Wooden Sculpture of the Vairocana Buddha, 15th Century CE - 17th Century CE
Wood
99 x 73 cm
39 x 28 3/4 in
39 x 28 3/4 in
X.0706
This imposing Buddha dates from the dynamic period surrounding the second half and subsequent collapse of the Ming Dynasty, and the rise of the Qing. This period spans the 15th...
This imposing Buddha dates from the dynamic period surrounding the second half and subsequent collapse of the Ming Dynasty, and the rise of the Qing. This period spans the 15th to 17th centuries AD, and saw many of the most important developments in Chinese culture. The Ming and the Qing dynasties were highly creative times, seeing the appearance of the first novel written in the vernacular, considerable development in the visual arts and outstanding craftsmanship in all fields. The present sculpture is a case in fact, and it is perhaps somewhat disarming to reflect that this peaceful figure dates from a period of such spectacular turmoil.
This figure of the Vairocana Buddha is typical of representations of the divine aspect of Shakyamuni Buddha, being seated in a lotus position with one hand resting palm-up on the lap, the other raised in vitarka (gesture of debate) mudra. The face is serene,
with closed eyes, pursed lips, arched eyebrows and pendulous earlobes. His hair is in high relief, and is drawn back to effectively frame the face. He projects an aura of solemnity and tranquillity. His face shows no signs of emotion, and has the appearance of one lost in deep meditation. The body is clad in simple robes, and these have bee rendered in stunning detail by the sculptor,
demonstrating delicate folds, gathers and other fine details such as the tied-off textile ends at the centre of the chest. The comparative modesty of these garments are intended to reflect the simplicity and purity of the Vairocana Buddha's character, while the quality of the carving is a lasting testament to th skill of the artist. Unlike some early Chinese Buddha images, such as the Shakyamuni Buddha (c. 338 AD), the Vairocana Buddha is shown in the standard meditating teaching pose, thae is, with his hand resting upon his knee, the other raised in vitarka mudra. This reflects the effort made by the Chinese to reinterpret the Buddhist religion, which by the time of the Tang Dynasty had become a central and important part of Chinese culture. As Buddhism continued to thrive in China, the tenets of the faith and its iconography were continually reinterpreted by generations of religious philosophers and artists, Soon, the traditional appearance of the Buddha as promulgated b Indian artists had been changed almost beyond recognition, as this extremely fine figure testifies.
This figure of the Vairocana Buddha is typical of representations of the divine aspect of Shakyamuni Buddha, being seated in a lotus position with one hand resting palm-up on the lap, the other raised in vitarka (gesture of debate) mudra. The face is serene,
with closed eyes, pursed lips, arched eyebrows and pendulous earlobes. His hair is in high relief, and is drawn back to effectively frame the face. He projects an aura of solemnity and tranquillity. His face shows no signs of emotion, and has the appearance of one lost in deep meditation. The body is clad in simple robes, and these have bee rendered in stunning detail by the sculptor,
demonstrating delicate folds, gathers and other fine details such as the tied-off textile ends at the centre of the chest. The comparative modesty of these garments are intended to reflect the simplicity and purity of the Vairocana Buddha's character, while the quality of the carving is a lasting testament to th skill of the artist. Unlike some early Chinese Buddha images, such as the Shakyamuni Buddha (c. 338 AD), the Vairocana Buddha is shown in the standard meditating teaching pose, thae is, with his hand resting upon his knee, the other raised in vitarka mudra. This reflects the effort made by the Chinese to reinterpret the Buddhist religion, which by the time of the Tang Dynasty had become a central and important part of Chinese culture. As Buddhism continued to thrive in China, the tenets of the faith and its iconography were continually reinterpreted by generations of religious philosophers and artists, Soon, the traditional appearance of the Buddha as promulgated b Indian artists had been changed almost beyond recognition, as this extremely fine figure testifies.