Very often in Buddhist art, especially Buddhist art of ancient China, one can see small figures, mostly Buddhas, depicted in the halo and/or aureole of a Buddha image, and, less often, of a bodhisattva image. What does this mean? Despite the prevalence of this motif, its meaning and its significance in Buddhist history are poorly understood, if understood at all. In fact emanating other Buddhas is associated with the fundamental nature of the Buddha and the mechanism of how the Buddha functions to spread Buddhist teachings to every corner in the cosmic world. In this regard, the study of this motif—one of the purposes of this book—is not only a study of a specific iconographic convention in Buddhist art but also a study of the revolutionary change in the way Buddha was represented, a geographical and temporal development that reflected the change of Buddha’s nature in the eyes of his followers.
Besides being a general convention, the depiction of emanated Buddhas in the aureole also appears in some of the most spectacular and sometimes widely debated iconographies in Buddhist art, for example, the dharmadh?tu Buddha images, in which the Buddhist cosmologic system is shown inside a Buddha’s body, and the Mohammed Nari Stele from. Therefore as the second task this book, this study also involves and sheds light on a number of important iconographies in Buddhist art.
More importantly, this motif had appeared in various places in Central Asia and East Asia throughout the centuries. Traditionally, Buddhist images of the same iconography across different regions are studied as one coherent subject matter, assuming they all have the same meaning. By contextualizing these images in local history and local Buddhism, which is the third task of this study, this book also aims to examine much broader issues in Buddhist history and cultural transmission.
Emanated Buddhas in the Aureole of Buddhist Images from India, Central Asia, and China is an important book for students and scholars in art history, Buddhist studies, and East Asian studies. *This book is oversized and includes 92 color images.
|Product dimensions:||6.14(w) x 9.21(h) x 1.50(d)|
About the Author
Table of Contents
List of Maps
List of Tables
List of Figures
Chapter 1: Introduction
Part I: Buddha/Bodhisattva Images with Emanated Figures in the Aureole
Chapter 2: The Development of Images with Emanated Figures in the Aureole
Chapter 3: The Notion of Generating Other Buddhas in Buddhism
Chapter 4: The Tranformed-Buddhas and the Buddhas-Of-The-Ten-Directions
Chapter 5: Bodhisattva As The Emanator
Part II: Special Iconographies with Emanated Buddhas in the Aureole
Chapter 6: A Possible Iconography of Amitābha from Gandhāra
Chapter 7: The Dharmadhātu Buddha Images from Kucha
Chapter 8: The Narrative Depictions At Kucha and Turfan
Chapter 9: A Buddha Showing Realms of Rebirth in His Aureole
Part III: Inception and Transmission
Chapter 10: Gandhāra: Inception of the Mahāyāna Element
Chapter 11: Khotan: Flourish in a Mahāyāna Area
Chapter 12: Kucha: A Mahāyāna Motif in a Hīnayāna Area
Chapter 13: Central China: The Resonant-Body in Chinese Cosmology
Chapter 14: Conclusion