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Mining a selection of well-documented and well-preserved examples from the sixth to twelfth centuries, Sonya Lee ...
Mining a selection of well-documented and well-preserved examples from the sixth to twelfth centuries, Sonya Lee offers a reassessment of medieval Chinese Buddhism by focusing on practices of devotion and image-making that were inspired by the Buddha's "complete extinction." The nirvana image, comprised of a reclining Buddha and a mourning audience, was central to defining the local meanings of the nirvana moment in different times and places. The motif's many guises, whether on a stone stele, inside a pagoda crypt, or as a painted mural in a cave temple, were the product of social interactions, religious institutions, and artistic practices prevalent in a given historical context. They were also cogent responses to the fundamental anxiety about the absence of the Buddha and the prospect of one's salvation. By reinventing the nirvana image to address its own needs, each community of patrons, makers, and viewers sought to recast the Buddha's "death" into an allegory of survival that was charged with local pride and contemporary relevance.
Exhaustively researched, this study engages methods and debates from the fields of art history, religion, archaeology, architecture, and East Asian history that are relevant to both scholars and students alike. The many examples analyzed in the book offer well-defined local contexts to discuss broader historical and theoretical issues concerning representation, patronage, religion and politics, family values, and vision.