Grottoes and Statues Preliminary Understanding of … Understanding of the Newly Discovered Hoard of Buddhist Statues From Jingchuan County ... of time and have distinguishing characteristics

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Grottoes and Statues

Preliminary Understanding of the Newly Discovered Hoard of Buddhist Statues From Jingchuan CountyHong Wu 吴荭Research Fellow, Gansu Provincial Institute of Cultural Relics and Archaeology

A large quantity of Buddhist stat-ues were unearthed in Jingchuan County. They span a wide period of time and have distinguishing

characteristics with complex origins. The following is an analysis of them.

STYLISTIC CHARACTERISTICS AND DATING

Among this batch of statues, only two are clearly dated: one buddha statue (2013JCGH1:75) dates to the sixth year of the Tianhe reign period of the Northern Zhou dynasty (571 CE) and one bod-hisattva statue (2013JCGH1:208) dates to the fourth year of the Kaihuang reign period of the Sui dynasty (584 CE). Although most of the statues are not dated, the entire batch has relatively dis-tinct characteristics. They can be roughly divided into five phases based on subject matter, sculptural characteristics and other features.

The first phase dates from the Northern Wei to the Western Wei dynasties and is divided into early and late periods. During the early period, statues with mandorlas and niches are prominent, though exam-ples from this period are relatively fewer in number. The forms of the statues include seated buddhas with attendants and cross-legged Maitreya Bodhisattvas with two attendants. Clear characteristics of the statues include a main figure with a high dignified uṣṇīṣa, an oval face, and broad shoulders on a strong physique. The buddha wears a kāṣāya robe draped over both shoulders with a covered chest, while the Maitreya Bodhisattva has a bare upper body, and wears a round necklace and a skirt, as shown in 2013JCGH1:141,142 (Figure 1). This statue dates from the late Taihe reign period to circa 500 CE. During the late period, statues with mandorlas, stelai with carved Buddhist images, niches, single story pagodas with buddha images on four sides, and bud-dha heads are prominent, among other forms. The

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statues with mandorlas mainly consist of one central figure with two attendants. The central figure is typi-cally a buddha or bodhisattva with the mandorla dis-playing a carved Seven Buddhas [of the Past] motif. There are dilapidated niches, domed ceilings with pointed niche lintels, and niche lintels with carved Seven Buddhas and honeysuckle patterns. Pairs of buddhas teaching and pensive bodhisattvas are the standard form of the stelai with carved Buddhist im-ages. The main themes found around the four-sided pagodas include a buddha with two attendants and pairs of seated buddhas. The buddhas all have a large, high uṣṇīṣa, a slightly elongated and delicate face, a thin neck and narrow shoulders. The bodhisat-tvas and disciples share these characteristics. The buddhas wear a kāṣāya in the style of baoyi bodai [a loose robe with a wide girdle], which has a draped neckline and appears slightly thick with a long lower hem of two or three pleats covering the pedestal. This style of kāṣāya robe is also found along with sloping shoulders on the Seven Buddhas motif seen on niche lintels. The elegant stature and baoyi bodai style of the late Northern Wei to Western Wei dynasties is clearly displayed on 2013JCGH1:7 (Figure 2).

The second phase dates to the Northern Zhou dynasty, the peak period of this batch, during which time single-figure freestanding statues are prominent, and a portion are stelai with carved Buddhist images.

The figures are mainly buddhas and bodhisattvas. The stelai primarily consist of three-buddha triads, paired seated Śākyamuni Buddhas, the Thousand Buddhas motif, pensive bodhisattvas, Mañjuśrī, Maitreya and attendants, seated buddhas with legs pendent and attendants, Samantabhadra riding an elephant, and portraits of patrons. Single compositions include arrangements of five or eight figures in which the central figure is typically a buddha, Maitreya or the like. The Buddhas of the Three Times, paired seated buddhas, seated buddhas, and Maitreya bodhisat-tvas, as well as Maitreya’s two births (consisting of a cross-legged seated bodhisattva and seated buddha in a vertical arrangement) are popular themes of this pe-riod. The single-figure freestanding statues are mainly composed of Śākyamuni Buddhas and bodhisattvas, such as Guanyin [Avalokiteśvara] and Maitreya.

Overall, the Northern Zhou statues have a bulky physique in form. At the time, a short round face, a flattened uṣṇīṣa, and spiral-patterned hair on the buddha were in vogue. The statues are carved in such a way as to give prominence to their divinity. Their eyes are nearly closed and look downward as if in meditation.

The physiques of the buddha images can be divided into two types: short broad forms and tall slender forms. The short broad type is slightly shorter, with an upright columnar body and a bulging ab-

Figure 1: Cross-legged Maitreya with mandorla, Northern Wei dynasty (2013JCGH1:141,142) (scale 1:5)

Figure 2: Bodhisattva with mandorla, Northern Wei dynasty (2013JCGH1:7) (scale 1:5)


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Newly Discovered Hoard of Buddhist Statues From Jingchuan County

domen. The limbs are not clearly articulated, and a smooth, rounded robustness is increasingly evident. The tall slender type has average proportions, though some of the statues have relatively long legs, and all of them have elegant physiques. A full round face is already seen on slightly earlier statues, but these earlier images have a sense of flatness, which obscures the contours of the body. In contrast, typical North-ern Zhou statues emphasize the physical contours of the body. The curved form of the body begins to break through the kāṣāya robes worn by the buddhas, revealing the contours of the body.

In addition to the features mentioned above, the largest change is found in the pleats of the buddha’s kāṣāya robe. The kāṣāya robe draped over both shoul-ders with a covered chest becomes the dominant style. The right corner hangs over the back of the left shoulder. How the pleats are rendered varies greatly and can be divided into four categories.

The first category is the broad and robust phy-sique style inherited from the Northern Wei dynasty,

in which the thick heavy robe conceals the contours of the body. Examples are 2013JCGH1:86,183 (Fig-

ure 3) and 2013JCGH1:75, which dates to the sixth year of the Tianhe reign period. The second type, exemplified by 2013JCGH3:1, has a thinner, more fitted kāṣāya robe, and is more slender overall.[1] The robe falls from the left shoulder, and a definite sense of the body’s contours emerges on the right side as the cloth unfolds. The third category is even more fitted, creating clear and distinct leg contours. The folds fall diagonally across the torso from left to right, and those across the legs create U shapes as seen on 2013JCGH3:5 (Figure 4). The fourth category has U-shaped pleats across both the torso and the legs, such as on 2013JCGH3:20.

Many of the buddha images display the abhayamudrā [gesture of fearlessness] with the right hand while the left hand holds a corner of the kāṣāya robe. What is unusual about this image type is that the individual Buddhist statue holds a cintāmaṇi [wish-fulfilling gem] in the palm of the left hand. Ad-

Figure 4: Standing buddha, Northern Zhou dynasty (2013JCGH3:5) (scale 1:9)

Figure 3: Standing buddha, Northern Zhou dynasty (2013JCGH1:86,183) (scale 1:6)


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ditionally, some of the buddha images are portrayed with what appear to be lotus petal shapes coming from the right shoulder.

The freestand-ing bodhisattva statues can simi-larly be divided into the common ro-bust type as well as the tall and slender type. The common type stands tall and is columnar in form with little articula-tion of the limbs. The tall and slender bodhisattva statues

have a hint of articulation, but the body is kept stand-ing straight, and the contours remain unclear.

The Northern Zhou bodhisattva statues are ornately decorated with guan-hats, round necklaces, and necklaces with jade ornaments. The bodhisattvas have high topknots and wear guan-hats. There is much variation among the guan-hats, which include three-leaf, padma-aupapādaka [born as the transformation of a lotus] nirmānabuddha, and cintāmaṇi types, as well as basic honeysuckle and sequin bead decorative patterns. Many of the guan-hats have silk hanging down to the shoulders. The round necklaces are adorned with sequin bead patterns, strings of fringe, lotuses, flower stamens and hanging chimes among other ornaments. Relatively early Northern Zhou

bodhisattvas do not have the necklace with jade ornaments. An example is 2013JCGH1:41,85. Typical bodhisattvas of this period mostly have a single-layered U-shaped necklace with jade ornaments, while some have double-layered necklaces. At the bottom of the U shape there is either a round lotus, a rectangular ornament, or an oval ornament as well as tassels, as seen on 2013JCGH1:76,129 (Figure 5). Both sides of the skirt have hanging sashes and tassels. A silk drape crosses the torso or thighs horizontally either once or twice. The bare-chested bodhisattvas wear a saṃkakṣikā [inner robe], which is sometimes draped over both shoulders with the chest bared and other times draped over one shoulder with the opposite shoulder bared. The lower body is covered by a skirt, which is folded outward, while the waist is bound by a lengthy sash which falls to the middle of the skirt. There is also a chain belt, as can be seen on 2013JCGH1:65 (Figure 6). The bodhisattva holds a lotus bud or willow branch in the right hand and a vase in the left hand.

The third phase dates to the Sui dynasty, the ma-ture period for this batch of statues. Most are single-figure freestanding statues. Many depict standing figures while some are sitting figures. Śākyamuni, boddhisattvas and Maitreya are standard prominent figures.

The buddhas of the Sui dynasty follow the style of the Northern Zhou dynasty. Spiral-patterned hair and kāṣāya robes draped over both shoulders with a covered chest are dominant. However, the kāṣāya robes are noticeably more fitted than those from the Northern Zhou dynasty and the abdomen protrudes. There are two styles of pleats: the first falls in U-shapes over the torso and legs while the second consists of vertical pleats falling straight down from the torso, clearly revealing the contours around the waist and the rounded form of the legs.

Among the slender, elongated bodhisattva statues, the four limbs are clearly articulated from the body, it is in a contrapposto pose, and the body

Figure 5: Standing bodhisattva, Northern Zhou dynasty (2013J CGH1:76,129) (scale 1:4)


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contours are clearly visible. Some of the bodhisattva statues are seated with one leg pendent and one leg bent. The seated bodhisattvas with both legs pendent sit upon a cylindrical pedestal carved as if it were covered by fabric that is tied up at the bottom, or on a rectangular platform.

The bodhisattvas have high topknots and guan-hats, and both nirmānabuddha and three-leaf guan-hats were relatively popular at the time. The new guan-hat style has a W-shaped ornamental hanging ribbon. The round necklace is similar to those of the Northern Zhou bodhisattvas with lots of chimes hanging from the upper portion. Some have a double-layered necklace: one circular and one long chain. Both single-layered and double-layered necklaces with jade ornaments appear. The single-layered style follows the tradition of the Northern Zhou U-shaped type. The double-layered style usually has a shorter layer crossed forming an X shape along with a longer U-shaped layer, though sometimes both layers are U-shaped. A new style of necklace with jade ornaments includes the addition of linked

jade heng-pendants (Figure 8).[2] Besides round jade bi-discs there are also a newly-discovered form of pendants featuring an animal mask positioned at the crossing of the shorter layer. In some of these new examples, the round necklace and the necklace with jade ornaments appear to be connected. The silk drape is the same as seen in the Northern Zhou tradition, which horizontally cross the torso or the thighs twice. The objects held by the bodhisattvas are the same as in the Northern Zhou tradition, though a new form appears, which has a vase containing a lotus branch and a lotus leaf winding around the left arm.

The fourth phase is from the Tang dynasty and has two styles of statues: freestanding statues and statues with mandorlas. The freestanding statues in-clude bodhisattvas and heavenly kings. The statues with mandorlas consist of seated buddha images. The sculptures are full and round, and by the late period the faces become obese. The buddha sculp-tures have a round-collared kāṣāya robe draped over both shoulders with a covered chest, which falls in an inverted triangle shape covering the pedestal. The

Figure 6: Standing bodhisattva, Northern Zhou dynasty (2013JCGH1:65) (scale 1:7)

Figure 7: Heavenly king, Tang dynasty (2013JCGH1:168,189) (scale 1:4)



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bodhisattvas have large high topknots, full round faces, full-figured bodies, a contrapposto pose, and a clear sense of movement. The upper chests have a round necklace and the lower bodies are covered in a skirt which is folded outward at the side and has a tied sash hanging down and U-shaped pleats on both legs, displaying an inheritance of Northern Zhou and Sui characteristics. The heavenly king im-ages wear armor, and have strong bodies with bulg-ing muscles and exaggerated expressions, such as on 2013JCGH1:168,189 (Figure 7).

The fifth phase dates to the Song dynasty, dur-ing which time the statues are more unified in form, and many are ceramic freestanding sculptures. The number of arhat images is relatively large, and some are disciple images. The arhats sit in lotus position, execute the dhyānamudrā [gesture of meditation], wear cross-collared shirts or kāṣāya robes with paral-lel hanging collars, and sit on a high platform or Su-

meru base [after the sacred Mount Sumeru in India in the Buddhist tradition – Trans.].

ORIGINS AND RELATIONSHIP TO SURROUNDING AREAS

The Longdong area was located on the eastern side of the northern route of the ancient Silk Road, which made it an important channel for exchanges with the city of Pingcheng and the Western Regions. During the late middle period of the Northern Wei dynasty, the Longdong area was deeply affected by Buddhist culture and thought from the city of Pingcheng.[3] From the central pillar structure to subject matter, Jingchuan County’s famous Wang-mu Palace Grotto and Cave K1 of the Loudi Village Grottoes at North Grotto Temple in Qingyang City are similar to Yungang Caves K5 and K6. They re-flect a close connection between the Longdong area and the city of Pingcheng both before and after the Northern Wei capital moved to the city of Luoyang [from the city of Pingcheng – Trans.]. In addition, in the Ziwuling region of the Longdong area there are many small caves, and a niche inscription con-tains the date of the fifteenth year of the Taihe reign period (491 CE). The subject matter of the statues includes double seated buddhas and cross-legged bodhisattvas, also prominent subjects of the second Yungang period. The sculptures’ shoulders are thick and broad on a body with an imposing physique. The buddas wear kāṣāya robes with a bare right shoulder or draped over both shoulders with a covered chest, display the dhyānamudrā and sit in lotus position. The folds of the garments are fine, close together and clearly carved.[4] Furthermore, Northern Wei Buddhist statues unearthed in Ningxian, Heshui, Jingchuan and Huating counties in this area also have a similar style to those from the Taihe reign period.[5] Statues from this time in Jingchuan County (the earliest period) also include a single buddha with two attendants, double seated buddhas and cross-legged bodhisattvas as prominent subject

Figure 8: Standing bodhisattva, Sui dynasty (2013JCGH1:113,126)


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matter. The statues have wide shoulders on strong physiques, large and high uṣṇīṣas, and kāṣāya robes with either a bare right shoulder or draped over both shoulders with a covered chest, showing clear influ-ence from Yungang sculptures.

During the second and third years of the Yong-ping reign period (509-510 CE) of the Northern Wei dynasty, Regional Inspector [Cishi 刺史] of Jingzhou Region, Xi Kangsheng, presided over the excavating of Cave K165 of the North Grotto Tem-ple in present-day Qingyang City and Cave K1 of the South Grotto Temple in present-day Jingchuan County.[6] These sculptures have special local char-acteristics, but their garments and sashes are of the baoyi bodai style, similar to the late Northern Wei style at the Yungang and Longmen Grottoes. How-ever, late first phase statues in Jingchuan County have large and high uṣṇīṣas, long thin faces, long necks, narrow shoulders, slender chests, and wear double-collared loose kāṣāya robes with the wide girdle style, in keeping with the late Northern Wei through Western Wei style of elegant and slender figures wearing loose robes with wide girdles. This style appears to have been closely connected with the aristocratic families of the present-day Jingchuan County area during the Northern Wei dynasty.[7] In addition, the Northern Wei placed importance on the administration of Jingzhou Region (present-day Jingchuan County and the surrounding area). Besides the aforementioned Xi Kangsheng, other regional inspectors of Jingzhou Region, such as Bao Ni and Gao Chengxin, also made significant contributions to the development of Buddhism in Jingzhou Region. They oversaw the construction of the Wangmu Palace Grotto and Songxian Temple, among other examples.[8]

The first category of Northern Zhou statues in present-day Jingchuan County retains the baoyi bodai style kāṣāya robe of the late Northern Wei pe-riod, resulting in vaguely defined body contours. One statue (BL04-02) with the same style has been un-

earthed at Wanzi Villiage in Baqiao District of Xi’an City’s eastern suburbs. The second category kāṣāya robe has folds falling diagonally from the left shoul-der and appears first among Southern Dynasties stat-ues. An example is the Śākyamuni Buddha statue dating from the first year of the Zhongdatong reign period (529 CE) of the Liang dynasty unearthed at Wanfo Temple in Chengdu City.[9] Later, this style influenced Chang’an statues. For example, this type of kāṣāya robe can be seen among the Northern Zhou standing Buddha statues unearthed at Douzhai Vil-lage, Chang’an City (XDH07-001, XDH07-003 and XDH07-004).[10] Yet, the folds of the robes among Northern Zhou statues are not as refined as Southern Dynasties examples but are instead rather simple in style. At the same time, the half-U-shaped pleats on the right side of the body of Southern Dynasties stat-ues tend to be simplified among Northern Zhou stat-ues. The U-shaped pleats covering the whole body is first seen among Sixteen Kingdoms period Buddhist statues and again later in Chengdu City among Liang dynasty standing buddha and King Aśoka statues. However, the kāṣāya robes on the Northern Zhou and Sui statues in Jingchuan County have U-shaped pleats covering their torsos and both legs, similar to the Southern Dynasties statues in Chengdu City but not identical. Relatively thin and more fitted, the kāṣāya robes allows for revealing the contours of the body with the U-shaped pleats appearing on the torso and both legs respectively. This style originated from the Gupta dynasty of India, and the Northern Zhou and Sui dynasties learned it from the Southern Dynasties, although some changes were made.

There is a Buddhist sculpture dating from the sixth year of the Tianhe reign period (571 CE) as well as an undated statue which display the abhayamudrā with the right hand and holds a cintāmaṇi in the left palm. Statues of this type appeared among stand-ing sculptures in Chang’an City during the third year of the Baoding reign period (563 CE) of the Northern Zhou dynasty. These include the Guanyin



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statue carved by Zhao Dian in the fifth year of the Baoding reign period (565 CE), a standing buddha dating to the second year of the Daxiang reign pe-riod (580 CE) held in the Shanghai Museum, and a standing buddha carved by Yao Changhua in the fifth year of the Daye reign period (609 CE) of the Sui dynasty.[11] Additionally, many Buddhist sculp-tures of this type are undated; examples include a standing buddha statue in the Xi’an Beilin Museum, the No. 8 buddha statue from Zhongzha Village at the Chang’an City site, and a standing buddha in the Xi’an Museum.[12] The earliest examples of this type of statue holding a cintāmaṇi are a standing Śākyamuni Buddha dating to the fourth year of the Zhongdatong reign period (532 CE) of the Southern Dynasties in the Sichuan University collection,[13] and are found among the Northern Zhou statues of Huangze Temple in Guangyuan City. Therefore, this style may have spread from the Chengdu area.

The W-shaped ornamental hanging ribbons on the guan-hats of the Jingchuan Sui dynasty bo-dhisattvas is noteworthy. This pattern was already common by the second phase of the Northern Wei at the Yungang Grottoes, where it is mainly found adorning niche lintels. Additionally, it often appears on Northern Wei period grotto entrances and niche lintels of the Longmen Grottoes and the Shuiquan Grotto in Yanshi City.[14] The W-shaped ornamen-tal hanging ribbons are also relatively popular on the guan-hats of single-figure bodhisattva statues from the late Northern Dynasties and Sui dynasty. Examples include a stone-carved Eastern Wei triad consisting of a central figure between bodhisat-tva side attendants unearthed in Qingzhou City, a Northern Qi single-figure bodhisattva statue[15] and a bodhisattva statue from the third year of the Bao-ding reign period (563 CE) of the Northern Zhou dynasty from the Chang’an City site.[16] This type of guan-hat is relatively common among undated bodhisattva statues from the Chang’an City site as well. Furthermore, this type of W-shaped ornamental

hanging ribbons are related to Vishnu sculptures of the Gupta dynasty in India.[17]

There is an abundance of hanging bell orna-ments among Northern Zhou and Sui bodhisattva statues. This type of ornament is also found on the round necklaces of standing bodhisattvas of the Southern Dynasties unearthed at the Wanfo Tem-ple as well as on Eastern Wei bodhisattvas.[18] The double-layered necklace with jade ornaments is com-mon on Sui bodhisattvas, but new characteristics are found in the Jingchuan sculptures. Examples include the round necklaces connected to necklaces with jade ornaments, jade rings and jade heng-pendants on the necklaces, engraved animal mask patterns at the intersection of crossed necklaces, and groups of hanging jade pei-pendants at the waists of the bo-dhisattvas.

The traditional Chinese hanging jade pei-pen-dants on the bodhisattvas illustrate the addition of Han cultural content to Buddhist sculptures of the late Northern Dynasties period. These ornaments are important representations of the traditional Chinese ritual system.

Animal mask images are commonly seen on bronze artifacts in China of the Three Dynasties pe-riod [the Xia, Shang, and Zhou dynasties – Trans.]. Later, animal masks are often seen on tombs and architectural component such as eave-end tiles from the Han dynasty, Wei Kingdom and Jin dynasty, Six-teen Kingdoms period, as well as the Northern and Southern Dynasties. In Buddhist art, the animal mask image appears in Northern, Eastern and Western Wei grottoes and statues. In the grottoes, it is mostly above entrances and on niche lintels as well as on the upper portion of stelai with carved Buddhist im-ages. Additionally, animal mask images also appear alongside ornamental hanging ribbons. Not until the late Northern Dynasties period does it appear on the round necklaces and necklaces with jade ornaments of some bodhisattvas, and is found in both the eastern and western regions. Examples include a Northern


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Qi bodhisattva unearthed at the Longxing Temple in Qingzhou City and on the back of Bodhisattva No. 18 of the Northern Zhou period at Zhongzha Vil-lage.[19] Animal masks became increasingly common on bodhisattva necklaces with jade ornaments during the Sui dynasty. Examples have been unearthed in Zhucheng County in the east, Shandong Province, and in the ancient Chang’an region in the west, par-ticularly in Shanxi Province where examples of this kind of statue are especially numerous.[20] The func-tion of the animal mask image above grotto entrances to repel evil is relatively clear, but on necklaces with jade ornaments it is likely decorative.

Another special element of Northern Zhou and Sui period statues from Jingchuan County is the chain belt tied to the waist sash from the side of some bodhisattvas’ skirts. Some previously-known examples include a standing bodhisattva statue which dates from the third year of the Baoding reign pe-riod (563 CE);[21] Bodhisattvas No. 17 and 22 from Zhongzha Village, Xi’an City;[22] a statue in the col-lection of the Minneapolis Institute of Art dating from the fifth year of the Tianhe reign period of the Northern Zhou dynasty (570 CE); a standing Guan-yin bodhisattva from the first year of the Kaihuang reign period of the Sui dynasty (581 CE) renovated by thirty members of the Buddhist community in Chengguo Township;[23] a bodhisattva from the Boston Museum of Fine Arts;[24] a bodhisattva on a stele unearthed at the Political Leadership Academy of Beilin District;[25] and a standing bodhisattva on a stele unearthed at Shahutuo Village in the southern suburbs of Xi’an City currently in the Xi’an Beilin Museum collection.[26] In addition, the Sui dynasty bodhisattva statues in front of the northern wall of Cave K427 at the Mogao Grottoes and the bodhisatt-va statues on the southern side of the western wall of Cave K420[27] all have a waist sash with diamond, circular and rectangular ornaments. This type of sash is also common on female yakṣa statues from the first and second centuries in India.[28]

The ornamentation of Northern Zhou and Sui bodhisattva statues is magnificently complex, influ-enced by Buddhist sculpture from India as well as in-fluenced by actual daily life. According to the Record of Famous Paintings of Successive Dynasties account of the Southern Dynasties painter Zheng Fashi, “During the [Northern] Zhou dynasty [he] was Area Command-er-in-Chief [Dadudu 大都督], Left Supernumerary Attendant Gentleman [Zuo yuanwai shilang 左员外

侍郎] and Jianzhong General [Jianzhong jiangjun 建中将军]. [He] was granted the title of County Viscount of Changshe [Chanshe xianzi 长社县子]. Entering into the Sui dynasty, [he] was granted the title Grand Master of Palace Leisure [Zhongsan dafu 中散大夫].” His paintings “follow the example of Lord Zhang...as well as the style of [another paint-er called] Zhang...[based on] the quality of [his] marks, [his] powerfully attractive style, [his] long beautiful groups of tassels, [as well as the] majestic presence, gentle posture and graceful attitude [of his figures and their] elegant leisurely facial expres-sions.”[29] His figure paintings place importance on the portrayal of elements such as guan-hats, tassels and pei-pendant sashes. It is not difficult to imagine his Buddhist figure paintings also had secular influ-ences. The chain belt and sash on the bodhisattva’s skirt are related to real life as well. The “Biography of Li Xian” [Li Xian zhun 李贤传] in the History of the Zhou [Zhoushu 周书] records: “[Emperor] Gaozu...rewarded [him] with a document containing the imperial seal, granted [him] a set of clothes and bedding as well as a golden thirteen-link belt, one stable horse, a golden set of saddle and reins, 500 bolts of colorful fabric and 10,000 pieces of silver.” The “Biography of Wang Sizheng” [Wang Sizheng zhuan 王思政传] in the History of the Zhou men-tions receiving a “golden nine-link belt” or “golden belt” several times.[30] Traditional Chinese elements, such as groups of jade pendants and chain belts, on the bodhisattvas reflect the Sinicization process of Buddhist sculpture. At the same time, this kind of



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decoration had a profound and lasting influence on Tang statues.[31]

In conclusion, the Northern Zhou and Sui stat-ues in Jingchuan County are closely related to an-cient Chang’an sculpture in terms of theme and style, thus it belongs to the Chang’an sculptural tradition. However, much also comes from Southern Dynasties elements. Additionally, many special characteristics

of Gupta sculpture from India are clearly displayed among the Jingchuan statues, probably having spread to Jingchuan County through the Southern Dynas-ties Yizhou Region. Local elements, such as groups of various hanging jade pendants and chain belts which appeared in real-life ritual culture, are applied to for-eign-style Buddhist statues, illustrating the progress of localization and Sinicization of Buddhism.

Acknowledgments

The drawings in this article were created by Mingxia Sun.

References Cited

[1] Gansu Provincial Institute of Cultural Relics and Archaeology 甘肃省文物考古研究所 et al. 2016. “2013 nian Jingchuan Fojiao yizhi fajue jianbao” 2013年泾川佛教遗址发掘简报 (The 2013 Excavation of Buddhist Remains in Jingchuan County, Gansu Province). Wenwu 文物 (Cultural Relics) No. 4, Figure 5. For English translation, see pp. 277-316 in this issue.

[2] See [1], Figure 10, p. 286 in this issue.

[3] Li, Jingjie 李静杰. 2010. “Shanbei Longdong Bei Wei zhongwanqi zhiji bufen Fojiao shiku zaoxiang kaocha” 陕北陇东北魏中晚期之际部分佛教石窟造像考察 (An Investigation of Buddhist Grotto Statues From the Middle and Late Periods of the Northern Wei Dynasty in the Longdong Area, Northern Shaanxi Province). In Maiji shan shiku yanjiu 麦积山石窟研究 (Study of the Maiji Mountain Grottoes). Wenwu chubanshe, Beijing.

[4] Gansu Provincial Cultural Heritage Task Force 甘肃省文物工作队 et al. 1987. Longdong shiku 陇东石窟 (The Longdong Grottoes). Wenwu chubanshe, Beijing.

[5] Ningxian County Museum, Gansu Province 甘肃省宁县博物馆. 2005. “Gansu Ningxian chutu Beichao shi zaoxiang” 甘肃宁县出土北朝石造像 (Stone Statues Unearthed in Ningxian County, Gansu Province). Wenwu 文物 (Cultural Relics) No. 1.

Gansu Provincial Bureau of Cultural Heritage 甘肃省文物局. 2006. “Gansu wenwu jinghua” 甘肃文物菁华 (Treasures Among Artifacts From Gansu Province), Figure 277. Wenwu chubanshe, Beijing.

[6] See [4], Figure 10.

[7] Wei Shou 魏收 (Northern Qi dynasty). 1974 (reprint). “Huanghou liezhuan: Xuanwu Ling huanghou Hu shi liezhuan” 皇后列传·宣武灵皇后胡氏列传 (Ranked Biographical Profiles of Imperial Consorts: Biography of Empress Dowager Ling). In Weishu 魏书 (History of the Wei), Vol. 13, p. 338. Zhonghua shuju, Beijing. The famous Empress Dowager Ling, née Hu, wife of Emperor Xuanwu, whose ancestral home was in Jingzhou Region. “Empress Dowager Ling [was] intelligent and versatile. Her aunt was a nun and took care of her when she was young, which is how she came to understand Buddhist scripture.” She became attached to Buddhism at a young age and after coming to power spared no effort in promoting Buddhism. She excavated the Longmen Grottoes on a massive scale and sent Song Yun and Hui Sheng to the Western Regions to seek out Buddhist teaching, make copies of it and pass it down. In the first year of the Xiping reign period (516 CE), Empress Dowager Ling invested a vast sum of money in erecting the Yongning Temple in the city of Luoyang. Empress Dowager Ling’s father Hu Guozhen and uncle Huangfu Du both followed Buddhism; her uncle began excavating the famous Cave of Lord Huangfu at the Longmen Grottoes.

[8] No. 388 of the third volume of A Record of Inscriptions on Bronze and Stone [Jinshi lu 金石录] records: “Inscription in the grottoes of the Huazheng Temple of the Later Wei dynasty, erected by Qi Yi, in the twelfth moon of the seventh year of the Datong reign period (January 542 CE) of Emperor Wen.” The twenty-first volume also points out: “Inscriptions of the Huazheng Temple Grottoes of the Later Wei Dynasty” [Hou Wei Huazhengsi shiku ming 后魏化政寺石窟铭] is on the right. Both the History of the Northern Dynasties [Beishi 北史] and the History of the Wei [Weishu魏书] include the “Biography of Official Bao Yi” [Huanzhe Bao Yi zhuan


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宦者抱嶷传], which states that Yi died when he was the Regional Inspector of Jingzhou Region. He himself said that his original surname was Qi, but it was later changed to avoid misfortune. Presently, the inscription of this stele reads: “Made by Regional Inspector Qi Yi of Jingzhou Region,” so perhaps he later changed back to his original surname. The Complete Collection of Bronze and Stone Inscriptions [Jinshi cui bian 金石萃编], Draft of the New Gazetteer of Gansu [Gansu xin tongzhi gao 甘肃新通志稿], Bronze and Stone Inscriptions From the West of Longshan [Long you jinshi lu 陇右金石录] and Chen Wanli’s Records of the Journey to the West [Xi xing riji 西行日记] all mention that the “Stele Record of the Songxian Temple” [Chici Songxian Chan Si beiji 敕赐嵩显禅寺碑记] records: “On the eighth (yimao) day of the fourth (wushen) moon of the second (yichou) year of the Yongping reign period of the Great Wei dynasty [May 12, 509 CE], Commissioner [Shichijie 使持节] and Area Commander-in-Chief of Jing[zhou] ... (the remainder is damaged).”

Imperial Encyclopedia [Gujin tushu jicheng 古今图书集成], Vol. 553, indicates Songxian Temple was also known as Gaofeng Temple during the Tang dynasty. Gaofeng Temple is on top of Bifeng Mountain, five li [one li in the Tang dynasty was equivalent to 454.2 meters – Trans.] south of [Jingzhou] Region. It was built by the Regional Inspector of Jing[zhou] Region and Ping[zhou] Region, Gao Cheng…during the Yongping reign period of the Wei dynasty, and rebuilt by Duan Guiwen, Dynasty-Founding Count [Kaiguobo 开国伯] of the Tang dynasty. “The Biography of Xi Kangsheng” [Xi Kangsheng zhuan 奚康生传] in the History of the Wei records, “[he] held the titles of General Who Pacifies the West [Pingxi jiangjun 平西将军] and Regional Inspector of Huazhou Region, and had many achievements. He transferred to Jingzhou Region as Regional Inspector, but still retained the title of General. He was impeached by a Censor [Yushi 御史] for improper usage of the government charcoal and tiles [for personal use], so he was stripped of his official positions and titles. He was reinstalled later by imperial edict” (History of the Wei, p. 1631).

It is also known from his biography that Xi Kangsheng “held military power for a long time, and when he was the Prefect [Yin 尹] of Linzhou Region he killed many people. However, he became a Buddhist and gave up his house several times so as to build temples. Temples were built in each of the four regions he governed. He died at the age of fifty-four.” (History of the Wei, p. 1633).

However, the Stele of the South Grottoes [Nan shiku zhi bei 南石窟之碑] records: “Built on the fourteenth (yimao) day of the fourth (renyin) moon in the third (gengyin) year of the Yongping reign period (May 7, 510 CE) of the Great Wei dynasty by Xi Kangsheng, the Commissioner and Commander-in-Chief of Jingzhou Region’s military and civil affair, General Who Pacifies the West, Regional Inspector of […]hua Region and Jingzhou Region, and the Dynasty-Founding Baron [Kaiguonan 开国男] of Anguo County.” Stele of the South Grottoes is currently in Wuyuegong Grotto Storage in Jingchuan County, Gansu Province.

[9] Yuan, Shuguang 袁曙光. 2001. “Sichuan sheng bowuguan cang Wanfo si shike zaoxiang zhengli jianbao” 四川省博物馆藏万佛寺石刻造像整理简报 (A Brief Report on the Processing of the Stone Statues From the Wanfo Temple in the Collection of the Sichuan Provincial Museum). Wenwu 文物 (Cultural Relics) No. 10.

[10] Xi’an Municipal Institute of Cultural Heritage Preservation and Archaeology 西安市文物保护考古研究所. 2009. “Xi’an Douzhai cun Bei Zhou Fojiao shike zaoxiang” 西安窦寨村北周佛教石刻造像 (Stone Buddhist Statues of the Northern Zhou Dynasty From Douzhai Villiage, Xi’an City). Wenwu 文物 (Cultural Relics) No. 5.

[11] Yue, Lianjian 岳连建. 2005. “Xi’an beijiao chutu de Fojiao zaoxiang ji qi fanying de lishi wenti” 西安北郊出土的佛教造像及其反映的历史问题 (Buddhist Statues Unearthed in the Northern Suburbs of Xi’an City and Relevant Historical Issues). Kaogu yu wenwu 考古与文物 (Archaeology and Cultural Relics) No. 3, Figure 3.

Xi’an Municipal Institute of Cultural Heritage Preservation and Archaeology 西安市文物保护考古所 (compiler). 2010. Xi’an wenwu jinghua: Fojiao zaoxiang 西安文物精华—佛教造像 (Gems of Xi’an’s Cultural Heritage: Buddhist Statues), Figures 45 and 96. Shijie tushu chuban gongsi, Beijing.

Matsubara, Saburō 松原三郎. 1966. Chugoku Bukkyo chokoku shiron 中国仏教彫刻史論 (Discussion on Chinese Buddhist Sculptures), Vol. 2, Figure 369a. Yoshikawa kobunkan, Tokyo.

[12] Xi’an Beilin Museum 西安碑林博物馆. 2010. Chang’an Fo yun: Xi’an Beilin Fojiao zaoxiang yishu 长安佛韵—西安碑林佛教造像艺术 (Buddhist Scenes in Ancient Chang’an City: Buddhist Sculptures in the Xi’an Beilin Museum), pp. 106, 108. Shaanxi shifan daxue chubanshe, Xi’an.

Institute of Archaeology, Chinese Academy of Social Sciences 中国社会科学院考古研究所. 2010. Gudu yizhen: Chang’an chutu de Bei Zhou Fojiao zaoxiang 古都遗珍—长安出土的北周佛教造像 (Treasures Surviving From the Ruined Capital: Buddhist Statues of the Northern Zhou Dynasty Unearthed From the Ancient Chang’an City Site), Plate 28:1, Figure 16. Wenwu chubanshe, Beijing.

Xi’an Museum 西安博物院 (editor). 2007. Xi’an bowuguan 西安博物院 (Xi’an Museum), Figures 136 and 139. Shijie tushu chuban gongsi, Beijing.



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[13] Huo, Wei 霍巍. 2001. “Sichuan daxue bowuguan shoucang de liang zun Nanchao shike zaoxiang” 四川大学博物馆收藏的两尊南朝石刻造像 (Two Stone Buddhist Statues of the Southern Dynasties in the Collection of the Sichuan University Museum). Wenwu 文物 (Cultural Relics) No. 10.

[14] Liu, Jinglong 刘景龙, and Huijun Zhao 赵会军. 2006. Yanshi Shuiquan shiku 偃师水泉石窟 (The Shuiquan Grottoes in Yanshi City). Wenwu chubanshe, Beijing.

[15] Beijing World Art Museum 中华世纪坛艺术馆 et al. (editors). 2002. Qingzhou Beichao Fojiao zaoxiang 青州北朝佛教造像 (Buddhist Statues of the Northern Dynasties From Qingzhou), Figures 82 and 156-158. Beijing chubanshe, Beijing.

[16] See [11], Saburō Matsubara, Figure 350.

[17] Wang, Yong 王镛. 2004. Yindu meishu 印度美术 (Art of India), p. 232. Zhongguo renmin daxue chubanshe, Beijing.

[18] Yuan, Shuguang 袁曙光. 2001. “Sichuan sheng bowuguan cang Wanfo si shike zaoxiang zhengli jianbao” 四川省博物馆藏万佛寺石刻造像整理简报 (A Brief Report on Stone Statues From the Wanfo Temple in the Sichuan Museum Collection). Wenwu 文物 (Cultural Relics) No. 10.

See [15], Figure 85.

[19] See [15], Figure 156.

See [12], Institute of Archaeology, Chinese Academy of Social Sciences, Plate 59.

[20] See [11], Saburō Matsubara, Figures 558, 523, 552, 554a, 559 and 561.

See [11], Xi’an Municipal Institute of Cultural Heritage Preservation and Archaeology, Figure 112.

See [12], Xi’an Beilin Museum, p. 80.

[21] See [16], Figure 350a.

[22] See [12], Institute of Archaeology, Chinese Academy of Social Sciences, Plates 53 and 72, Figure 49.

[23] Jin, Shen 金申. 2007. Haiwai ji Gang Tai cang lidai foxiang: zhenpin jinian tujian 海外及港台藏历代佛像—珍品纪年图鉴 (Buddhist Statues of Past Dynasties in Hong Kong, Taiwan and Abroad: A Chronological Illustrated Catalog of Treasures), p. 160. Shanxi renmin chubanshe, Taiyuan.

[24] See [16], Figure 523.

[25] See [11], Xi’an Municipal Institute of Cultural Heritage Preservation and Archaeology, Figure 115.

[26] See [12], Xi’an Beilin Museum, p. 77.

[27] Dunhuang Institute for Cultural Relics 敦煌文物研究所. 1984. Zhongguo shiku: Dunhuang Mogao ku 中国石窟·敦煌莫高窟 (Chinese Grottoes: The Mogao Grottoes in Dunhuang City), Vol. 2, Figures 51 and 70. Wenwu chubanshe, Beijing.

[28] See [17], pp. 120-121.

[29] Zhang Yanyuan 张彦远 (Tang dynasty). 1983 (reprint). Lidai minghua ji 历代名画记 (Record of Famous Paintings of Successive Dynasties), Vol. 8, pp. 159-160. Renmin meishu chubanshe, Beijing.

[30] Sun, Ji 孙机. 2001. “Nanbeichao shiqi woguo fuzhi de bianhua” 南北朝时期我国服制的变化 (Changes in the Mourning Relationship System During the Southern and Northern Dynasties). In Zhongguo gu yu fu luncong 中国古舆服论丛 (Collected Papers on Ancient Chinese Official Garments). Wenwu chubanshe, Beijing.

[31] Shaanxi History Museum 陕西省博物馆 et al. 1972. “Tang Zhanghuai taizi mu fajue jianbao” 唐章怀太子墓发掘简报 (The Excavation of the Tomb of Heir Apparent Zhanghuai of the Tang Dynasty). Wenwu 文物 (Cultural Relics) No. 7.

Wenwu (Cultural Relics) Editor: Jie Liu

Translated by Erin West, M.A., Sino-Canadian International College, Guangxi University, Nanning City, Guangxi Province, China

This article was originally published as “Xin faxian Jingchuan jiaocang Fojiao zaoxiang de chubu renshi” 新发现泾川窖藏佛教造像的初步认识 in Wenwu (Cultural Relics) No. 4, 2016, pp. 79-85.


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