The
Lotus Sutra (
Saddharmapundarika Sutra), a compilation of several different texts, some dating as early as the 1st century CE, is one of the most influential works in the extensive Buddhist canon. The principal text of the Chinese Tientai sect, the
Lotus Sutra is also revered by other sects of Buddhism, both for its promise of universal enlightenment and because its worship and study are believed to provide the benefits of longevity, health, and prosperity in everyday life. Representations of Shakyamuni, the founder of Buddhism, preaching the
Lotus Sutra at Vulture Peak are some of the most important images associated with this text. In this Korean painting of the famous theme, the Historical Buddha is seated on a square throne attended by bodhisattvas, monks, and the four heavenly guardians of the north, south, east, and west. The three groups--bodhisattvas, monks, and guardians--symbolize the levels of sanctity of the various divinities in the complicated pantheon of later Buddhism. The names inscribed in the cartouche beneath the Buddha's throne are probably those of the donors who contributed to the creation of this painting.
Large-scale banner paintings like this one became popular in Korea during the 17th and 18th centuries, when Buddhism became widespread in part because of the loosening of government prohibitions against it. The size and iconography of this painting suggest that it was originally an important image in a monastery. Most likely it was made to hang behind a statue of Shakyamuni and would have been displayed in a hall dedicated to the Lotus Sutra or in some other major building within a temple complex.
Several features date this painting to the 18th century. The relative two-dimensionality of the deities and the subdued blues and reds are characteristic of Korean Buddhist painting from the 17th through 19th centuries. The perfunctory treatment of the details, such as the decoration on the robes of the divinities and the floral scrolls in the halo of the Buddha, is more specific to art of the 18th century and reflects the interest in immediacy, spontaneity, and vernacularization that is the hallmark of Korean art of the time.
cxd
The <I>Lotus Sutra</I> (<I>Saddharmapundarika Sutra</I>), a compilation of several different texts, some dating as early as the 1st century CE, is one of the most influential works in the extensive Buddhist canon. The principal text of the Chinese Tientai sect, the <I>Lotus Sutra</I> is also revered by other sects of Buddhism, both for its promise of universal enlightenment and because its worship and study are believed to provide the benefits of longevity, health, and prosperity in everyday life. Representations of Shakyamuni, the founder of Buddhism, preaching the <I>Lotus Sutra</I> at Vulture Peak are some of the most important images associated with this text. In this Korean painting of the famous theme, the Historical Buddha is seated on a square throne attended by bodhisattvas, monks, and the four heavenly guardians of the north, south, east, and west. The three groups--bodhisattvas, monks, and guardians--symbolize the levels of sanctity of the various divinities in the complicated pantheon of later Buddhism. The names inscribed in the cartouche beneath the Buddha's throne are probably those of the donors who contributed to the creation of this painting.<P>Large-scale banner paintings like this one became popular in Korea during the 17th and 18th centuries, when Buddhism became widespread in part because of the loosening of government prohibitions against it. The size and iconography of this painting suggest that it was originally an important image in a monastery. Most likely it was made to hang behind a statue of Shakyamuni and would have been displayed in a hall dedicated to the <I>Lotus Sutra</I> or in some other major building within a temple complex.</P><P>Several features date this painting to the 18th century. The relative two-dimensionality of the deities and the subdued blues and reds are characteristic of Korean Buddhist painting from the 17th through 19th centuries. The perfunctory treatment of the details, such as the decoration on the robes of the divinities and the floral scrolls in the halo of the Buddha, is more specific to art of the 18th century and reflects the interest in immediacy, spontaneity, and vernacularization that is the hallmark of Korean art of the time.</P>
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