Buddha Maitreya
China
Antique 1
Description
This is a fine example of Buddha Maitreya sculpted according to the ideals of Tang prototypes.
The fingers on the right hand are broken off and may be raised in Abhaya mudra, which refers to the gesture of fearlessness.
Seated in Pralambapadasana (European-seated posture) with legs pendant, this signifies the Buddha Maitreya's readiness to descend to the human realm, to succeed the Buddha Sakyamuni.
Buddha Maitreya is seated on the lion throne, against the mandorla.
This fine sculpture was used as the main publicity icon for the Sacred Buddha Tooth Exhibition in 2004 at the Suntec Convention City.
This particular piece bears strong resemblance to the main statue of Maitreya Buddha in Huijian Cave (Tang Dynasty).
Historical Background
The belief in the incarnation of Buddha Maitreya, promoted during the reign of Empress Wu Zetian (637 CE - 683 CE), was not purely a religious belief but it had political significance as well. Coupling Buddhism with political ideology is nothing new, as it has been used since the early days of rulers in many ancient kingdoms.
It was a political tradition that originated from the Kusana Empire in Gandhara and was introduced into China through Central Asia. Besides China, rulers of ancient Korea, Japan and Southeast Asia also followed this tradition. These rulers built temples and stupas, commissioned the translation of sutras and ordered the making of Buddhist carvings and structures in their kingdom.
In addition, they used "Cakravartin" as their title, which literally means "one who turns the wheel of dharma". Cakravartin is a title for those kings who supported Buddhism and used the Buddha's Teachings to rule their country.
Sometimes, these rulers even declared themselves as the reincarnation of a Buddha or a Bodhisattva. These Buddhist rulers also used the concept of Dasakusala-karmani (Ten Virtues) or Five Precepts, the fundamental principles of moral conducts in Buddhism, to educate their people. Empress Wu Zetian was the empress of Gaozong, the third emperor of Tang Dynasty (652 CE - 683 CE).
Before the reign of Emperor Gaozong, Master Xuan Zang, the great Buddhist master of China, came back from his pilgrimage to India and completed a large- scale project of translating the sutras which he had brought back from India. His achievement stimulated the development of Buddhism in China, as well as its popularity among rulers and people. After ascending to his throne, Emperor Gaozong became a devoted Buddhist. There were traces in historical records and archaeological findings showing that he attempted to use Buddhist political tradition to rule the country.
After the death of Emperor Gaozong, Empress Wu Zetian took over his reign and changed the title of dynasty to Zhou. Soon after her declaration as emperor, Empress Wu ordered the circulation of the Commentary of the Mahamegha Sutra, a work by a group of monks that were active in her court. This work hinted that Empress Wu Zetian was the reincarnation of the Buddha Maitreya and that she would replace the Tang emperors to become the new ruler of the kingdom. It also stated that the new emperor would use the Five Precepts to educate her people. Under such propaganda, the status of Maitreya was elevated to a new high in the Chinese history.
During the reign of Empress Wu Zetian, a large number of giant statues of Buddha Maitreya were made in places like Middle Leigutai Cave, Moya Three Buddhas Niche and Huijian Cave. Most of these statues were believed to depict the emperess's image as Maitreya and a Cakravartin. The reason why Empress Wu Zetian chose Buddha Maitreya as her image remains unclear. Some researchers suspected that Empress Wu might have followed a political tradition known as the Maitreya Buddharaja tradition, prevalent during the period of Northern and Southern Dynasties, as well as the Sui Dynasty. Believed to have originated from Khotan (today's Hetian City in Xinjiang Province, China, a Buddhist kingdom situated along the Silk Road), this political tradition claimed that Maitreya would descend to human world in an image of Cakravartin.
Antique 2
Description
Depicted in the typical Tang dynasty style, this Buddha Maitreya has a majestic and serene expression. The left hand shows the varada-mudra or blessing gesture. The right hand, though partially destroyed, should be displaying the abhaya-mudra or the fear dispelling gesture. Buddha Maitreya is depicted as seated with both feet pendent on the lotus pedestal, with a lotus-shaped aureole behind Him. Furthermore, a drapery or sanghati is hung over the hand of Buddha Maitreya.
According to the Maitreya Descending Sutra, after the Maha-parinirvana of Buddha Sakyamuni, the Sanghati, a symbol of the Buddha's direct lineage of Dharma, was passed down to one of His Ten Great Disciples, Master Mahakasyapa, and from Mahakasyapa to the descended Bodhisattva Maitreya. Henceforth, Buddha Maitreya is often depicted holding the sanghati, to illustrate and emphasize that Buddha Maitreya will succeed the mission to spread dharma to mankind. As the successor of Buddha Sakyamuni to become the next Buddha, Buddha Maitreya is also known as the Future Buddha.
According to some accounts, a renowned Mahayana monk during the third century named Asanga ascended to the Tusita Heaven to receive Dharma from Bodhisattva Maitreya. Amazingly, Asanga managed to invite Bodhisattva Maitreya to descend and preach Dharma in the palace in Ayodhya, a kingdom in India. Furthermore, Maitreya Descending Sutra, a popular sutra during the period of that time, also mentioned the descending of Maitreya into Ketumati, a country ruled by Cakravartin Sankha. Buddha Maitreya would attain Enlightenment under the Nagapuspa tree in this country. Sankha would then lead his countrymen in embracing Buddhism and to renounce all worldly possessions and comforts. Buddha Maitreya would preach the Dharma under the Nagapuspa tree for three times, which is commonly known as "Three Lectures under the Nagapuspa". Buddha Maitreya's birth, enlightenment and attaining buddhahood in a kingdom ruled by a cakravartin signify that He is more than a future Buddha, but also a Future Buddha who will assist a cakravartin to propagate and promote Buddhism.
Maitreya belief was introduced into China during the Northern Liang dynasty (397-460 CE) and was warmly embraced by the rulers of that time. It was until the Tang dynasty, during the rule of Empress Wu Ze-tian (624-705 CE) that the Maitreya belief reached its peak. Wu ordained the mass circulation of the Commentary on Big Cloud Sutra, a commentary that not only narrates Empress Wu Ze-tian as the descending Buddha Maitreya who would rule Tang, but also the first explicit Chinese account of a ruler using the identity of Buddha Maitreya to rule her kingdom. Empress Wu Ze-tian also instructed the making of Buddha Maitreya sculptures in many places within her kingdom. The most significant one is the giant stone Buddha at Leshan in today Sichuan province. Most of these sculptures are made with pendent postures.
Antique 3
Description
San Cai or tri-colour pottery, is a special kind of pottery that evolved about thirteen hundred years ago in the Tang Dynasty (618-907 AD). It is so named for its primary use of three colours - white, brown or yellow and green. As the style of these art pieces were created and popularised from Tang dynasty, so they were usually called 'Tang San Cai'.
Sitting on a rectangular throne with His legs bent and His feet resting on two upturned lotus pods, the Buddha is dressed in layered robes that cover most of the body and arms: an outer robe is loosely draped, falling into elaborate and rhythmic pleats on the shoulders and at the hem; an undergarment is neatly tied up with a sash in the middle of His chest. The head is crowned by a prominent cranial protuberance and covered in tightly coiffed curls. The face has a benign, compassionate expression.
The main Buddha Maitreya in this stele is showing the Gesture of Fearlessness (Abhaya Mudra), signifying the great compassionate vow of the Buddha to free sentient beings from suffering, with peacefulness and assuaging of fear.
The two Bodhisattvas, one holds a lotus flower and one with a nectar bottle in hand, are standing on each side of the Buddha. The Buddha is also depicted with light emitting from his back. At the top of the stele, there are some flying celestial beings known as asparasas. At the base of the lotus pods features a lion on each opposite end. The style of the stele resembles those of stone-cave arts of ancient China.
Antique 4
Description
The sight of this seated Maitreya Bodhisattva, with His legs crossed at the ankles, makes one reminiscent of the statues in the recessed niches of the Yungang Grottoes in China. His pose is derived from royal portraits of kings of the Guishan Dynasty (late first to third century AD) in India.
In the style of the Northern Wei Dynasty (486-534 AD) and coupled with the emphasis on Chinese traditional abstract designs for sculptures, the face of Maitreya Bodhisattva was depicted as round and plump. The style of this look may not be very clear but details such as the jewellery, scarves and tightly wrapped loincloths are still recognisable.
It is not possible to identify the Bodhisattva by the mudra as Maitreya Bodhisattva's palms are closed facing each other so it can be considered as the Dharmachakra (turning the wheel of law) mudra.
Unlike typical steles, this stele does not depict the roof and architectural pillars representing the palace in Nirvana. Also, there are no Chinese architectural elements on this stele, such as the usual keystone arches and pillared pagodas.
Maitreya Bodhisattva is seated on a Lion Throne flanked by two attendant bodhisattvas accompanied by two lions standing on each side. The background is a mandorla bordered by a relief of swirling flames.
Sitting on the Lion Throne, Maitreya Bodhisattva can spiritually symbolise the Lord Buddha. He will be the future monarch who ensures the order of the universe by spreading the Dharma.
Historical Background
Buddhist steles are stone monuments bearing images and inscriptions, commissioned for installation in temples or monastic compounds, courtyards, or in rock-cut cave shrines.
This stone tablet of the Asana (posture) is associated with the Gandharan handicraft of "The Maitreya Bodhisattva and His followers" in the Buddha Tooth Relic Temple Museum Longhua collection.
Stone tablets may have developed since the Han Dynasty (202 BC-220 AD), before the use of Buddhist memorial steles. They flourished in sculptural form between the 400s and 600s. Usually the main figure (leader of entourage) on the stele would be depicted as either sitting or standing, facing the audience directly.
The assimilation of Indian Buddhist archetypes peaked at the end of the sixth century, when Buddhist art was the domain of Chinese aesthetics and a belief closely associated with indigenous Chinese beliefs.
During the Northern Wei Dynasty, three stone carving temples were under the patronage of the Emperor. They were the Yungang Grottoes in Shanxi, Longmen Grottoes and Gongxian Grottoes in Henan.
Yungang Grottoes is the first stone-carved temple in China funded by the royal family. It is the epitome of the development of Buddhist stone carvings in the Northern Wei Dynasty. Emperor Wencheng (year 452-465) of the Northern Wei Dynasty ordered the construction of a huge cave, Yungang, in the capital Pingcheng (now Datong).
The first five grottoes were subsequently built and since the Buddha in each grotto honoured the previous Tuoba Emperor, contemporary Chinese scholars refer to them as the "Five Emperors".
As a symbol of the power of the first five emperors of the Northern Wei Dynasty, the political and economic role that Buddhism exerted on the court was consolidated.
Stone tablets are usually commissioned by families or individual groups to pray for themselves, for current rulers, and for ancestors and families.
In this way, they endorsed the demands of Confucian society which emphasised family ties, while Buddhism emphasised spiritual redemption.
Antique 5
Description
This Bodhisattva Maitreya sculpture is in the style of the Eastern Wei or Northern Qi period, characterised by the 'archaic' subtle smile with a serene expression, typical of Northern Wei sculptures.
The posture displayed by this sculpture is called the "pensive" posture - with one foot hanging down and the other foot placed upon the other knee. It is one of the few postures used to represent the Maitreya as a Bodhisattva.
In the fashion of Northern Wei (486 - 534 CE) style, the Bodhisattva Maitreya adopts an oblong face, coupled with the traditional Chinese emphasis on incised abstract patterns. The modelling of the forms - the jewellery, scarves, three-fold crown, flattened dhoti are well-defined.
The Bodhisattva Maitreya depicted here wears a crown, and the body and arms are slender in form. The costumes of the nobility at that time are incorporated into the style of this sculpture.
A Gray Schist Figure of a Pensive Bodhisattva, Gandhara, 2nd - 3rd CE, Christie's Indian and Southeast Asian, New York, 21st March 2012, Sale 2551, Lot 707
Historical Background
The "pensive" posture was transmitted from India to China during the Northern Wei Period in China.
Buddhist images in the one-leg-crossed posture occur in north and north-western India and in India proper, in areas associated with the Kushan dynasty (1st CE - 3rd CE).
They often appear on the upper sections of the interior walls or central pillars of Mogao Caves of the Northern Liang (397-439 CE) and Northern Wei (439-534 CE) dynasties at Dunhuang, representing Bodhisattva Maitreya preaching in His abode in Tuṣita Heaven.
Large numbers of Pensive Bodhisattvas were among the white stone statues unearthed from Xiude Monastery in Quyang, Hebei Province. Among the discoveries were even twin Pensive Bodhisattvas images seated side by side. From the 7th century CE onward, this theme gradually disappeared in China.
However, pensive statues were later popularised (during the Tang-Song dynasties) and were frequently found among Korean and Japanese Buddhist statuary produced in the 6th and 7th centuries CE due to Chinese influence, indicating the popularity of these statues as objects of worship at that time.
Antique 6
Description
This is a seated figure of the Buddha Maitreya, a miniature version of the Buddha Maitreya located at the L1 Main Hall of BTRTM.
The majestic Buddha Maitreya was initially modelled after a similar Tang period figure at Foguang temple at Mount Wutai, Shanxi, China.
The Buddha Maitreya sits in a typical Tang Bhadrasana (auspicious) posture, also called Pralambapadasana (European pose), with each foot on a lotus, symbolic of royalty.
His right hand is raised in the Abhaya (fear-dispelling) mudra, while His left hand in the Varada (Charity-bestowing or receiving) mudra. A golden flask (Kundika) containing Amirita (the elixir of life) is placed in His left palm - an attribute referring to Buddha Maitreya's Brahminic origins that is more commonly found in Indian imagery.
The Buddha Maitreya is seated on the rectangular Singhasana (lion) throne, a symbol of the Buddha's royal ancestry and the great strength of His Teachings. Lion thrones are commonly seen in early China Buddhism statues.
Like Buddha Shakyamuni, the Buddha Maitreya's head bears auspicious marks such as a Urna (cranial protuberance) and long earlobes.
His dhoti drapes tightly over His legs, following the contour with incised markings of parallel folds. The robust full figure of the Buddha closely follows its prototypes in Central Asia and at Dunhuang.
The aureole (nimbus or mandorla) is shaped like a lotus petal curved towards the head - It has colourful swirling aura and clouds radiating from the head, with a small stupa at the top.
In the Triad of Buddha Maitreya, Buddha Maitreya is typically flanked by two attendant Bodhisattvas, Bodhisattva Dharma Garden Grove and Bodhisattva Great Wondrous Appearance (as seen in L1 Main Hall of BTRTM).
Antique 7
Description
Enthroned in bhadrāsana, that is, in the "auspicious pose" with both legs extended downward (pendant), the Buddha Maitreya's feet are firmly planted on the footstool, while His hands make the local variant of the Dharmacakra (Turning of the Wheel) gesture.
The Buddha Maitreya is seated on the rectangular Singhasana (lion) throne, a symbol of the Buddha's royal ancestry and the great strength of His Teachings.
Upon closer inspection, you will see two figures supporting the upper tier of the throne.
The stem of the Nagapuspa plant encircles the hands of the Buddha.
The Buddha Maitreya is flanked by a flask-bearing Nagapuspa flower on His right and the Dharma wheel, bearing Nagapuspa flower on His left.
Buddha Maitreya is identified by either the stupa on the crown of the head or on a flower blossom, the water flask, a wheel, which are all evident in this particular sculpture.
The Buddha is seated against a flame-shaped mandorla - composite of borders of flickering flames with embellished rims - starting at the lower body, representing the fiery nimbus of spiritual energy.
Antique 8
Description
In the guise of Song-dynasty art style, this rendition of lapis lazuli-cut features the Laughing Buddha in various positions engaging in a myriad of activities.
Bearing a wide smile, the Laughing Buddha is depicted as an oversized jolly monk with a large belly protruding from his robes. Laughing Buddhas are typically shown carrying a cloth sack which is absent in this particular guise, symbolising contentment rather than abundance.
Historical Background
Based on legends and folklore, the Laughing Buddha is the incarnation of Chinese Zen monk Budai from the Song Dynasty (960 - 1279), who was proclaimed to be the future Buddha Maitreya.
According to Chinese history, Budai was an eccentric Chinese Zen (Chán) monk who lived during the Later Liang Dynasty (907–923) of China. He was a native of Fenghua, and his Buddhist name was Qieci (Chinese: 契此; pinyin: Qiècǐ; literally "Promise this").
He was considered a man of good and loving character. His identification with the Bodhisattva Maitreya is attributed to a Buddhist hymn (Chinese: 偈语; pinyin: jìyǔ) he uttered before his death:
Maitreya, the true Maitreya
has billions of incarnations.
Often he is shown to people at the time;
other times they do not recognize him.
The Chinese name 'Budai' was given to the monk as he carries a sackcloth slung upon his shoulder, which stores his possessions and gifts for children, alluding to symbols of abundance and joy.
In Japan, Budai is known as Hotei and is known as one of the Seven Gods of Good Fortune, who became widely revered and celebrated during the Edo Period (17th CE - mid 19th CE). As such, Hotei was regarded as the god of good fortune and was referred as the patron deity of fortune tellers and liquor merchants.
Figures of the Laughing Buddha are commonly enshrined at Buddhist temples of East Asia like China, Hong Kong, Taiwan and Japan.
Antique 9
Description
Bearing a wide smile, the Laughing Buddha is depicted as an oversized jolly monk with a large belly protruding from his robes. Laughing Buddhas are typically shown carrying a cloth sack which is absent in this particular guise, symbolising contentment rather than abundance.
According to the legend, the Laughing Buddha was well-loved by children as he brought gifts (usually hidden inside his cloth sack) to the children from the village.
Antique 10
Description
The Buddha Maitreya has been depicted as a big-belly monk in China, since the Period of Five Dynasties. As the image was cheerful and adorable, it soon gained great popularity among the people. As a result, it also became a popular theme in works of Chinese art.
Even till today, the sculptures and paintings of Buddha Maitreya are still commonly seen. The sculpture exhibited here is a fine example. Plump and delightful, this Buddha Maitreya is holding an ingot, sitting in a cross-legged position on a round stone. He is taking a nap yet and smiling, as if having a sweet dream.
Antique 11
Description
Bearing a wide smile, the Laughing Buddha is depicted as an oversized jolly monk with enlarged earlobes and a large belly protruding from his robes.
Laughing Buddhas are typically shown carrying a cloth sack which is absent in this particular guise, symbolising contentment rather than abundance.
Gold-pleated beads are adorned on the Laughing Buddha's upper body and held on His right hand. He clutches the robes on His left hand.
Seated in royal-ease posture (rājalilasana) on the two-tier lotus throne with a flame-shaped mandorla against His back.
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Bibliography:
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