Buddhist Iconography

Artistic representations of seated Buddhist figures and deities, showcasing intricate details, contemplative postures, and traditional craftsmanship in diverse materials.

The Buddddddda is write, anonymous, c. 1500 - c. 1600 Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material) Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material)

Seated Dipankara Buddha with Flaming Shoulders 6th-7th century China (Xinjiang Autonomous Region) In a past birth Shakyamuni met the Buddha Dipankara and vowed to pursue the path to Buddhahood. By the fourth century Dipankara Buddhas represented with flaming shoulders began to appear in the sculpture of Gandhara and Afghanistan and in Chinese bronzes. This seated Buddha was likely part of a mandorla.. Seated Dipankara Buddha with Flaming Shoulders 39985

Seated Ganesha 9th century Indonesia. Seated Ganesha 39004

Guanyin, anonymous, 618 - 906 Avalokitesvara (Guanyin), standing on a lotus pillow; In the lifted right hand a wish jewel and a vase in the left; Side figure of an altar. China bronze (metal). gilding (material) gilding Avalokitesvara (Guanyin), standing on a lotus pillow; In the lifted right hand a wish jewel and a vase in the left; Side figure of an altar. China bronze (metal). gilding (material) gilding

Altarpiece with the First Jaina Tirthankara Rishabhanatha Surrounded by Twenty-Three Other Tirthankaras. India. Date: 1089. Dimensions: 51.3 x 34.5 x 19.1 cm (20 1/8 x 13 5/8 x 7 1/2 in.). Brass inlaid with copper and silver. Origin: India. Museum: The Chicago Art Institute, Chicago, USA.

Statuette of Buddha Sitting on Engraved Throne Korea 10th century Legend has it that Buddhism was first introduced to Japan in 552 by a Korean king who sent "an image of Shakyamuni in gold and copper, several flags and umbrellas, and a number of volumes of sutras" along with a memorial lauding Buddhism as "amongst all doctrines the most excellent...Every prayer is fulfilled and naught is wanting" (Nihon Shoki, trans. W.G. Ashton, vol. 29, sects. 33-35). This legend may or may not be based on an actual historical event; nevertheless, the early Yamato and Nara states of Japan did have a flourishing trade with Korea and the Asian continent, which continued until the end of the Chinese Tang dynasty in the ninth century. Artisans, monks and diplomatic missions brought a rich array of fascinating objects both religious and secular, to Japan. In the early years of Japanese Buddhism, the faith was largely patronized by the ruling clan, which set up a centralized government modeled on the Tan

Golden Buddha at Bodhvihar, Nasik, Maharashtra, India Copyright: xMadhusudanxManek/DinodiaxPhotox

Head of buddha Head of stone buddha isolated over white background Copyright: xZoonar.com/IvonnexWierinkx 11356630

Pendant: Saint Anthony of Padua. Culture: Kongo peoples; Kongo Kingdom. Dimensions: H. 4 in. (10.2 cm). Date: 16th-19th century.This brass pendant of St. Anthony of Padua holding the infant Christ is an exceptional example of the casting prowess of Kongo artists. The diminutive size of this brass object and the loop posited at the tip of its inverted triangular hood indicate that it is a pendant. Originally cast with crisp detail, portions of the figure are now shiny and worn, suggesting that the pendant came into contact with the skin through active wear, or that it was repeatedly handled. Altogether, the saint's impression is one of calm alertness, like that of the wide-eyed Christ child, who looks forward as he stretches out his arm across the chest of the elder saint, gesturing towards the outlined crucifix in the saint's right hand. Though only an infant, Christ is half the size of the saint, emphasizing his importance in Christian theology. His physical proximity to the cross al

Figurine of bodhisattva Guanyin. unknown, craftsman

Birch wood carving of Saint Bishop from Saint-Bertrand-de-Comminges. Dated 14th Century

Close up statue of goddess Saraswati with musical instrument isolated. Close up statue of goddess Saraswati with musical instrument

Bodhisattva (Avalokiteshvaram) 560 A.D. A Bodhisattva is an enlightened being.

Image of standing Buddha. Image of standing Buddha.

Bronze statue of somaskanda shiva parvati with skanda Tamil Nadu India Copyright: xMxAmirtham/DinodiaxPhotox

Bodhisattva Samantabhadra (Puxian). Culture: China. Dimensions: H. 8 3/4 in. (22.2 cm). Date: 12th-14th century. Museum: Metropolitan Museum of Art, New York, USA.

'Votive Plaque with a Representation of the Crowned ( ) Buddha in a Meditation Pose'. Siam (now Thailand). Ayutthaya art, 16th century. Dimensions: 12,8x9 cm. Museum: State Hermitage, St. Petersburg.

Standing Bodhisattva 8th century Thailand. Standing Bodhisattva. Thailand. 8th century. Gold sheet. Mon-Dvaravati period. Sculpture

Buddha with Bodhisattvas Padmapani and Vajrapani. Culture: Tibet. Dimensions: H. 10 in. (25.4 cm); W. 7 in. (17.8 cm); D. 1 1/2 in. (3.8 cm); Wt. incl. base 3 lbs (1.4 kg). Date: ca. 10th century.This early molded-clay shrine, among the most complete example from tenth-century Tibet, depicts the three prevailing deities of early Tibetan Buddhism. A Sanskrit ye dharma verse in Tibetan script adorns the base, together with the Three Jewels motif. The Italian Tibetologist Giuseppe Tucci acquired the work at Tsaparang monastery in the early 1930s. Museum: Metropolitan Museum of Art, New York, USA.

MAHACALA CIEM; 19th century () (1801-00-00-1900-00-00);

Head of Buddha, 1350-1425. Thailand, Ayutthaya, 14th-15th century. Sandstone and lacquer; overall: 49.6 cm (19 1/2 in.).

Sleeping Vishnu, Anonymous, c. 1200 - c. 1400

Seated Buddha first quarter of the 5th century India (Uttar Pradesh). Seated Buddha. India (Uttar Pradesh). first quarter of the 5th century. Sandstone. Gupta period. Sculpture

A Japanese painted wooden figurine of Aizen My' 'Passionate King of Light' a dharmapala deity from the Esoteric and Vajrayana Buddhism. Dated 15th Century

Goddess Chamunda probably 15th-16th century Nepal Chamunda is conceived as a terrifying aspect of Durga, symbolizing delusion and death. Such repoussé "masks" were intended for use in the creation of lifelike effigies of the gods; the metal face was affixed to a carrying frame and the figures were dressed in cloth. These images were for processional use, as seen in related practices in the Hindu communities of Himachal Pradesh and elsewhere, where image palanquins of this type are carried by devotees during festivals.. Goddess Chamunda. Nepal. probably 15th-16th century. Repoussé copper alloy. Metalwork

Luohan with an armrest 19th-20th century China A luohan with crossed legs leans on a curving armrest. With an animated expression, he points out his finger, as if lecturing the Buddhist doctrine to a rapt audience of monks.. Luohan with an armrest 65593

Seated Four-Armed Ganesha 11th-12th century India (Tamil Nadu). Seated Four-Armed Ganesha. India (Tamil Nadu). 11th-12th century. Copper alloy. Chola period (880-1279). Sculpture

Seated Ganesha 14th-15th century India (Orissa) The Hindu god of auspiciousness, Ganesha, is popularly accepted as the first son of Shiva and Parvati. As the deity who controls obstaclestheir invention and their removalhe is worshiped prior to any serious undertaking. This seated four-armed Ganesha holds one of his tusks, two entwined snakes, an elephant goad, and a box of sweets. Listen to experts illuminate this artwork's story Listen Play or pause #7994. Seated Ganesha Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as possible.. Seated Ganesha 38516

Buddhist Triad. Thailand, Pimai (), 13th century. Sculpture. Copper alloy

Ritual Dagger (Phurba), 1403-1424, 9 3/4 x 2 x 2 in. (24.8 x 5.1 x 5.1 cm), Gilt bronze, China, 15th century, The phurba is used in Lamaist Buddhism during rites to exorcise evil influences. Based on a tent peg, the ritual weapon is employed to pin down demons harmful to Buddhist thought in the process of taming and teaching them.

One of a Pair of Guardian Figures (Zuishin), c. 1560-1625. Japan, Muromachi period (1392-1573) to Edo period (1615-1858). Japanese cypress (hinoki) with traces of color; crystal; 68.5 x 71.4 cm (26 15/16 x 28 1/8 in.); 70.2 x 70.5 cm (27 5/8 x 27 3/4 in.). Sculptors carved these two figures to look like members of the guard who protected the Japanese aristocracy in the 10th to 12th centuries. The pair belong in the roofed gate of a Shinto shrine. Their role was to embody the divine protectors of the deities, or kami, residing at the shrine. Their inset crystal eyes make them appear vigilant.

Buddha Standing with Hand in the Gesture of Reassurance (Abhayamudra) with Radiating Nimbus 1675-1725 Sri Lanka. Ivory, wood, and pigments .

Death of the Buddha, Basalt sculpture. Dated 10th Century

Wrathful Eight-Armed Deity with Bird Attendants 16th-17th century Nepal (Kathmandu Valley). Wrathful Eight-Armed Deity with Bird Attendants 38359

. There are Four Heavenly Kings, each of whom watches over one of the cardinal directions of the world. They are muscled, grim-looking figures who protect the Buddhist faith against threats from every direction.

Four deities from a Vajradhatu (Diamond World) Mandala last quarter of the 10th-first half of the 11th century Indonesia (Java, Nganjuk). Four deities from a Vajradhatu (Diamond World) Mandala. Indonesia (Java, Nganjuk). last quarter of the 10th-first half of the 11th century. Bronze. Eastern Javanese period. Sculpture

Bust of a Bodhisattva ca. 4th-5th century Pakistan (ancient region of Gandhara) This image was made at a time when the naturalism of the earlier sculptural tradition was giving way to a greater formality, as artists strove to depict enlightened beings. The elaborate hairstyle, with topknot and hair flowing behind the shoulders, suggests that the sculpture represents Maitreya, the Buddha of the future. This image was once embellished with metal elementsnote the iron remains of an attachment in his left ear and the holes for affixing metal decorative elements along edge of his jeweled hair ornament.. Bust of a Bodhisattva 38108

Guanyin Lwiego Ryku (Simhanada Awalokite War); XVII-XVIII century (1301-00-00-1500-00-00);Guanyin, Qing (era - 1644-1911), figurines, ivory, Chinese art, purchase (provenance)

Metal statue of buddha, close up

Avalokiteshvara, the Bodhisattva of Infinite Compassion ca. late 7th-first half of the 8th century Sri Lanka The early history of Sri Lanka is intimately linked to that of India. In particular, Buddhism, which first reached Sri Lanka in the third century B.C., profoundly shaped the art and culture of this island nation.This small bronze, representing Avalokiteshvara, the Bodhisattva of Infinite Compassion, shares the physical proportions, sensuous plasticity, and exquisite modeling that characterize the sculpture of southern India in the seventh century. The deity's narrow face and elongated nose, however, attest to the work's Sinhalese origins.Avalokiteshvara is seated in a posture of royal ease on a square throne with right leg raised and foot placed on top of the pedestal. The left leg is pendant, the foot resting on a small projecting element. Identified by the smallin this case, abradedfigure of a Buddha in his headdress, Avalokiteshvara is dressed in a long dhoti and wears the

old vintage photo of Nataraj idol in madras museum tamil nadu India Copyright: xAjayxGoyal/DinodiaxPhotox

Golden laughing Buddha of feng shui India Copyright: xHarixMahidhar/DinodiaxPhotox

Statuette of Hotei (Buddha) on the white background

Standing Four-Armed Vishnu second half of the 7th century Vietnam (Mekong Delta area) This distinguished example of the pre-Angkor style comes from the Zhenla kingdom in the Mekong Delta of South Vietnam. It preserves the flavor of Indian sculpture, particularly in the full, round forms of the face. Vishnu's headdress is the orthodox high miter. He holds a conch (shankha) in his raised left hand and a war discus (chakra) in his right. His lowered left hand rests on the remains of a mace (gada). Originally, there were structural supports between the sides of the miter and the upper emblems. A portion of one is still visible on the right side of the miter. Listen to experts illuminate this artwork's story Listen Play or pause #7993. Standing Four-Armed Vishnu, Part 1 Play or pause #7993. Standing Four-Armed Vishnu, Part 2 Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as pos

A Demon Victim of Durga's Wrath 13th century Nepal (Kathmandu Valley). A Demon Victim of Durga's Wrath 38434

Torso of a seated Buddha AD 200-50 Kushan dynasty. Mathura, Uttar Pradesh, North India, Sandstone. Some of the earliest images of the Buddha were created Mathura. As with other early images, the Buddha's chest is fully expanded with yogic breath . He wears an outer monastic robe drawn up over both shoulders.

Torso of a Bodhisattva 9th century Indonesia (Java). Torso of a Bodhisattva 38270

Guanyin in a sanctuary. Turquoise and dark blue glaze sandstone, traces of gilding. Paris, Cernuschi museum. 78842-4

Buddhist monk Bodhidharma (Chinese: Damo). Culture: China. Dimensions: H. 4 1/4 in. (10.8 cm); W. 3 1/4 in. (8.3 cm); D. 2 3/4 in. (7 cm). Date: 17th century.The bald head, meditative posture, and monastic clothing identify this figure as Bodhidharma, the foreign monk credited with founding the Chan (or Zen) tradition of East Asian Buddhism. In Chinese sources, Bodhidharma is identified as both Central Asian and/or Indian; however, his biography remains elusive. Museum: Metropolitan Museum of Art, New York, USA.

Head of a Bodhisattva early 12th century Central Asia. Head of a Bodhisattva 40044

Mingqi feminin. Tears cook at glaçures. Par musée musée malée. 78847-24 Asian art, beyond, belief, figurine, mingqi, funeral object, model character, funeral rite, statuette

God Vishnu with Lakshmi and Sarasvati. Bangladesh. Date: 801 AD-1000. Dimensions: 24.5 × 18 × 7.7 cm (9 5/8 × 7 1/16 × 3 in.). Bronze. Origin: Bangladesh. Museum: The Chicago Art Institute, Chicago, USA.

SIVA SEÑOR DE LA DANZA DANZANDO EN UN CIRCULO DE FUEGO - DIOS HINDU. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Buddha Head 18th century, probably China. Buddha Head. China. 18th century, probably. Stone. Sculpture

Close up of Vishnu, 10th century AD, Vaishnav cult, Kalchurian period found at Jabalpur, Madhya Pradesh, India Copyright: xHarixMahidhar/DinodiaxPhotox

Hindu God Vishnu asVaikuntha

Hiten 10th century Japan Hiten (Sanskrit, apsaras), bodhisattvas who fly on clouds around the Buddha, are often represented playing musical instruments. They are important elements in the representation of his realm and appear on the rim of mandorlas behind statues of the Buddha and on the walls of Buddhist halls. While East Asian hiten are wingless, those from India and Central Asia tend to be winged and in this respect may be associated with the angels of Christianity, who perhaps evolved from the winged deities of ancient Iran. Unlike angels, however, hiten never seem to have acquired a spiritual function. Buddhist airborne deities' ability to fly is suggested by their fluttering scarves, their body postures, and their placement in the Buddha's realm. The strong modeling of this hiten, suggesting the large statue that it originally accompanied, reflects a tenth-century date. Listen to experts illuminate this artwork's story Listen Play or pause #8837. Hiten Supported by Bloomberg Ph

Figurine a deity on the background of Mandorla unknown

Base of an Altar Cross with Reading Angels Sitting on Dragons and Standing Church Fathers ca. 1125-50 North Italian The names of Saints Augustine, Jerome, and Gregory are inscribed on the books held by the angels. The absence of Saint Ambrose from the group (the heads are missing) indicates that the standard form of identifying the Church Fathers had not yet been established.. Base of an Altar Cross with Reading Angels Sitting on Dragons and Standing Church Fathers. North Italian. ca. 1125-50. Copper alloy, cast and gilt. Metalwork-Copper alloy

Model of a Stupa ca. 16th century Nepal (Kathmandu Valley) This miniature stupa has four shrines at the base, each housing a meditating Buddha. Eyes are incised on the four sides of the square section harmika between the dome and the tiered umbrellas, as seen at Swayambhunath stupa and elsewhere in the valley today.. Model of a Stupa 38342

Dancing Krishna

The bodhisattva Manjushri, India, or Bangladesh, Bengal, 11th-12th century, bronze, silver. Manjushri is seated on his mount, a lion. His relaxed pose, with one leg hanging down, is called lalita-asuna and is often found in images of bodhisattvas. On the blue water lily to the right of Manjushris head is his attribute - the book, a symbol of wisdom. Manjushri is making the gesture to set the wheel of doctrine in motion (dharmacakra mudra).

Bronze statue of the God Krishna, the Supreme God in his own right. Dated 12th Century

Standing Buddha, Pakistan, Gandhara, second half of the 2nd century A.D., Schist, Miho Museum, designed by I.M. Pei, Shiga Prefecture, Japan

Puppet (Wayang Klitik) ofGatotkaca

Daoist Immortal with Sacred Jewel. Japan, 18th century. Costumes; Accessories. Wood with later lacquer, inlays

Linga Cover with Four Faces of Shiva (Caturmukhalinga) 15th century Nepal (Kathmandu Valley) Metal linga covers (kosha; literally, "sheath") have played a part in the worship of the Hindu deity Shiva since antiquity. The four faces of Shiva on this cover, each pointing toward a cardinal direction, evoke different aspects of the deity. This type of cover is sometimes described as a five-faced linga (ekhamukhalinga); the fifth face is understood rather than represented and thought to be facing skyward.. Linga Cover with Four Faces of Shiva (Caturmukhalinga) 39359

Stele with the Bodhisattvas Avalokiteshvara (Guanyin) and Mahasthamaprapta (Dashizi). Culture: China (Henan province). Dimensions: H. 64 1/2 in. (163.8 cm); W. 35 3/4 in. (90.8 cm); D. 12 3/4 in. (32.4 cm). Date: mid- to late 7th century.The two bodhisattvas seen here can be identified by the symbols on their headdresses: the figure on the right is Avalokiteshvara (as indicated by the presence of a small Buddha), and the figure on the left, wearing the symbol of a vase, is Mahasthamaprapta. The latter bodhisattva, who represents wisdom, is not found as an independent icon in Buddhist texts and art. Instead, he is usually part of a triad that includes both Avalokiteshvara and the Buddha Amitabha, who is one of the three Buddhas represented on the reverse of this stele; it seems likely that the two bodhisattvas were meant to serve as their attendants. Museum: Metropolitan Museum of Art, New York, USA.

Sixth -Cioratory Mahakala; 2. PO. 19th century () (1851-00-00-1900-00-00);Purchase (provenance)

Statue of indian hindu god Shiva Nataraja - Lord of Dance isolated on white

Tadamori and the Oil Monk. Hidemasa (Japan, active early 19th century). Japan, early 19th century. Costumes; Accessories. Ivory with staining, sumi, inlays

Portable Shrine with Buddhist Deities, Guardians and Donors 16th-17th century China. Portable Shrine with Buddhist Deities, Guardians and Donors 61618

Seated Deity 10th century() Indonesia (Java). Seated Deity 39313

Djokjokarta (klaying) (R. Djokjokarta) Bodhisattva avalokiteshvara displaying the varadamudra, probably from Candi Plaosan (Former Klaering Collection). Yogyakarta, Yogyakarta District, D.I. Yogyakarta province, 9th century., 1865 photograph Java (possibly) paper. photographic support. cardboard albumen print

Laos: An entrance door decorated with a scene from the Hindu epic Ramayana (in Laos known as Phra Lak Phra Lam), Royal Funerary Carriage House, Wat Xieng Thong (Golden City Temple), Luang Prabang.

Puppet (Wayang Klitik) probably ofRukmarata

Dedicatory Statues of Kings or Priests, showing the influence of an Assyrian style. Stephen Thompson (British, about 1830 - 1893)

A couple of Lamai Tantric deities; XVII-XVIII century (1601-00-00-1800-00-00);

Khmer artefact. Bronze figure, CAMBODIA.

Chorten, 13th century, 17 11/16 x 7 1/2 in. (44.9 x 19.05 cm), Brass, Tibet, 13th century, This portable chorten (Tibetan for stupa, a domed structure that contains relics) can be understood as a three-dimensional mandala. The dome-shaped base derives from the hemispherical burial mounds erected over the relics of the Buddha. These architectural structures sprinkle the landscape of the Himalayas as representations of the Buddha, his teachings, and a microcosm of the universe. It is said the first mandala was created when devotees walked a pathway around the stupa, forming concentric circles along which they physically and mentally ascended toward the center the cardinal axis representing enlightenment. On this shrine, which would have likely been donated to a monastery, the tower of discs represents the 13 stages of enlightenment in the Kadem Order of Tibetan Buddhism. The crescent moon and sun symbolize the dissolution of opposites, a critical aspect of wisdom.

Shiva as Lord of the Dance (Nataraja) 901 CE-1100 Tamil Nadu. Shiva, one of the most important Hindu divinities, is here depicted as the Lord of the Dance (Nataraja), an iconic image in Indian art. Shivaís cosmic dance sets in motion the rhythm of life and death; it pervades the universe, as symbolized by the ring of fire that is filled with the loose, snakelike locks of the godís hair. One pair of his arms balances the flame of destruction and the hand drum (damaru) that beats the rhythm of life while another performs symbolic gestures the raised right hand means ìfear not,î and the left hand (gajahasta) pointing down toward his raised left foot signifies release from the ignorance that hinders realization of the ultimate reality. Shiva is shown perfectly balanced, with his right leg planted on the demon of darkness (Apasmara), stamping out ignorance. The tiny figure of the personified river goddess, Ganga, is caught up in his matted, flowing locks. Shiva was believed to break the fal

Mandala of Surya, the Sun God, and Lesser Planetary Deities 1101-1200 Cambodia. Bronze .

Figure of Guanyin. Culture: China. Dimensions: H. 23 in. (58.4 cm); W. 10 1/2 in. (26.7 cm); D. 7 3/4 in. (19.7 cm). Museum: Metropolitan Museum of Art, New York, USA.

God of Longevity with a Peach 19th century Japan. God of Longevity with a Peach 60462

Seated Jain Tirthankara 15th century India. Seated Jain Tirthankara. India. 15th century. Bronze. Sculpture

Votive Tablet with Ganesha, Lord of Obstacles. Sri Lanka, Anuradhapura, circa 18th century. Sculpture. Terracotta

Noh Actor as Lion in the Play, "Stone Bridge". Koma Bunsai (Japan, active 19th century). Japan, 19th century. Costumes; Accessories. Gold and colored lacquer

Parinirvana (Extinction of the Buddha) and Attendant. Artist: Qiao Bin (Chinese, active 1481-1507). Culture: China. Dimensions: H. 7 in. (17.8 cm); W. 4 1/4 in. (10.8 cm); D. 6 1/2 in. (16.5 cm). Date: dated 1503.According to the inscription on the back and sides of the couch on which the Buddha reclines, this depiction of the ultimate extinction of the historical Buddha was created as a private act of devotion and was originally part of a larger assemblage of figures: "In the sixteenth year of the Hongzhi reign era of the Great Ming dynasty 1503, the chan monk Huitai from Pantingshan, Xiyan, fulfilled his desire and commissioned on sleeping Buddha, one Shakyamuni, one Maitreya, one Kshitigarbha, one Avalokitshvara, and seven lofty monks. Made by Qiao given name illegible from Dongguan of our country." Based on other inscribed sculptures of this type, this set can be identified as coming from the Qiao family workshop in Yangcheng, Shanxi Province. Museum: Metropolitan Museum of Ar

Figure of Guanyin China. Figure of Guanyin 52721

Interior wall decoration depicting the life of Buddha, Wat Haw Pha Bang, Royal Palace Museum, Luang Phabang, Laos

Detail, Gomateshwara statue, Jaina ascet, Jain temple on Vindyagiri Hill, Shravanabelagola, Karnataka, South India, India, Asia

Siva (Shiva) Hindu god with contrasting qualities of destructive and renovating power. God of arts, ascetics and learning. Third member of Hindu Trimurti. 950 AD bronze from Tamil Nadu, India

Kui Xing (God of Literature), 16th century, 25 x 7 x 5 in. (63.5 x 17.78 x 12.7 cm) (approximate), Bronze with traces of gilding, China, 16th century, Originating as a Daoist deity associated with the constellation Ursa Major, Kui Xing (also called Wen Chang and Wen Di) is worshipped in the third and eighth months as the God of Literature and patron saint of scholars. The surly-looking divinity is represented holding a brush in his right hand while standing on the head of a large fish becoming a dragon. The transformation of a carp into a dragon was a synonym for the literary success of an industrious student. This image holds a cap won by the chief graduate in his left hand while balancing a brushwasher on the heel of his upturned foot. Within Confucian society, scholarship could be the main determinant of one's rank and social status. The Chinese evolved a variety of so-called 'household gods' to help them attain wealth, health, long life, and martial prowess. Statues representing th

Statue of indian hindu god Shiva Nataraja - Lord of Dance isolated on white

Bronze figure of Shiva, Tamil Nadu, India, 950. Artist: Unknown

Buddhist amulet on a leaf, Bangkok, Thailand

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