Next Article in Journal
Tackling Controversial Issues in Primary Education: Perceptions and Experiences of Student Teachers
Next Article in Special Issue
The Uses of Human Malleability: Images of Hellish and Heavenly Sojourns in Pre-Modern Burma
Previous Article in Journal
Spirituality and Organizations: A Proposal for a New Company Style Based on a Systematic Review of Literature
Previous Article in Special Issue
Brahmā at the Ajapāla Banyan Tree: Re-Examining Paintings at the Sulamani Temple, Bagan
Open AccessArticle

Clearing the Course: Folio 348 of the Nepalese Gaṇḍavyūha-sūtra in the Cleveland Museum of Art

Department of Indian and Southeast Asian Art, Cleveland Museum of Art and Case Western Reserve University, 11150 East Blvd, Cleveland, OH 44106, USA
Religions 2020, 11(4), 183; https://doi.org/10.3390/rel11040183
Received: 23 March 2020 / Revised: 8 April 2020 / Accepted: 10 April 2020 / Published: 11 April 2020
(This article belongs to the Special Issue Seeing and Reading: Art and Literature in Pre-Modern Indian Religions)
The final 15 folios of the Nepalese illuminated palm-leaf manuscript of the Sanskrit Gaṇḍavyūha-sūtra of c. 1100 have more paintings per page, larger picture planes, and different types of scenes than are found on the leaves surviving from the first 340 folios. One example is Folio 348 in the Cleveland Museum of Art, which has been painted with scenes of a bodhisattva tossing a blue-skinned heretic, an unusual image of a monk or upāsika wearing blue robes, and a Vajrācārya priest setting a Hindu rishi ablaze. From the point of view of the Mahāyāna Buddhist makers of this manuscript, these figures may personify the wrong views that derail pilgrims on the bodhisattva path to enlightenment. The dramatic shift in imagery appears to reflect the transition from the end of the inspirational pilgrimage of Sudhana to the popular, protective dhāraṇī verses of the Bhadracarī that form the finale to the text. The scenes of destruction and elimination of heretical figures correspond with sentiments in the Bhadracarī, indicating that the artists understood the structure and content of the text. View Full-Text
Keywords: Nepal; Gaṇḍvyūha-sūtra; Mahāyāna; Sudhana; heretics; palm-leaf manuscripts; Bhadracarī; Buddhist art; medieval manuscript illumination Nepal; Gaṇḍvyūha-sūtra; Mahāyāna; Sudhana; heretics; palm-leaf manuscripts; Bhadracarī; Buddhist art; medieval manuscript illumination
Show Figures

Figure 1

MDPI and ACS Style

Mace, S.R. Clearing the Course: Folio 348 of the Nepalese Gaṇḍavyūha-sūtra in the Cleveland Museum of Art. Religions 2020, 11, 183.

Show more citation formats Show less citations formats
Note that from the first issue of 2016, MDPI journals use article numbers instead of page numbers. See further details here.

Article Access Map by Country/Region

1
Search more from Scilit
 
Search
Back to TopTop