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The Aura of Seven: Reconsidering the Shichibutsu Yakushi Iconography
by
Suzuki, Yui
in
7th-8th and 9th century: China influence and the beginning of Buddhism
/ Archives
/ Art and archaeology
/ Art and Visual Culture
/ Asia
/ Asian art
/ Asian Studies
/ Buddhism
/ Buddhists
/ Cultural Studies
/ Deities
/ Heian period
/ History
/ Iconography
/ Japan
/ Mandorlas
/ Medicine
/ Politics
/ Religious rituals
/ Sacred texts
/ Sculpture
/ Statues
2010
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The Aura of Seven: Reconsidering the Shichibutsu Yakushi Iconography
by
Suzuki, Yui
in
7th-8th and 9th century: China influence and the beginning of Buddhism
/ Archives
/ Art and archaeology
/ Art and Visual Culture
/ Asia
/ Asian art
/ Asian Studies
/ Buddhism
/ Buddhists
/ Cultural Studies
/ Deities
/ Heian period
/ History
/ Iconography
/ Japan
/ Mandorlas
/ Medicine
/ Politics
/ Religious rituals
/ Sacred texts
/ Sculpture
/ Statues
2010
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The Aura of Seven: Reconsidering the Shichibutsu Yakushi Iconography
by
Suzuki, Yui
in
7th-8th and 9th century: China influence and the beginning of Buddhism
/ Archives
/ Art and archaeology
/ Art and Visual Culture
/ Asia
/ Asian art
/ Asian Studies
/ Buddhism
/ Buddhists
/ Cultural Studies
/ Deities
/ Heian period
/ History
/ Iconography
/ Japan
/ Mandorlas
/ Medicine
/ Politics
/ Religious rituals
/ Sacred texts
/ Sculpture
/ Statues
2010
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The Aura of Seven: Reconsidering the Shichibutsu Yakushi Iconography
Journal Article
The Aura of Seven: Reconsidering the Shichibutsu Yakushi Iconography
2010
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Overview
Art representing the Buddha often relates scriptures relating the 32 transcendental attributes of his body. Scriptures often describe his golden hue or the light coming from his body. Artists represent this through flat disks signifying \"his spiritual glow,\" known as the \"mandorla.\" One popular design of the Heian period was the Buddha Yakushi on whose mandorla sat seven smaller Buddhas. This essay examines this design. It traces the history of the iconographical transformation of Buddha Yakushi, focusing on the changes in mandorlas.
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