Using craftsmanship to witness the devout faith of ancient people
Using craftsmanship to witness the devout faith of ancient people
As a category of craftsmanship, Buddha statues possess profound cultural connotations and artistic value. Using exquisite skills to carve, create, and preserve ancient Buddhist statues is a precious embodiment of bearing witness to the profound and devout faith of the ancients. These statues are not merely silent works of art; they also bear the traces of time and symbolise faith's sanctity. Through each craft process, we are able to sense the ancient souls' unity and their steadfastness in religious faith. This elevates these works beyond the material realm, transforming them into treasures of cultural, historical, and spiritual heritage.
Buddhism originated in India and was introduced to China from the Western Regions of India around the end of the Western Han Dynasty and the beginning of the Eastern Han Dynasty.
The period of the Southern and Northern Dynasties in China (approximately 420–589 AD) was a historical era characterised by the division of China into the Southern and Northern Dynasties. During this time, Buddhism gradually spread in China. It thrived with the excavation of cave temples on steep cliffs, while numerous Buddhist statues were carved and constructed in stone caves. This marked the flourishing of Buddhist sculpture in China, signifying a significant development in the art of Buddhist statue carving.
The Northern Wei Dynasty (386–534 AD) was the first dynasty of the Northern Dynasties period in ancient China. The sculptural expressions of this historical era conveyed the spiritual beauty of divinity. The sculptures, primarily featuring Buddha and Bodhisattvas, were characterised by a solemn and dignified aura, creating a sacred religious atmosphere.
Throughout the millennia in China, sculpture art has been especially valued, seen as the sublime vessel for the transmission of Buddhist teachings. The art of Buddhist statue sculpting has thrived in China, with the Sui and Tang dynasties representing its most prosperous period.
The Buddhist statues cast during the Tang Dynasty convey a sense of robust fullness. The statues have broad and sturdy chests with well-rounded and ample shoulder lines, exuding an air of majestic grandeur. Their facial features are plump and symmetrical, with full cheeks and a well-defined jawline, evoking a sense of subtle plumpness and beauty. In terms of hairstyle, there is an increase in spiral curls, adding more layers and details. As for attire, the double-shouldered kasaya is more commonly used, giving off an air of solemnity and dignity. These characteristics collectively contribute to the distinctive aesthetic beauty of Tang Dynasty Buddhist statues.
With the establishment of the Northern Song Dynasty, Buddhism continued its legacy in China. However, compared to the Sui and Tang Dynasties, the imperial court's support for Buddhism diminished. Instead, Buddhism saw development in popular faith. The style of Buddhist statues gradually leaned towards simplicity, emphasising depth and spirituality.
Although the Liao Dynasty was ruled by the Khitan people, the style of sculpture still belonged to the Northern Song system. Especially in the realm of clay sculpture, it continued to inherit the essence of the Tang Dynasty, producing exquisite works. For instance, within the Bujia Teaching Hall of Huayan Temple in Datong, there are colourful sculptures of Buddhas, Bodhisattvas, and deities. Their forms are remarkably precise and vivid. Among them, the standing statue of the Bodhisattva, with hands clasped together and head slightly tilted, exudes an air of dignity and serenity with a subtle smile. It can be considered the pinnacle of Liao Dynasty sculpture.
The original statue of the Liao Dynasty Water-Moon Guanyin is housed in the Nelson-Atkins Museum of Art in the United States and has become the centrepiece of the museum's collection. To complement this statue, the Nelson-Atkins Museum has specially set up a vast space named "Chinese Temple Hall". Behind the Water Moon Guanyin, there is a mural titled "The Assembly of Tejaprabha" from the Yuan Dynasty, acquired from Guangsheng Temple in Shanxi. Above is a Ming Dynasty-carved dragon-coffered ceiling and a Qing Dynasty Pingqi. The intricately carved floral lattice doors in front originate from the residence of a Qing Dynasty official in Beijing.
Liao Dynasty Skanda Statue Shuang-Lin Temple Purely Handmade Bronze Classic Oriental Replica
During the Liao Dynasty, Buddhist statues generally had a relatively flat ushnisha, with spiral curls often adorned with a central jewel. The facial features were balanced in terms of plumpness and slimness, and the upper body of seated Buddha statues tended to be slightly elongated with a broad chest. The pedestals of Buddha statues often featured six-petal flower-shaped, square, or circular patterns. The lotus petals were full and appeared to be in full bloom, displaying a plump and abundant appearance. The cloth draped on the square pedestal typically had a semi-circular shape in the centre, with two angled sides hanging down. This design transitioned from the realistic drapery seen in the Tang Dynasty to a more stylized pattern.
Through the development of Buddhist statue sculpture over the aforementioned periods, Chinese Buddhist sculpture has reached its artistic zenith. In the subsequent dynasties, each era showcased its own unique style. The Song Dynasty emphasised depth and spirituality, resulting in relatively simplified Buddha statue designs. Influenced by Mongolian culture, the Yuan Dynasty introduced distinctive stylistic elements. During the Ming and Qing Dynasties, Buddhist sculpture continued to flourish, receiving high praise and admiration from literati and scholars.
#handicrafts #Buddha statue #woodcarving #stone carving #oriental aesthetics