Starting from the Northern Wei dynasty, who took advantage of China’s political weakness after the Han Dynasty’s collapse and established a new empire across China, Buddhism was adopted as the official state religion in order to authorize the power, rules and maintain the identity of the new dynasty. Since then, Buddhism has brought to China new ideas about life and death and tremendous opportunities to assert authorities. Since Buddhism is originated in India and is spread into China across mountains, China was influenced by Indian Buddhists and Buddhist iconography and witnessed a majesty development of Buddha sculpture, from being influenced and having an ambiguous mixture of both Gandhara and Gupta style to their own style of Buddha sculpture …show more content…
The sculpture strikes any viewers, or visitors as an enormous Buddha sculpture, even though it does admittedly appear a little bit clumsy with robust, sharp angulars. Nevertheless, the sculpture shows a strong connection to both the Gandhara style and the Gupta style of Buddha sculpture in India. The column - like arms of the sculpture and a lack of muscle formation remind us of the Gupta style. Additionally, the knotted hair is also a sign of the Gupta style, since Gandhara style Buddha statues have long, wavy hair. However, the Buddha’s sculpture clothing does not have the “string-type” drapery as well as the transparent, clingy fabric as presented in the Gupta style. Instead, the clothing of this sculpture bears a resemblance to the Gandhara style, which was influenced and looks quite similar to those on Roman imperial statues with oblique draperies crossover the axillary on left shoulder of the …show more content…
Most of the carvings of Longmen Grotto dated from the period of late Northern Wei dynasty (486¬–534 A.D) when the Emperor Xiao Wen decided to move the capital south to Luoyang to the early Tang Dynasty, which was considered “international Buddhism” since many Chinese, Indian, Central Asian and East Asian monks traveled throughout Asia. Therefore, Chinese Buddhism was highly galvanized and reinforced at that time, and major development of Buddhism both in thought and practices began to flourish during the Tang Dynasty.
After a long time of being influenced by Indian Buddhist style and going through a period of portraying Buddha images as skinny people without any muscles, the Fengxian Temple, the heart of Longmen Grotto, financed by the Emperor Gaozong and his wife, the future Empress Wu is an astounding demonstration of innovation in style and
Guanyin (Bodhisattva) (See Fig. 1 in Appendix) is an artefact, with Object Number of 2400, in the Honolulu Museum of Art. The medium, or material, of this sculpture of Guanyin is painted wood, and traces of pigment can still be seen on the sculpture. Its height is approximately 67 inches, or 170.2 centimeters. The origin of this sculpture is China, Northern Song (960-1126) or Tangut Xia (1038-1227). According to the museum, this sculptural art piece was purchased, or acquired, in 1927 from a renowned collection of Matsukata Kojiro, who passed away in 1950.
The Ancient Egyptian sculpture, “Statue of Nykara and His Family”, was sculpted during the late fifth dynasty. The sculpture is a depiction of Nykara, his wife, Nubkau, and son, Ankhma-Re. The statue is in poor condition with pieces of limestone missing and chips on the three subject’s faces and bodies. The painted limestone shows the conventional colors for the male and female subjects. There is a clear discoloration among Nykara and his son’s bodies. The brownish red color they once were has eroded to a light yellowish color, which resembles the purposeful color of Nykara’s wife. The hieroglyphs on Nykara’s seat insinuate that the sculpture is meant to be viewed from the front view. This is also evident by the way the three subjects are facing forward in frontal view. There are hieroglyphs on both the chair and base of the statue near Nykara’s wife and son’s feet.
The statue that will be the focus of this paper portrays the figure “Amida, the Buddha of Infinite Light.” Like many other statues of the Buddha, this Amida Buddha was portrayed to be deep in meditation, sitting cross-legged. A viewer could observe that the Amida Buddha is making a hand gesture while in deep meditation. These gestures, also known as “mudras,” are symbolic in the Buddhist religion, and they are used to convey certain ideas (O’Riley 70). In this case, the Amida Buddha is making the mudra of appeasement (“Amida”). More physical observations could be made by pointing out the “balanced form, divine features, and flowing drapery” (“Amida”) of the Amida Buddha. Those qualities represent the nature of the Buddha, revealing him as “transcendent, graceful, and compassionate” (“Amida”). Features common to other Buddha sculptures show up on this Amida Buddha, like the elongated earlobes, the mole on his forehead, and patterned hair. At first glance, the Am...
The ‘Green Tara 14th century’ is a metal sculpture which is about 10 inches tall and 6 inches wide. It is very precisely detailed with the clothes, head piece, earings, necklaces and other types of jewellery all intricately carved. The
Since the introduction of Buddhism into China, it was not well received by the population as its foreign beliefs clashed with pre-existent principals of Confucianism and Taoism. On top of that, it was alienated by the Confucianism-based government in the late Han Dynasty. All in all, Buddhism was not a common nor a popular religion throughout China at first. Nevertheless, this all changed after the rise of the Tang Dynasty. There is no doubt that Buddhism and the Tang administration under Wu’s reign formed a critical symbiotic relationship with one another. Buddhism played a pivotal role in justifying Empress Wu’s rule. She enthroned herself as the monarch of China, an extraordinarily difficult achievement for a woman in a male-dominant society, by associating herself with Buddhism: proclaiming herself as the Maitreya and that she will bring an utopian era for the Chinese. (Smarr, 17 Feb. 2012) At the same time, Buddhism benefitted handsomely from government support, as monasteries are exempted from tax and that they are financially supported by the state, as seen in A Pilgrim’s Visit to the Five Terraces Mountains, which ultimately resulted in the substantial growth in attraction of Buddhist converts and Buddhism itself. Wu’s extensive support of the religion with ostentatious gifts and donations contributed to the rapid proliferation of Buddhism. Evidently, the mutually benefitting relationship between Buddhism and the state are crucial to each other’s survival during Wu’s sovereignty, but to what extent did her financial support (donations to monasteries) of Buddhism bettered the government overall?
Rathnasambhava, the Transcendent Buddha of the South. Tibet, 13th century C.E. Mineral pigments on cotton cloth, height 361/2”. Los Angeles County Museum of Art.
There is no simple answer to this question, especially with the convoluted and entwining relationship between Buddhism and Wu, so we focus on how the religion assisted Wu in grasping power and its indispensable role in the Chinese economy. The close connection between government and religion is not a new concept to the Tang era as it has been well-established prior to its time, and it even survived long after. In the case of Buddhism and Empress Wu, the religion played a pivotal role in justifying her rule, which could explain her special interest in it. Among the Buddhists followers, she was identified as the bodhisattva Maitreya, which helped her gain a sense of legitimacy to her reign, especially in a male-dominant society (Smarr Feb. 17 2012). The association of Buddhism with Wu helped spur Wu’s benevolent policies towards the religion, who benefitted handsome...
Walking into the Hall of the Buddhas, there was a sense of peace and guidance lingering inside me. The seated Bodhisattva, of the Northern Wei dynasty (386-534), CA.480, from the Yungang, Cave xv, Shani Province, made of sandstone, guarded the entrance. At first, I thought it was a time to be disciplined, but the transcending smile from the statue was a delicate fixed gesture that offered a feeling of welcome. It was not a place to confess your wrongdoings; neither was it a place for me to say, “Buddha I have sinned.” It was a room to purify the mind, the mind that we take for granted without giving it harmony. There was a large mural decorating the main wall called “The Paradise of Bhaishajyaguru”(916-1125). I sat down wandering if the artist of the portrait knew that his work would one day be shared on this side of the world, in my time. Much like Jesus Christ and his followers, the mural is a painting of healers and saviors. It was a large figure of the Buddha of medicine, (Bhaishajyaquru) surrounded by followers of Bodhisattvas, Avalokiteshvara, and Mahosthamaprapta with twelve guardian generals who have pledged to disseminate the Buddha’s teaching (Tradition of Liao 916-1125, Metropolitan Museum wall plaque).
This carved schist shows Avalokitesvara, the Bodhisattva of mercy and compassion. The divine statue is standing in front of a nimbus while clutching some sort of garment in his left hand. Most of his right arm seem to have fallen off. Only his lower body is is cover in clothes. He is also wearing several neck less that are attached to his ears as well. On the base of the statue four other Bodhisattva’s are carved surrounding someone who appears to be Buddha.
of power. This was the case with Buddhism to start as it came into China by way of the
This inscription is the biggest support towards the idea of auspicious cranes that Huizong claimed that controlled the interpretation of the painting itself. If this inscription was not made, it might be easier for the audience to have other interpretation other than Mandate of Heaven. However, it was effective to be used to control the meaning of the painting and emphasize the event’s association with blessing from Heaven.
Regarding religion, Chinese culture saw the emergence of Confucianism and Buddhism as the major influence. Confucianism stressed filial piety which meant respecting elders and superiors, ruling righteously, and obeying commands and orders. Confucianism was introduced by the Chinese thinker Confucius. Buddhism was brought to China, but originated in India and was founded by Siddhartha Gautama. Followers of Buddhism worshipped Buddh...
The Buddhist brought with them the concept of multiple gods and Buddha’s “spiritual state to provide the power for humans to make the transition into death and the afterlife successfully” (Corduan, 2012, p.410). Confucianism brought the obedience of the child to the parent into Chinese mainstream life, plus the “social stratification and codes governing dress, actions and communication” (Corduan, 2012, p.409). Taoism introduced the balance of forces in harmony in spirits in the form of yin and yang, thus creating that balance of nature and humans (Corduan, 2012). Christianity influenced Chinese life both socially and economically by introducing the concepts of “love for one’s neighbor, self-discipline, and trust” (Lu, 2014, p.2) as both essential and beneficial (Lu, 2014). All of these together with the traditional Chinese religion, give the Chinese culture it’s popular religion
People admired the overall concept of the religion and how it brought peace and enlightenment not only into their life, but the people that they are surrounded by. Many different artist began to create what they thought Buddha and how he, being the face of the religion, demonstrates how one can find these qualities in their life. Author of the book History of Chinese Philosophy, Bo Mou states that “....an affectionate concern for the well-being of one 's fellows in the community, society, or a state governed by a wise and virtuous ruler”, when referring to Buddha. In Seated Buddha, it can be mistaken that this sculpture does not posses a lot of great detail, but upon further inspection, it is obvious that it holds very detailed designs. This sculpture has a halo-type structure around the head of the Buddha and he is seated on an elevated surface. I believe that by placing the Buddha on this surface it then emphasizes his holiness and his importance to and in the community. One main feature that the Seated Buddha holds is the fact that he is seated in the lotus position, which ultimately was done to support the concept of peacefulness and calmness. The man has his right-hand open resting on his knee with his palm facing up. By doing this, I believe that the artist is showing the concept of openness and the idea of the Buddha figure being welcoming to others. The Seated Buddha is depicted with his eyes shut and a smile on his face. To me, this is showing that one can be happy regardless of what they can and cannot see and that you do not have to observe something in order to be happy. This can also mean that even if there is bad happening in the world, you can not look at the bad and just help others through their pain, which can then boost the amount of happiness that you
Gandhara had absorbed Indian and Mediterranean influence in its art as well as its culture. This fusion of civilizations had taken place during the 6th and 5th century B.C, it was during this time period that the rhythm of civilizations was maintained. It was noted for the distinctive Gandhara style of Buddhist art, which developed out of a merger of Greek, Syrian, Persian, and Indian artistic influence. As mentioned earlier the Gandhara artists were said to have hand of a Greek but the head and heart of an Indian . During this period the devotees had dedicated themselves to the novel task of carving stone images of Buddha and Bodhisattvas. In their version of the Buddhist legends, the Gandhara artists, heavily favored the use of classical Roman art with bounteous of Greek mythology such as the angels that had garlands, Centaurs with human heads, arms and the body, spiral and flowing lines, Tritons with the fish tails and horse’s forefoot, scrolls and stuccos. The carving of the drapery showed the Hellenic influence on Gandhara art, for example the bright disc around the head of the Buddha or the half human being with the head of trunk of a women and tail of a fish. Similarly the wavy treatment of the hair, balance and distribution of weight considering the frame of human parts certain motifs and patterns all indicated a full close knowledge of