Paintings Of The Lotus Sutra

An in-depth survey of the several genres of pictorial art related to the Lotus Sutra, one of the most influential scriptures of Buddhism. The book analyzes the content, style, and import of each work, accompanied by a comprehensive classification scheme.

The Lotus Sutra, one of the principal scriptures of Mahayana Buddhism, is at once a great work of literature and a profound religious classic, containing the core and culmination of the historical BuddhaÆs ageless teaching of compassion and the way to achieve liberation from suffering. For more than fourteen hundred years, since its introduction into Japan early in the sixth century, the Lotus Sutra has been a rich source of subjects and themes for the countryÆs artists. Generations of priests, nuns and lay believers confident in the sutraÆs promise of spiritual reward for those who revere it and pay it homage have made opulent transcriptions of it, fashioned lavishly ornamented vessels for its preservation, and commissioned votive art depicting its narratives and religious teachings. As Art of the Lotus Sutra eloquently reveals, the range of artistic expression inspired by the Lotus Sutra is astonishing: miniature altars, bronzes, lacquerware, vibrant mandalas, wall paintings, hanging scrolls, narrative picture scrolls, and sculptures, as well as embroidered, handwritten and printed copies of the sutra itself. Much has been written in Japanese about the Lotus Sutra and the magnificent artworks related to it, but not until Bunsaku Kurata and Yoshiro Tamura compiled the present book was it possible to bring this material together in a single volume in English.

Specialists in Buddhist philosophy, art, and history of religion outline the major ideas and controversies surrounding the 'Lotus Sūtra'. They also treat its use in ritual performance, ascetic practice, visual representations, and social action.

The Lotus Sutra proclaims that a unitary intent underlies the diversity of Buddhist teachings and promises that all people without exception can achieve supreme awakening. Establishing the definitive guide to this profound text, specialists in Buddhist philosophy, art, and history of religion address the major ideas and controversies surrounding the Lotus Sutra and its manifestations in ritual performance, ascetic practice, visual representations, and social action across history. Essays survey the Indian context in which the sutra was produced, its compilation and translation history, and its influence across China and Japan, among many other issues. The volume also includes a Chinese and Japanese character glossary, notes on Western translations of the text, and a synoptic bibliography.

The Lotus Sutra has been the most widely read and most revered Buddhist scripture in East Asia since its translation in the third century. The miracles and parables in the "king of sutras" inspired a variety of images in China, in particular the sweeping compositions known as transformation tableaux that developed between the seventh and ninth centuries. Surviving examples in murals painted on cave walls or carved in relief on Buddhist monuments depict celestial journeys, bodily metamorphoses, cycles of rebirth, and the achievement of nirvana. Yet the cosmos revealed in these tableaux is strikingly different from that found in the text of the sutra. Shaping the Lotus Sutra explores this visual world. Challenging long-held assumptions about Buddhist art, Eugene Wang treats it as a window to an animated and spirited world. Rather than focus on individual murals as isolated compositions, Wang views the entire body of pictures adorning a cave shrine or a pagoda as a visual mapping of an imaginary topography that encompasses different temporal and spatial domains. He demonstrates that the text of the Lotus Sutra does not fully explain the pictures and that a picture, or a series of them, constitutes its own "text." In exploring how religious pictures sublimate cultural aspirations, he shows that they can serve both political and religious agendas and that different social forces can co-exist within the same visual program. These pictures inspired meditative journeys through sophisticated formal devices such as mirroring, mapping, and spatial programming - analytical categories newly identified by Wang. The book examines murals in cave shrines at Binglingsi and Dunhuang in northwestern China and relief sculptures in the grottoes of Yungang in Shanxi, on stelae from Sichuan, and on the Dragon-and-Tiger pagoda in Shandong, among other sites. By tracing formal impulses in medieval Chinese picture-making, such as topographic mapping and pictorial illusionism, the author pieces together a wide range of visual evidence and textual sources to reconstruct the medieval Chinese cognitive style and mental world. The book is ultimately a history of the Chinese imagination. Read an interview with the author: http: //dgeneratefilms.com/cinematalk/cinematalk-interview-with-professor-eugene-wang-on-chinese-art-and-film/