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33-102 100 Dharma Drum Journal of Buddhist Studies, no. 8, pp. 33-102 (2011) New Taipei City: Dharma Drum Buddhist College ISSN: 1996-8000 33 * 5-6 2-6 2010/11/28 2011/04/12

34 100

35 1960 Prof. A. C. Soper South Chinese Influence on the Buddhist Art of the Six Dynasties Period 529 Amarāvati 1 Dong-duong 1a 1b 2 502-557 3 479 4 5 1 A. C. Soper, The Bulletin of the Museum of Far Eastern Antiquitise (Stockholm) 32, pp. 47-112 2 1 Fig21. Hanoi Museum: Brones Buddha from Dong-doung 3 296 27 4 1995 93 5 2004 264-296

36 100 6 7 8 1 483 3 504 2 2 520-526 553 9 502-549 刹 6 270 92 7 9 111-112 8 1958 6-7 9 2 19-20

37 10 髪 502-557 2 髪 髪 6 488 11 2 6 2-5 5-6 12 13 10 10 44-51 11 3-4 43-45 12 11 19-20 13 10 18

38 100 479-501 483 170 58 20 15-60 14-40 15-20 502-557 25-60 20-40 6-20 4 150 424-453 483-493 502-557 14 15 1-3 30-40 40-60 14 2004 27-35 15 12 55 2145 92

39 Loriyan Tangai Swat Butkara I Taxila Dharmarājikā Ahicchattrā Srāvastī Kauśāmbī Allahabad 16 istūpa 2 3 17 ii 18 iii Ionic L 19 1-3 16 R. C. Sharma, Buddhist Art Mathura School (New Delhi: Wiley Eastern Limited and New Ase International Limited), PL. 128-133 Jamalpur Govindnagar 5 17 3 Inv. Nr, I 51 Palast der Gotter: 1500 Jahre aus Indien (German Edition) 1500 Berlin: Dietrich Reimer Verlag, 1991-1992 p. 76, PL. 28 Adhyeshana The First Sermon 18 Loriyan Tangai no. 5054, Origins of the Gandharan Style: A Study of Contributory Influences (New Delhi: Delhi Oxford University Press, 1989), PL. 105 19 The Conversion of Nanda Haḍḍa British Museum, no. 1900.5-22.1 PL. 16 9 10 11

40 100 90CST : 2 90CST : 3 90CST : 4 1-3 4 stucco TaxilaHaḍḍa Jalalabad 8 Dharmarājikā 20 Kālawān 21 4-5 the Art of Stucco Phase 22 23 Siṃhāsana 20 11 2002 362-385 21 14 463-478 22 26 728-753 23 a. 11 11 H1 11 b. 10 10 2 495

41 1. Mohrā Morādu 24 8 no. 30 31 no. 30 śikṣā-mudrā 2a 2b no. 30 31 25 8 490 2 495 3a 3b tribhaṅga 1-3 24 18 502-510 92-97 25 738-739 150 a no. 30 151 no. 31 no. 30

42 100 2. Vajrapāṇi Padmapāṇi worship of dharmacakra Ahicchattra 1 26 66.0 43.0 cakra 髪 4 27 3. Katrā 1 2 5 28 4. in meditation mudrā R. Jamuna L shutter effect in drapery kuśa 6 29 26 R. C. Sharma, Buddhist Art Mathura School, PL.74, Seated Buddha Flanked by acolytes, worship of dharmakacra on Lion throne, Ist century A.D. 27 a. Palast der Gotter: 1500 Jahre kunst aus Indien, PL. 42 2./3. Jh. n. chr c 2-3 b. 16 Seated Buddha flaked by acolytes, worship of dharmakacra on lion throne, 1st century A.D., spoted red sandstone, from Mathurā, Indian Museum, Calcutta, no. A. 25524 2-3 1 28 16 PL. 65, Ideal form of Buddha/Boddhisatta, 1st century A.D. Spotted red sandstone from katrā mound, Mathurā, Mathurā Museum, no. A. 1. 29 16 PL. 110, Buddha in meditation (head missing), relaxed shutter effete in drapery, late Kusāna period, buff sandstone, from R. Yamunā bank, Mathurā, Mathurā, Museum, no. 42.2919.

43 V 455 7 3 457 8 2 472 9 483 490 495 490 1 79 10a 10b 30 30 007 2007

44 100 4-18 502-520 Collective Portrait 3 5 3 520-548 5 11-13 2 4 5 6 2-4 12 3/4 11 31 31 Origins of the Gandharan Style: A Study of Contributory Influences, PL. 108. The Descent from Traysstrimisa ( ), from Gandhāra, British Museum, no. 1917.10-9.12.

45 32 455-499 7 8 9 10 477-494 33 169 32 169 11-13 520-525 5 33 7 8 9 10 1994 8 9 9 9 18 9

46 100 12 34 髪 khalchayan style 13 35 36 169 6 14 420 7 9 37 477-494 6 13 500 38 34 1994 22 169 7 6 23 35 Origins of the Gandharan Style: A Study of Contributory Influences, p. 25, PL. 27, Standing image of a Boddhisattva, from Gandhāra, British Museum, no. 1880-72. KhalchayanOxus Surkhan Darya Uzbekistan 36 223 no. 142 1045-1046 37 169 6 420 7 6 U 38 97 11 98 11

47 39 115 502 114 138 483 40 2a a no. 30 a no. 33 a no. 34 15 41 S 4 post- 97 39 1989 149 432 195 47 442 40 1998 60 114 102 138 284 288 41 150 a no. 30

48 100 Kusāna early Gupta 483 483 489 42 7 489 43 490 44 16 45 42 1991 210 43 10 1940 X-97 2 44 8-9 37-42 45 208

49 46 5 47 304-439 ūrṇā 17 48 259 5 髪 V U 18 483 4-5 19 2 8 46 8-9 42 47 a. 2 44-54 b. 2 1-12 48 1986 2

50 100 490 2 495 Stylized 3a 3b 20 21 V U 1b 4 5 A.D. 400-450 1. M. M. no. A5 V U 髪 3 22 the attainment of supreme knowledge Yāsadinna

51 49 2. exhibited in the Rashtrapati Bhawan 5 2 1 23 50 3. M. 13 5 V U V 24 51 4. M. M. no. 76.25 Govindnagar 434-435 4 1 V U 25 115 49 R. C. Sharma, Buddhist Art Mathura School, p. 206 PL. 128, An outstanding image of the Buddha, rich nimbus, thin drapery, rippling folds, serene expression mound, 5th century A.D., red sandstone, from Jamalpur mond, Mathurā Museum, no. A. 5 50 p207; PL. 129, Buddha image of same quality, 5th century A.D., buff sandstone, from Mathurā, now in the President s House, New Delhi. 51 p. 207, PL. 130, Standing Buddha, halo missing, red sandstone 5th century A.D., from Mathurā, Indian Museum, Calcutta no. M. 13.

52 100 434-435 Ghatitā Dinnena Dinna Yasadinna 52 5. Chamundā 5 髪 26 53 54 5 248 254 259 263 55 169 7 9 21 52 p. 207; PL. 133, Standing Buddha image recording the name of the sculptor Dinna date in the year 115 (A.D. 434-435), red sandstone, from Govindnagar, Mathurā, Mathurā Museun, no. 76.25 53 p. 211; PL. 142, Head of the Buddha An outstanding spicemen of Mathurā art, Gupta period, 5th century A.D., red sandstone, from Chāmundā mound, Mathurā, Mathurā Museum, no. 49.3510 54 R. C. Sharma, Buddhist Art Mathura School, Section7, Buddha in the Art Mathurā pp. 135-159 55 79 248 25 259 30 254 52 263

53 56 18 19 57 504-511 3-11 10 511 髪 20 40 41 42 43 髪 5 Chamundā 8 529 11 8 12 513 敇 58 4 523 4 532 3 549 Vajra 1-3 Vajrapāṇi Scythes 6 12 27-29 56 29 36 45 57 1999 117 18 126 19 58 髪 12 513 13 50 2059 412

54 100 Sārnāth Benāres Vārāṇasī Mrgadāva Chunar U V 30 59 4 5 1. 230 A.D. 308 59 R. C. Sharma, Buddhist Art Mathura School, Section 9, Mathurā and Other Schools of Art, pp. 221-232, The Sārnāth style follows the graceful technique and may be considerde as further improvement of the Mathurā trait, the mostremarkable and distinguishing feature of the Sārnāth style is the foldless wet drapery, op. cit. p. 230.

55 Jayabhatta 刹 Yasā vihāra 19 Katrā 髪 Saṅghātī U U S 31 60 2. Govindnagar M. M. no. 76.26 4 Kuśāno- Gupta 髪 32 Sārnāth R. C. Sharma post-kuśāna 4-5 early Gupta 5 Kuśāno-Gupta 60 R. C. Sharma, Buddhist Art Mathura School, pp. 201-202, PL. 125, Standing Buddha image in stalled by Jayabhatta in yasā vihāra dated in the year 230 (A.D. 308), buff sandstone, from Katrā, Mathurā, State Museum, Lucknow no. B. 10.

56 100 phase 61 3. Govindnagar Buddha torso 5 U 332 5 foldless drapery 62 4. 464-485 Stūpa 髪 3 4 61 pp. 203-204, PL.126, Buddha standing in abhaya pose, foldless drapery remarkable, c, 4th century A.D., buffstone, from Govindnagar, Mathurā Museum, no. 76.26. 62 pp. 208-209, PL. 138, Buddha torso with foldless drapery, Gupta period, 5th century A.D., red sandstone, from Govindnagar, Mathurā in custody of Archaeological surver of India, New Delhi

57 34 63 5. 5 64 35 Padmapāṇi 65 Yakṣa tribhaṅga 6 66 67 63 a. J. G. Willias, The Art of the Gupta India (New Jersey: Princeton University Press, 1982), p. 77, PL. 91. b. Palast der Gotter: 1500 Jahre kunst aus Indien, p. 91, PL. 48, Buddha, Gelbrauer sandstone, 127.0x51.0cm, Sārnāth, A.D. 465-485, Indian Museum, Calcutta, ACC. no. 514/A25085. 64 a. b p. 79, PL. 97 (Dietrich Reimer Verlag Berlin, 1991-1992) b. a p. 92, PL. 47, Boddhisattva Avalokitesvare, Gelbrauer sandstone, 113.ox50.ocm, Sārnāth, A.D. 5th. chr. Indian Museum, Calcutta, Acc. no. 537/A25892 65 Tantra Avalokitesvara 4 The Gods of Northern Buddhism London: Oxford at the Clarendon Press, 1928 pp. 61-65 66 2004 181 6 67 180 5

58 100 6 Anurādhapura 200 Champa 7-8 68 髪 髪 69 髪 Visualization 髪 36a 36b 68 182-184 69 2 72

59 70 71 R. C. Sharma 2 3 4 foldless drapery 4 saṅghātī 72 R. C. Sharma 6 577 578 70 2001 51 53 56 57 58 59 60 61 62 63 64 65 72 80 85 86 Samarkand Kebud 1986 56 71 2000 377-391 389 72 R. C. Sharma, Buddhist Art Mathura School, p. 203.

60 100 73 74 5 19 394 75 73 10 37 74 2 70 75 50 2059 355-356

61 76 4 37 38a 38b 9 Amarāvatī 髪 6 488 39 907-965 14 10 511 13 494-497 507 敇 513515 77 髪 10 511 1998 76 75 77 50 2059 412

62 100 髪 78 019 79 2006 4 髪 455 3 457 髪 80 26 81 6 1 2 3 4 6 5 82 3-5 6 1 Buddhist Art Mathurā School PL. 113 late Kuśāna 2 PL. 138 PL. 118 Buddha torso with foldless drapery Gupta periodgovindnagar 3 4 5 6 78 2 69 79 60 2004 80 10 44-51 81 10 49 82 10 49

63 Swat Butkara I 4-5 83 84 4-6 7 1 2 3 4 5 7 Saka-Parthian Style 6 Kuśāna Mathurā Style 85 5 6 10 7 1 5 86 2 3 4 6 7 Uḍḍīyana Style 87 Prof. A. C. Sopper 8 2 985 Uddiyana Style 83 26 728-754 148-160 733-754 84 10 50 85 10 51 86 1 169 7 6 420 7 3 19 16 5 450-500 477-499 87 Uddiyana Swat 1980 98-99

64 100 髪 88 89 2-6 88 2 67-68 89 1986 402

65 3 4 3 Bactria Udyāna Uḍḍīyana Gāndhāra Mathurā Sārnāth Mṛgadāva 4 2004 8 8 Miran Pamir 4 90 1-3 4-5 4-6 500 483 420-479 90 a b a. 1986 179-183 b. 2002 232-303 c. 1975 6 49 1977-1978

66 100 425 91 40 41 42 92 502-520 3-5 9 11 13 91 748 2 40 92 2 72 2004 8 289

67 1a Dong-duong 1b 529 WSZI 158

68 100 2a a=no. 30 Mohrā Morādu 2b b=no. 30 Mohrā Morādu

69 3a 8 490H1 1 64 3b 2 49590 CST 6 37.4

70 100 4 1 5 1

71 6 3 7 35.5 455

72 100 8 41.5 3 457 9 33.5 2 472

73 10a 79 5 10b

74 100 11 12 169 7 24 5

75 13 Knalchayan 14 169 6 155 420

76 100 15 a=no. 33 Mohrā Morādu 16 5

77 17 32.9 4 18 259 92 5

78 100 19 483 170 20 10 511 90CST 8 58.2 59.2

79 21 4 523 WSZ41 37 22 220 5

80 100 23 183 5 24 5

81 25 434-435 26 5

82 100 27 4 532 28 12 477-494

83 29 Indo-Scythian 30 161 470

84 100 31 230 308 32 4-5

85 33 5 34 127 465-485

86 100 35 113 5 36a 113 551-577

87 36b 128 551-577 37 Sikri 2

88 100 38a WSZ29 34.5 502-557 38b H1 4 48 5 551

89 39 6 488 40 3 537 WSZ8 127.5

90 100 41 WZS41 4 523 42

91 1 8 490 11 1998 8 2

92 100

93 3

94 100

95 4

96 100 1 20 2 18 3 2 40 1 9 425 483 2 7 3 2 18 1 2 425 2 483 3 8 490 4 5 2 495 3 504 6 7 8 9 10 10 511 4 523 6 525 529 2 530 H1:1 90CST :7 H1:7 90CST :8 WSZ41 WSZ42 WSZ1 H1:3

97 11 12 13 4 532 4 532 5 533 14 3 537 15 11 545 16 3 548 17 18 3 549 5 551 WSZ43 WSZ44 WSZ8 H1:5 WSZ45 H1:4 1. 1 20 2. XZJ05 20

98 100 1924-1935 50 2059 55 2145 1975 2004 1995218 11-38 1998 2004 1994 1991 1998 11 4-19 1974 2 44-54 1980 2 1-12 1999 20002 64-76 19982 32-45 1987

99 1102 13-35 1974 296 134-152 1995 2004 2007 2000 2001 1986 1986 2002-2001 10 19-38 1986 1999 10 44-51 1940 2001 10 4-19 1986 2002 1989 1994 1980 1954 9 111-114 1958 19923-4 43-45 1999 270 89-134

100 100 2004 60 2001 10 39-44 1960 8-9 37-42 Bannmann, Museumfür Indische Kunst Berlin. 1991-1992. Palast der Gotter: 1500 Jahre Kunst aus Indien (German Edition). Berlin: Dietrich Reimer Verlag. Getty, Alice. 1928. The Gods of Northern Buddhism. London: Oxford at the Clarendon Press. Willias, J. G. 1982. The Art of the Gupta India. New Jersey: Princeton University Press. Nehru, Lolita. 1989. Origins of the Gandharan Style: A Study of Contributory Influences. New Delhi: Delhi Oxford University Press. Soper, A. C. 1960. South Chinese Influence on the Buddhist Art of the Six Dynasties Period. The Bulletin of the Museum of Far Eastern Antiquitise (Stockholm) 32, pp. 47-112. Sharma, R. C. 1995. Buddhist Art Mathura School. New Delhi: Wiley Eastern Limited and New Ase International Limited. Prof. A. C. Soper

101 An Iconographic Comparative Study of Buddhist Sculptures from Chengdu during the Chinese Southern Dynasties and Buddhist Sculptures of Gandhāra, Mathurā, and Gupta Hu Wencheng Assistant Professor, The College of Foreign Langauges and Literature Chongqign University, China, PRC Hu Wenhe Reseacher and Professor, Department of Literature Sichuan Academy of Social Sciences Abstract This iconographic study identifies the name, content, features, and nature of various works of Buddhist art. The authors contend that any study of Buddhist art sculpture or painting must consider its content and meaning, including the teachings intended to be conveyed by pictorial representations of Buddhist doctrines. Buddhist art, which originated as a religious art form to spread its teachings, was intended to convey beliefs and be used in worship, not solely to be appreciated aesthetically. The goal, content, image-composition and aesthetic style of Buddhist art are all subject to the needs of the Buddhist religion. Moreover, an iconographic study of Buddhist art should include both longitudinal and crosssectional research on works in the same region that were produced at different historical periods, or vice versa, so as to determine how they evolved and developed. This paper engages in such a study of the relationship between Buddhist sculptures of the Southern Dynasties in Chengdu and different styles of early Buddhist art in India. There are hardly any comparative iconographic studies of the origin of the Buddhist stone sculptures in Chengdu during the Southern dynasties in previous scholarly. Most scholars hold that these Buddhist sculptures came up from Jiankang (present-day Nanjing, in Jiangsu province) on the Yangtze River, and were originally transmitted to China by sea from South India to Southeast Asia during the 5 th century and the first half the 6 th century. Nevertheless, they have failed to attend

102 100 to the characteristics of the image-compositions of Indian Buddhist art between the 2 th and the 6 th centuries and their transmission route to China. The authors of this paper explore the origin of such Buddhist stone sculptures in Chengdu from the Southern dynasties by comparing them with Buddhist stone sculptures of both early and late Gandhāra style, i.e., the white-plaster sculptures of India and Afghanistan, the Buddha images of Mathurā art of the Gupta period, and Buddha images of Sārnāth style. On the basis of their comparative iconographic study of the image structure and the image composition of such Buddha images, they draw a reasonable conclusion concerning the relationship between the two. Key words: Iconography; the Buddhist Sculptures of Southern Dynasties in Chengdu; Gandhara Style; Mathura Style; the Style of Gupta Period