Cookies Policy

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Buddhist Art in Medieval China: The Ecclesiastical View [31]

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this chapter

+ Tax (if applicable)

Chapter Summary

This chapter talks about the way Buddhist art was used in its original environment. The most famous theme in the scriptural sources dealing with iconography is the story about the sandalwood image of the Buddha made at Kauśāmbī at the order of King Udyāna. The bits of information contained in the Chinese versions of the Vinaya of various schools may be stereotyped and prescriptive, but they also are rather concrete and down-to-earth. Another passage in the same Vinaya is devoted to the subjects to be represented in painting (no doubt referring to wall paintings) and the places to be assigned to them. In addition to its other uses, which were part of the Indian and Central Asian heritage in China, the function of the icon as a sacred object endowed with magical potency acquired special importance.

Keywords: Buddhist art; Central Asian heritage; China; Kauśāmbī; King Udyāna; sandalwood image; Vinaya; wall paintings



Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
    Buddhism in China — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation