Buddhism was introduced to Zhejiang Province during the Three Kingdoms (220-280). In the Song Dynasty the Buddhist doctrine developed with typical Chinese character. The flourishing commerce in cities and social consc...Buddhism was introduced to Zhejiang Province during the Three Kingdoms (220-280). In the Song Dynasty the Buddhist doctrine developed with typical Chinese character. The flourishing commerce in cities and social consciousness toward real life greafiy influenced Buddhist statue art. As a result, the image of Buddha,which was a bearded male found in the Dunhuang Caves of the Tang Dynasty (618-907), changed展开更多
The murals of Dunhuang Cave 321 commissioned by the Yin family at the end of the seventh century have two very special illustrations-one of Dizang,Kṣitigarbha,the Bodhisattva of Hell,and the other of an Eleven-headed ...The murals of Dunhuang Cave 321 commissioned by the Yin family at the end of the seventh century have two very special illustrations-one of Dizang,Kṣitigarbha,the Bodhisattva of Hell,and the other of an Eleven-headed Guanyin,a manifestation of the Bodhisattva of Compassion,Avalokiteśvara.These extraordinary illustrations have garnered a great deal of interest and several scholarly interpretations.This article will begin by analyzing the depictions of hell and rescue in the cave murals and compare them to the scriptures that describe Dizang,who on account of his great compassion,offers the faithful redemption.Call on him and he will save you from a number of perils including the torments of hell;he can assume up to forty-four manifestations to facilitate his purpose.Salvation,released from karma,is also the primary message of the Eleven-headed Guanyin,Ekādaśamukha Avalokiteśvara.The creation of both images reflects the Buddhist teachings at the court of Empress Wu(武后624-705,r.684-705).With her generous patronage,Buddhist art burgeoned and such new iconographical themes based on new translations of sūtras found expression.Her court,an important city on the silk road,was a cosmopolitan one where an international and metropolitan style prevailed for both religious and secular themes which became a standard style in China and traveled to East Asia.Thus,the décor of Cave 321 presents new iconography in an international Tang style accomplished with the support of Empress Wu.展开更多
文摘Buddhism was introduced to Zhejiang Province during the Three Kingdoms (220-280). In the Song Dynasty the Buddhist doctrine developed with typical Chinese character. The flourishing commerce in cities and social consciousness toward real life greafiy influenced Buddhist statue art. As a result, the image of Buddha,which was a bearded male found in the Dunhuang Caves of the Tang Dynasty (618-907), changed
文摘The murals of Dunhuang Cave 321 commissioned by the Yin family at the end of the seventh century have two very special illustrations-one of Dizang,Kṣitigarbha,the Bodhisattva of Hell,and the other of an Eleven-headed Guanyin,a manifestation of the Bodhisattva of Compassion,Avalokiteśvara.These extraordinary illustrations have garnered a great deal of interest and several scholarly interpretations.This article will begin by analyzing the depictions of hell and rescue in the cave murals and compare them to the scriptures that describe Dizang,who on account of his great compassion,offers the faithful redemption.Call on him and he will save you from a number of perils including the torments of hell;he can assume up to forty-four manifestations to facilitate his purpose.Salvation,released from karma,is also the primary message of the Eleven-headed Guanyin,Ekādaśamukha Avalokiteśvara.The creation of both images reflects the Buddhist teachings at the court of Empress Wu(武后624-705,r.684-705).With her generous patronage,Buddhist art burgeoned and such new iconographical themes based on new translations of sūtras found expression.Her court,an important city on the silk road,was a cosmopolitan one where an international and metropolitan style prevailed for both religious and secular themes which became a standard style in China and traveled to East Asia.Thus,the décor of Cave 321 presents new iconography in an international Tang style accomplished with the support of Empress Wu.
