The prevalence of belief in Maitreya during this period can be attributed to two factors. First, from 266 to 313, Dharmaraksa, a YuehChih Buddhist monk, was the first to translate the Lotus Sutra into Chinese. He translated more than 150 pieces of scriptures and helped disseminate belief in Maitreya. Second, the Maitreya represented a vision for the future. Belief in Maitreya helped overcome the difficult circumstance and chaos caused by war.
Buddhist images gradually incorporated Chinese features, as evidenced by the clothes of the Buddha. The process of Chinese localization among the Xianbei ethnic nationality accelerated the localization of Buddhist art. The Indian gauze was replaced by the dress of an ancient scholar. They Buddhas wear criss-crossed collars with a double-breasted cassock, which give them a kingly way. The images of Buddha and Bodhisattva shifted from robust and tall and developed an elegant appearance valued during the Wei, Jin, and the Northern and Southern dynasties.
Generally speaking, the number of Mogao Grottoes during the Wei, Jin, the Northern and Southern dynasties is far less than those during the Tang Dynasty, and sculptures are not as high in quality as those of the Tang.
Mogao Grottoes in the Tang Dynasty
Grottoes account for nearly half of the 500 Mogao Grottoes. They are rich in content, magnificent in appearance and dignified. Dunhunag Grottoes are the biggest of the Tang Dynasty grottoes. More than 670 statues from the Tang Dynasty were preserved.
The image groups of the Mogao Grottoes are usually made of one Buddha, two Buddhist saints, two Bodhisattvas, two heavenly kings and two warrior attendants. The Buddha images are usually rounded and elegant, sitting on the lotus throne, with spiral-shaped coil hair do and wearing cassocks. The clothes were well matched with the curves of the body. Each Buddha image has its own characteristics. Some are wise, some are charitable, some are thoughtful and others seem simple and cheerful. The most noticeable Buddha image is the sleeping statue of Nirvana Buddha in the No.158 Cave. It shows the death of Sakyamuni. The statue is lying down with two eyes half closed. It is quiet and peaceful, showing the highest possible and most desirable religious state, nirvana.
The images of bodhisattvas and heavenly maidens are reminiscent of young girls. Most are plump, elegant, dignified and reserved; they look enchanting but have a sense of dignity, which shows the ideal of feminine beauty during the Tang Dynasty. The images of Bodhisattva from the Tang Dynasty retained the Indian tradition. During the mid and late Tang Period, Bodhisattva images seemed slim and had a common touch that was full of a sense of reality in daily life.
The images of Buddhist Saints were usually those of a young man and an old man. The elder is Kasyapa Buddha and the younger is Ananda. Buddhist scriptures set out fewer limitations on statues of Buddhist saints, as a result these statues have a rich flavor of life with distinctive features. For example, the elder Kasyapa Buddha is sculpted as the image of a knowing high priest (in the No. 45 Cave), and the young Ananda is a juvenile image that is babyish and seems lost in thought.
Besides the dignified Buddha images, kind bodhisattvas and thoughtful Buddhist Saints, the heavenly kings and Buddha’s warrior attendants are also strong and brave or have ferocious facial expressions. The images of heavenly king are mighty and full of awe; the Buddha’s warrior attendants have bare upper bodies with strong muscle and are full of strength. Two heavenly kings in the No.46 Cave are images of two western people, highlighting the close connection between the Tang Dynasty and the west. The images of warrior attendants in the No.194 Cave show the excellent sculptural technique from the mid Tang Dynasty. Body structures comply with modern anatomical knowledge. The changes in the muscles and bones in the legs are strong and robust with very real feel.
Statues in the Mogao Grottoes from the Tang Dynasty and others in the temple are not just standalone statues but the group is important as a whole. Everything works despite their independence and the group does not hinder the overall sense of the works but increase their diversity. Different artists working in different styles produce different works, and thus, images of the same name do not have the same appearance and ethos. Expressions and changes in posture are not identical. The images from the Dunhuang Grottoes give a good idea of the wealth of Tang Dynasty Buddhism, which not only impacted the central plains but, along with Tibetan Buddhistm, impacted Japan, Korea, Vietnam and other countries.
Maijishan Grotto images