Verfügbarkeit: Early Buddhist art of China and Central Asia

Early Buddhist art of China and Central Asia: 3 The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra

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Bibliographische Detailangaben
1. Verfasser:	Rhie, Marylin M. (VerfasserIn)
Format:	Buch
Sprache:	English
Veröffentlicht:	Leiden [u.a.] Brill 2010
Schriftenreihe:	Handbuch der Orientalistik Vierte Abteilung, China ; 12,3
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	LV, 544 S., [208] Bl. zahlr. Ill., Kt.
ISBN:	9789004184008 9004184007

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245	1	0	\|a Early Buddhist art of China and Central Asia \|n 3 \|p The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra \|c by Marylin Martin Rhie
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Datensatz im Suchindex

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adam_text	CONTENTS Preface .......................................................................................................................................................... xix Acknowledgements .................................................................................................................................... xxi List of Illustrations ..................................................................................................................................... xxiii List of Maps and Note on Diacriticals ..................................................................................................... lvii Introduction ................................................................................................................................................ 1 Chapter One The Western Ch in (385-431 A.D.): History and Buddhism ..................................... 7 I. The Ch i-fu Clan and the Western Ch in (385-431 A.D.) ........................................................... 8 A. Ch i-fu Kuo-jen (r. 385-387/388): Beginning of the Western Ch in Kingdom ............. 8 B. Ch i-fu Ch ien-kuei (r. 388-412): Expansion of the Western Ch in ................................ 9 C. Ch i-fu Chih-p an (r. 412-428): Consolidation and Height of the Western Ch in ....... 12 D. Ch i-fu Mu-mo (r. 427-431): Demise of the Western Ch in ............................................ 14 II. Buddhist Activities in the Western Ch in from Written Records .............................................. 16 A. Sheng-chien: Buddhist Monk Translator ........................................................................... 16 B. Fa-hsien: Early Monk Traveler to the Western Regions .................................................. 19 C. Hsüan-kao: Famous Meditation Monk ............................................................................... 21 D. Hui-lan: Later Traveler to the Western Regions ................................................................ 26 E. Concluding Comments ......................................................................................................... 28 Chapter Two Bronze Buddha Altar from Ching-ch uan .................................................................... 29 I. Introduction ...................................................................................................................................... 29 II. Technical and Stylistic Description and Comparative Analysis ................................................ 30 A. Buddha Image ......................................................................................................................... 31 B. Lion Throne ............................................................................................................................ 36 С Mandorla................................................................................................................................. 38 D. Canopy ..................................................................................................................................... 40 E. Four-footed Stand .................................................................................................................. 41 III. Conclusions of Dating and Region of Make from the Technical and Stylistic Analysis ........ 43 IV. The Kuei-i-hou yin Bronze Seal and Date of the Burial ........................................................... 44 Viii CONTENTS Chapter Three Ping-ling ssu Stone Caves: Introduction and Niche No. 1...................................... 49 I. Introduction ....................................................................................................................................... 49 II. Niche No. 1 Monumental Buddha Statue ....................................................................................... 54 A. Description, Technical, Stylistic and Comparative Analysis .............................................. 55 1. Technique ........................................................................................................................... 55 2. Posture and Hand Positions ............................................................................................. 55 3. Body Form .......................................................................................................................... 56 4. Drapery ............................................................................................................................... 57 5. Head .................................................................................................................................... 59 6. Wall Paintings .................................................................................................................... 61 III. Conclusions and Significance Regarding the Niche No. 1 Buddha .............................................. 61 A. Dating and Sources of Style .................................................................................................... 61 B. Oldest Surviving Monumental Buddha Image in China .................................................... 62 С Possible King Aśoka Buddha Image and Relation to Eastern Chin in the South ............. 63 D. Relation with the Bãmiyãn East Great Buddha .................................................................... 63 Chapter Four Ping-ling ssu Cave 169: West (Rear) Wall ........................................................................ 67 I. Introduction to Cave 169.................................................................................................................. 67 II. West Wall (upper part) ..................................................................................................................... 68 A. Group 18: Description, Dating and Stylistic Sources .......................................................... 69 1. Large Standing Central Buddha ....................................................................................... 71 a. Proportions and Posture, Body Form and Head ....................................................... 71 b. Drapery .......................................................................................................................... 72 с Mandorla and Pedestal ................................................................................................. 74 d. Conclusions ................................................................................................................... 75 2. Ten Dhyãnãsana Buddhas................................................................................................ 76 B. Group 18: Iconography of the Large Standing Buddha with Ten Dhyãnãsana Buddhas 77 1. Group 18 Schema .............................................................................................................. 77 2. Buddhas of the Ten-Directions in Early Mahãyãna Sutras ........................................... 78 3. Group 18 as Representing Sãkyamuni and the Ten Direction Buddhas from Chapter 11 of the Cheng fa-hua ching, Dharmarakşa s Translation of the Saddharmapundarika Sutra (Lotus Sutra) ...................................................................... 85 a. Translation of Excerpts from Chapter 11 of the Cheng fa-hua Ching ..................... 86 b. Application of Chapter 11 of the Cheng fa-hua ching to the Group 18 Sculptures 93 с Comment on the Identity of the Group 18 Configuration ....................................... 97 С Conclusions of Dating and Iconography ............................................................................. 98 CONTENTS ІХ III. West Wall (lower part) ...................................................................................................................... 100 A. Group 17: Triad with Surviving Standing Bodhisattva ....................................................... 100 1. Description, Sources, and Dating of the Standing Bodhisattva ...................................... 101 2. Iconographie Considerations and Conclusions ............................................................... 104 B. Group 16.................................................................................................................................. 105 1. Five Dhyãnãsana Buddhas................................................................................................ 106 2. Seated Bodhisattva with One Leg Pendant ...................................................................... 108 3. Two (of three) Standing Buddhas.................................................................................... Ill С Concluding Remarks .............................................................................................................. 114 Chapter Five Ping-ling ssu Cave 169: East and South Walls .................................................................. 117 I. East (Entrance) Wall: Group 24....................................................................................................... 117 A. Description, Comparative Analysis, and Stylistic Sources .................................................. 117 1. Thousand Buddha Painting .............................................................................................. 118 2. Individual Buddha Groups Within the Thousand Buddha Painting ........................... 119 a. Dhyänäsana Buddha Triad with Two Monks ............................................................ 119 b. Teaching Buddha Triad ................................................................................................ 120 c. Šäkyamuni and Prabhutaratna in the Seven Jewel Stupa .......................................... 123 3. Summary Conclusions ...................................................................................................... 125 B. Dedicatory Inscription, Biography of Tao-jung, and Dating of the Group 24 Painting 125 С Iconography: Textual Considerations ................................................................................... 130 D. Conclusions: Dating and Issues of Identification ................................................................ 134 II. South (Left) Wall ............................................................................................................................... 138 A. Upper Zone: Group 23........................................................................................................... 138 1. Large Stone Seated Buddha Relief .................................................................................... 138 2. Row of Painted Stupas ....................................................................................................... 140 3. Ping-shen Inscription .................................................................................................... 143 4. Five Dhyänäsana Buddha Sculptures ............................................................................... 145 a. Three Dhyänäsana Buddhas on the Left (East) Side .................................................. 146 i. Brief Description ...................................................................................................... 146 ii. Stylistic Sources and Tentative Dating .................................................................. 147 iii. Relation with West Wall Sculptures in Cave 169................................................. 149 iv. Mandorlas ................................................................................................................. 150 b. Two dhyänäsana Buddhas on the Right (West) Side ................................................ 151 i. Description ............................................................................................................... 151 ii. Elements for Comparative Dating of the Two Buddhas...................................... 152 iii. Mandorlas ................................................................................................................. 153 5. Conclusions ........................................................................................................................ 154 B. Middle Zone: Groups 22 and 21............................................................................................ 154 1. Group 22: Standing Buddha Triad ................................................................................... 155 a. Buddha ........................................................................................................................... 155 χ CONTENTS b. Bodhisattva .................................................................................................................... 157 c. Conclusions ................................................................................................................... 160 2. Group 21: Two Individual Dhyãnãsana Buddhas.......................................................... 160 C. Lower Zone: Group 20 ........................................................................................................... 161 1. Seated Buddha (A) ............................................................................................................. 161 2. Seated Buddha (B) ............................................................................................................. 163 3. Seated Ascetic Buddha (C) ................................................................................................ 163 4. Standing Buddha (D) ........................................................................................................ 165 5. Seated Buddha (E) ............................................................................................................. 165 6. Dating ................................................................................................................................. 165 7. Iconographie Considerations: More on the Five Buddhas............................................ 166 D. Summary Conclusions (South Wall) .................................................................................... 167 Chapter Six Ping-ling ssu Cave 169: North Wall (I) ................................................................................ 169 I. North (Right) Wall: Upper Zone ..................................................................................................... 169 A. Group 1 .................................................................................................................................... 169 B. Group 2.................................................................................................................................... 171 С Group 4.................................................................................................................................... 171 II. North Wall: Middle Zone ................................................................................................................. 173 A. Group 6: Niche with Amitãyus Sculpture Triad .................................................................. 173 1. Image Analysis ................................................................................................................... 175 a. Buddha Amitãyus ......................................................................................................... 175 b. Mandorla of Amitãyus ................................................................................................. 178 c. Attendant Bodhisattvas ................................................................................................ 181 2. Textual Considerations ..................................................................................................... 183 a. Early texts: Later Han, Three Kingdoms and Western Chin .................................... 184 1) Pratyutpanna-samãdhi Sutra (T418) ................................................................. 184 2) [Larger] Sukhãvafívyuha Sutra ............................................................................ 189 a) [Ta] A-mi-ťo ching (T 362) ............................................................................. 190 b) Wu-liang ch ing-chingp ing-teng-chiieh ching (T 361).................................. 192 c) Wu-liang shou [fo] ching (T 360) .................................................................... 195 i. Chu Fa-hu Theory ....................................................................................... 195 ii. Buddhabhadra and/or Pao-yün Theory .................................................... 198 iii. Terminology of the Wu-liangShou Ching ................................................ 201 d) Brief Synopsis and Some Pertinent Factors with Respect to Group 6......... 201 i. Summary of the Text (Shang) ..................................................................... 202 ii. Summary of the Text (Hsia) ....................................................................... 203 3) ManãMitãpariprcchã Sutra .................................................................................. 205 a) Lao nü jen ching (J 559).................................................................................. 205 b) Fo-shuo lao ти ching (T 561).......................................................................... 205 c) Lao mu nü lui ying ching (T 560).................................................................... 205 CONTENTS ХІ 4) Vimalakïrti-nirdesa ............................................................................................... 206 a) Wei -то chieh ching (Τ 474)............................................................................. 206 b) Wei-mo chieh so shuo ching (T 475) ............................................................... 206 5) Saddharmapundartka Sutra (Lotus Sutra) .......................................................... 207 a) Cheng fa-hua ching (T 263) ............................................................................. 207 b) Miao fa lien hua ching (T 262) ........................................................................ 207 6) Brahmavisesacinttpariprccha Sutra ..................................................................... 209 a) Ch ih hsinfan-t ien so wen ching (T 585)........................................................ 209 b) Ssu і fan t ien so wen ching (T 586).................................................................. 209 7) Bhadrakalpika Sutra (T 425)................................................................................ 209 b. Eulogies, Images and Biographies from the South during the Eastern Chin (317-420)........................................................................................................................ 210 8) Eulogy on Amitäbha by Chih-tun ........................................................................... 210 9) Biography of Chu Fa-k uang .................................................................................... 211 10) Images by Tai K uei ............................................................................................... 213 11) Biographical excerpts: Hui-yüan, Seng-chi and other monks at Lu shan........ 213 c. Period ca. 400-425 in North and South China ........................................................... 215 12) Fo-shuo A-mi-t o-ching ([Smaller] Sukhavatïvyüha Sutra) (T 366).................. 215 13) Та chih-tu lun (T 1509)......................................................................................... 216 14) Kuan fo san-mei hai ching (Ί 643)....................................................................... 216 15) Avatamsaka Sutra (Hua-yen ching) (T 278)....................................................... 217 16) Kuan-shih-yin p u-sa shou-chi ching (T 371) ...................................................... 217 a) Biography of T an-wu-chieh ........................................................................... 218 b) Summary Synopsis of the Text ........................................................................ 221 c) Some Major Points ........................................................................................... 224 d) Questions of Terminology in Relation to Group 6 ....................................... 225 17) Kuan Wu-liang-shou [fo] ching (T 365) .............................................................. 226 a) Translation of the Kao-seng chuan Biography of Kalayaśas ......................... 226 b) Brief Synopsis and Some Pertinent Points of Terminology ......................... 228 c) Textual Issues .................................................................................................... 230 i) Central Asian Origination (or compilation) ........................................... 231 ii) Chinese Compilation ............................................................................. 232 d) Terminology Used in the Kuan ching and Cave 169 Group 6 Inscriptions 232 d. Summary and Conclusions Regarding Textual Comparisons and Survey of the Amitäbha/Amitäyus Text Translations in China up to ca. 425 with Respect to the Group 6 Inscriptions ................................................................................................... 233 3. Amitäbha/Amitäyus and Sukhâvatï in the Art of Mathurä and Gandhãra Prior to the Mid-ő* Century A.D .................................................................................................. 238 a. Mathurã Inscribed Amitäbha Buddha ........................................................................ 238 b. Triads of a Seated Buddha with Two Standing Bodhisattvas ................................... 242 i. Mathurã and Gandhãra ............................................................................................ 242 c. Triads within Complex Stele Scenes ........................................................................... 247 XU CONTENTS і. Mohammad Nări (larger) Stele: Problems of Identification ................................. 248 ii. A Stele in the Peshawar Museum: Possible Sukhavati Scene with Amitãbha and the Two Great Bodhisattvas ................................................................................. 249 d. Afghanistan, Central Asia and South India ............................................................... 253 4. Summary Conclusions Regarding the Iconography of the Group 6 Amitãyus Triad 254 Chapter Seven Ping-ling ssu Cave 169: North Wall (II) .......................................................................... 257 I. North Wall: Middle Zone (continued) ............................................................................................ 257 A. Group 6: Wall Paintings and Inscriptions ............................................................................ 257 1. Wall Paintings inside the Group 6 Niche ........................................................................ 257 a. Ten Direction Buddhas................................................................................................ 258 і. Discussion of the Style ............................................................................................ 258 ii. Identification of the Ten Buddhas......................................................................... 259 iii. Buddhabhadra and the Translation of the 60-chüan Hua-yen ching ................. 262 a) Early Records of the Translation ........................................................................... 262 b) Translation of the Kao-seng chuan Biography of Buddhabhadra .................. 264 c) Buddhabhadra s Translation of the Hua-yen ching and the Paintings of the Ten-Direction Buddhas in Group 6................................................................. 269 b. Other Images near the Ten-Direction Buddhas ........................................................ 269 і. A Guardian and an Offering Figure ...................................................................... 269 ii. Śakyamuni Buddha and Maitreya Bodhisattva .................................................... 270 iii. Stylistic and Iconographie Considerations in the Context of the Group 6 Niche ..................................................................................................................... 272 2. Group 6: Main Inscription and Surrounding Wall Paintings ....................................... 274 a. Main Inscription ........................................................................................................... 274 i. Description and Translation .................................................................................. 274 ii. Regarding the 420/424 Date Issue ......................................................................... 276 b. Donor Figures ............................................................................................................... 276 i. First Row of Donors ................................................................................................ 277 ii. Second Row of Donors ........................................................................................... 280 iii. Row of Eight Donors inside the Niche .................................................................. 281 с Other Figures and Inscriptions above the Main Inscription .................................... 283 i. Small Standing Monk ............................................................................................. 283 ii. Yao-wang fo ......................................................................................................... 283 a) Textual Considerations ...................................................................................... 283 b) Concluding Remaries Regarding Yao-wang fo ............................................. 287 iii. ? ? chih p u-sa ....................................................................................................... 287 iv. Chieh-yin fo ......................................................................................................... 287 v. Ch ing hsin shih Chin ch eng Wen Wen chih hsiang ...................................... 289 vi. Ch ing hsin mi Wen ch i ..................................................................................... 289 CONTENTS ХІІІ d. Images and Inscriptions below the Second Row of Donors ..................................... 289 і. Standing Buddha ..................................................................................................... 290 ii. Male Donor Ch i-fu ? Lo-shih chih hsiang ........................................................ 290 3. Group 6: Summations and Conclusions ......................................................................... 290 a. Inscriptions .................................................................................................................... 290 i. Main Inscription ..................................................................................................... 290 ii. Monk and Lay Donor Inscriptions ....................................................................... 291 a) Monk Donors ..................................................................................................... 291 b) Lay Donors .......................................................................................................... 292 b. Artistic Elements ........................................................................................................... 294 i. Sculptures ................................................................................................................. 294 ii. Paintings .................................................................................................................. 295 с Iconography and Textual Sources ............................................................................... 296 i. Amitäyus Triad ....................................................................................................... 296 ii. Paintings Inside the Niche (other than donors) ................................................... 297 iii. Paintings of Iconic Images Outside the Niche (other than donors) .................. 298 a) Yao-wang fo ........................................................................................................ 299 b) Chieh-yin fo and ? ? chih-p u-sa ....................................................................... 299 d. Textual Aspects and the Iconographie Program of Group 6.................................... 300 e. Significant Points with Respect to Cave 169............................................................... 302 B. Group 7: Two Large Standing Buddha Sculptures .............................................................. 304 1. Image Analysis .................................................................................................................... 304 2. Mandorlas ........................................................................................................................ 307 3. Comments on Dating ........................................................................................................ 308 II. North Wall: Lower Zone ......................................................................................................................... 309 A. Group 9: Three Standing Buddha Sculptures ....................................................................... 309 B. Group 10: Wall Paintings (far left) ........................................................................................ 312 1. Under Layer ........................................................................................................................ 312 2. Upper Layer ........................................................................................................................ 313 С Group 11: Wall Paintings (center left) .................................................................................. 313 1. Topmost Level .................................................................................................................... 314 2. Second Level from the Top ............................................................................................... 314 3. Third Level from the Top .................................................................................................. 317 4. Lowest Level ....................................................................................................................... 318 D. Group 12: Wall Paintings (center right) ............................................................................... 319 1. Main Seated Buddha ......................................................................................................... 319 2. Buddha s Attendants and Kneeling Brahmin-like Figure .............................................. 320 3. Above the Buddha Group: Buddhas, Donors, and a Five Buddha Painting ................ 321 4. Summary of the Five Buddha Configurations in Ping-ling ssu Cave 169................. 326 5. Other Representations of the Five Buddhas in China prior to ca. 400...................... 327 E. Group 13: Wall Paintings (far right) ................................................................................... 328 XIV CONTENTS F. Conclusions: Wall Paintings of Groups 11, 12 and 13...................................................... 329 1. Artistic Style and Dating .................................................................................................. 329 2. Iconographie Considerations .......................................................................................... 330 3. Donor and Other figures ................................................................................................. 331 G. Group 14 ............................................................................................................................. 331 1. Row of Three Seated Buddha Sculptures ....................................................................... 331 2. Sutra Writing and Wall Paintings .................................................................................. 333 a. Translation of the Wei-ts eng-yu ching (T 688) ....................................................... 334 b. Wall Paintings .............................................................................................................. 337 3. Fragment of Large Standing Buddha Sculpture ........................................................... 337 4. Concluding Comments on Group 14............................................................................ 338 H. Group 3: Buddha Niche ........................................................................................................ 338 I. Groups 15 and 19: Thousand Buddha Panel Paintings ..................................................... 341 II. Conclusions: North Wall ................................................................................................................. 343 III. Cave at Yeh-chi kou (Wild Pheasant Gulch) ................................................................................ 344 IV. Summary Conclusions: Ping-ling ssu under the Western Ch in ............................................... 345 A. Earliest Period: ca. 375-ca. 400............................................................................................. 345 B. Middle Period: ca. 400-420................................................................................................... 347 С Late Period: ca. 420-431 ........................................................................................................ 348 Chapter Eight The Five Buddhas and Sets of Multiple Buddhas in the Art of Gandhãra and Afghanistan and their Relation to Cave 169 at Ping-ling ssu and the Five T an-yao Caves at Yün-kang.............................................................................................. 355 I. Introduction ..................................................................................................................................... 355 II. Taxila (Gandhãra).............................................................................................................................. 358 A. Dharmarãjikã: Stupas Kl, N4 (and JI) ................................................................................ 359 B. Main Stupas at Jauliãn and Mohrã Morädu....................................................................... 364 1. Jauliãn ................................................................................................................................. 364 a. Layout and Scheme of Main Images ......................................................................... 365 b. Small Pilaster Buddhas................................................................................................ 368 2. Mohrã Morãdu .................................................................................................................. 370 a. Stupa Drum/Dome ...................................................................................................... 371 b. Podium Images .....................................„...........................„......................_................. 373 3. Dating ........................................................................._....................................................... 374 a. Sculptures of the Jauliãn Main Stupa ........................................................................ 374 b. Sculptures at Mohrã Morãdu..................................................................................... 376 4. Conclusions: Jauliãn and Mohrâ Morãdu Main Stupas .............................................. 378 CONTENTS XV С. Miniature and Subsidiary Stupas at Mohrà Morãdu and Jauliãn ................................... 378 1. Stucco Stupa from Cell 9 at Mohrã Morãdu ................................................................. 379 2. Subsidiary Stupas at Jauliän ............................................................................................ 383 a. Stupa A15 ...................................................................................................................... 383 і. Description and Discussion of the Iconography of the Images ..................... 384 ii. Iconographic Interpretation ............................................................................... 385 iii. Technique, Inscriptions and Dating of the Images ......................................... 387 b. Stupa Al 1 ...................................................................................................................... 390 і. Iconography .......................................................................................................... 391 ii. Date ........................................................................................................................ 392 c. Stupas A2, A20 and D5 ............................................................................................... 392 d. Stupas A16, D4 and Dl ............................................................................................... 395 i. Stupa A16 .............................................................................................................. 395 ii. Stupas D4 and Dl ................................................................................................. 396 iii. Style and Date of Stupas D4 and Dl .................................................................. 399 a) Niches ................................................................................................................ 399 b) Pilasters ............................................................................................................. 399 c) Lotus Pedestals ................................................................................................. 400 d) Individual Images ............................................................................................ 400 iv. Conclusions and Iconography of Stupas D4 and Dl ....................................... 400 3. Further Comments on Jauliãn and Mohra Morãdu ............................................... 402 D. Pippala: Stupa K ................................................................................................................ 403 III. Peshawar Valley (Gandhãra)........................................................................................................... 404 A. Thareli: Area C106 ................................................................................................................. 404 1. Area C106: Data ................................................................................................................ 405 2. Dating ................................................................................................................................. 406 3. Iconographic Considerations .......................................................................................... 406 B. Takht-i-Bàhï ............................................................................................................................ 407 1. South Stupa Court X ........................................................................................................ 408 2. Niche-shrines in the Lower Stupa Court ....................................................................... 409 a. Niche/shrines 1-9 on the Processional Path ............................................................. 409 b. Niche/shrines 24-18 along the South Wall of the Lower Stupa Court ................. 410 с Niche/shrines 25-28 on the North Wall of the Lower Stupa Court ...................... 410 d. Niche/shrines 29-37 on the North Wall of the Lower Stupa Court ...................... 410 e. Niche/shrines M8-M1 along the East and South Walls of the Lower Stupa Court ............................................................................................................................. 410 f. Niche/shrines M14 and Mil ...................................................................................... 411 g. Niches on the Perimeter of the Lower Stupa Court Considered as a Totality .... 411 3. Southeast Stupa Court XlVii ........................................................................................... 411 4. Court XX (Court of the Three Stupas) ........................................................................... 413 a. Stupa P37 ....................................................................................................................... 414 b. Four Monumental Stucco Standing Buddhas.......................................................... 416 5. Conclusions: Takht-i-Bâhï ................................................................................................ 416 XVI CONTENTS C. Sahn Bahlõl Site В .................................................................................................................. 417 1. Stupa with Five Buddhas ................................................................................................. 417 2. Main Stone Stupa with Four Buddhas........................................................................ 418 D. AliMasjid ................................................................................................................................ 426 1. Medium-sized Stupa ......................................................................................................... 426 2. Stupa No. 6 ........................................................................................................................ 428 E. Conclusions: Peshawar Valley .............................................................................................. 430 IV. Afghanistan: Hadda ........................................................................................................................ 431 A. Great Stupa (TTK) ................................................................................................................. 432 B. Тара Kalân .............................................................................................................................. 434 1. Stupa TK67 ........................................................................................................................ 434 2. Stupa TK86 ................................................................... ..................................................... 435 3. Stupas TK97 and TKIOO ................................................................................................... 435 C. Tapa-i-Kafarihã ...................................................................................................................... 436 1. Stupa K43 ........................................................................................................................ 436 2. Gallery K45 ........................................................................................................................ 437 D. Bägh-Gai .................................................................................................................................. 438 1. Stupa B31 ........................................................................................................................ 439 2. Stupa B51 ........................................................................................................................ 440 3. Structure B56 and Stupa B55 ........................................................................................... 442 4. Stupas B76 and B77 .......................................................................................................... 445 E. Chakhil-i-Ghoundi ................................................................................................................ 446 1. Stupa C5 ............................................................................................................................. 446 F. Pratès ..................................................................................................................................... 447 1. Stupa P8 .............................................................................................................................. 447 2. Stupa P29 ........................................................................................................................... 448 G. Gar-naõ .................................................................................................................................... 448 H. Concluding Comments: Hadda ........................................................................................... 449 V. Afghanistan: Shotorak ...................................................................................................................... 451 A. Stupa D3 .................................................................................................................................. 451 B. Stupa D4 .................................................................................................................................. 452 VI. Afghanistan: Bàmiyãn ...................................................................................................................... 453 A. Cave 24 ..................................................................................... 454 B. Cave 129............................................................. ZZ ZZZZZZZ ............... I ! 454 C. Cave 152............................................................. ZZZZZ ............................................... 455 D. Cave 164..................................................... ZI ..................................................................... 455 e. cave5i ........................................... ZZZZZZZZZZZZZZZZZZZ 455 VII. Summary Conclusions..................................................................... 455 A. Sets of Multiple Buddhas in Gandhàra and Afganistan ZZZZZZZZZZZ 456 B. Significant Factors Regarding the Reading of Images on Stupas ZZZZZZZZZ 457 1. Unified Scheme .............................................................. 458 CONTENTS XVII 2. Individual Side Scheme .................................................................................................... 458 3. Chronological Lineal Presentation ................................................................................. 458 4. Non-chronological Lineal Presentation ........................................................................ 459 5. Spatial Interpretation ....................................................................................................... 460 C. Summary of the Development of the Five Buddha Configurations in Gandhära and Afghanistan ..................................................................................................................... 461 D. Importance of Ping-ling ssu Cave 169 in Relation to the Five Buddha Iconography 464 1. Relation with Gandhära and Afghanistan ..................................................................... 465 2. In China ............................................................................................................................. 466 VIII. The Five T an-yao Colossal Image Caves at Yün-kang............................................................... 467 A. Layout and Brief Description of the Five T an-yao Caves ................................................ 468 B. New Theory of the System of Arrangement and Identity of the Main Images of the Five T an-yao Caves ............................................................................................................... 473 Chapter Nine Mai-chi shan: Early Caves ............................................................................................ 481 I. Introduction ..................................................................................................................................... 481 II. Early History of the Site .................................................................................................................. 482 III. Caves 78 and 74................................................................................................................................ 484 A. General Description and Layout .......................................................................................... 484 1. Cave 78............................................................................................................................... 484 2. Cave 74............................................................................................................................... 486 B. Image style, Sources and Dating .......................................................................................... 487 1. Seated Buddhas................................................................................................................. 487 2. Standing Bodhisattvas ...................................................................................................... 490 3. Mandorla and Halo Designs ........................................................................................... 491 4. Paintings on the Pedestal of the Main Buddha in Cave 78......................................... 492 5. Small Niches with Cross-ankled and Contemplative Bodhisattvas ........................... 494 6. Dating of Caves 78 and 74............................................................................................... 495 C. Iconographie Considerations ............................................................................................... 496 IV. Caves 169 and 69.............................................................................................................................. 500 A. Cave 169 .................................................................................................................................. 501 B. Cave 69 .................................................................................................................................... 504 V. Conclusions: Early Caves at Mai-chi shan................................................................................... 504 Conclusions: Volume III ........................................................................................................................... 507 XViii CONTENTS Appendix I: Communication Routes during the Sixteen Kingdoms Period ..................................... 513 Appendix II: Table of Texts Regarding Amitäyus and Sukhãvatl ....................................................... 515 Bibliography ................................................................................................................................................ 519 Index ............................................................................................................................................................ 535
any_adam_object	1
author	Rhie, Marylin M.
author_facet	Rhie, Marylin M.
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spelling	Rhie, Marylin M. Verfasser aut Early Buddhist art of China and Central Asia 3 The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra by Marylin Martin Rhie Leiden [u.a.] Brill 2010 LV, 544 S., [208] Bl. zahlr. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier Handbuch der Orientalistik : Vierte Abteilung, China 12,3 [Handbuch der Orientalistik / 4] ... (DE-604)BV012391366 3 Handbuch der Orientalistik Vierte Abteilung, China ; 12,3 (DE-604)BV000870984 12,3 Digitalisierung UB Bayreuth application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018997757&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis
spellingShingle	Rhie, Marylin M. Early Buddhist art of China and Central Asia Handbuch der Orientalistik
title	Early Buddhist art of China and Central Asia
title_auth	Early Buddhist art of China and Central Asia
title_exact_search	Early Buddhist art of China and Central Asia
title_full	Early Buddhist art of China and Central Asia 3 The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra by Marylin Martin Rhie
title_fullStr	Early Buddhist art of China and Central Asia 3 The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra by Marylin Martin Rhie
title_full_unstemmed	Early Buddhist art of China and Central Asia 3 The Western Ch'in in Kansu in the Sixteen Kingdoms Period and inter-relationships with the buddhist art of Gandhāra by Marylin Martin Rhie
title_short	Early Buddhist art of China and Central Asia
title_sort	early buddhist art of china and central asia the western ch in in kansu in the sixteen kingdoms period and inter relationships with the buddhist art of gandhara
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=018997757&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
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