Tradition and Transmission: Rocana Assembly in Niche no. 5 at Feilai Feng and Huayan Teaching during the Song Period
The Huayan sutras are important historical references for the Chinese worship of the Rocana Buddha; however, these Huayan sutras provide little help in understanding the worship for the larger Rocana triad (i.e., Rocana Buddha flanked by two bodhisattvas) in niche no. 5 at the Feilai Feng complex. T...
| Published in: | Religions |
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| Main Author: | |
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2023
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| In: |
Religions
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| Further subjects: | B
Huayan teaching
B Rocana Buddha B grottoes B Buddhist art B Feilai Feng |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | The Huayan sutras are important historical references for the Chinese worship of the Rocana Buddha; however, these Huayan sutras provide little help in understanding the worship for the larger Rocana triad (i.e., Rocana Buddha flanked by two bodhisattvas) in niche no. 5 at the Feilai Feng complex. The Rocana triad images are primarily linked to the Buddhist texts written by Chinese monks which established the principle for teaching the Huayan ritual during the Tang period. With regard to the iconographic characteristics of the two bodhisattvas of the triad in niche no. 5, the bodhisattva Samantabhadra rides an elephant, while the bodhisattva Manjusri rides a lion. They are associated with Buddhist texts and artistic productions beyond the Huayan school and are possibly related to esoteric Buddhism. Similarly, the crowned Rocana seen in niche no. 5 is likely derived from an older tradition dating to the Tang and Five Dynasties periods. Similar descriptions can be found in esoteric Buddhist texts and images. Nevertheless, niche no. 5 is the earliest extant example of such a Rocana triad, wherein the triad is represented by a central crowned Buddha with a special hand gesture or mudra, who is flanked by two bodhisattvas riding animals. From niche no. 5, one can see the development of the Huayan Rocana triad within the tenth century. The combination of elements seen in this niche also indicates that Buddhist artists were not limited by the boundaries of different schools or teachings when they created a new form of iconography. The specific iconography of niche no. 5 can be linked to the Han-style Buddhist artistic traditions from previous periods, such as the Tang, Five Dynasties/Wuyue Kingdom. Ultimately, the contemporary Northern Song capital, Kaifeng, was likely the most direct influence. The Rocana Buddhist triad at niche no. 5 is reflected in the iconography of the same triad installed at the Huiyin monastery at a later time during the Northern Song Dynasty. In turn, the similarities between the images in niche no. 5 and those from other regions, such as Sichuan, Yunnan, Korea and Japan, reveal the connection between the Huiyin monastery and these other sites. |
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| ISSN: | 2077-1444 |
| Contains: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel14050588 |