ma^ehlm[n]]aZl <ABG>L>;N==ABLML<NEIMNK>?KHFJBG@SAHN 佛像遺珍:青州出土佛教石刻造像 >=FNG=<:IHGEBNR:G@ LIHGLHKLF>LL:@> 10 In sponsoring The lost Buddhas exhibition, we are pleased ?HK>PHK=L that we have helped bring such a majestic array of sculp- Edmund Capon • Du Changwen ture from China to Sydney, but also feel a keen realisation of how little we in Australia know about the religious 17 and artistic traditions of Asia. Most Australians schooled LM:M>LH?L>K>GBMR3 in the 1960s and 1970s were taught, and possibly can ;N==ABLML<NEIMNK>?KHFJBG@SAHN recall, that the year 1066 was important because Harold – Edmund Capon then King of England – was shot in the eye by a Norman archer and died at the Battle of Hastings. The Norman 27 conquest of England was effectively complete. Whilst this EHG@QBG@M>FIE>:G=MA>=BL<HO>KRH? was undoubtedly an important historical event, we never MA>JBG@SAHNL<NEIMNK>AH:K= learnt whether any similarly dramatic event occurred Lukas Nickel in Song dynasty China. Nor were we taught when, or how, Buddhism spread eastwards from India to China, 38 Korea and Japan, let alone the extent of the artistic <:M:EH@N> representation of the image of Buddha in those countries. Liu Yang No doubt the teaching of history deals more with Asia nowadays, but we are proud to make a small contribution 134 by working with the Art Gallery of New South Wales to Notes to catalogue entries host this exhibition. 136 Warwick Johnson Iconography Optimal Fund Management 139 Selected bibliography HEILONGJIANG JILIN INNER MONGOLIA XINJIANG LIAONING Beijing Tianjin GANSU HEBEI NINGXIA SHANXI QINGHAI Qingzhou SHANDONG Yellow River SHAANXI JIANGSU TIBET HENAN ANHUI HUBEI Shanghai SICHUAN ZHEJIANG Yangzi River JIANGXI HUNAN GUIZHOU FUJIAN YUNNAN GUANGXI TAIWAN GUANDONG HONG KONG MACAU HAINAN 14 EHG@QBG@M>FIE>:G=MA>=BL<HO>KRH? MA>JBG@SAHNL<NEIMNK>AH:K= Lukas Nickel The town of Qingzhou in Shandong province is located in what was once the state of Qi, not far from its capital, Linzi. The large expanse of flat land to the north-west of the town is still strewn with numerous tomb mounds from the 1st millennium BCE, testifying to the former wealth and importance of the region. The fertile land around the town is traversed by a set of rivers, which rise in the almost barren mountains to the south and the west. Only five kilometres from the edge of the town, these highlands contain the Buddhist cave temples of Yunmenshan and Tuoshan as well as the quarries that supplied the limestone for the sculptures in the temples in Qingzhou and its surroundings. Buddhism first flourished in Shandong in the late 5th and 6th centuries. For many years our knowledge of the local monastic communities and the piety of lay believers was drawn largely from a few passages in documents and scattered votive inscriptions; wooden temple buildings vanished long ago, while wall paintings and images made of wood, clay and other perishable materials are now lost. Since the 1970s archaeological excavations have unearthed numerous Buddhist sculptures in Shandong, yet not until the discovery of the sculpture hoard at Qingzhou did scholars begin to concern themselves seriously with these material remains which illustrate the first steps of Buddhist culture in the region. • In October 1996 construction workers levelling the sports field of the Shefan primary school in Qingzhou discovered a pit filled to the brim with broken Buddhist sculptures. The proximity of the school to the local museum saved the sculptures from illegal excavation and theft. The staff of Qingzhou Municipal Museum had the site protected and immediately set about salvaging the statues. Within ten days, all the figures had been removed to a room in the museum. Although regrettable from an archaeological point of view, this haste was not unfounded for in recent years many figures from comparable sites in the area have found their way onto the international art market and into Chinese and foreign collections, divorced from their historical context. Apart from the outstanding artistic quality of its contents, the value of the Qingzhou hoard lies in the wealth of information these sculptures yield about their original purpose, their destruction and the circumstances of their burial. The pit in which they were discovered, measuring approximately 9 x 7 metres in area and 2 metres in depth, lay only 1.5 metres below the surface. Roughly in the middle of the south wall, halfway up, was a small earth ramp, which presumably facilitated the cat no 3 (detail) 27 2 LM>E>PBMA:;N==A:MPH;H=ABL:MMO:L 貼金彩繪石雕佛三尊立像 Eastern Wei (534–50) limestone, 310 x 180 x 35 cm The Buddhist stelae excavated from the Longxing Temple preaching the message of this sutra when a jewelled stupa hoard are diverse not only in style and iconography but belonging to Prabhutaratna Buddha, who had already also in scale. In contrast to the smallest stele, which is only entered parinirvana, rose up into the sky. Prabhutaratna about 50cm high, this example is monumental in concept. himself was seated in it, and had returned to hear Compared to the bodhisattvas, the Buddha appears Shakyamuni explain the dharma. He invited Shakyamuni massive. His face is subtly modelled with divine reverence; to join him, and they shared the same seat. The extreme his hands, now missing, were likely to have been in abhaya popularity of the Lotus sutra gave rise to a new image mudra (the gesture of dispelling fear) and varada mudra of two Buddhas seated side by side, which is found in (the gesture of munificence). some other sculptures from the Longxing Temple hoard.14 Stylistically, the figures show a transitional character. A similar configuration is also seen on two fragmented The full faces, solid torsos and robes with minimal linear mandorla from the late Northern Wei or early Eastern folds suggest a new interest in the body, but the triadic Wei, all from the Qingzhou area and now in the collection arrangement, dragon/lotus pedestals and apsaras edging of the Poly Art Museum.15 There are more examples of the boundary of the mandorla are still caught in the such formulae found in Shandong. Two fragments from Northern Wei formula. the top of stelae excavated from the Xingguo Temple site The serenity of the triad forms a sharp contrast with in Qingzhou each bear a four-sided stupa – two Buddhas the vigorous dragons writhing at the bottom, whose are seated within niches in two sides of the stupa.16 One scaleless bodies are magnificently embellished with a early sculpture in Fujii Yurinkan, Kyoto, a bronze altarpiece spiral-pattern relief. The briskly fluttering ribbons around dated 522, bears a stupa with a pair of enshrined Buddhas. the soaring apsaras combine with the pointed mandorla In imagery, the prototype of such design can be found in to create a rushing sensation as though an earthly breeze Buddhist caves of the Northern Wei period at Yungang was sweeping everything towards heaven. and Longmen, adorning the niche head. However, a more At the top of the mandorla, supported by the apsaras, direct influence may have come from the area around is a small domed ta 塔 or stupa, a reduced version of Ye (in modern Linzhang, Hebei province), the capital of the venerated four-sided structures commonly built in Northern Qi in the neighbouring province of Hebei, where Shandong during the Northern dynasties, which were used the twin Buddhas are seen in cave temples and on stelae. to store Buddhist relics and sacred writings.13 Their frequent Despite being damaged, this sculpture emits a perva- appearance on Buddhist stelae may be linked to the popular sive sense of glory, making it one of the most powerful Lotus sutra, a section of which, called the ‘Vision of the devotional images among all the works created during the Jewelled Pagoda’, describes how Shakyamuni Buddha was Northern dynasties in Shandong. 62 */ LM:G=BG@?B@NK>H?:;N==A: 貼金彩繪石雕佛立像 Northern Qi (550–77) limestone, 115 x 30 x 23 cm The most outstanding features of Qingzhou Buddhist merit’ (pun¸ a-ks¸ etra in Sanskrit or pun˘n˘a-kkhetta in Pali), images were their remarkable three-dimensional sculptural where benefactors by offering gifts, hospitality, offerings form and the distinctive rendering of their unlined garments. and respect to a sangha 僧伽 or holy person can bring The visual impact of both was originally enhanced by benefits to themselves. The patchwork monastic garment coloured paint. Today, in most extant examples the pigment was therefore known as futianyi 福田衣 or ‘garment of has flaked off or deteriorated to such a degree that the the field of merit’: the patchwork pattern resembles a rice pieces appear unpainted. The well-preserved painting on field; the benefactor is like a farmer who ploughs then this figure’s garments makes it rare. gains a harvest. On the white priming a network of vertical and hori- Although this concept was part of Chinese Buddhist zontal bands in green and gold defines oblong patches, philosophy during the Northern dynasties, it was not which are filled with vermilion pigment. The bands them- common to see the patchwork ‘field’ pattern represented selves are bordered by thin gilt stripes. Although such on monastic garments in religious art in many areas. patterns had already appeared on stele figures of the This standing Buddha was not from the Longxing Northern and Eastern Wei periods, they are perfectly Temple hoard – it was excavated in 1987 from another suited to the closely fitted, smoothly modelled style of location in the same town, east of the Longxing Temple garment that developed in the Northern Qi.