Eastern Word Buddhist Art

Monk Holding a Lotus

6th–7th century

This wall painting was part of a
composition that embellished the
interior of a temple cut into the soft
rock of the Kizil cliffs. The monk, shown
in the pious act of offering a flower,
was probably placed near a Parinirvana
(death of the Buddha) image. Small
details such as his shirt and outer robe
provide a rare glimpse of the appearance
of a member of the Buddhist community
at the time.

Historical period(S)
Kizil kingdom
6th–7th century
Dimemtion
32 x 14 3/4 in. (81.3 x 37.5 cm)
Collection
The Metropolitan Museum of Art
Classification(S)
Paintings
Pigments on mud plaster
Georaphy
Xinjiang
Provenance
C. Edward Wells , New York, until
1940; sold to MMA

East Asia - Xinjiang 101

Seated The seated bodhisattva in this fragment of a wall painting displays the gesture
Bodhisattva of exposition or teaching with his left hand. While he wears the elaborate
jeweled headdress, earrings, and necklaces typical of a bodhisattva, his
6th–7th century garments are monastic robes. Their green color is typical of Central Asian
painting, while much of the black was not intended but instead is the
result of the oxidation of pigments.

Historical period(S) Collection Georaphy
Kizil kingdom 6th–7th century The Metropolitan Museum of Art Xinjiang
Dimemtion Classification(S) Provenance
19 3/8 x 11 1/2 in. (49.2 x 29.2 cm) Paintings A. W. Bahr , until 1947; sold to MMA
Pigments on mud plaster

102 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Rondel with These Buddhas with halos and body mandorlas were part of an elaborate
Seated Buddha halo that embellished a large standing devotional icon. Little remains of
the original polychrome, but it is evident that the bodies were painted red
6th–7th century and the faces were white.

Historical period(S) Collection Georaphy
Kizil kingdom 6th–7th century The Metropolitan Museum of Art Xinjiang
Dimemtion Classification(S) Provenance
19 3/8 x 11 1/2 in. (49.2 x 29.2 cm) Sculpture Jan Kleijkamp , New York, by 1930,
Red clay with traces of color sold to MMA

East Asia - Xinjiang 103

Head of Buddha This unfired head is related to fifth- to seventh-century clay sculpture from
Afghanistan, especially in the treatment of the eyebrows and in the hairstyle
6th–7th century of three rows of curls. The site of Rawak comprises a cruciform stupa (relic
mound) based on architecture established in Afghanistan and Gandhara; the
enclosing wall of this sacred precinct was embellished with hundreds of clay
Buddhas and bodhisattvas such as this one.

Historical period(S) Collection Georaphy
Kizil kingdom 6th–7th century The Metropolitan Museum of Art Xinjiang
Dimemtion Classification(S) Provenance
H. 10 in. (25.4 cm); W. 7 in. (17.8 cm); D. 7 Sculpture Jan Kleijkamp , New York, by 1930,
in. (17.8 cm) Red clay with traces of color sold to MMA

104 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Standing Images What would come into your mind when you looking up to the Buddha and
of the Buddha Bodhisattva who are looking down at you? It must be the insignificance of yourself
and Bodhisattva and the grandeur of the Buddha. It’s easy for you to become a pious believer in
such an atmosphere, feeling the pity and solicitation. Located in Xinjiang Uyghur
700 Autonomous Region, the Kizil Grottos were created when Kizil served as an
important fort along the Silk Road.

Historical period(S) Collection Georaphy
700 China Modern Contemporary Xinjiang
Dimemtion Classification(S) Provenance
Unknown Mural Cave 123 of Kizil Grottos, Xinjiang
Uyghur Autonomous Region

East Asia - Xinjiang 105

TAIWAN

Buddhism is one of Taiwan’s major religions. The majority of Taiwanese
people follow Mahayana Buddhism, Confucian ideals, local customs, and
Taoist heritage. On important events, such as childbirth and funerals, religious
professionals from both Buddhist and Taoist traditions have a role. A smaller
percentage of these people connect more strongly with Chinese Buddhist
teachings and institutions, without necessarily rejecting behaviors from other
Asian cultures. Buddhism is practiced by about 35% of the population.

Artwork 02

Artwork 01

Artwork 03

106 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05
Standing Buddhist Triad Sitting Sitting Spider Web
Bodhisattva 550-577 CE Maujiushri Bodhisattva Ceiling of
3rd-4th century page 109 Bodhisattva 1115-1233 CE Lukang
page 108 with Five Knots page 111 Longchan
of Hair Temple
916-1125 CE 17th century
page 110 page 112

Artwork 04

Artwork 05

East Asia - Taiwan 107

Standing
Bodhisattva

3rd-4th century
Gandhara was an important place
of origin for the development
of Buddhist art. Gandharan
Buddhist carvings are noted not
only by characteristics influenced
by Hellenistic art, but also by
their effects in the development
of Buddhist art extending along
the Silk Road. The features of
this bodhisattva fully reflect the
Gandharan style: a graceful face
and robust chest resembling the
beauty of the Greek god Apollo;
richly decorated Brahmin necklace,
lion earrings, armlets and bracelets,
and cascading braided hair. His
crown can be dismantled and
reassembled by dovetail joints.
Standing on a square pedestal
wearing shoes, in an expression
of peace and firm resolution, the
bodhisattva epitomizes the spirit of
the Mahayana ideal to bring benefits
to all sentient beings. In its artistic
techniques, this piece resembles the
Mahaban standing bodhisattva statue
at the Guimet Museum in France.

Historical period(S)
3th - 4th century
Dimention
H. 158 cm
Collection
Chung Tai World Museum
Classification(S)
Schist
Georaphy
Taiwan

108 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Buddhist Triad

550-577 C.E
The large size, the lustrous and smooth
qualities of the stone, and the exquisite
artistry make this color painted and gold
leafed carving a quintessential example
of ancient white marble statues. Under
a double-canopied tree, the buddha sits
at the center flanked by two attendant
bodhisattvas. Their delicately carved faces
express loving-kindness. Below the figures
are two lively dragons with lotus flowers
in their mouths, adding dramatic flair
to the scene. The canopy with six layers
of bodhi tree leaves carved in openwork
symbolizes the six paramitas (charity,
moral conduct, tolerance, diligence,
meditation and prajna wisdom) practiced
by the Mahayana bodhisattvas. The 108
bodhi leaves in these layers represent
the uncovering of our inherent bodhi
nature once we have eradicated the 108
afflictions in our minds. At the back of
the double-canopied bodhi tree are two
arhats, a design symbolizing the union
of the two divisions of Buddhism: the
Mahayana and the Theravada. With its
cohesive composition, ingenious design,
and perfect integration of imagery and
teaching, this exquisite piece represents
the pinnacle of white marble sculpture in
sixth century China.

Historical period(S)
Northern Qi Dynasty
550-577 C.E
Dimention
H. 145 cm
Collection
Chung Tai World Museum
Classification(S)
White Marble
Georaphy
Taiwan

East Asia - Taiwan 109

Sitting
Manjushri
Bodhisattva
with Five Knots
of Hair

916-1125 C.E
Inheriting the Tang dynasty
tradition, Liao statues reflect the
popularity of the Huayan and
Esoteric schools. This statue is one
example. The bodhisattva’s hair is
tied into five knots, indicating he
is Manjushri Bodhisattva1. He has a
plump face, and the appearance of a
youth. His full, strong body reflects
the Tang style. However, the long
upper body, upright posture, cloud
pattern on the shoulders, knotted
belt tied around the waist, and the
distinctively Liao-style snake motif
carved on the skirt are features
resembling those in the Liao dynasty
bodhisattva statues found in the
Lower Huayan Temple in Datong,
Shanxi province.

Historical period(S)
Liao Dynasty
916-1125 C.E
Dimension
H. 22 cm
Collection
Chung Tai World Museum
Classification(S)
Sculpture
Gilt Bronze
Georaphy
Taiwan

110 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Sitting
Bodhisattva

1115-1233 C.E

The Jin dynasty succeeded the
Liao to rule northeastern China
contemporaneously with the
Southern Song dynasty (1127-1279)
in the south. During their reigns,
the two rivaling dynasties each
produced its own distinctive style
of statues that enriched Buddhist
art. In this statue, the Bodhisattva
sits in a lotus posture with his long
torso exposed, displaying a strong
thick chest and abdomen. His
crown, richly adorned with a feather
motif and a small buddha icon at
the center, is worn around his tall
topknot. From behind his neck, two
braids fall over his shoulders. He
has a plump, squarish face, long eyes
with eyebrows slanting upward, and
a mustache. The long scarf wrapped
around his shoulders drapes straight
onto his arms and sides. Another
long sash worn over his left shoulder
is decoratively knotted with the tail
gently falling on the left thigh.

Historical period(S)
Jin Dynasty
1115-1233 C.E
Dimention
H. 126 cm
Collection
Chung Tai World Museum
Classification(S)
Painted Wood
Georaphy
Taiwan

East Asia - Taiwan 111

Spider Web Ceiling of
Lukang Longshan Temple

17th century
The Lukang Longshan Temple is particularly renowned
for the craftsmanship displayed on its caisson ceiling, the
oldest and largest in Taiwan. A caisson, otherwise known
as a spider web ceiling, is a sunken ceiling panel typically
located in the center of East Asian temples or palaces.
At the Lukang Longshan temple the Caisson ceiling was
constructed without nails and is held together by deco-
rated interlocking wooden brackets, known as dougongs.
The center of the caisson features a colorful painting of
a dragon, a common theme for this architectural feature.
Considered effective in the warding off of evil, these ceil-
ings are also acoustic marvels, amplifying and enhancing
the sound of the stage performances.

112 Eastern World Buddhist Art - A brief introduction to Buddhist artworks



KOREA

Korean Buddhism differs from other kinds of Buddhism in that it attempts to
reconcile Mahayana Buddhism’s contradictions. Early Korean monks thought
that the traditions they had inherited from other countries were incongruent
internally. They devised a new holistic approach to Buddhism to solve this.
This approach is shared by nearly all important Korean philosophers, and it
has resulted in Tongbulgyo (“interpenetrated Buddhism”), a style of Buddhism
that seeks to reconcile all disagreements (a principle known as hwajaeng)
among Korean academics.  Korean Buddhist intellectuals developed the
concepts of their forefathers into a unique form.

Artwork 01 Artwork 03
Artwork 02

114 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Gilt-bronze Dancheong Gilt-bronze Buddhist Stele Maitreya Bud- Pensive
Standing Korean art of Standing Bhaisa- of Amitabha dha Triad Bodhisattv
Buddha with painting build- jyaguru Buddha Buddha Triad 7th century Three Kingdoms
Inscription ings with Inscription page 122 Period
of “Yeonga page 120 of “Gyeyu” page 123
Chilnyeon” page 118 “The 10th Year of
“The Seventh the Sexagenary
Yeonga Year” Cycle”
page 116 page 121

07
Amitabha
Buddha’s
assembly in the
Western Paradise
Late 18th–early
19th century
page 124

Artwork 04 Artwork 06
Artwork 07

Artwork 05

East Asia - Korea 115

Gilt-bronze Standing
Buddha with Inscription
of “Yeonga Chilnyeon”

“The Seventh Yeonga Year”
The inscription reads the “seventh
year of Yeonga,” which places the
date of production in the Goguryeo
era, circa 539 CE. It was discovered in
1963 in Uiryeong, Gyeongsangnam-
do, in amazingly good condition for
a 1400-year-old relic. The backside
of the halo bears the inscription that
records when, where, and why the
statue was made, as well as who made
it. In addition to the aforementioned
date, the inscription reveals that the
statue was made at a temple called
Nangnyangdongsa in the State of
Goryeo (i.e., Goguryeo). The Buddha
is dressed in a thick dharma robe
with flared hems, and his face is
rather slim, revealing the influence
of China’s Northern Wei Dynasty
(386-534). However, the faint smile,
voluminous veil robe, thick lotus
pedestal, and halo embellished with a
dynamic flame design show that it is
a Goguryeo work.

Historical period(S)
Goguryeo Kingdom
Dimension
H. 16.2cm
Collection
Gyeongju National Museum
Classification(S)
Metal - Gilt-bronze
Georaphy
Korea
Provenance
Uiryeong-gun

116 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

East Asia - Korea 117

Dancheong

Korean art of painting buildings

Dancheong is the traditional Korean In addition to decorative purposes,
art of decorating wooden structures, Dancheong is also used to:
a conspicuous style on ancient walls 1. Protecting the building surface from
from the Goguryeo Kingdom period extreme weather and termites.
(37 BC–668 AD); This style is also 2. Covering surface imperfections.
recorded in the ancient book Samguk 3. Showing authority and position.
Yusa (Three Kingdoms Di Su). Thus, 4. Encouraging people about reverence.
Dancheong may have originated as
far back as the Three Kingdoms peri-
od of Korea (57 BC - 66 AD).

Making use of all 5 colors blue, red,
yellow, white and black, respectively
represents the wood, fire, earth, met-
al and water elements, based on the
theory of yin and yang of the five el-
ements. These 5 colors also represent
directions: Blue - East, Red - South,
Yellow - Center, White - West, South
- North. Dancheong focuses on the
harmony between nature and build-
ings built by human.

118 Eastern World Buddhist Art - A brief introduction to Buddhist artworks



Gilt-bronze This gilt-bronze standing Bhaisajyaguru Buddha is larger than most of the
Standing Bhaisa- gilt-bronze Buddha statues dating back to the Unified Silla Period. It holds
jyaguru Buddha a medicine casket in the left hand, and raises the right hand. The voluminous
body and the embossed folds of the robe are typical features of the gilt-bronze
Buddhist statues made during the cultural zenith of Unified Silla. The pedestal
was made separately at a later date.

Historical period(S) Collection Georaphy
Goguryeo Kingdom Gyeongju National Museum Korea
Dimension Classification(S) Provenance
H. 36.5cm Metal - Gilt-bronze Unknown

120 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Buddhist Stele of Discovered at Biamsa Temple in Yeongi-gun of Chungcheongnam-do (pres-
Amitabha Bud- ent-day Sejong City), this Buddhist stele carved with Amitabha Buddha ac-
dha Triad with companied by other Buddhas and Bodhisattvas contains an inscription stating
Inscription of that it was erected on the fifteenth day of the second lunar month in a Gichuk
“Gyeyu” Year (probably 689) for the parents in the past seven lives. The carving, which
depicts the Pure Land of Amitabha, is thought to be the oldest such work dis-
“The 10th Year of the Sexagenary covered in Korea so far, and is considered a great work of art due to the fine
Cycle” openwork rendering of the railings and stairs and to the composition taken to
express spatial depth.

Historical period(S) Collection Georaphy
Unified Silla Period Gyeongju National Museum Korea
Dimension Classification(S) Provenance
H. 42.5cm Stone - Other/ Miscellaneous Yeon-gi-gun

East Asia - Korea 121

Maitreya Buddha This Triad was moved from a stone chamber in Jangchanggol Valley near
Triad Mt. Namsan, Gyeongju, in 1925. Among the three statues, the main Buddha
is especially unique; it is the only Buddha statue dating from the Three
7th century Kingdoms Period that is seated in a chair.
Based on the records f rom the Samgukyusa (Memorabilia of the Three
Kingdoms) and the Chinese examples, the main Buddha is presumed to be the
Maitreya Buddha. To each side of the Buddha, a smaller Bodhisattva stands with
a lotus flower in his hands. The Bodhisattvas are each wearing a jeweled crown
decorated with three flowers, and they each have an innocent smile on their
face, which is rather large in proportion with the body. Despite being carved
from hard granite, this representative Silla stone Buddha emits
a warm and lively aura.

Historical period(S) Collection Georaphy
Silla, 7th century Gyeongju National Museum Korea
Dimension Classification(S) Provenance
H 160cm Sculpture Unknown

122 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Pensive Buddhist sculpture. This Pensive sculpture is widely admired for its
Bodhisattv Bodhisattva statue (designated Na- benign smile and fine physical pro-
tional Treasure #83) is 93.5 cm high, portions, which make it a splendid
Three Kingdoms Period making it the tallest of all extant object of religious worship. It closely
pensive bodhisattvas from the Three resembles a red-pine bodhisattva
This statue strikes a classic contem- Kingdoms period (1st century from Koryuji Temple in Japan, which
plative pose with one leg perched up BCE – 668 CE). was established by a Silla monk. This
on the other knee and the fingers of Other distinguishing features of this artistic masterpiece is also a signif-
one hand raised against the cheek. statue include the crown, which is icant archaeological artifact that
This pose derived from the image of called either a samsangwan (crown attests to the exchange of Buddhist
the young Indian Prince Siddhartha with three peaks) or a yeonhwagwan images between Korea and Japan
Gautama contemplating the nature (lotus crown), and the simple yet el- early in their history.
of human life is quite common in egant necklace that the prince wears
on his exposed upper torso. This

Historical period(S) Collection Georaphy
Three Kingdoms Period Gyeongju National Museum Korea
Dimension Classification(S) Provenance
H. 93.5cm Metal - Gilt-bronze Unknown

East Asia - Korea 123

Amitabha
Buddha’s
assembly in the
Western Paradise

Late 18th–early 19th century

This work depicts an assembly Ink drawings such as this one were
of divine figures in the Western adhered to the backs of coarsely wo-
Paradise, the realm of the Amitabha ven, semitransparent silks on which
Buddha (Korean: Amita). The central the final image was painted (guided
deity sits on a lotus flower atop a by the outlines of the underdrawing).
fabric-covered dais, surrounded Here, the small areas of the paper
by a supporting cast of twelve, where the pigments have seeped
including bodhisattvas, disciples, through the silk display faint trac-
guardians, and attendants. In es of red and green. This piece is a
particular, Avalokiteshvara (Korean: finished drawing rather than a study
Gwaneum) and Kshitigarbha sketch; few such underdrawings
(Korean: Jijang)—at the Buddha’s left survive as independent works of art.
and right, respectively—are often The elegant and dynamic calligraphic
paired as attendant bodhisattvas quality of the drawing would have
to Amitabha in Korean Pure Land been lost in the final painting, as
Buddhist iconography. He touches his pigments mask and trump lines.
right thumb to his right middle finger in
a gesture indicative of teaching.

Historical period(S) Classification(S)
Joseon dynasty (1392–1910) Ink and traces of color on paper
Dimension Georaphy
Image: 59 1/2 x 59 1/2 in. (151.1 x 151.1 cm Korea
Collection Provenance
The Metropolitan Museum of Art Koo New York Gainesville, FL, until
2011; sold to MMA

124 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

East Asia - Korea 125

JAPAN

Since the sixth century CE, Buddhism has been practiced in Japan.  Numerous
new Buddhist schools have sprung up as a result of Japanese Buddhism (Nihon
Bukky), many of which are based on Chinese Buddhist traditions. Japanese
Buddhism has had a significant impact on Japanese society and culture, and it
continues to do so now. 

Artwork 01

Artwork 03

Artwork 02

Artwork 04

126 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Seated Sakyamuni Jizō Bosatsu Amida beyond The Buddhist Angaja (Ingada)
Bodhisattva Rising from the CA. 1202 the Mountains Disciple Phra 1300/1399
About 775 Golden Coffin page 132 (Yamagoshi Sankachaica page 138
page 128 11th century Amida) Late 17th cen-
page 130 13th century tury
page 134 page 136

07
Finial of a
Buddhist Monk’s
Staff (Shakujō)
page 139

Artwork 07

Artwork 06

Artwork 05

East Asia - Japan 127

Seated sculptural tradition—a move away
Bodhisattva from the expensive, time-consuming
technique of using lacquer (a resin
About 775 extracted from the sap of a tree)
over a temporary clay core that, once
This rare and important sculpture removed, left a sculpture that was
represents a Buddhist bodhisattva, completely hollow except for per-
or “bosatsu,” an enlightened and haps a wood bracing system. Here a
compassionate being who postponed sculpted wood core is overlaid with
buddhahood in order to help save lacquer-soaked cloth. The innovative
others. Calm, stately, and full-bod- sculptors at the Nara temple mod-
ied, the bosatsu is seated in a frontal, eled the wet and pliable surface of
meditative pose; his gracefully held the cloth to create fine details such
hands, raised midair, make a gesture as facial features and jewelry. Finally,
of assurance. Buddhism, which orig- the sculpture was gilded.
inated in India with the teachings
of the Buddha Sakyamuni, or Sid-
dhartha Gautama (about 563–about
483 B.C.), was named the official
religion of Japan at the beginning of
the eighth century by the emperor
Shomu (ruled 701–56). This small,
finely crafted lacquer figure is the
only Buddhist sculpture outside
Japan that is firmly attributed to the
influential sculpture workshop of
Todai-ji, the largest and most pres-
tigious of the great state-sponsored
Buddhist temples built during the
Nara period. This sculpture rep-
resents a dramatic shift in Japanese

Historical period(S) Collection Georaphy
About 775 The Art Institute of Chicago Japan
Dimension Classification(S) Provenance
61 × 43.2 × 32.3 cm (24 × 17 × 12 3/4 in.) Sculpture The Art Institute of Chicago, Kate S.
Buckingham Endowment, 1962.356

128 Eastern World Buddhist Art - A brief introduction to Buddhist artworks



Sakyamuni Rising final sermon to his mother Maya, to avoid criticism from their Confu-
from the Golden who was overwrought with grief cianist rivals.
Coffin having arrived too late to see her son Although the present work is
before his death. This unusual motif, dated to around the latter half of
11th century which resembles the resurrection of the eleventh century, some schol-
Christ, comes from the Great Māya ars attribute the original painting
This painting captures the scene of Sutra (Ch. Mohe Moye jing, J. Maka to tenthcentury China. This work
Śākyamuni Buddha, who had en- Maya kyō), a Chinese apocrypha. The may have been a reproduction of a
tered his great passing, resurrecting thematic emphasis on Śākyamuni’s Chinese original made in Japan to
himself from his coffin to offer his filial piety suggests that its Buddhist revive interest in Chinese paintings,
compilers intended to use this sutra

which had been imported to Japan in Historical period(S) Classification(S)
the past. In brief, Japan experienced 11th century Ink and color on silk
a renewed admiration for China Dimension Georaphy
initiated by Emperor Shirakawa Unknown Japan
(1053–1129) around the beginning of Collection Provenance
his cloistered rule in the late eleventh Kyoto National Museum Unknown
century. While the vivid composition
of the lively crowd and the expressive
thick and thin black lines are remi-
niscent of Chinese works, the vibrant
color scheme strongly reflects the
Japanese aesthetics of the time.

Jizō Bosatsu

CA. 1202
The bodhisattva who relieves those suffering in hell,
Jizō Bosatsu (Sanskrit: Bodhisattva Ksitigarbha) attends
Amida Buddha as he delivers the pious to the Western
Paradise and answers the prayers of all living beings. He
is represented here in his usual attitude, with a shaved
head and wearing the robes of a Buddhist monk. His right
hand grasps a staff (shakujō), which he shakes to awaken
humans from their delusions; his left hand most likely
held a wish-granting jewel (hōju no tama), signifying the
bestowal of blessings.
An inscription on the interior of the figure identifies this
as a work by Kaikei, one of the two leading sculptors of the
early Kamakura period.

Historical period(S)
Kamakura period (1185–1333) CA. 1202
Dimension
H. 22 in. (55.9 cm); W. 6 3/4 in. (17.1 cm); D. 6 3/4 in. (17.1
cm); Diam. of base 6 3/4 in. (17.1 cm)
Collection
The Metropolitan Museum of Art
Classification(S)
Sculpture
Georaphy
Japan
Provenance
Mary Griggs Burke Collection, Gift of the Mary and
Jackson Burke Foundation, 2015

132 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

East Asia - Japan 133

Amida beyond the
Mountains (Yamagoshi
Amida)

13th century
Yamagoshi Amida, or Amitābha beyond the Mountains, refers
to paintings of the Buddha Amida appearing from the other
side of the mountains to welcome devotees on their deathbed.
This characteristically Japanese theme may have originally
been based on the esoteric Buddhist practice of contemplating
on the moon, imposed with the image of the Buddha’s
enlightened countenance. For this reason, the prototype for
such paintings often has a strong frontal composition. This
hanging scroll, however, can be characterized by the pictorial
depiction of the scenery and captures Amida and his retinue
appearing diagonally from between the mountains as if they
are about to welcome the devotee.

Historical period(S)
Kamakura period 13th century
Dimension
H. 120.5cm; W. 80.5cm
Collection
Kyoto National Museum
Classification(S)
Ink and color on silk
Georaphy
Japan
Provenance
Unknown

134 Eastern World Buddhist Art - A brief introduction to Buddhist artworks



The Buddhist Disciple Phra
Sankachaica

Late 17th century
The ‘Taima mandala’ is one of the most celebrated of the
group of works of early Japanese Buddhist art known as the
Pure Land mandalas. This painted version of the ‘Taima
mandala’ faithfully replicates the silk original, which accord-
ing to legend was woven in the eighth century, and is still
housed in the Taima-dera monastery south of the ancient
capital of Nara. The design is dominated by the central figure
of Amida Buddha, attended by his Bodhisattvas Kannon
(Avalokiteshvara) and Seishi (Mahasthamaprapta), along
with a rich host of deities, attendants and celestial musicians,
all presiding over their Western Paradise. The borders also
follow the original layout. Depicted on the left side is the
story of Prince Ajatasatru. On the right are thirteen of the
sixteen contemplations embodying the essentials of Shakya-
muni Buddha’s teachings. These teach the devotee how to
visualise and thereby realise within himself the glories of
the Pure Land. Along the lower edge the three remaining
contemplations are divided into the nine possible degrees of
rebirth into the Western Paradise.

Historical period(S)
Kamakura period 1185 - 1333
Early 14th century
Dimension
146.0 x 138.0 cm image
257 x 145.1 cm scroll
Collection
Art Gallery of New South Wales
Classification(S)
Hanging scroll; Ink and colour with gold on silk
Georaphy
Japan
Provenance
Unknown

136

East Asia - Japan 137

Angaja (Ingada)

1300/1399
The sixteen arhats (Japanese: rakan)
were disciples of Shaka (Sanskrit:
Shakyamuni), the historical Buddha.
At his request they remained in the
world after attaining nirvana in order
to help others. Paintings of the arhats,
often in sets of sixteen hanging scrolls,
became popular in China during the
Five Dynasties (907-60) and Song
dynasty (960-1279). Many of these were
imported to Japan during the Heian and
Kamakura periods (together 794-1333)
The Japanese artists took up the Chinese
practice of a combination of painting
styles. Here, the figure and lion are
expressed in an older line-and-colour
technique, with sweeping outlines for
the arhat’s robe and some fine detailed
work in the lion’s face and mane. The
background is in the newer ink-painting
style using a relatively dry brush.
Altogether the effect is more informal
than representations of Buddhas and
bodhisattvas, emphasizing the humanity
of the arhats so as to appeal to the
popular imagination. In general, arhats
are shown with Indian-looking features
and the wasted limbs of aesthetes.

Historical period(S)
Kamakura Period
1300/1399
Dimension
H. 94.40cm; W. 39.30cm
Height: 178.50cm (mount)
Width: 55.50cm (mount)
Collection
British Museum
Classification(S)
Painted
Georaphy
Japan
Provenance
Unknown

Finial of a
Buddhist Monk’s
Staff (Shakujō)

Jizō Bosatsu (bodhisattva) is usually
represented as a gentle, boyish monk
holding a wish-granting jewel (mani)
in his left hand, and in his right a
(shakujō), or monk’s staff with six
jangling rings to indicate his travels to
succor creatures in need. Mendicant
monks observed a rule of silence; they
carried such a staff to announce their
approach and to frighten away insects
and animals lest they inadvertently
tread on them. The six rings symbolize
the Six Realms of Existence where Jizō
is active and the Six Perfections that
lead to nirvana: generosity, morality,
patience, vigor, concentration, and
wisdom. This shakujō finial bears an
inscription that commemorates its
dedication to a shrine or temple on the
sacred mountain at Itsukushima. It has
been displayed with this statue since
early in the twentieth century.

Historical period(S)
Kamakura Period
1300/1399
Dimension
H. 94.40cm; W. 39.30cm
Height: 178.50cm (mount)
Width: 55.50cm (mount)
Collection
British Museum
Classification(S)
Painted
Georaphy
Japan
Provenance
Unknown

East Asia - Japan 139

Myanmar

Thailand

Philippines
Singapore

140 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

SOUTHEAST ASIA

Cambodia

Vietnam

Indonesia

South Asia - Afghanistan 141

MYANMAR

Nearly 90% of Myanmar's population practices Buddhism, which is primarily
of the Theravada branch. In terms of the number of monks in the population
and the percentage of wealth spent on religion, it is the most devout Buddhist
country. Adherents are more likely to be found among Burmese society's
majority Bamar people, Shan, Rakhine, Mon, Karen, and Chinese. Burmese
society reveres monks, who are collectively known as the sangha (community).
Many ethnic groups in Myanmar, such as the Bamar and Shan, embrace
Theravada Buddhism with the worship of nats, or spirits who can intervene in
earthly events.

Artwork 01 Artwork 03

Artwork 02

142 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Buddha Call- The Buddha’s The God Indra Carved Elephant Manuscript Water bowl with
ing the Earth Footprint (Sakka) Tusk chest with the Mahosadha
to Witness 1700s to early 1700s Late 1800s scenes from the Jataka
(Bhumisparsha 1800s life of Gotama Workshop of
Mudra) page 145 page 146 page 147 Buddha Hsaya Bay and
Late 12th Late 1800s to Daw Ma Ma
page 144 early 1900s Aung
Around 1930
page 148
page 149

Artwork 06 07 08
Cosmology Cloth hanging
Manuscript of the Nemi
Panel Showing Jataka
Himavanta 1890-1910
Forest where
Buddhas page 152
Meditate
Late 1800s
page 150

Artwork 05

Artwork 04

Artwork 07

Artwork 08

Southeast Asia - Myanmar 143

Buddha Calling Early Buddhist images from Burma have distinctive stylistic qualities that
the Earth distinguish them from their South-east Asian counterparts. In Burmese
to Witness Buddhism, which followed the Theravada path, the dominant figure is
(Bhumisparsha Akshobhya, represented here. In this characteristic pose the Buddha is
Mudra) seated with feet upturned, bearing wheel marks on his soles. A button-like
protuberance on his forehead resembles the ‘urna’. The left hand rests face
Late 12th century up on the lap in the meditation ‘mudra’; the right hangs with the tips of the
outstretched fingers touching the ground in the ‘bhumispara mudra’. With
this gesture the Buddha invokes the earth to witness his resistance of the
temptations of the spirit of evil, Mara.

Historical period(S) Collection Georaphy
Late 12th century Art Gallery of NSW Myanmar
Dimension Classification(S) Provenance
H. 12 cm Sculpture Purchased 1997

144 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

The Buddha’s Sculpture. Large impression of the Buddha’s foot decorated in low relief with
Footprint auspicious emblems, shells and a lotus medallion, all gilt and now somewhat
abraded. Surrounded by damaged mythical serpents (nagas) whose heads were
1700s to early 1800s once inserted in square mortices at the top. The serpent bodies were incised
with scales and then overlaid with coloured glass set in bitumen; now mostly
missing. Made of carved stone.

Historical period(S) Collection Georaphy
1700s to early 1800s British Museum Myanmar
Dimension Classification(S) Provenance
H. 172.5 cm x W. 100 cm x D. 18 cm Stone, glass, bitumen, and gilding Donated by Captain Frederick Marryat

Southeast Asia - Myanmar 145

The God Indra Carved stone, standing crowned figure of the god Sakka (Indra), Lord of
(Sakka) Tavatimsa Heaven, recording people’s good and bad deeds on a tablet. Made of
gilded and lacquered stone inlaid with glass set in thayo (lacquer putty).
1700s

Historical period(S) Collection Georaphy
1700s British Museum Myanmar
Dimension Classification(S) Provenace
H. 79 cm x W. 21.2 cm x D. 28.8 cm Sandstone with lacquer, gilding, and Unknown
glass inlays

146 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Carved Elephant Tusk

Late 1800s

Carved elephant tusk. The lower half is encircled with
four dancing figures amongst scolling foliage. The up-
per half is carved with four standing Buddha figures.
These are the four previous Buddhas of this era: Kassapa,
Konagamanda, Kakusanda, and Gotama. There is another
standing Buddha figure within the upper cagework, who
represents Metteya (Maitreya, the future Buddha). The
tusk is set on a once-painted, wooden lotus base atop a
stepped and indented platform.

Historical period(S)
Late 1800s
Dimension
H. 43 cm x W. 11 cm x D. 11.8 cm
Collection
British Museum
Classification(S)
Ivory and wood
Georaphy
Myanmar
Provenance
Donated by the Doris Duke Charita-
ble Foundation

Southeast Asia - Myanmar 147

Manuscript Teak chest (sadaik) with thayo (lacquer putty) low relief decoration applied on
chest with the front and sides. Lacquered with some gilding remaining. The scenes depicted
scenes from the are from the life of the Buddha. Front top shows the prince departing from the
life of Gotama palace. Front centre is of Prince Siddhartha taking a last look at his sleeping
Buddha wife, Yasodhara, and son, Rahula. On the right side of the chest are three of the
four sights - a monk, an old man, and a sick man. The left side shows Siddhartha
Late 1800s to early 1900s cutting off his hair while the groom looks on. Indra collects the hair which floats
in mid air. Below is the Anoma River. At the bottom the prince’s horse and
groom sadly begin their return to the city.

Historical period(S) Collection Georaphy
Late 1800s to early 1900s British Museum Myanmar
Dimension
L. 121 cm x H. 65 cm x W. 121 cm Classification(S) Provenance
Wood, lacquer putty (thayo), lacquer, Donated by Ralph and Ruth Isaacs
and gilding

148 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Water bowl with the Large red water bowl, ‘ye khwet gyi’, on raised foot.
Mahosadha Jataka Decorated in ‘yun’ (incised) technique with the ‘nan dwin’
(‘King-at-court’) design in red, yellow and green on black.
Workshop of Hsaya Bay and Daw Ma Ma Aung Royal figures are placed in front of a backdrop of spired
wooden palace buildings with a fortification wall behind.
Around 1930 The main court of the king is shown twice, once on each
side of the bowl. He is depicted centrally, beneath the
tallest spire, and with courtiers around him on either side,
half-sitting and half-lying in the manner demanded by
palace etiquette. The narrative is the Mahosadha Jataka,
one of the stories of the Buddha’s previous lives. Made of
coiled bamboo strips, pigment, and lacquer. Inscribed.

HISTORICAL PERIOD(S) COLLECTION GEORAPHY
Around 1930 British Museum Myanmar
DIMENSION CLASSIFICATION(S) PROVENANCE
H. 23.8 cm x W. 28.7 cm x D. 28.5 cm Lacquer on coiled bamboo Workshop of Hsaya Bay and Daw Ma
Ma Aung

Southeast Asia - Myanmar 149

Cosmology Manuscript Panel
Showing Himavanta Forest where
Buddhas Meditate

Late 1800s
Parabaik (folded manuscript).
Manuscript of locally-made paper
within green paper outer covers. Mid
to late 1800s. This is a cosmology
manuscript providing a map of the
Buddhist universe and describing
the residents of each level. The
higher beings are in the universe,
the more spiritually advanced they
are. One side shows the Heavens and
Mount Meru down to the realm of
the Asuras; the other side displays
the human world with reference
to Buddhas and the eight levels
of Hell. The manuscript contains
42 folds, assembled in concertina
fashion and has paintings and text on
both sides. Openings provide both
text in Burmese and Pali without
illustrations. Topics represented are
Lake Anottata, the four continents
around Mount Meru, the domain of
the elephants, the sixteen Buddhist
lands, Mount Meru itself, the hells,
and Himavanta forest.

Historical period(S)
Late 1800s
Dimension
L. 924 cm x W. 53.5 cm (cover and each
page approximately) x H. 21 cm (cover
and each page approximately)
Collection
British Museum
Classification(S)
Pigment on mulberry paper
Georaphy
Myanmar
Provenance
Funded by the Brooke Sewell
Permanent Fund

150 Eastern World Buddhist Art - A brief introduction to Buddhist artworks