Abstract

Modern art history practice often treats Buddhist icons or ritual objects as unique objects, focusing on their originality and uniqueness. This text investigates how the paradoxical Buddhist doctrine of ‘the one and the many’ was translated into visual language through manipulation of the relationship between copies and the original. It analyses the different tactics and strategies formulated around given socio-historical frameworks to visualise the notion of infinity, and ultimately the structure of the universe, and suggests that multiple copies of a single design were more potent a vehicle than single objects in expressing ideas related to the Buddhist metaphysics.