.
Buddha with Vajra in Thangka paintings by Gyaltsen Zimba
In Vajrayana as well as Mahayana Buddhism, Bodhisattvas are revered as celestial beings who have attained various enlightened qualities like compassion, wisdom, power, etc. and are on the path to enlightenment, but refuse the state of nirvana to help others. There are many differences in the iconography of the Buddha and Bodhisattvas, who have not given up materialistic things, and do not dress like a monk. While Buddha is clad in simple monk’s robes and no ornaments, Bodhisattvas wear ornate robes, jewellery, crown and silk scarves. Their hair is often long and flowing hair tied in topknots, more decorative than Buddha. They are often surrounded by lotus thrones, flames, or multiple halos, unlike the simple halo of Buddha. They are depicted in graceful or dynamic poses like the tribhaṅga (3-bend posture), as opposed to Buddha’s abhanga. Their faces are very expressive, showing compassion, fury, concern, etc. They carry their iconic attributes like a sword, vajra, book, lotus, etc.
These are popular themes in Thangka art, a traditional form of Tibetan Buddhist scroll painting. Though there are countless Bodhisattvas, a few are more prominently depicted in art, including Avalokiteshvara, Vajrapani and Manjushri.
The Trimurty, Three Supreme Gods: Thangka Painting by Krishna Tashi Palmo
Avalokitesvara, one of the most important Bodhisattvas, the name translating to the lord that looks down on, or looks after people. His iconography includes a rosary or mala and a lotus or padma in his hands. His hands are either seen in the Anjali mudra - the mudra of greeting, Vitarka mudra or Varada mudra. He is usually depicted in white, highlighting his compassionate nature.
Awalokiteshvara: Thangka Painting by Krishna Tashi Palmo
Bodhisattva Manjushri is associated with the color golden or orange, depicted as a young, radiant personification of wisdom. He is usually portrayed as standing or seated on a lion or lotus throne. His hands often carry a sword and a book, or are depicted in the Dharmachakra or Varada mudra. The sword symbolises cutting through ignorance, while the sacred book he carries is believed to be the Prajnaparamita Sutra, one of the three representations of perfection of wisdom. It rests on a lotus flower held in his left hand, symbolising purity and spiritual awakening.
Manjushri, God of Wisdom: Thangka Painting by Krishna Tashi Palmo
Manjushree depiction in Thangka painting by Gyaltsen Zimba
Bodhisattva Vajrapani is associated with the color blue,depicted holding a vajra (thunderbolt or diamond scepter). The Vajra symbolises the indestructible nature of truth and wisdom and the power to overcome obstacles and dispel ignorance. He is usually portrayed as a wrathful deity with fierce expressions, highlighting his role as a protector of Dhamma. He is shown with furrowed brows, glaring eyes, and bared fangs, signifying his determination to destroy ignorance and delusion. Sometimes, he has a third eye on his forehead, symbolising spiritual insight. He has a muscular and robust body, representing strength and the ability to remove obstacles. Vajrapani is commonly depicted in a dynamic posture, with one leg bent and the other extended, showing readiness for action. He is adorned with snake ornaments, a reference to his power over obstacles and harmful forces. Clad in a tiger or elephant skin around his waist as an expression of his fearless and wild nature, he also wears a crown featuring skulls, signifying the transience of life. He is surrounded by flames, an indication of purification and the destruction of ignorance.
Vajrapani: Thangka Painting by Krishna Tashi Palmo
In Vajrayana Buddhism, Tara is a revered goddess, also believed to be a female Bodhisattva. There are twenty-one primary forms of Tara. She is both a personal deity and a universal symbol of compassion and wisdom. She is often visualised in tantric meditations, helping practitioners cultivate fearlessness, compassion, and inner peace. She is usually shown in a seated posture, with her right hand in the Varada mudra and left depicting the Vitarka mudra. The lotus flower, a symbol of purity and liberation, is also associated with her. There are twenty-one primary forms of Tara.
The Twenty-One Taras in Thangka painting by Krishna Tashi Palmo
The two most widely worshipped forms of Tara are green Tara and White Tara. Green Tara, also called Shyamatara, is associated with enlightenment and fearlessness. Her extended leg shows her readiness to act, always present as a saviour to her devotees in need. She holds a blue lotus (utpala) and is surrounded by peaceful energy.
Green Tara in Thangka painting by Gyaltsen Zimba
The Green Tara Devi: Thangka Painting by Krishna Tashi Palmo
White Tara is also known as Sitatara. She is associated with compassion, long life, and healing. She is believed to have seven eyes (including palms, soles, and forehead) to see all suffering. She is invoked for health and longevity.
White Tara in Thangka painting by Gyaltsen Zimba
The Buddha and Bodhisattvas have found powerful expression in India’s rich cultural legacy of traditional, folk, and tribal art. From the delicate brushstrokes of Pattachitra in Odisha to the vivid storytelling of Madhubani, to the gorgeous embroidery styles like Zardosi, artists across regions have depicted Buddha through their unique cultural lenses. While classical Buddhist Thangkas follow strict iconographic norms, India’s folk depictions often blend local myths and daily life with Buddhist motifs, creating distinct interpretations. These art forms not only preserve the spiritual narratives and philosophy, but also act as a bridge between the ideals of Buddhism and the artistic traditions of India’s diverse communities.
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References -
- Academia.edu. “Buddhist Iconography and Religious Symbolism in Different Buddhist Statues.” Accessed June 7, 2025. https://www.academia.edu/47814920/Buddhist_Iconography_and_Religious_Symbolism_in_different_Buddhist_Statues.
- Huntington, Susan L. The Art of Ancient India: Buddhist, Hindu, Jain. New York: Weatherhill, 1985.
- Manabe, Shunsho. “Representation and Theory in Buddhist Iconography.” Journal of Indian and Buddhist Studies 54, no. 2 (2006): 812–821. https://www.jstage.jst.go.jp/article/ibk1952/54/2/54_2_812/_article.
- Narangoda, Prashanthi. “Symbolism of the Iconographical Attributes of Bodhisattva Avalokiteśvara in Mahayana Buddhism.” ResearchGate. Accessed June 7, 2025. https://www.researchgate.net/publication/266387796_Symbolism_of_the_Iconographical_Attributes_of_Bodhisattva_Avalokithesvara_in_Mahayana_Buddhism.
- The Metropolitan Museum of Art. Tara. Pala period, ca. 11th–12th century. Accession number 1984.519. New York. Accessed June 7, 2025. https://www.metmuseum.org/art/collection/search/39394.
