Eastern Word Buddhist Art

Southeast Asia - Myanmar 151

Cloth hanging of Kalaga textile, in two registers, depicting scenes from the Nemi Jataka, one
the Nemi Jataka of the ten great Jatakas (stories of the Buddha’s previous lives). Made of black
velvet with applied cloth (cotton and felt), sequins and glass, and embroidery.
1890-1910 King Nemi is taken by the god Sakka’s charioteer, Matali, to view the heavens
and the hells. The king then gives a sermon in Sakka’s heaven.

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

Historical period(S) Collection Georaphy
1890-1910 British Museum Myanmar
Dimension Classification(S) Provenance
L. 465 cm x W. 188 cm Velvet, cotton, felt, paper, sequins, Funded by the Brooke Sewell
glass, plastic, and metal Permanent Fund

THAILAND

Theravada Buddhism is the most widely practiced in Thailand, with 95 percent
of the people adhering to it. Thailand, behind China, has the world's sec-
ond-largest Buddhist population, with roughly 64 million Buddhists. Bud-
dhism in Thailand has merged with folk faiths as well as Chinese religions as
a result of the country's significant Chinese population. Thailand's Buddhist
temples are distinguished by large golden stupas, and Thailand's Buddhist
architecture is comparable to that of other Southeast Asian nations, notably
Cambodia and Laos, with whom Thailand shares cultural and historical ties.

Artwork 04

Artwork 03
Artwork 02

Artwork 01

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

01 02 03 04 05 06
Standing Buddha Buddha Seated Seated Buddha Eleven-Headed The Buddhist
Buddha Attended by under the Flanked by Two Avalokiteshvara, Disciple Phra
7th - 8th century Bodhisattvas Bodhi Tree Bodhisattvas the Bodhisattva Sankachaica
page 156 Avalokiteshvara 7th–9th century 7th–9th century of Infinite late 17th century
and Maitreya Compassion page 161
Second half of page 158 page 159 10th century
the 8th century
page 160
page 157

07
Head of Buddha
14th century

page 162

Artwork 05 Artwork 07
Artwork 06

Southeast Asia - Thailand 155

Standing Buddha Considerable innovations in religious iconography were developed during the
Mon-Dvaravati period. For example, many Buddhas hold both of their hands
7th - 8th century in a gesture of exposition or teaching (vitarkamudra) that in India is confined
to the right hand. Images from the related site of Prakhon Chai also exhibit
this double hand gesture, but otherwise it is unknown in the Buddhist world.
Another iconographic innovation was to place a standing Buddha and flank-
ing attendants on the back of Garuda, a semi-divine winged creature
that usually appears as the vehicle (vahana) of Vishnu.

Historical period(S) Collection Georaphy
Mon-Dvaravati period The Metropolitan Museum of Art Thailand
Dimension Classification(S) Provenance
H. 32 1/8 in. (81.6 cm); W. 11 in. (27.9 Sculpture Rogers Fund, 1982
cm); D. 6 in. (15.2 cm) Stone with traces of color

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

Buddha Attended The iconographic configuration in this Buddhist triad was favored in the Mon
by Bodhisattvas territories of Thailand and widely propagated in the Srivijayan regions of
Avalokiteshvara peninsular Thailand and Sumatra. This triad with a central Buddha flanked
and Maitreya by Avalokiteshvara and Maitreya identified by their crown insignias—the
Amitabha Buddha and a stupa, respectively—came to be of paramount im-
Second half of the 8th century portance in early ninth-century central Java. Several major temples were built
under royal patronage with these ensembles (albeit with all the figures seated)
as their principal cult images, those at Candi Plaosan Lor and Candi Mendut
being the best preserved.

Historical period(S) Collection Georaphy
Second half of the 8th century The Metropolitan Museum of Art Thailand
Provenance
Dimension Classification(S) Gift of John and Evelyn Kossak, The
H. 7 1/2 in. (19.1 cm); W. 6 1/2 in. (16.5 Sculpture Kronos Collections, 1984
cm); D. 2 1/4 in. (5.7 cm);

Southeast Asia - Thailand 157

Buddha Seated A sizable number of Mon-style plaques of the seventh to ninth century, rich in
under the iconographic variation, have survived from Thailand. These portable, mold-
made, terracotta votive plaques must have been commonly available at major
Bodhi Tree Buddhist pilgrimage sites and important religious centers. Their widespread
availability and easy portability helped to disseminate Buddhist doctrine,
7th–9th century styles, and iconography throughout South and Southeast Asia.

Historical period(S) Collection Georaphy
Mon-Dvaravati period The Metropolitan Museum of Art Thailand
Dimension Classification(S) Provenance
H. 32 1/8 in. (81.6 cm); W. 11 in. (27.9 Sculpture Rogers Fund, 1982
cm); D. 6 in. (15.2 cm) Stone with traces of color

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

Seated Buddha The iconographic configuration in this Buddhist triad was favored in the Mon
Flanked by Two territories of Thailand and widely propagated in the Srivijayan regions of
Bodhisattvas peninsular Thailand and Sumatra. This triad with a central Buddha flanked by
Avalokiteshvara and Maitreya identified by their crown insignias—the Ami-
7th–9th century tabha Buddha and a stupa, respectively—came to be of paramount importance
in early ninth-century central Java.

Historical period(S) Collection Georaphy
10th century The Metropolitan Museum of Art Thailand
Dimension Classification(S) Provenance
H. 7 3/8 in. (18.7 cm) Sculpture Purchase, Margery and Harry Kahn
Philanthropic Fund Gift, 1987

Southeast Asia - Thailand 159

Eleven-Headed Such multi-armed, eleven-headed images of Avalokiteshvara were important
Avalokiteshvara, to both Mahayana and Vajrayana Buddhist practitioners. This kind of repre-
the Bodhisattva sentation emphasizes Avalokiteshvara’s knowledge as well as his ability to take
of Infinite multiple simultaneous actions on behalf of the devotee.
Compassion

10th century

Historical period(S) Collection Georaphy
10th century The Metropolitan Museum of Art Thailand
Dimension Classification(S) Provenance
H. 7 3/8 in. (18.7 cm) Sculpture Purchase, Margery and Harry Kahn
Philanthropic Fund Gift, 1987

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

The Buddhist This is a much favored depiction of a famed Buddhist disciple, rotund and
Disciple Phra shaven, renowned for his gifts in teaching the dharma. He was introduced into
Sankachaica later Southeast Asian Buddhism from China, where he is known as Budai.
He has various hagiographies, but is widely understood as an incarnation of
late 17th century Maitreya, the Future Buddha.

Historical period(S) Collection Georaphy
Late 17th century The Metropolitan Museum of Art Thailand
Dimension Classification(S) Provenance
H. 14 1/2 in. (36.8 cm); W. 15 1/2 in. Sculpture(Bronze with traces of gilt; Purchase, Gifts of friends of Jim
(39.4 cm); D. 11 1/4 in. (28.6 cm) eyes inlaid with shell and garnet) Thompson, in his memory, 2001

Southeast Asia - Thailand 161

Head of Buddha

14th century
By the time Buddhism reached Thailand, its images
were well defined and governed by prescribed canons.
In an absorbing story of permutation and evolution,
Thai sculptors of the Sukhothai period (1200-1400)
created a transcendental and unique statement about the
spirituality of Buddha within the canonical framework.
The 32 major and 80 minor anatomical characteristics
necessary to create a true Buddha image include the
cranial protuberance symbolic of Buddha’s supernatural
wisdom; the elongated earlobes signifying his princely
birth; the spiral curls symbolic of his great renunciation
of cutting off his princely locks; a nose like a parrot’s
beak; and rounded chin like a lime or mango stone. The
high flame finial which would have been attached to
the crown of this figure, an innovation adopted from
Sri Lanka, but now synonymous with the classic Thai
style, is the Fire of Knowledge that burns away selfhood,
ignorance and suffering. Sukhothai sculptors preferred
bronze as their medium and achieved their greatest
triumphs with it. Motivated by the belief that the more
perfect the statue the stronger its power, they were driven
to create such distillations of condensed spirituality as
that captured here.

Historical period(S)
14th century
Dimension
26.0 x 16.0 x 16.5 cm
Collection
Art Gallery of New South Wales
Classification(S)
Sculpture
Copper alloy
Georaphy
Thailand
Provenance
Watson Bequest Fund 1963

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

South Asia - Afghanistan 163

CAMBODIA

Buddhism has been practiced in Cambodia since at least the fifth century. It
was a kind of Mahyna Buddhism in its earliest form. Theravada Buddhism
is Cambodia's most popular type of Buddhism today. The Cambodian
constitution declares it to be the country's official religion. Since the 13th
century, Theravada Buddhism has been the official religion of Cambodia
(except during the Khmer Rouge period). According to 2013 estimates, 97.9%
of the population was Buddhist.

Artwork 02

Artwork 01

Artwork 03

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

01 02 03 04 05 06
Head of Buddha Bhaisajyaguru Eight-armed Bust of Hevajra Buddha Buddha
7th century Early 12th Avalokiteshvara ate 12th–early Descending sheltered
page 166 century ca. 12th-13th 13th century 1954 by the naga
page 167 century page 169 page 170 Muchalinda
page 168 Early 12th
century
page 171

07
Angkor Wat
early 12th
century
page 172

Artwork 04

Artwork 07

Artwork 06

Artwork 05

Southeast Asia - Cambodia 165

Head of Buddha

7th century
This over-life-size head of the
Buddha is a testament to the
grandeur of the monumental
sculptural tradition in the Zhenla
kingdom. It was carved from a
sandstone characteristic of southern
Cambodia, which is consistent with
its stylistic assignment to Angkor
Borei or a related site. The Buddha
has a strong, broad face; lightly
modeled eyelids and pupils; and full
lips that turn up at the corners in a
hint of a smile. The hair curls, like
those of other Buddhas of this period
and region

Historical period(S)
pre-Angkor period
Dimension
H. 24 in. (61 cm); W. 13 in. (33 cm);
D. 12 3/4 (32.4)
Collection
The Metropolitan Museum of Art
Classification(S)
Sculpture
Georaphy
Cambodia
Provenance
Doris Wiener , New York
(by 1995; given to MMA)

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

Bhaisajyaguru

Early 12th century
The figure sits in a meditative
position with one leg resting upon
the other. Unique to Cambodian
Buddhist sculpture, this pose differs
from Indian Buddhist sculpture,
in which a figure’s legs are usually
crossed at the ankles. The figure of
Bhaisajyaguru is finished on all sides,
suggesting it was intended to serve as
a chala chitra, a portable object
used for worship.

Historical period(S)
Early 12th century

Dimension
w18.8 x h24.8 x d9.5 cm (overall)
Collection
The Metropolitan Museum of Art

Classification(S)
Sculpture
Georaphy
Cambodia
Provenance
Unknown

Southeast Asia - Cambodia 167

Eight-armed
Avalokiteshvara

ca. 12th-13th century
This figure of the Bodhisattva of
Compassion is a bronze replica of
one of the twenty-three stone images
King Jayavarman VII sent to differ-
ent parts of the kingdom in 1191 in
a celebration of the compassion the
king attributed to his own father.
The small figures of the Buddha can
be understood as representing the
qualities of Buddhahood that lie in
every pore of Avalokiteshvara’s skin,
and the figures around the waist are
an outward manifestation of ad-
vanced techniques of meditation.

Historical period(S)
ca. 12th-13th century
Dimension
ca. 12th-13th century
Collection
The Metropolitan Museum of Art
Classification(S)
Low-tin bronze
Georaphy
Cambodia
Provenance
Brahmanical Temple (Bot Phram),
Bangkok; Alexander B. Griswold,
Monkton, July 1949

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

Bust of Hevajra

ate 12th–early 13th century
This colossal bust of the Esoteric
Buddhist god Hevajra comes from the
ruins of the ancient site of Angkor in
northwestern Cambodia. It is said to
have been found near the East Gate
(the Gate of the Dead) of the great
walled city of Angkor Thom, built
by Jayavarman VII (r. 1181–1219). The
Bayon, sited at the very center of An-
gkor Thom, was one of the last major
monuments of the Khmer empire.
This sculpture is fragmentary. The top
head is missing. If the sculpture was,
in fact, intended to represent the
dancing Hevajra, it would have had
eight arms on each side. Quite a few
small bronze sculptures confirm this
depiction. To judge from the rough
surface of parts of this sculpture, it
was never completed.

Historical period(S)
Angkor period
Dimension
H. 52 in. (132.1 cm); W. 29 in. (73.7 c)
Collection
The Metropolitan Museum of Art
Classification(S)
Sculpture
Georaphy
Cambodia
Provenance
École française d’Extrême-Orient,
Phnom Penh, by 1936; sold to MMA

Southeast Asia - Cambodia 169

Buddha
sheltered by the
naga Muchalinda

Early 12th century
The figure sits in a meditative
position with one leg resting upon
the other. Unique to Cambodian
Buddhist sculpture, this pose differs
from Indian Buddhist sculpture,
in which a figure’s legs are usually
crossed at the ankles. The figure of
Bhaisajyaguru is finished on all sides,
suggesting it was intended to serve as
a chala chitra, a portable object
used for worship.

Historical period(S)
Early 12th century
Dimension
w420 x h800 x d270 cm
Collection
The Metropolitan Museum of Art
Classification(S)
Sculpture,stone
Georaphy
Cambodia
Provenance
Purchased 1970

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

Buddha
Descending

1954
The earthly life of the historical
Shakyamuni Buddha is rich in stories
and miracles. This exquisitely de-
tailed painting illustrates one of the
‘eight great events’ of the Buddha’s
life, His descent from the Heavens
of the Thirty-Three Gods, Tavatimsa
(also Trayastrimsha). Ruled by Indra,
king of the gods, Tavatimsa is one of
the Buddhist paradises.
The painting brings together the
three essential components of the
Buddhist universe - heaven, man’s in-
termediate world, and hell - and is an
important and fascinating addition
to the art collection.

Historical period(S)
1954
Dimension
H: 77 9/16 x W: 34 3/4 in. (197 x 88.25)
Collection
The Walters Art Museum
Classification(S)
pigments on cloth
Georaphy
Cambodia
Provenance
Ethnic East, Regent Hotel, Mae Rim
Old Road, Chiengmai, Thailand; Col-
lection of James E. Bogle

Angkor Wat

early 12th century

Angkor Wat is a combination of two
basic features of Khmer architecture:
temple-mountain architecture along
with long and narrow corridors. This
structure represents Mount Meru,
home of the gods in Hindu legend:
between a moat and 3.6 km (2.2
mi) long wall is a three-story main
hall with rectangular architecture. ,
connected by rows of deep corridors.
The center of the temple is a complex
of 5 towers with a central tower and
four towers at four square corners.
Unlike other Angkorian-style tem-
ples, Angkor Wat faces the west and
there is still no unified interpretation
of what this means. The temple is ad-
mired for the grandeur and harmony
of its architecture, the abundance of
sculpture and the large number of
deities adorning its stone walls.

Historical period(S)
early 12th century
Dimension
163 ha
Collection
Siem Reap, Cambodia
Classification(S)
Unknown
Georaphy
Cambodia
Provenance
Started by Suryavarman II

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



VIETNAM

As practiced by ethnic Vietnamese, Buddhism (Đạo Phật or Phật Giáo in
Vietnamese) is mostly of the Mahayana strain and is the primary religion.
Buddhism may have arrived in Vietnam from the Indian subcontinent in the
3rd or 2nd century BCE, or from China in the 1st or 2nd century CE.  Certain
aspects of Taoism, Chinese mysticism, and Vietnamese folk religion have had
a syncretic relationship with Vietnamese Buddhism.

Artwork 02

Artwork 01

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

01 02 178 03 04 05
Footed Dish One-Pillar Makara Seated Buddha Pagoda with
with Equestrian Pagoda disgorging a early 17th lotus, bodhi
Hunting 1049 - 1105 warrior, century leaf, dancer
Sceneca page Worshiping page 182 decoration
8th century female figure, 11th-13th century
page 176 Standing female page 183
figure
1075 - 1125
page 180

Artwork 04

Artwork 03

Artwork 05

Southeast Asia - Vietnam 175

Footed Dish
with Equestrian
Hunting Sceneca

8th century
This remarkable bronze presentation
dish can be attributed to the Cham
territories of Vietnam. It has an elab-
orately decorated cavetto with three
equestrian riders wielding a bow,
a lance, and a sword, respectively,
while hunting in a forested landscape
populated by elephants, buffalo, and
lions. It probably served as a presen-
tation dish in a court. No precedent
for this object was known until the
recent discovery of a second dish,
in a hoard excavated in Lam Dong
Province, southern Vietnam. Both
dishes are likely the products of court
workshops associated with a Cham
kingdom in the late first millennium.

Historical period(S)
8th century
Dimension
H. 1 1/2 in. (3.8 cm); Diam. 11 1/16 in.
(28.1 cm)
Collection
The Metropolitan Museum of Art
Classification(S)
Metalwork
Georaphy
Vietnam
Provenance
Unknown

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

Southeast Asia - Vietnam 177

One-Pillar
Pagoda

1049 - 1105
The One Pillar Pagoda , formally
belongs to an architecture complex
called Diên Hựu tự which means
Extend Bless pagoda. The pagoda is a
historic Buddhist temple in the cen-
tral Ba Đình district (near the Thăng
Long Citadel), Hanoi, the capital of
Vietnam. The most famous part of
this architecture complex is Liên Hoa
Đài (means Lotus Station) which
is a temple with special structure:
a building laid on one pillar. The
original pagoda was built in 1049,[1]
had some additions and be perfected
in 1105. It is regarded alongside the
Perfume Temple, as one of Vietnam’s
two most iconic temples.

Historical period(S)
Ly Thai Tong (1000-1054)
Dimension
single stone pillar 1.25 m in diameter
and 4 m in height
Collection
Doi Can Ward, Ba Dinh District,
Classification(S)
Unknown
Georaphy
Vietnam
Provenance
Unknown

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

Southeast Asia - Vietnam 179

Makara disgorging a warrior,
Worshiping female figure, Standing
female figure

1075 - 1125

Historical period(S) Collection Georaphy
Ly Thai Tong (1000-1054) Doi Can Ward, Ba Dinh District, Vietnam
Dimension Classification(S)
single stone pillar 1.25 m in diameter Unknown Provenance
and 4 m in height Unknown

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

These three sculptures were once temple was published in 1909 the lit in the shadowy space—must have
attached to the sanctuary wall of large niche was empty and the main been an imposing sight. The people
a brick temple in the territories of image of a deity was no longer in of Champa spoke a language relat-
Champa in today’s Vietnam. Old place. Because the rulers of Cham- ed to Indonesian and were entirely
photographs of the temple show how pa built both Hindu and Buddhist distinct from the Vietnamese, against
they were arranged, with this myth- temples, it was not clear to which whom they struggled—ultimately
ical creature and a mirroring one religion this temple belonged. Even- unsuccessfully—for centuries. Their
positioned to the right and left of a tually, though, the likelihood that states declined and the construction
large shallow niche, with a dancer it was Buddhist was supported by of great temple complexes ceased.
at the back of each creature. Above the identification of a nearby stone The people’s culture changed too, as
were arrayed a group of ten worship- Buddha image that probably once the old religions of Hinduism and
ing celestials. (The photo here match- held the central place in the sanctu- Buddhism weakened and some of the
es, as closely as possible, the original ary. When the temple was in use the Cham, like most of their Indonesian
placement.) Other sculptures from ensemble of sculptures behind the cousins, embraced Islam.
the ensemble are today in the collec- Buddha image—the paired mythical
tions of the Art Institute of Chicago creatures supporting dancers and the
and the Norton Simon Museum in group of worshiping celestials pro-
Pasadena. When a description of the jecting from the wall above, all dimly

South Asia - Afghanistan 181

Seated Buddha

early 17th century
Vietnamese Buddhism, introduced
into Vietnam in the 2nd century CE,
is of the Mahayana school. Although
often aligned with Chinese Buddhist
practice, it should probably be
characterised as syncretic. However,
this particular piece, probably
created at the time of the Mac
dynasty (1527-1592) or the later Le
dynasty (1428-1788), is stylistically
similar to Chinese pieces of the
Ming dynasty (1368-1644). The robes
are Chinese in style, although the
proportions of the figure reflect a
Vietnamese sensitivity. The piece,
characteristically covered in heavy
red and gold lacquer, is stylistically
typical of popular Buddhist figures
found in local temples throughout
Vietnam. The lacquer comes from
the Vietnamese tree called Cay Son
(Rhus succedanea).

Historical period(S)
Le dynasty circa 1420 - 1787
Dimension
70.5 x 42.0 x 26.0 cm (irreg.)
Collection
Nomadic Rug Traders
Classification(S)
Lacquer
Georaphy
Vietnam
Provenance
Ross & Irene Langlands, 2010-Apr
2012, Sydney/New South Wales/Aus-
tralia, purchased in Hanoi, Vietnam.
Gift to the Art Gallery of New South
Wales, Sydney, April 2012.

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

Pagoda with
lotus, bodhi
leaf, dancer
decoration

11th-13th century

Ceramic pagoda with lotus, bodhi
leaf, dancer decoration, Hanoi
(11th-13th century)

Historical period(S)
Ly dynaty

Dimension
Unknown
Collection
National Museum of Vietnam
History

Classification(S)
Unknown
Georaphy
Vietnam
Provenance
Unknown

Southeast Asia - Vietnam 183

PHILIPINES

Through the ports of the Malay-Indonesian islands, Hindu Tamil, Gujarati,
and Indonesian commerce influenced the archipelagoes of Southeast Asia.
In the first millennium AD, Indian religions, perhaps a syncretic variant of
Hindu-Buddhism, arrived in the Philippine archipelago via the Indonesian
kingdoms of Srivijaya and Majapahit. The 1.79 kilogram, 21 carat golden image
of Agusan (also referred to as Golden Tara) discovered in Mindanao in 1917
after a storm and flood revealed its position suggests that ancient spiritual
concepts were exchanged from India to the Philippines.

Artwork 01

Artwork 02

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

01 02 03
Manila Lon Wa Philippine
Kadampa Buddhist Chinese
Buddhist Centre Temple Spiritual Temple
Meditation 20th century 20th century
Centre in page 188 page 190
Manila
and Makati
2007
page 186

Artwork 03

Southeast Asia - Philippines 185

Manila Kadampa Buddhist
CentreMeditation
Centre in Manila and Makati

2007

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

Manila Kadampa Buddhist Centre (MKBC), is a buddhist organization based in Makati City, Philippines. It is a member
of the International Kadampa Buddhist Union. The object of the Centre is to promote the Buddhist Faith of the New
Kadampa Tradition through which to promote the human values of morality, compassion and wisdom in all aspects of
society, leading to personal peace and a meaningful life, and to tolerance, social peace and welfare. The Centre shall work
to fulfil its Object through the activities of study, practice, teaching and the observance of moral discipline based upon the
continuous implementation of the three New Kadampa Tradition Study Programmes.

Historical period(s) Location Geography
21th century 2F Sunnyvale Building, 2247 Chino Philippines
Dimensions Roces Ave, Makati, 1231 Provenace
Unknown Classification(s) Unknown
Unknown

Southeast Asia - Philippines 187

Lon Wa Manila Kadampa Buddhist Centre (MKBC), is a buddhist organization based in
Buddhist Temple Makati City, Philippines. It is a member of the International Kadampa Buddhist
Union. The object of the Centre is to promote the Buddhist Faith of the New
20th century Kadampa Tradition through which to promote the human values of morality,
compassion and wisdom in all aspects of society, leading to personal peace and a
meaningful life, and to tolerance, social peace and welfare. The Centre shall work
to fulfil its Object through the activities of study, practice, teaching and the
observance of moral discipline based upon the continuous implementation of the
three New Kadampa Tradition Study Programmes.

Historical period(s) Location Geography
20th cnetury Cabaguio Ave, Agdao, Davao City, Philippines
Dimensions 8000 Davao del Sur, Philippines Provenace
Unknown Classification(s) Unknown
Unknown

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

South Asia - Afghanistan 189

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

Philippine
Chinese Spiritual
Temple

20th century

Manila Kadampa Buddhist Centre
(MKBC), is a buddhist organization
based in Makati City, Philippines.
It is a member of the International
Kadampa Buddhist Union. The object
of the Centre is to promote the
Buddhist Faith of the New Kadampa
Tradition through which to promote
the human values of morality,
compassion and wisdom in all
aspects of society, leading to personal
peace and a meaningful life, and to
tolerance, social peace and welfare.
The Centre shall work to fulfil its
Object through the activities of study,
practice, teaching and the observance
of moral discipline based upon the
continuous implementation of the
three New Kadampa Tradition Study
Programmes.

Historical period(S)
20th century
Dimension
20th century
Collection
20th century
Classification(S)
Unknown
Georaphy
Philippines
Provenance
Unknown

Southeast Asia - Philippines 191

SINGAPORE

As of 2020, Buddhism is the most popular religion in Singapore, with 31.1
percent of the people practicing it.  In 2015, 1,087,995 Singaporeans (33.21
percent) identified as Buddhists, out of a total population of 3,276,190.
Buddhism was largely brought to Singapore by people from all around the
world over the ages. The earliest recorded history of Buddhism in Singapore
may be found in monasteries and temples such as Thian Hock Keng and Jin
Long Si Temple, which were established by people from all over the world,
especially Asia.

Artwork 01

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

01 02 03
Kong Meng Buddha Tooth Siong Lim
San Phor Kark Relic Temple & Temple
See Monastery Museum 19th century
Temple 2007 page 196
20th century page 195
page 194

Artwork 02

Artwork 03 193

Southeast Asia - Singapore

Kong Meng Buddhist temple and monastery in Bishan, Singapore.[1] Built by Zhuan Dao in
San Phor Kark the early 20th century to propagate Buddhism and to provide lodging for monks,
See Monastery this monastery is the largest Buddhist temple in Singapore.[2] It is the parent
Temple organization of the Buddhist College of Singapore founded in 2006. It is one of
the two private crematoria, while the other one is Tse Toh Aum Temple.
20th century

Historical period(s) Location Geography
20th cnetury 88 Bright Hill Rd, Singapore 574117 Singapore
Dimensions Classification(s) Provenace
Unknown Unknown Unknown

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

Buddha Tooth Buddhist temple and monastery in Bishan, Singapore.[1] Built by Zhuan Dao in
Relic Temple & the early 20th century to propagate Buddhism and to provide lodging for monks,
Museum this monastery is the largest Buddhist temple in Singapore.[2] It is the parent
organization of the Buddhist College of Singapore founded in 2006. It is one of
2007 the two private crematoria, while the other one is Tse Toh Aum Temple.

Historical period(s) Location Geography
20th century Don Pedro Rodriguez, Cebu City, Singapore
Dimensions 6000 Cebu, Philippines Provenace
Unknown Classification(s) Unknown
Unknown

Southeast Asia - Singapore 195

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

Siong Lim
Temple

19th century

The monastery was gazetted as a
national monument in 1980 and
subsequently underwent a decade-long
restoration that began in 1991. The
temple now boasts a seven storey
gold-topped pagoda which is a replica
of the 800-year-old Shanfeng temple
pagoda in Fujian. It has a Columbari-
um for Tomb Sweeping Day.

Historical period(S)
19th century
Dimension
Unknown
Location
Don Pedro Rodriguez, Cebu City,
6000 Cebu, Philippines
Classification(S)
Unknown
Georaphy
Singapore
Provenance
Unknown

Southeast Asia - Singapore 197

INDONESIA

Buddhism, along with Islam, Christianity (Protestantism and Catholicism),
Hinduism, and Confucianism, has a long history in Indonesia and is
acknowledged as one of six official faiths. According to the 2010 national
census, Buddhists made up around 0.8 percent of Indonesia’s overall
population, or approximately 1.7 million people. Jakarta, Riau, the Riau
Islands, Bangka Belitung, North Sumatra, and West Kalimantan are home to
the majority of Buddhists.

Artwork 01 Artwork 03

Artwork 02

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

01 02 03 04 05 06
Candi Mendut Seated Tran- Enthroned Head of Buddha Seated Posthumous
9th century scendent Bud- Buddha 9th century CE Vairochana, the Portrait of a
page 200 dha Vairochana Attended by the page 204 Transcendent Queen as Parvati
ca. late 9th Bodhisattvas Buddha second half of
century Avalokiteshvara of the Center the 10th century
page 202 and Vajrapani ca. first half of page 206
second half of the 10th century
the 10th century page 205 07
page 203 Krisna on
Garuda
second half of
the 9th century
page 207

Artwork 05
Artwork 06

Artwork 04

Artwork 07

Southeast Asia - Indonesia 199

Candi Mendut The Buddha reaches his right hand down in bhumisparsha mudra, marking
the moment when the historic Buddha Shakyamuni called upon the earth
9th century goddess to witness his resistance of the forces of Mara, immediately prior to his
experiencing enlightenment. In the Esoteric Buddhist tradition, this iconography
is associated with Akshobhya, cosmic Buddha of the East. The lotus buds
embellishing the mandorla and the open flower serving as his throne may refer
to the celestial abode of Akshobhya. This icon may have been integrated into the
wall of a stupa or shrine as part of a set of directional Buddhas.

Historical period(s) Location Geography
Sailendra Dynasty Magelang, Central Java Indonesia
Provenance
Dimensions Classification(s) Unknown
approximately 24m wide by 30m long Unknown
(base), and perhaps also 30m (height)

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