As soon as the Bodhisatta was born, he firmly put his feet on the ground; then he walked seven steps north and, with a white sunshade held over him, examined each of the cardinal points. He spoke the words of the Leader of the Flock: “I am the Supreme in the world, I am the best in the world, I am the first in the world; This is my last birth, there will be no more renewal of being in future lives”.

(Bodhisatta: Future Buddha, someone destined to achieve unsurpassed and perfect enlightenment; more specifically, it is the term that the Buddha uses to refer to himself in the period before his enlightenment, both in his past lives and in his last life before he achieved enlightenment).

From MN. 123; cf. DN. 14

“These curls of mine do not suit a monk. And I don’t see anyone worthy of cutting a Bodhisatta’s curls. So I will cut them myself, with my sword. » Taking his sword in her right hand and holding the knot of hair where the diadem was placed with her left hand, he cut it off. The strands of hair left on his head were two inches long, curling to the right side. They remained that long as long as he lived, and his beard as well. It was not necessary for him to shave or cut his hair anymore. The Bodhisatta took the knot of hair with the diadem and tossed it into the air, saying, “If I am to become a Buddha, let me remain in heaven; if not, let it fall back to earth. » The knot, braided with gems, reached a height of a yojana and remained suspended in the air. Sakka, the king of deities, saw this with his divine eye, and received it, placing it in a jewelry case the size of a yojana, and founded the Culamani (Hair Knot Gem) Shrine in the Tavatimsa sky. »

From Jātaka-nidāna (The story of the Buddha Gautama/ Buddhist Birth Stories).

“The remaining deities of the ten thousand world systems honored him with garlands, perfumes, and ointments, singing praises in different ways. In this way, while the sun was still shining in the heavens, the Great Being dispelled the army of Māra. While he was honored with offerings in the form of tender leaves from the Bodhi tree that fell on his robe like spikes of red coral, he acceded during the first watch of the night to the knowledge of previous existences. During the second watch he purified his divine eye; and in the last watch he became aware of the reality of dependency origination. As he continued his meditation on the nature of causal antecedents, which are twelve, and their direct and inverse relationship to progressive and regressive evolution, the ten thousand world systems trembled twelve times, to the very edge of the oceans. When the Great Being obtained, at dawn, the penetrating vision on the knowledge of omniscience, the ten thousand world systems resounded, and all assumed festive garb. «

From Jātaka-nidāna (The story of the Buddha Gautama/ Buddhist Birth Stories).

The work is a plea for the union between East and West, it is a hieroglyph of peace and harmony between all worldviews and cultures. It is full of symbolism that transcends all separations, borders and limits, jumping the fences of barbarism and horror generated by intransigence and violence.
Through it, the essence and commonality of all human beings is sought.
This work extols the person in all his dimensions, and wants to record a holistic and eternal spring of the gift of life; and it does so by evoking the deep and thoughtful evolved being, whose purpose is to unite with the neighbor, to attract heaven to earth and thus transform deserts into orchards and rich oases.
Through this work they want to create dialogues and beautiful encounters, which is the way to eliminate fundamentalisms, totalitarianisms and dogmatisms, enriching ourselves with the greatness of the different and the plural that exists in the human race.
This work is the desire of the perfect being, to see himself in the other, to understand that the other is me, so that together we can create a better world, where harmony, love and respect reign among all of us: «Humanity»

By Antonio Camaró.

The reclining Buddha statue is an image representing the Buddha at the very end of his life and is an important iconographic theme in Buddhist art. It represents the historical Buddha during his last illness, about to enter the parinibbāna or final extinction.

“Then the Blessed One came out of the meditative state in which perception and sensation cease and he entered the meditative state in which there is neither perception nor non-perception. He came out of the meditative state in which there is neither perception nor non-perception and entered the meditative state of the sphere of nothingness. He came out of the meditative state of the sphere of nothingness and entered the meditative state of infinite consciousness. He came out of the meditative state of infinite consciousness and entered the meditative state of infinite space. He came out of the meditative state of infinite space and entered the fourth jhāna. He came out of the fourth jhāna and entered the third jhāna. He came out of the third jhāna and entered the second jhāna. He came out of the second jhāna and entered the first jhāna.

He came out of the first jhāna and entered the second jhāna. He came out of the second jhāna and entered the third jhāna. He came out of the third jhāna and entered the fourth jhāna. Then the Blessed One came out of the fourth jhāna and was completely extinguished ”.

(Jhāna: State of deep meditative concentration characterised by the unification of the mind on its object; the suttas distinguish four stages of jhāna, from low to high concentration).

From Mahāparinibbāna Sutta (Great Extinction Sutta).