Transcript Silk Road
The Silk Route Buddhist Caves Mural Painting Northern Wei and Tang Dynasties • Northern Wei (Toba): 386-535 • Sui: 581-618 • Tang: 618-907 Buddhism • • • • Mahayana Buddhism: Western Paradise (Pure Land paradise) spread from India around the 5th century, Esoteric Buddhism (Tang-7th) and Ch’an Buddhism (Song-10th) Important images are Amida Buddha (Amitabha) who resides in the Western paradise, Maitreya Buddha (Future Buddha) and Gyanyin (bodhisattva of Compassion) Amida Gyanyin (became more feminine from 1279) Maitreya: laughing pot-bellied Buddha in China 4.12 Colossal Buddha, Cave 20, Yungang Cave, late 5th C. (13.7 m) Yangang Caves • 50 caves at Yangang began around 460-490 (Capital moved to Luoyang) (contemporary with Ajanta caves in India); located in Shanxi. • Cave 20 was is one of the oldest caves, dedicated by the Toba Wei rulers. • The Buddha seated in mediation (fifteen meters) Yungang Cave, late 5th C. Sakyamuni, Yungang Cave Dun Huang caves • Buddhist caves situated on the Silk Route; it is an important stopping between the N and S tracks of the Tarim Basin. • They were carved out of natural soft gravel cliffs; approximately a thousand caves but only half of them survived. • Many were decorated with wall paintings; the themes mainly focus in the Western Paradise of Amitabha Buddha. • Avalokitesvara (Chinese: Gyanyin) became highly popular 4.17 Western paradise, Dunhuang, Tang Dynasty, late 8th c Avalokistesvara and Gyanyin • Bodhisattva of Compassion • He was regarded as the guide of souls and one who bring the blessing of many children • Reside in the Western paradise of Amithaba • In Chinese art, he is depicted as a male bodhisattva, like those of India, until around the end of the 12th C (early part of Song Dynasty) • He gradually transform into a male figure with some female qualities such as the body, the face, and the hands • By the 17th century (Ming period), the male form was replaced with more feminine form 4.18 Gyanyin as the Guide of Souls, Dunhunag, 10th c. Lotus sutra • Gyunyin images became feminized; represented as a middle-aged fair lady in a white robe. • The transformation marked the Sinification of Avalokistesvara by the Chinese who believed in the Lotus Sutra, which gives Ava the ability to assume innumerable forms. • She is depicted as a lady in white robe or a bodhisattva with a thousand hands Gyanyin, 12-13th C. Pagoda • Watchtower-like structure (from clay models made for the dead to use afterlife) • Represents the center of the earth, axis mundi • Han period, exterior decorated with paint and lacquer • Motifs evoke the World outdoors (trees and birds) Great Wild Goose Pagoda Brick Pagoda of Songyuesi, Mt. Song, 520 CE 4.16 Isometric view of the timber-framing, main hall, Foguangsi temple, Shanxi, c. 857 Three-color wares • They were tomb deposited; earthenware with pigments • They vary in size from animals and tpys a few inches high to gigantic horses, Bactrian camels, armed men, dancers, musicians; women figurines were predominate • Human figurines were made in molds, with front and back cast separately; animals were made in several pieces • They declined after the mid 8th century 4.19 Yen Lipen (attributed), Emperor Wu Di, the Scroll of the Emperors, Tang Dynasty, 7th c. (11th century copy) Tang period (618-907 CE) • It is the golden age of Chinese civilization; expanding their territories to Korea, Vietnam, and Central Asia • Emperors supported trading on the Silk Road • Emperor Wu Di • Capitals at Luoyang and Chang’an (modern Xi’an); population of one or two millions; it was the most cultivated metropolitan center in the world • Art and literature flourished; Buddhism was supported by the Kings Court lady figurines, Tang period, 7th century Camel with musicians, Tang period (618-907 CE) Foreign attendants, Tang Dynasty (618-907), earthernware Girl resting on a camel, Tang period,(618-907), earthenware with pigments Horse and groom, pottery with polychrome glaze, Tang Dynasty