Artist: Unknown
Title: Fenxian Tung (Cave 19),Vairochana Buddha with Attendants
Material: hard limestone
Site: Longmen, Henan
Current Location:
Period/Date: Dedicated in 675 C.E., Tang dynasty
Iconography/Iconology: During the Tang dynasty one of the Buddhist texts
that became most important at the court was the Hua Yen Jing (Avatamsaka
Sutra, or the "Flower Garland" Teachings). First introduced into
China in the 3rd century, the sutra in its final form postulates an inconceivably
transcendent world of the Buddha Vairochana. It is from Vairochana, who
manifests the body of the Buddhist teachings (Dharma), that all other Buddhas
emanate. Vairochana's paradise is known as Akanishta and is the most ethereal
of all Buddha paradises. It is so etheral that the beings in Akanishta barely
exist in corporeal forms. In Buddhist theory, it is understood that the
Buddha Shakyamuni, at the moment of his enlightenment, appears in Akanishta
as Vairochana to teach the Avatamsaka Sutra to the perfected beings who
reside in the paradise. In other texts, the Buddha who appears in Akanishta
is identified as Vairochana, Shakyamuni/Vairochana, and/or "Shakyamuni
in his Vairochana robes." In all cases, it is understood that Vairochana
and Shakyamuni are one and in no way discreet from each other. Together
they manifest all Buddhist teachings (Dharma) and all potential recipients
of the techings (other Buddhas and bodhisattvas). To illustrate this transcendental
form of the Buddha, iconographers chose to illustrate him as enormous, giving
rise to a special form known as the brihad, or gigantic to the point of
being overwhelming, Buddhas. Indeed, the measurements given in some texts
state that the Buddha is so tall that he would have to duck every time the
moon passed by.
The Buddha in Akanishta is seen as physically distant but not remote or
inaccessible in a Buddhological sense. Indeed, the opposite is true. The
Buddha Vairochana is understood to reside in the very heart/mind of each
individual practitioner, manifesting his or her own potential Buddhahood.
All of the emanations of Vairochana are merely the emanations of the individual's
very own potential and not external in any sense.
The iconography and composition at this cave is typical of the Tang
period. At the center is the large Buddha figure, in this case, Vairochana.
The two arhats, Ananda and Kashyapa, who demonstrate the Buddha's community
and the inherent presence of Shakyamuni in the image of Vairochana flank
the Buddha. Two bodhisattvas, Manjushri and Samantabadra, illustrating the
wisdom and compassion components of a Buddha's enlightenment are also depicted.
Vaishravana and Virudhaka, two of the four guardian kings who guard the
slopes of the conceptual cosmogonic representation of the Buddhist world
system, Mt. Meru, are seen beside the bodhisattvas. The guardian king's
presence unequivocablly demonstrate that the Buddha and his attendents appear
in the Mt. Meru realms and that the cave is a direct representation of the
Mountain. Also attending the Budha are two benevolent kings, Garbhavira
and Vajravira. Their main function, as described in the text of the Two
Benevolent Kings is to guard the state against misfortunes.
Stylistic Comments: It is assumed that the entire cave would have been
enclosed within a massive wooden structure and that the figures inside would
have fulfilled the reification of the transcendent in a very powerful and
imposing way.
