Search Results (4)

The Huayan Grotto in Anyue County is one of the most typical caves of the grottoes of Sichuan 四川 and Chongqing 重慶. Being well known for its grand scale and the beautiful style of its sculptures, the cave was designed and carved by the Liu-Zhao sect 柳趙教派 in eastern Sichuan during the Southern Song Dynasty. The Liu-Zhao sect is a local religious group that relies on grottoes and statues to state concepts, propagate ideas, and spread doctrines. The sect is good at integrating a variety of Buddhist thoughts to form its own unique theoretical and practical system. The large-scale statue-making activities under the auspices of the Liu-Zhao sect 柳趙教派 are a classic example of the localization of Buddhism in Southwest China. The ideological system of the Liu-Zhao sect is centered on Huayan, and Huayan Grotto is the very concentration of its special philosophy. This paper considers that the cave constitutes a holy place, with a theme of thoughts of Huayan, which was built based on important doctrines of two masters. Through the combination and arrangement of diversified images, the cave is so far the most complex, complete, and systematic visualized representation of the Huayan’s theory and practice. Inside the cave are carved full-length portraits of Li Tongxuan 李通玄, the Elder of Huayan, and Guifeng Zongmi 圭峰宗密, the fifth patriarch of the Huayan sect. There are also statues and inscriptions that illustrate Li’s thoughts, such as the Ten Assemblies in Ten Locations 十處十會and the Sudhana’s Pilgrimage 善財遍參based on Li’s exegetical writings on the Avataṃsaka Sūtra; the Three Saints of the Huayan School (Huayan sansheng 華嚴三聖) carved on the basis of Li’s pioneering idea about the trinity of three saints; and the mind-only verse 惟心偈, emphasizing mind as the foundation of Avataṃsaka practice. Zongmi’s Avataṃsaka thoughts were mainly expounded through a series of commentaries on the Sutra of Perfect Enlightenment 大方廣圓覺修多羅了義經, to which the impressive Twelve Bodhisattvas of Perfect Enlightenment are directly related. In addition to the theoretical system, the cave offers two means for Avataṃsaka practice. Highly qualified Avataṃsaka practitioners practice by viewing the Trinity of Three Saints and the Buddha’s Light, and then they go through five phases of fruition to attain Buddhahood, which is the Avataṃsaka practice dominated by Li Tongxuan’s thoughts. Less qualified practitioners practice through repentance liturgies and sitting in meditation at the Ritual Site of Perfect Enlightenment, which is the practice of Perfect Enlightenment advocated by Zongmi 宗密. Full article

In this paper, by comparing the archaeological remains of meditation caves in Kucha and Termez and by referring to Buddhist literature, we aim at gaining a better understanding of how meditation was practiced in both regions. In Kucha and Termez the arid climate shifted between extreme summer heat and extreme winter cold, making the caves ideal choices for meditation. In Kucha, various types of meditation caves have been recorded. These include small cells for seated meditation, single corridors, and corridors that intersect to form a cross or an inverted U plan. The latter type is associated with a residence and a courtyard, which show many similarities with the complexes located in the mounds south and west of the monastery of Kara Tepe. Two possible uses of the corridor-shaped caves have been proposed based on various factors, such as the distance of the caves from the surface monastery, the similarity of the type, the presence of a courtyard in front of the caves, and the existence of a cell where a person could repose. Buddhist accounts remark on the importance of mindful pacing (Skt. caṅkrama; Chi. jingxing 經行) along with sitting meditation in the daily practice of bhikṣus. According to descriptions in the vinaya, we can infer the possibility of having several types of pathways for mindful pacing, besides the most common straight path. Note also that various ancient records of Buddhist monks mention monuments associated with mindful pacing. Drawing on both architectural remains of the investigated areas and textual evidence, we suggest that the carved corridors, both single and intersecting, might have been specifically designed for mindful pacing. In the better-preserved complexes, the length of the courtyard’s sides corresponds with that of the corridors. While the courtyard could have been utilized for various activities, the similarity in size between corridors and the courtyard hints at its potential use for mindful pacing in mild weather. Furthermore, because the Kara Tepe monastery could accommodate less than fifteen monks, the presence of several meditation complexes, each consisting of four intersecting corridors and a small cell, implies that these units were intended for a monk to live in seclusion for a period. Full article

In this paper, I examine the iconography, religious function and text–image relationship of one of the earliest illustrations of the apocryphal Visualization Sūtra, namely, the mural painting on the left (south) wall of Cave 20 at the Toyok Grottoes in Turfan created in the late sixth century. I study this mural with a structuralist approach to situate it within the overall pictorial program of the cave temple. I argue that this wall painting was designed as a set of visual and verbal cues to assist the meditating monks in situ to separately visualize the different individual visions constituting the “Thirteen Visualizations” taught in the sutra, excluding the five visions directly related to the Amitāyus Triad, namely, the eighth, ninth, tenth, eleventh and thirteenth visualizations. These five visualizations were likely facilitated by icons of the Amitāyus Triad placed in the center of the cave. The meditators started from the contemplations of the impure represented on the right (north) wall as preparatory practices to eliminate their sins, improve their karma and thereby enhance their spiritual purity to a level appropriate for performing the Pure Land visualizations. They then turned to the left wall to perform the Pure Land visualizations represented there that end with the twelfth visualization: imagining oneself being reborn in Sukhāvatī. Continuing from the twelfth visualization, the meditators facing the rear wall entered the Western Pure Land via the lotus ponds represented on the rear wall while in a state of meditational concentration. Full article

Buddhist Utopian vision shaped the art of Pure Land; so did many other factors, including the actual locale. Taking Mogao Cave 172 as the main case study, this article deciphers a visual paradigm of a Pure Land painting and cave in Dunhuang (Gansu, China) from the high Tang period (710–780 CE). By analyzing the visual contents and compositions, the painting medium, the cave spaces, and the cliff site, this study investigates the ways in which the architectural images and spaces in Cave 172 helped to convey the invitation to Pure Land. A close reading of the Western Pure Land painting in Cave 172 reveals the spatial construct of the Buddhist paradise that encouraged a transformative viewing experience. A situated visual analysis of Cave 172 with its auxiliary cave and neighboring caves illustrates the historical procedure in which Pure Land imageries were further integrated with the architectural spaces of caves and cave suites. As this study demonstrates, strategies of spatial layering, self-symmetry and scaling, and plastic and multimedia practices of cave-making enhanced the situatedness of the utopian vision. Full article