The Flourishing of Indian-style Images of the Buddha Seated with Legs Pendent during the Reigns of Zhongzong and Ruizong

• In Event: Panel 2: Reception of Indian Influences in Tang Buddhist Art

Abstract

The statue of the Buddha seated with legs pendent in Tianlongshan Cave 21 (East Wall, dated circa 710) illustrates a figural style that shows sensuous articulation of musculature in the torso and the roundness of the thighs and legs. This sculpture represents by far the most realistic representation of human anatomy in the history of Chinese Buddhist art. It is said that the new figural style has incorporated influences from Indian art during the seventh and eighth centuries. Nevertheless, when we compare these sculptures with examples of Indian sculptures of the Gupta or Pāla period, there are vast differences. I argue that by this time, the sculptural techniques in China have advanced to a stage where it became possible for sculptors to produce highly realistic sculptures that resembled Indian-style sculptures. In fact, such achievements can be seen as the strengthening of an independent style in Chinese sculpture. This paper also explores why the realistic sculptural style associated with images of the Buddha seated with legs pendent became popular all over China from the end of the reign of Wu Zetian through the reigns of Ruizong and Zhongzong.

Author

• Haruo Yagi, Tsukuba University