The story of Siddhartha's transformation into the Lord Buddha, meaning “one who has awakened”, is well known to both the East as well as the West, with a growing Western interest in his life and teachings.
Every one has heard the name of the Buddha, born, by common tradition, about 565 B.C. Very few of the details of the Buddha's life can be verified, and it is difficult to determine the difference between history and myth.
Historically we believe that he was born in Lumbini which is in modern day Nepal, close to the border of northern India. He is believed to have been born into a ruling princely family and was given the name “Siddhartha” meaning, "One who has achieved his aim."
At the time of the Buddha's birth, astrologers predicted that he would become a great king, or a monk who would evolve into a great teacher. His father, with this in mind, had the boy raised in luxury with every need met, in the hope that he would not become involved in a religious life. At the age of 16, his father arranged for him to marry a princess of his class, she was named “Yaśodharã”. He continued his palace life until, aged 29; his wife gave birth to a son “Rãhula”. Shortly after his son's birth, he began to travel away from his palace home.
Buddhist Tradition tells that he was deeply disturbed by the sight of an elderly, helpless, frail man. On his second journey, he saw an emaciated and depressed man suffering from an advanced disease.
On the third, he saw a grieving family carrying the corpse of a family member to cremation. He was deeply affected by this and reflected on the suffering he saw, old age, illness and death.
On his fourth journey he saw a wandering monk who led a reclusive life of meditation. He could see that he was calm and serene. This fourth experience motivated him to follow the path of the monk and find a spiritual solution to the problems brought about by human suffering.
Siddhartha left his wife, child and luxurious lifestyle, in order to seek truth. This was not uncommon and was accepted practice for some men to leave their family and lead the life of a wandering monk.
After his enlightenment, the Buddha continued to teach, moving from place to place preaching and teaching his message. After forty-five years of teaching, aged 80, he died in the small town of Kuśinagara. His final words were: "Decay is inherent in all things. Be sure to strive with clarity of mind".
The message of the Buddha began to spread and historical records tell that in 68 AD two Indian Buddhist monks were received at the Chinese Tang court and presented the teachings of the Buddha to the Emperor. The monks were well received and were given Imperial favor. They stayed in China, translating Buddhist texts and teaching.
The Tang dynasty saw the flowering of Chinese Buddhism and by about 500AD the message had spread throughout China and in fact, at this time, there were more Buddhist's in China than in India, where most of the Buddhist's had reverted to Hinduism!
Buddhism has always had a rich language of symbolism, as has China's ancient culture. When these two cultures merged, new heights of symbolism were reached.
Much of the Buddhist teaching is metaphysical which requires a broad spectrum of symbolism, until the message, beyond the symbol, is read and understood. One of the Buddha's great teachings is called “The Eight Auspicious Symbols”. Here we look at a Chinese altar vase, rich in the language of symbol, now reincarnated as a lamp! (A photo of this lamp can be seen on the company's website, link below).
“The vase”, is one of the eight auspicious symbols and means many different things when it comes to Buddhism. It is, perhaps, one of Buddhism's most important symbols. It represents wealth, but not in the same way as wealth is understood in the West. Here wealth means “the ever increasing amount that we have as a result of our understanding through the study and effective practicing of the Dharma". This would be understood by such statements as, “the vase of inexhaustible treasures”, or “a vase for emptiness, allowing it to receive the Doctrine of Truth”. Specifically, it means the spiritual abundance of the Buddha, a treasure that does not diminish, however much of it is given away.
(An additional vase symbol is that fresh cut flowers are always placed on Buddhist altars in temples and in house altars in memory of the tradition that the Buddha loved flowers).
Our second symbol is the vase handles, with modelled and applied Ju'i shaped sceptre handles. The Ju'i is the Chinese name for the sceptre shaped, short, curved staff held by the Mandarin class, signifying authority. The applied sceptre handles on the lamp translate as “transcendent” or true authority.
Our third symbol is probably the most well known of all Buddhist symbols, the lotus. The bottom half of the lamp is composed of stylised lotus petals symbolically opening to reveal the pure vessel held within.
The lotus flower represents purity. It is able to grow and flower from the muddy water, and therefore is a symbol of spiritual growth and regeneration. The roots of the lotus are in the mud, the stem grows up through the water, and the beautifully scented flower lies pristinely above the water, basking in the sunlight. This pattern of growth signifies the rise from the primeval mud of materialism, through the waters of experience, and into the bright sunshine of enlightenment. The lotus is one of Buddhism's most recognized symbols and appears in all kinds of Buddhist art, painting, sculpture and ceramics.
The lamp is fitted with a finely turned maple wood cap and stand, water gilded with a satin finish.
Circa 1850 Overall height (including shade) 25"/63cm
A truly serene antique lamp with a message!
Antique Lamps For Sale
In our modern world, glass is an every day part of life, but this was not always so.
The elegant and ethereal medium known as “glass” is simply and basically made of sand and, or, silica and a flux; sodium or potassium. These elements fuse together when melted at a very high temperature, resulting in the product readily recognised as glass.
Glass is an ancient invention, having been produced for the past 5000 years and particularly since the development of techniques in the 18th century. The first glass makers were found in ancient Egypt and Mesopotamia, 5000 years ago with examples of this early glass surviving today. At the time, it was seen as a very exotic product and study has shown that the simple techniques used were held as secret by those ancient artisans.
The first glass products were rather crude bottles and flasks, produced by moulding the basic shape from mud. The modelled shape was held by inserting a short metal rod into one end with the shape then dipped into molten glass thus forming the "core" of the flask shape. Long molten threads of glass, known as "canes", were then wound around this basic shape until the flask or bottle was complete.
Before its fall, Egypt held the monopoly on glass making throughout the known world. When the Romans invaded Egypt, they quickly adopted the glass making secrets discovered. It was, in fact, the Romans who continued the development of glass making with the introduction of glass blowing, around the 1st century BC. It was from this Roman development of glass making that led to the production of glass through out the Western world.
In the meantime, the Chinese had discovered glass which, in ancient China, was attributed with special properties such as the ability to keep evil spirits away. It was also considered to have healing properties being associated with gemstones and crystals, however, prior to the 17th century, the Chinese found little use for this product.
It should be remembered that, up until the 19th century, architecture worldwide used very little glass in windows, with the Chinese favouring sheets of translucent paper. Nor was glass required for storage purposes due to China's highly developed and refined production of porcelain.
While China had been producing glass since about 700 BC with various small glass workshops operating throughout the country, most of these workshops with their small random outputs, were short lived.
It is also apparent that glass did not rate Imperial patronage until the late 17th century with the Kang Xi Emperor (1662-1722) establishing the first state glass factory as an Imperial workshop in 1696. The workshop was located within the palace walls of the Forbidden City and was staffed with the best craftsmen to be found in China.
The beautiful Chinese glass, so well known in the West as "Peking glass", was in fact, introduced to the Chinese by a 17th century German Jesuit missionary priest. The missionary supervised the establishment of the Imperial workshop and brought many Western techniques of glass and enamel work to the Chinese court.
As a result, Peking glass has been correctly described as a "stepchild" in the great family of Chinese decorative arts.
Interestingly, it was the introduction of snuff, or, finely powdered tobacco, that led to the establishment of the Imperial workshop. When Europeans first arrived in China, not only did they discover new and exciting things, but the Chinese, equally unaware of the Western world, discovered ideas new to China and snuff taking was one of them!
Due to the fast developing habit of using snuff at the Imperial court and it quickly gaining popularity in high society, glass snuff bottles were produced. The Imperial workshop commenced production of tiny bottles specifically, for the purpose of snuff as used by the Imperial family, or, given as gifts to civil and military ministers of the Imperial court and foreign diplomats.
A Peking glass lamp of this style can be viewed here -:
A Chinese “Peking Glass” table lamp, the lamp of typical thick walled, heavy construction, weighing just over 4 lb / 1.8kg. The mustard yellow lamp standing on a custom made, gilt wood base and seated in a gold plated bronze ring, the lamp fitted with a gold plated bronze cap. Circa 1900. Overall height (including shade) 22"/56cm
These early productions were monochromes or, single colours in Imperial egg yolk yellow, ruby red and opaline green. They were of simple shape, or, ''scholar's taste'', ranging from plain to highly decorative pieces with multicolored glass overlays, the glass being either carved or faceted.
Overlay glass was later developed. This involved dipping a glass item into a vat of molten glass of contrasting colour. The shape was then cooled, requiring a 3 day period after which it was decoratively carved revealing the original coloured layer of glass. Glass carving is a lengthy and tedious process, both time consuming and labour intensive. The final shaping and polishing is done by hand in the traditional jade-cutting process of methodical grinding and polishing.
The Peking glass lamp illustrated is a single color example and was produced by repeatedly dipping the glass shape into a vat of molten glass until the required shape was produced and finally finished and polished.
Today, Peking glass is found in many forms both functional and purely decorative.
Maurice Robertson has sinced written about articles on various topics from Home Management, Health and Food and Drink. Maurice Robertson, of The Antique and Vintage Table Lamp Co, has had a lifetime's association with antique porcelain and pottery. He has extended his ceramics expertise into the quality table lamps seen on the company's site. He is well known to local and. Maurice Robertson's top article generates over 2900 views. to your Favourites.