Physical characteristics of the Buddha
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The physical characteristics of the Buddha refers to the general appearance and characteristics of Gautama Buddha's physical body. There are no extant representations of the Buddha represented in artistic form until roughly the 2nd century CE, partly due to the prominence of aniconism in the earliest extant period of Buddhist devotial statuary and bas reliefs. A number of early discourses describe the appearance of the Buddha, and are believed to have served as a model for early depictions. In particular, the "32 signs of a Great Man" are described throughout the Pali Canon, and these are believed to have formed the basis for early representations of the Buddha. These 32 major characteristics are also supplemented by another 80 secondary characteristics (Pali:Anubyanjana).
In Mahāyāna Buddhism, including the traditions of Esoteric Buddhism, the 32 major characteristics and 80 minor characteristics are understood to be present in a buddha's sambhogakāya, or reward-body. In contrast, a buddha's physical form is understood to be a nirmāṇakāya, or transformation-body.
The earliest phase of Buddhism was generally aniconic, with the Buddha being represented as symbols such as a footprint, an empty chair, a riderless horse, or an umbrella. Later, iconic sculptural traditions were established, with two of the most important being in the regions of Gandhara and Mathura.
The first statues and busts of the Buddha were made in the Gandhara (now Kandahar) region of modern day Afghanistan. Many statues and busts exist where the Buddha and other bodhisattvas have a mustache.
In the Pali Canon a paragraph appears many times recording the Buddha describing how he began his quest for enlightenment, saying:
So, at a later time, while still young, a black-haired young man endowed with the blessings of youth in the first stage of life—and while my parents, unwilling, were crying with tears streaming down their faces—I shaved off my hair & beard, put on the ochre robe and went forth from the home life into homelessness.— Ariyapariyesana Sutta
After examining the cult of the Buddha image in India, Gregory Schopen concludes that followers of Mahāyāna at this time played little to no role in introducing statuary and other physical depictions of the Buddha. Mahāyāna sūtras from this period such as the Maitreyasiṃhanāda Sūtra, only address the image cult as an object of criticism, if it is mentioned at all. Schopen states that followers of Mahāyāna were generally uninterested in worshipping buddhas, but rather in becoming buddhas, and their outlook toward Buddhist practice was "profoundly conservative."
The 32 Signs of a Great Man
The Buddha is traditionally regarded as having the Thirty-two Characteristics of a Great Man (Skt. mahāpuruṣa lakṣaṇa). These thirty-two characteristics are also regarded as being present in cakravartin kings as well.
The Digha Nikaya, in the "Discourse of the Marks" (Pali: Lakkhaṇa Sutta) (DN 30) enumerates and explains the 32 characteristics. These are also enumerated in the Brahmāyu Sutta of the Majjhima Nikāya (MN 91).
The 32 major characteristics are:
- Level feet
- Thousand-spoked wheel sign on feet
- Long, slender fingers
- Pliant hands and feet
- Toes and fingers finely webbed
- Full-sized heels
- Arched insteps
- Thighs like a royal stag
- Hands reaching below the knees
- Well-retracted male organ
- Height and stretch of arms equal
- Every hair-root dark colored
- Body hair graceful and curly
- Golden-hued body
- Ten-foot aura around him
- Soft, smooth skin
- Soles, palms, shoulders, and crown of head well-rounded
- Area below armpits well-filled
- Lion-shaped body
- Body erect and upright
- Full, round shoulders
- Forty teeth
- Teeth white, even, and close
- Four canine teeth pure white
- Jaw like a lion
- Saliva that improves the taste of all food
- Tongue long and broad
- Voice deep and resonant
- Eyes dark brown or deep blue
- Eyelashes like a royal bull
- White ūrṇā curl that emits light between eyebrows
- Fleshy protuberance on the crown of the head
More on features
The Buddha's body tanned up to very dark from his eating little and traveling while exposed to sunlight is stated in the "Mahavagga". One quote wherein people mention the Buddha's complexion is, "Others said 'not black is the ascetic Gotama, nor brown, his skin is that of a mangura-fish [sheat fish],' So much had the clear bright colour of my skin deteriorated through eating so little."
There is a disagreement on the translation of the "Mahavagga" text of whether Gautama had natural dark brown or dark blue eyes. The text reads "abhi nila netra", wherein 'abhi nila' can either mean very dark or very blue. However, it is made clear by the usage of the word 'abhi nila' to refer to skin color of people as well as the Buddha's eye color. For example, the "Mahavagga" section of the Vinaya Pitaka mentions the Lichchhavi nationals are of various complexions including "nilavanna". Then also in the same scripture is stated, "Bhassara sucira yatha mani nettahesum abhinila-mayata" wherein Abhinila means 'very dark'.
The 80 secondary characteristics
The 80 minor characteristics of the Buddha are known to be enumerated a number of times in the extant Āgamas of the Chinese Buddhist canon. According to Guang Xing, the 80 minor marks are related to the 32 major marks, and are merely a more detailed description of the Buddha's bodily features. In the Sarvāstivādin Abhidharma Mahāvibhāṣa Śāstra, the question is posed about the relationship between the major and minor marks, and it is said that the minor marks are among the major marks, but not mixed with them, just as flowers in the forest make the trees distinctive. These 80 minor characteristics became significant as well, as were adopted by Buddhist traditions including both Mahāyāna and Theravāda traditions. In Pali literature, the 80 minor characteristics are found in the Apadāna and the Milindapañha. Some scholars believe the 80 minor characteristics were an early development in the Buddhist tradition, but held as important mostly by the Sarvāstivāda school.
The eighty minor characteristics are:
- He has beautiful fingers and toes.
- He has well-proportioned fingers and toes.
- He has tube-shaped fingers and toes.
- His fingernails and toenails have a rosy tint.
- His fingernails and toenails are slightly upturned at the tip.
- His fingernails and toenails are smooth and rounded without ridges.
- His ankles and wrists are rounded and undented.
- His feet are of equal length.
- He has a beautiful gait, like that of a king-elephant.
- He has a stately gait, like that of a king-lion.
- He has a beautiful gait, like that of a swan.
- He has a majestic gait, like that of a royal ox.
- His right foot leads when walking.
- His knees have no protruding kneecaps.
- He has the demeanor of a great man.
- His navel is without blemish.
- He has a deep-shaped abdomen.
- He has clockwise marks on the abdomen.
- His thighs are rounded like banana sheaves.
- His two arms are shaped like an elephant's trunk.
- The lines on the palms of his hands have a rosy tint.
- His skin is thick or thin as it should be.
- His skin is unwrinkled.
- His body is spotless and without lumps.
- His body is unblemished above and below.
- His body is absolutely free of impurities.
- He has the strength of 1,000 crore elephants or 100,000 crore men.
- He has a protruding nose.
- His nose is well proportioned.
- His upper and lower lips are equal in size and have a rosy tint.
- His teeth are unblemished and with no plaque.
- His teeth are long like polished conches.
- His teeth are smooth and without ridges.
- His five sense-organs are unblemished.
- His four canine teeth are crystal and rounded.
- His face is long and beautiful.
- His cheeks are radiant.
- The lines on his palms are deep.
- The lines on his palms are long.
- The lines on his palms are straight.
- The lines on his palms have a rosy tint.
- His body emanates a halo of light extending around him for two meters.
- His cheek cavities are fully rounded and smooth.
- His eyelids are well proportioned.
- The five nerves of his eyes are unblemished.
- The tips of his bodily hair are neither curved nor bent.
- He has a rounded tongue.
- His tongue is soft and has a rosy-tint.
- His ears are long like lotus petals.
- His earholes are beautifully rounded.
- His sinews and tendons don't stick out.
- His sinews and tendons are deeply embedded in the flesh.
- His topknot is like a crown.
- His forehead is well-proportioned in length and breadth.
- His forehead is rounded and beautiful.
- His eyebrows are arched like a bow.
- The hair of his eyebrows is fine.
- The hair of his eyebrows lies flat.
- He has large brows.
- His brows reach the outward corner of his eyes.
- His skin is fine throughout his body.
- His whole body has abundant signs of good fortune.
- His body is always radiant.
- His body is always refreshed like a lotus flower.
- His body is exquisitely sensitive to touch.
- His body has the scent of sandalwood.
- His body hair is consistent in length.
- He has fine bodily hair.
- His breath is always fine.
- His mouth always has a beautiful smile.
- His mouth has the scent of a lotus flower.
- His hair has the colour of a dark shadow.
- His hair is strongly scented.
- His hair has the scent of a white lotus.
- He has curled hair.
- His hair does not turn grey.
- He has fine hair.
- His hair is untangled.
- His hair has long curls. (Buddha may be interpreted as being bald)
- He has a topknot as if crowned with a royal flower garland.
- Krishnan, Yuvraj. The Buddha Image: Its Origin and Development. 2009. p. 51
- Shaw, Sarah. Buddhist Meditation: An Anthology of Texts from the Pali Canon. 2006. p. 114
- Sangharakshita. A Survey of Buddhism: Its Doctrines and Methods Through the Ages. 2004. p. 295
- "Ariyapariyesana sutta".
- Schopen, Gregory. Figments and Fragments of Mahāyāna Buddhism in India. 2005. p. 138
- Krishnan, Yuvraj. The Buddha Image: Its Origin and Development. 2009. p. 125
- Epstein, Ronald. Buddhist Text Translation Society's Buddhism A to Z. 2003. p. 200
- Mahavagga 36, 85, 100
- P. 52 Art of ancient India: contextualizing social relations By Shivaji Panikkar, Abha Sheth, Maharaja Sayajirao University of Baroda. Dept. of Art History and Aesthetics
- Guang Xing. The Concept of the Buddha: Its Evolution from Early Buddhism to the Trikaya Theory. 2004. p. 32
- Guang Xing. The Concept of the Buddha: Its Evolution from Early Buddhism to the Trikaya Theory. 2004. pp. 32-33
- Eisel Mazard (大影) (December 2010). "The Buddha was Bald … but is Everywhere Depicted with a Full Head of Hair". New Mandala.