Essay name: Buddhist iconography in and outside India (Study)
Author:
Purabi Gangopadhyay
Affiliation: University of Calcutta / Department of Ancient Indian History and Culture
This work aims to systematically present the development and expansion of Mahayana-Vajrayana Buddhist iconography from India to other countries, such as China, Korea, and Japan. This study includes a historical account of Indian Buddhist iconography and the integration of Brahmanical gods into the Mahayana-Vajrayana phase.
Chapter 3: Influence of Indian Buddhist Art on China and Korea
21 (of 38)
External source: Shodhganga (Repository of Indian theses)
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composition is beautiful.
The leaf-shaped halo behind the
head of the figure is also artistically designed.
There are two Bodhisattvas on either side the figure
of the central deity. These two Bodhisattvas are standing on
a pedestal supported by two demons. The halo behind the head
of these two Bodhisattvas are also worth-mentioning. These
two are also in a leaf shaped design that also exhibits the
artistic performance of the age. The expression of the face,
the half-closed eyes, the tuft of hairs on the top of the head
remind us of the feature of the Buddha image of Saranath.
The style is typical of the Northern Wei sculpture
and the symmetrical arrangement of drapery influenced Japanese
sculptors of the Asuka period (7th Century).
讝讬
Amitabha Buddha is known as Wei-lian-Shou-Fo in China.
But probably the deity is not very popular in China. One of
Amitabha
the important Amida Mandala of Chinese T'ang period is now
preserved in the Kaihoji temple, Kagawa prefecture, Japan.
Amitabha Mandal (Pl.III,Fig.1. )
This Amit膩bha Mandala is a beautiful piece of sculp=
ture carved in relief. The Mandal was made during the 8th
Century A.D. Here Amitabha is the central deity in the Mandala.
Carved around the central figure are the eight Bodhisattvas
including Bodhisattva 膧k膩艣agarbha, Bodhisattva Samantabhadra,
