( Thirty minute read)

Taking into account that the New Testament is made up of 40 different books written. While the Old Testament is a further 39. Jesus is not in the Old Testament he turns up in the New Testament.

It is to my mind inconceivable that here we have a man performing miracles and rising from the dead and not one of the writers writes a description of the man

All of these books were independent writings.

I believe he definitely existed. As to why there is no written description of him in all of the stories is a mystery.

That he rose from the dead requires a belief in Spirituality. It is the most examined moment in religious history.

Surely one of the independent writers would have written something to describe him like he had blue eyes.

Any way here is GIMMI rather long explanation.

“ The globally recognized image we have today—long hair, a beard, light skin, and a flowing robe—didn’t pop out of nowhere.

It evolved over centuries by blending Roman politics, pagan art traditions, and changing cultural needs.

When Christians finally started depicting Jesus in the catacombs of Rome, they didn’t paint him with a beard. They wanted to hide their faith from Roman persecution, so they borrowed familiar symbols from Roman mythology.

Jesus was initially drawn looking like the Roman god Apollo or Hermes: a young, clean-shaven man with short, curly hair, often wearing a short tunic and carrying a sheep on his shoulders.

He was known simply as the “Good Shepherd.”

Everything changed when the Roman Emperor Constantine legalized Christianity in 313 CE. Suddenly, Christianity went from an underground movement to the state religion.

A young, simple shepherd boy no longer fit the image of a powerful, divine ruler. Roman artists gave Jesus an “Imperial makeover” to make him look majestic. They modeled him after the ultimate symbols of authority at the time: Zeus (the king of the gods) and the Roman Emperor himself. This is where the long hair, full beard, and regal robes came from.

The definitive turning point is the Christ Pantocrator (meaning “Ruler of All”), an icon painted in the 6th century at Saint Catherine’s Monastery in Sinai. This painting set the standard blueprint for almost all future depictions of Jesus.

By the Middle Ages, Christians wanted tangible proof of what Jesus looked like. This led to the popularity of acheiropoieta—images believed to have been miraculously created without human hands.

 The Veil of Veronica: A legend claimed a woman wiped Jesus’s face with a cloth on his way to the crucifixion, leaving a perfect imprint of his bearded face.

 The Letter of Lentulus: A famous forged letter, supposedly written by a Roman official to the Senate during Jesus’s lifetime, circulated widely. It described Jesus as having “hair the color of a ripe hazelnut,” a “clear forehead,” and a “mature beard.” This document was used by Renaissance painters as a factual guide.

During the Renaissance, masters like Leonardo da Vinci and Michelangelo painted Jesus using local European models. As European powers colonized the globe, they exported this specific, Eurocentric version of a fair-skinned, light-brown-haired Jesus across the Americas, Africa, and Asia.

In 1940, an American artist named Warner Sallman painted The Head of Christ. This specific, highly commercialized portrait was printed over 500 million times on cards, calendars, and clocks, cementing the image of a gentle, European-looking Jesus in the modern global psyche

What did he actually look like?

Since Jesus was a first-century Galilean Jewish man, forensic anthropologists note he almost certainly had dark, olive-toned skin, short curly black hair, a dark beard, and a stocky build shaped by manual labor as a carpenter. “

Once again quoting GIMMI

“ The history of depicting Muhammad is completely different from Jesus.

It has a fascinating twist: historical pictures of Muhammad do exist, and many of them were painted by devout Muslims.  

Today, there is a widespread belief that Islam completely forbids any image of Muhammad. However, the historical reality is much more nuanced. The Qur’an itself does not explicitly ban images of Muhammad; it only strictly forbids idolatry (worshiping objects or statues). The restriction on images actually comes from the Hadith (the collected sayings and actions of Muhammad), which warns against artists trying to mimic God’s creation.  

Because of this, there are no “universal” pictures of Muhammad hanging in mosques, but a rich tradition of depicting him evolved in the private pages of historical books.

Unlike Christianity, which embraced public statues and paintings to convert a visually driven Roman Empire, early Islam strictly avoided public imagery. There are no paintings or sculptures of Muhammad from his lifetime (the 7th century).

Instead of an image, early Arabic-speaking regions developed the Hilya—a highly stylized, beautiful piece of calligraphy that lists the detailed physical descriptions of Muhammad written by his contemporaries (such as his son-in-law, Ali). Rather than showing his face, they painted his description with words.

Between the 1300s and 1400s, under the Persian, Mongol, and early Ottoman empires, a massive boom occurred in illuminated manuscripts. Devout Muslim artists painted historical and biographical books for the private libraries of kings and sultans.  

In these early paintings, Muhammad’s face was fully visible. He was typically drawn with Central Asian or Persian features—reflecting the ethnicity of the artists—and was often surrounded by a halo of divine fire rather than a Christian-style golden disc. These paintings were treated as historical illustrations to educate the literate elite, never as holy icons to be worshiped. 

Over time, Islamic scholars and rulers grew increasingly worried about accidental idolatry. By the 1500s, a major shift happened in Islamic art: artists still painted Muhammad, but they began to shield his face out of profound reverence.  

Artists utilized two primary visual techniques to hide his features:

 The Facial Veil: His face was replaced by a blank white silk cloth or a veil.  

 The Flaming Nimbus: His entire body or head was engulfed in a massive cloud of sacred fire (Nur, meaning Divine Light), completely obscuring his physical form.  

A famous example is the Siyer-i Nebi (Life of the Prophet), a massive 6-volume epic commissioned by an Ottoman Sultan in 1595. It contains over 800 paintings showing Muhammad’s life from birth to death, but his face is systematically veiled in white. 

By the 18th and 19th centuries, the practice of painting the Prophet largely died out. Today, the vast majority of Muslims practice aniconism—the total avoidance of images of holy figures.

Instead, modern Islamic art uses calligraphy to honor Muhammad. His name is written in intricate, beautiful circular monograms and placed on the walls of mosques, achieving the same emotional and spiritual reverence that a portrait would provide in a Christian church.”

Then we come to Buddha who is more than a mouth full

Here’s what Gimme has to say.

“ Just like Jesus, there are no paintings, drawings, or statues of the historical Buddha (Siddhartha Gautama) from his actual lifetime in the 5th century BCE.

Instead, the history of the Buddha’s image follows a pattern similar to early Christianity: it started with a complete avoidance of showing his body, and was later revolutionized by a fascinating mashup of ancient Indian spirituality and Greek art.

For the first 400 years after the Buddha died, artists completely refused to depict him in human form. Early Buddhists believed that because the Buddha had achieved Nirvana—breaking free from the cycle of death and rebirth—he had transcended physical existence. Making a statue of him would be like trying to trap the untrappable.

When artists carved scenes of his life into stone temples, they used symbols to show where he was standing:

 An empty throne under a Bodhi tree signified his enlightenment.

 Carved foot marked his presence.

The change from symbols to human statues happened because of a surprising historical event: the invasion of Alexander the Great.

 A stone wheel (the Dharma Wheel) represented his teachings.

Alexander’s armies brought Greek culture deep into Central Asia, establishing a region called Gandhara (modern-day Pakistan and Afghanistan). The people there practiced Buddhism, but the local artists were trained in classical Greek sculpture.

Around the 1st century CE, these Greco-Buddhist artists decided to carve the Buddha as a human for the first time. They modeled him directly after the Greek god Apollo.

Notice the wavy hair, the heavy, toga-like robes draped over both shoulders, and the sharp, realistic facial features. This artistic merger is where the topknot on the Buddha’s head (the ushnisha, representing spiritual wisdom) originated—it was modeled after a popular Greek hairstyle

Around the same time the Greeks were carving the Buddha in the north, native Indian artists in the southern city of Mathura began carving their own versions based on traditional Indian deities (yakshas).

During India’s golden age under the Gupta Empire, these two styles fused into what we now recognize as the “classical” Buddha: a figure with tightly curled hair, serene downward-cast eyes, and sheer, thin robes that clung to the body.

Because artists didn’t know what Siddhartha Gautama actually looked like, they relied on ancient Buddhist texts called the Lakkhana Sutta. These texts state that a “Great Man” is born with 32 physical marks (lakshanas) that signify enlightenment.

When you look at a statue or picture of the Buddha today, you are seeing an artist’s literal interpretation of these religious texts:

 The elongated earlobes: A symbol of his past life as a wealthy prince who wore heavy gold earrings, which he cast off to seek enlightenment.

 The bump on his head (Ushnisha): Represents his supreme mental capacity and spiritual wisdom.

 The dot between his eyes (Urna): Often a whorl of hair or a jewel, symbolizing a third eye of spiritual vision.

 Webbed fingers and flat feet: Symbolizing his perfect, unshakeable connection to all living things.

One of the most common misconceptions is that the fat, bald, laughing Buddha figure found in many Chinese restaurants is Siddhartha Gautama.

It actually isn’t the historical Buddha at all. That character is Budai, a beloved 10th-century Chinese Zen monk who was famous for carrying a sack of treats for children and spreading joy wherever he went. Over time, Chinese folk religion merged him with the concept of the Maitreya (the future Buddha), but his jolly, well-fed appearance is a cultural symbol of prosperity and happiness from medieval China, completely separate from the original prince from India.

Just as Jesus’s image was “translated” to look European when Christianity moved west, the image of the Buddha was adapted to match the local ethnicities, royal court fashions, and unique theological flavors of the countries it traveled to.   

When Buddhism split into different branches and spread across Asia, it divided roughly into a Northern Route (Mahayana Buddhism into China and Japan) and a Southern Route (Theravada Buddhism into Thailand and Southeast Asia). This geographic split completely changed how the Buddha looked.

When Buddhism traveled along the Silk Road into China around the 1st century CE, Chinese artists faced a problem: the original Indian statues showed a Buddha wearing very thin, form-fitting robes that exposed parts of his chest and shoulders. To the highly conservative, Confucian-influenced Chinese court, showing skin was considered improper and uncultured.

 The Confucian Makeover: Chinese artists quickly wrapped the Buddha in heavy, layered, flowing robes that resembled the court dress of a high-ranking Chinese intellectual or government official. His sharp Indo-Greek facial features were smoothed out, giving him a more angular, distinctly East Asian face.  

 The Tang Dynasty “Fullness”: During the Golden Age of the Tang Dynasty (7th–10th century), the aesthetic ideal shifted toward wealth, health, and abundance. Statues of the Buddha from this era became fleshy, broad-shouldered, and voluminous, with round, serene faces. This emphasis on auspicious plumpness eventually paved the way for the folk character of Budai (the fat, laughing Buddha).

Japan received Buddhism from China and Korea in the 6th century. While the Japanese adopted many Chinese styles, their artistic representation evolved to favor subtlety, controlled restraint, and an inward-focused gravity.  

 The Mastery of Wood: While mainland Asia heavily favored bronze casting and stone carving, Japan is dense with forests. Japanese master sculptors perfected wood-carving techniques (such as yosegi-zukuri, a method of assembling a statue from multiple hollow blocks of wood).  

 The Calm of Zen: Especially with the rise of Zen Buddhism and the Samurai class, Japanese Buddha images abandoned flashy or overly decorative features. The classic Japanese Buddha (such as the famous Great Buddha of Kamakura) features a highly compact, stable posture. His robes have clean, crisp, graphic folds rather than flowing drapery, and his face reflects an intense, quiet, deeply centered psychological focus. He looks less like a cosmic king and more like a master of meditation.

Thailand and its neighbors practiced Theravada Buddhism, which stayed culturally closer to the original Indian traditions but fused it with Southeast Asian ideals of royal elegance. The golden age of Thai art—the Sukhothai Period (13th–15th century)—created one of the most distinct silhouettes in religious history.

 The Superhuman Silhouette: Thai artists took the ancient texts describing the Buddha’s 32 physical marks very literally, but interpreted them with incredibly fluid, stylized lines. Thai Buddhas feature elongated, slender limbs, an exaggeratedly oval face “shaped like a mango stone,” and a nose “like a parrot’s beak.”  

 The Flame and Smooth Skin: Unlike the tightly curled hair of Indian and Chinese statues, Thai Buddhas feature sharp, spike-like curls topped by a flame-shaped protuberance (rasmi) on the head, symbolizing radiant spiritual energy. Their robes are carved so thin and smooth against the body that the Buddha almost appears seamless or unclothed, emphasized by highly polished bronze or glittering gold leaf designed to catch the tropical sun.  

 The Walking Buddha: Thailand uniquely popularized the “Walking Buddha” posture. While most countries depict the Buddha seated or standing rigidly, Thai artists captured him mid-stride, fluidly lifting one foot, with one hand raised in a gesture of reassurance. This emphasized a graceful, compassionate teacher moving through the world to help humanity.”

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