Early Buddhist Art of China and Central Asia, Volume 3 : the Western Ch'in in Kansu in the Sixteen Kingdoms Period and Inter-relationships with the Buddhist Art of Gandh?ra.

Contents
Preface
Acknowledgements
List of Illustrations
List of Maps and Note on Diacriticals
Introduction
Chapter One The Western Ch’in (385-431 A.D.): History and Buddhism
     I. The Ch’i-fu Clan and the Western Ch’in (385-431 A.D.)
          A. Ch’i-fu Kuo-jen (r. 385-387/388): Beginning of the Western Ch’in Kingdom
          B. Ch’i-fu Ch’ien-kuei (r. 388-412): Expansion of the Western Ch’in
          C. Ch’i-fu Chih-p’an (r. 412-427): Consolidation and Height of the Western Ch’in
          D. Ch’i-fu Mu-mo (r. 427-431): Demise of the Western Ch’in
     II. Buddhist Activities in the Western Ch’in from Written Records
          A. Sheng-chien: Buddhist Monk Translator
          B. Fa-hsien: Early Monk Traveler to the Western Regions
          C. Hsuan-kao: Famous Meditation Monk
          D. Hui-lan: Later Monk Traveler to the Western Regions
          E. Concluding Comments
Chapter Two Bronze Buddha Altar from Ching-Ch’uan
     I. Introduction
     II. Technical and Stylistic Description and Comparative Analysis
          A. Buddha Image
          B. Lion Throne
          C. Mandorla
          D. Canopy
          E. Four-footed Stand
     III. Conclusions of Dating and Region of Make from the Technical and Stylistic Analysis
     IV. The “Kuei-i-hou yin” Bronze Seal and the Date of the Burial
Chapter Three Ping-Ling SSU Stone Caves: Introduction and Niche No. 1
     I. Introduction
     II. Niche No.1: Monumental Buddha Statue
          A. Description and Technical, Stylistic and Comparative Analysis
               1. Technique
               2. Posture and Hand Positions
               3. Body Form
               4. Drapery
               5. Head
               6. Wall Paintings
     III. Conclusions and Significance Regarding the Niche No.1 Buddha
          A. Dating and Sources of Style
          B. Oldest Surviving Monumental Buddha Image in China
          C. Possible King Asoka Buddha Image and Relation to Eastern Chin in the South
          D. Relation with the Bamiyan East Great Buddha
Chapter Four Ping-Ling SSU Cave 169: West (Rear) Wall
     I. Introduction to Cave 169
     II. West Wall (upper part)
          A. Group 18: Description, Dating and Stylistic Sources
               1. Group 18: Large Standing Central Buddha
                    a. Proportions and Posture, Body Form and Head
                    b. Drapery
                    c. Mandorla and Pedestal
                    d. Conclusions
               2. Group 18: Ten Dhyanasana Buddhas
          B. Group 18: Iconography of the Large Standing Buddha with Ten Dhyanasana Buddhas
               1. Group 18 Schema
               2. Buddhas of the Ten-Directions in Early Mahayana Sutras
               3. Group 18 as Representing Sakyamuni and the Ten-Direction Buddhas from Chapter 11 of the Cheng fa-hua ching Dharmaraksa’s 286 A.D. Translation of the Saddharmapundarika Sutra (Lotus Sutra)
                    a. Translation of Excerpts from Chapter 11 of the Cheng fa-hua ching, the Dharmaraksa 286 A.D.
                    b. Application of Chapter 11 of the Cheng fa-hua ching (Dharamraksa Translation of the Saddharmapundarika Sutra) to the Cave 169 Group 18 Sculptures
                    c. Comment on the identity of the Group 18 configuration
          C. Conclusions of Dating and Iconography
     III. West Wall (lower part)
          A. Group 17: Triad with Surviving Standing Bodhisattva
               1. Description Sources and Dating of the Standing Bodhisattva
               2. Iconographic Considerations and Conclusions
          B. Group 16
               1. Group 16: Five Dhyanasna Buddhas
               2. Group 16: Seated Bodhisattva with One Leg Pendant
               3. Group 16: Two (of Three) Standing Buddhas
          C. Concluding Remarks
Chapter Five Ping-Ling SSU Cave 169: East and South Walls
     I. East (Entrance) Wall: Group 24
          A. Description Comparative Analysis and Stylistic Sources
               1. Thousand Buddha Painting
               2. Individual Buddha Groups Within the Thousand Buddha Painting
                    a. Dhyanasana Buddha Triad with Two Monks
                    b. Teaching Buddha Triad
                    c. Sakyamuni and Prabhutaratna in the Seven Jewel Stupa
               3. Summary Conclusions
          B. Dedicatory Inscription Biography of Tao-jung and Dating of the Group 24 Painting
          C. Iconography: Textual Considerations
          D. Conclusions: Dating and Issues of Identification
     II. South (Left) Wall
          A. Upper Zone: Group 23
               1. Large Stone Relief Seated Buddha
               2. Row of Painted Stupas
               3. Group 23: “Ping-shen” Inscription
               4. Group 23: Five Dhyanasana Buddha Sculptures
                    a. Three Dhyanasana Buddhas on the Left (east) Side
                         i. Brief Description
                         ii. Stylistic Sources and Tentative Dating
                         iii. Relation with West Wall Sculptures in Cave 169
                         iv. Mandorlas
                    b. Two dhyanasana Buddhas on the Right (west) Side
                         i. Description
                         ii. Elements for Comparative Dating of the Two Buddhas
                         iii. Mandorlas
               5. Conclusions
          B. Middle Zone: Groups 22 and 21
               1. Group 22: Standing Buddha Triad
                    a. Buddha
                    b. Bodhisattva
                    c. Conclusions
               2. Group 21: Two Individual Dhyanasana Buddhas
          C. Lower Zone: Group 20
               1. Group 20: Seated Buddha (A)
               2. Group 20: Seated Buddha (B)
               3. Group 20: Seated Ascetic Buddha (C)
               4. Group 20: Standing Buddha (D)
               5. Group 20: Seated Buddha (E)
               6. Group 20: Dating
               7. Iconographic Considerations: More on the Five Buddhas
          D. Summary Conclusions (South Wall)
Chapter Six Cave 169: North Wall (I)
     I. North (Right) Wall: Upper Zone
          A. Group 1
          B. Group 2
          C. Group 4
     II. North Wall: Middle Zone
          A. Group 6: Niche with Amitayus Sculpture Triad
               1. Image Analysis
                    a. Buddha Amitayus
                    b. Mandorla of Amitayus
                    c. Attendant Bodhisattvas
               2. Textual Considerations
                    a. Early texts: Later Han, Three Kingdoms and Western Chin Period
                         1) Pratyutpanna-samadhi Sutra (T 418)
                         2) [Larger] Sukhavativyuha Sutra
                              a) A-mi-t’o san-yeh san fo sa lou fo t’an kuo tu jen tao ching
                              b) Wu-liang-ch’ing-ching p’ing-teng-chueh ching (T 361)
                              c) Wu-liang-shou [fo] ching (T 360)
                                   i. Chu Fa-hu theory
                                   ii. Buddhabhadra and/or Pao-yun theory
                                   iii. Terminology of the Wu-liang-shou ching
                              d) Brief Synopsis and Some Pertinent Factors in the Wu-liang-shou ching with Respect to Considerations of the Group 6 Niche
                                   i. Summary of the Text Wu-liang-shou ching (T 360): chuan 1 (shang)
                                   ii. Summary of the Text Wu-liang-shou ching (T 360): chuan 2 (hsia)
                         3) Mahalalitapariprccha Sutra
                              a) Lao nü jen ching
                              b) Fo-shuo lao mu ching
                              c) Lao mu nu liu ying ching
                         4) Vimalakirti-nirdesa
                              a) Wei-mo chieh ching
                              b) Wei mo chieh so shuo ching
                         5) Saddharmapundarika Sutra (Lotus Sutra)
                              a) Cheng fa-hua ching
                              b) Miao fa lien hua ching
                         6) Brahmavisesacintipariprccha Sutra (Questions of Brahma Sutra)
                              a) Ch’ih hsin fan-t’ien so wen ching
                              b) Ssu i fan t’ien so wen ching
                         7) Bhadrakalpika Sutra
                    b. Eulogies, Images, and Biographies from the South during the Eastern Chin (317-420)
                         8) Eulogy (tsan) on Amitabha by Chih-tun
                         9) Biography of Chu Fa-k’uang
                         10) Images by Tai K’uei
                         11) Biographical excerpts of Hui-yuan Seng-chi and other monks at Lu shan
                    c. Period ca. 400-425 A.D. in North and South China
                         12) Fo-shuo A-mi-t’o ching
                         13) Ta chih-tu lun
                         14) Kuan fo san-mei hai ching
                         15) Ta-fang kuang fo hua-yen ching
                         16) Kuan-shih-yin p’u-sa [Te-ta-shih p’u-sa] shou chi ching]
                              a) Biography of T’an-wu-chieh
                              b) Summary Synopsis of the Kuan-shih-yin shou chi ching ( T371) Translated by T’an-wu-chieh
                              c) Some Major Points Concerning the Kuan-shih-yin shou-chi ching
                              d) Questions of Terminology in Relation to Group 6
                         17) Kuan Wu-liang-shou [fo] ching
                              a) Translation of the Kao-seng chuan Biography of Kalayasas
                              b) Brief Synopsis and Some Pertinent Points Regarding Terminology
                              c) Textual Issues
                                   i) Central Asian Origination (or Compilation)
                                   ii) Chinese “Compilation”
                              d) Terminology Used in the Kuan ching and Cave 169 Group 6 Inscriptions
                    d. Summary and Conclusions Regarding the Textual Comparisons and Survey of the Amitabha/Amitayus Sutra Translations in China up to ca. 425 A.D. with Respect to the Group 6 Inscriptions
               3. Amitabha/Amitayus and Sukhavati in the Art of Mathura and Gandhara Prior to the Mid-5th century A.D.
                    a. Mathura Inscribed Amitabha Buddha
                    b. Triads of a Seated Buddha with Two Standing Bodhisattvas
                         i. Mathura and Gandhara
                    c. Triads within Complex Stele Scenes
                         i. Mohammad Nari (larger) Stele: Problems of Identification
                         ii. A stele in the Peshawar Museum: Possible Sukhavati with Amitabha and the Two Great Bodhisattvas
                    d. Afghanistan Central Asia and South India
               4. Summary Conclusions Regarding the Iconography of the Group 6 Amitayus Triad
Chapter Seven Ping-Ling SSU Cave 169: North Wall (II)
     I. North Wall: Middle Zone (continued)
          A. Group 6: Wall Paintings and Inscriptions
               1. Wall Paintings Inside the Group 6 Niche
                    a. Ten-direction Buddhas
                         i. Discussion of the style
                         ii. Identification of the ten Buddhas
                         iii. Buddhabhadra and the Translation of the 60-chuan Hua-yen ching
                              a) Early Records of the Buddhabhadra Translation of the Avatamsaka Sutra
                              b) Translation of the Kao-seng chuan Biography of Buddhabhadra
                              c) Buddhabhadra’s Translation of the Hua-yen ching and the Paintings of the Ten-Direction Buddhas in Group 6
                    b. Other Images near the Ten-Direction Buddhas
                         i. A Guardian and an Offering Figure
                         ii. Sakyamuni Buddha and Maitreya Bodhisattva
                         iii. Stylistic and Iconographic Considerations in the Context of the Group 6 Niche
               2. Group 6: Main Inscription and Surrounding Wall Paintings
                    a. Main Inscription
                         i. Description and Translation
                         ii. Regarding the 420/424 Date Issue
                    b. Donor Figures
                         i. First Row of Donors
                         ii. Second Row of Donors
                         iii. Row of Eight Donors inside the Niche
                    c. Other Figures and Inscriptions above the Main Inscription
                         i. Small Standing Monk
                         ii. “Yao-wang fo”
                              a) Textual Considerations
                              b) Concluding Remarks Regarding “Yao-wang fo”
                         iii. ? ? chih p’u-sa
                         iv. Chieh-yin fo
                         v. Ch’ing-hsin shih Chin ch’eng Wan Wen chih hsiang
                         vi. Ch’ing-hsin nu Wen ch’i
                    d. Images and inscriptions below the second row of donors
                         i. Standing Buddha
                         ii. male donor “Ch’i-fu ? Lo-shih chih hsiang”
               3. Group 6: Summations and Conclusions
                    a. Inscriptions
                         i. Main Inscription
                         ii. Monk and Lay Donor Inscriptions
                              a) Monk Donors
                              b) Lay Donors
                    b. Artistic Elements
                         i. Sculpture
                         ii. Paintings
                    c. Iconography and Textual Sources
                         i. Amitayus Triad
                         ii. Paintings Inside the Niche (other than donors)
                         iii. Paintings of Iconic Images Outside the Niche (other than donors)
                              a) Yao-wang fo
                              b) Chieh-yin fo and ? ? chih p’u-sa
                    d. Textual Aspects and the Iconographic Program of Group 6
                    e. Significance Points with Respect to Cave 169
          B. Group 7: Two Large Standing Buddha Sculptures
               1. Image Analysis
               2. Mandorlas
               3. Comments on Dating
     II. North Wall: Lower Zone
          A. Group 9: Three Standing Buddha Sculptures
          B. Group 10: Wall Paintings (far left)
               1. Under Layer
               2. Upper Layer
          C. Group 11: Wall Paintings (center left)
               1. Topmost Level
               2. Second Level from the Top
               3. Third Level from the Top
               4. Lowest Level
          D. Group 12: Wall Paintings (center right)
               1. Main Seated Buddha
               2. Buddha’s Attendants and Kneeling Brahmin-like Figure
               3. Above the Buddha Group: Buddhas Donors and a Five Buddha Painting
               4. Summary of the Five Buddha Configurations in Ping-ling ssu Cave 169
               5. Other representations of the Five Buddhas in China prior to ca. 400
          E. Group 13: Wall Paintings (far right)
          F. Conclusions: Wall Paintings of Groups 11, 12 and 13
               1. Artistic Style and Dating
               2. Iconographic Considerations
               3. Donor and Other Figures
          G. Group 14
               1. Row of Three Seated Buddha Sculptures
               2. Sutra Writing and Wall Paintings
                    a. Translation of the Wei-ts’eng-yu ching (T 688)
                    b. Wall Paintings
               3. Fragment of Large Standing Buddha Sculpture
               4. Concluding Comments on Group 14
          H. Group 3: Buddha Niche
          I. Groups 15 and 19: Thousand Buddha Panel Paintings
     II. Conclusions: North Wall
     III. The Cave at Yeh-chi kou (Wild Pheasant Gulch)
     IV. Summary Conclusions: Ping-ling ssu under the Western Ch’in
          A. Earliest Period: ca. 375-ca. 400
          B. Middle Period: ca. 400-420
          C. Late Period: ca. 420–431
Chapter Eight The Five Buddhas and Sets of Multiple Buddhas in the Art of Gandhara and Afghanistan and their Relation to Cave 169 at Ping-Ling ssu and the Five T’an-Yao Caves at Yun-Kang
     I. Introduction
     II. Taxila (Gandhara)
          A. Dharmarajika: Stupas K1, N4 (and J1)
          B. Main stupas at Jaulian and Mohra Moradu
               1. Jaulian
                    a. Layout and Scheme of Main Images
                    b. Small Pilaster Buddhas
               2. Mohra Moradu
                    a. Stupa Drum/Dome
                    b. Podium Images
               3. Dating
                    a. Sculptures of the Jaulian Main Stupa
                    b. Sculptures at Mohra Moradu
               4. Conclusions: Jaulian and Mohra Moradu Main Stupas
          C. Miniature and Subsidiary Stupas at Mohra Moradu and Jaulian
               1. Stucco Stupa from Cell 9 at Mohra Moradu
               2. Subsidiary Stupas at Jaulian
                    a. Stupa A15
                         i. Description and Discussion of the Iconography of the Images
                         ii. Iconographic Interpretation
                         iii. Technique Inscriptions and Dating of the Images
                    b. Stupa A11
                         i. Iconography
                         ii. Date
                    c. Stupas A2 A20 and D5
                    d. Stupas A16 D4 and D1
                         i. Stupa A16
                         ii. Stupas D4 and D1
                         iii. Style and Date of Stupas D4 and D1
                              a) Niches
                              b) Pilasters
                              c) Lotus Pedestals
                              d) Individual Images
                         iv. Conclusions and Iconography of Stupas D4 and D1
               3. Further Comments on Jaulian and Mohra Moradu
          D. Pippala: Stupa K
     III. Peshawar Valley (Gandhara)
          A. Thareli: Area C 106
               1. Area C106: Data
               2. Dating
               3. Iconographic Considerations of Area C106
          B. Takht-i-Bahi
               1. South Stupa Court X
               2. Niche-shrines in the Lower Stupa Court
                    a. Niche/shrines 1-9 on the Processional Path
                    b. Niche/shrines 24-18 along the South Wall of the Lower Stupa Court
                    c. Niche/shrines 25-28 on the North Wall of the Lower Stupa Court
                    d. Niche/shrines 29-37 on the North Wall of the Lower Stupa Court
                    e. Niche/shrines M8-M1 along the East and South Walls of the Lower Stupa Court
                    f. Niche/shrines M14 and M11
                    g. Niches on the Perimeter of the Lower Stupa Court Considered as a Totality
               3. Southeast Stupa Court XIVii
               4. Court XX (Court of the Three Stupas)
                    a. Stupa P37
                    b. Four Monumental Stucco Standing Buddhas
               5. Conclusions: Takht-i-Bahi
          C. Sahri Bahlol Site B
               1. Stupa with Five Buddhas
               2. “Main Stone Stupa” with Four Buddhas
          D. Ali Masjid
               1. Medium-sized Stupa
               2. Stupa No. 6
          E. Conclusions: Peshawar Valley
     IV. Afghanistan: Hadda
          A. Great Stupa (TTK)
          B. Tapa Kalan
               1. Stupa TK67
               2. Stupa TK86
               3. Stupas TK97 and TK100
          C. Tapa-i-Kafariha
               1. Stupa K43
               2. Gallery K45
          D. Bagh-Gai
               1. Stupa B31
               2. Stupa B51
               3. Structure B56 and Stupa B55
               4. Stupas B76 and B77
          E. Chakhil-i-Ghoundi
               1. Stupa C5
          F. Prates
               1. Stupa P8
               2. Stupa P29
          G. Gar-nao
          H. Concluding Comments: Hadda
     V. Afghanistan: Shotorak
          A. Stupa D3
          B. Stupa D4
     VI. Afghanistan: Bamiyan
          A. Cave 24
          B. Cave 129
          C. Cave 152
          D. Cave 164
          E. Cave 51
     VII. Summary Conclusions
          A. Sets of Multiple Buddhas in Gandhara and Afghanistan
          B. Significant Factors Regarding the Reading of Images on Stupas
               1. Unified Scheme
               2. Individual Side Scheme
               3. Chronologically Linear Presentation
               4. Non-chronologically Linear Presentation
               5. Spatial Interpretation
          C. Summary of the Development of the Five Buddha Configurations in Gandhara and Afghanistan
          D. Importance of Ping-ling ssu Cave 169 in Relation to the Five Buddha Iconography
               1. Relation with Gandhara and Afghanistan
               2. In China
     VIII. The Five T’an-yao Colossal Image Caves at Yun-kang
          A. Layout and Brief Description of the Five T’an-yao Caves
          B. New Theory of the System of Arrangement and Identity of the Main Images of the Five T’an-yao Caves
Chapter Nine Mai-Chi Shan: Early Caves
     I. Introduction
     II. Early History of the Site
     III. Caves 78 and 74
          A. General Description and Layout
               1. Cave 78
               2. Cave 74
          B. Image Style, Sources and Dating
               1. Seated Buddhas
               2. Standing Bodhisattvas
               3. Mandorla and Halo Designs
               4. Paintings on the Pedestal of the Main Buddha in Cave 78
               5. Small Niches with the Cross-ankled and Contemplative Bodhisattvas
               6. Dating of Caves 78 and 74
          C. Iconographic Considerations
     IV. Caves 169 and 69
          A. Cave 169
          B. Cave 69
     V. Conclusions: Early Caves at Mai-chi shan
Conclusions: Volume III
Appendix I
Appendix II
Bibliography
Index
Color Plates