What are the hidden Buddhist symbols in Chinese Da A Fu figurines

With their rounded faces, rosy cheeks, and joyful demeanour, Da A Fu dolls are beloved emblems of good fortune in China and have become celebrated icons of the nation’s cultural heritage.Traditionally crafted from clay, these figures represent the most famous example of Huishan claywork, an esteemed Chinese art form that traces its origins back to the Ming dynasty (1368–1644).These delightful artefacts were among the first to be included in China’s National List of Intangible Cultural Heritage. Initially, local farmers created them as a supplementary source of income, selling them to children at temple fairs. By the Qing dynasty (1644–1912), Da A Fu dolls had gained the status of national treasures and evolved into significant cultural exports.A recent study published in the esteemed journal Nature argues that the figurines serve as pieces of religious imagery, specifically embodying Buddha.Da A Fu figures are first and foremost a celebration of healthy, happy children because in historical China, a plump, well-fed baby was a sign of family wealth, fertility, and survival. Photo: Zhang Peng/LightRocket via Getty Images“As a form of local folk art, Da A Fu functions not only as a cultural symbol of regional intangible heritage but also as a ‘functional portraiture’ that integrates religious motifs, ritual practices, and social sentiment,” wrote the authors, two based in Wuxi, China, and the third in George Town, Malaysia.To arrive at their conclusion, the researchers combined historical and cultural analysis with modern technology, utilising a structural similarity index measure (SSIM) to compare Da A Fu dolls with various religious motifs.What they found was not merely a coincidence of chubby figurines resembling Buddha but rather a structural similarity that fluctuated over the eras.During the Qing dynasty, the religious similarities became less pronounced. The researchers posited that increased religiosity in later periods reflected both a heightened emphasis on religious symbolism and the commodification of folk art.“Da A Fu is not just a symbol of intangible folk heritage but also a ‘functional portraiture’ that incorporates religious motifs, ritual functions, and social emotions,” the researchers stated.‘Functional portraiture,’ as defined by the researchers, describes artists who avoid direct depictions of religious figures, instead opting for exaggeration, anthropomorphism, or symbolism to communicate religious themes.“In contrast to imperial or literati portraits that stress realism, functional portraiture prioritises symbolic and ritual efficacy within specific cultural contexts,” the team explained.Designed to represent “Great Good Fortune,” the Huishan Da A Fu figures draw from Buddhist imagery. Photo: Zhang Peng/LightRocket via Getty ImagesIn the instance of Da A Fu, researchers believe that artists have integrated auspicious facial features that symbolise Buddhism, particularly those associated with Shakyamuni, Guanyin, and Maitreya Buddhas.Further ReadingShakyamuni, the historical Buddha, attained enlightenment and founded Buddhism. Guanyin embodies compassion and is widely revered across East Asia. Maitreya, the future Buddha, is believed to await the moment when the Dharma has been forgotten before returning to Earth to re-educate all beings.By crafting art that encapsulates these foundational Buddhist beliefs, Chinese artists reinforce the significance of Da A Fu in cultural heritage. As the dolls are increasingly viewed as harbingers of good fortune, this belief may become self-perpetuating, amplifying the religious iconography over time.The researchers also recognised that the Da A Fu may represent the “auspicious child” motif rooted in East Asian cultural lore. Those plump and cheerful babies are often created as porcelain figures and symbolise blessings for a family during the Lunar New Year.The team suggested that this auspicious child alternate theory opens avenues for further analysis of Da A Fu, particularly regarding whether the dolls exhibit gestures common in Buddhism.The team also aspires to apply their research methodology to other cultural artefacts to gain deeper insights into whether certain art forms embody Buddhist archetypes. Their findings have contributed to a better understanding of how cultural artefacts integrate cultural heritage into their constructs.The team contended: “Da A Fu’s portraiture is not grounded in individual realism but rather constructed through a fusion of substitution and presence within local belief systems and ritual practices,” implying that many other famous Chinese artworks may share this approach.The team argued: “Da A Fu’s ‘portraiture’ is not rooted in individual realism but constructed through a blend of substitution and presence within local belief systems and ritual practices,” implying that many other famous Chinese artworks may share this approach.