Stephen F. Teiser. Reinventing the Wheel: Paintings of in Medieval Buddhist Temples. Seattle: University of Washington Press, 2007. xv + 319 pp. $60.00, cloth, ISBN 978-0-295-98649-4.

Reviewed by Tianshu Zhu

Published on H- (March, 2008)

Stephen Teiser's new book, Reinventing the dered in the performative settings at each particu‐ Wheel, examines representations of the wheel of lar site. rebirth as a lived religion of the past, making am‐ In chapter 1, Teiser analyzes the iconography ple use of illustrations.The wheel of rebirth is a of the wheel, its diferent variations, and its textu‐ unique iconography in that visually al basis. According to the (monastic rules) communicates , including the of the M?lasarvâstiv?da school, a wheel of rebirth realms of reincarnation, causality, and salvation, should be painted on a temple's porch, and monks in the confguration of a circular diagram. This are instructed to use it in order to explain karmic wheel-shaped diagram is found throughout the retribution and other Buddhist teachings to the Asian Buddhist world. public. Rather than using texts to explain visual While most studies on Asian Buddhism tend representations, as is the practice of art histori‐ to focus exclusively on either texts, practices, or ans, or conceiving of Buddhist ideas as bound to visual culture, Teiser's book skillfully treats all textual embodiment, as Buddhologists sometimes three, and examines them through the lenses of assume, in this study Teiser aims to "imagine so‐ Buddhology, sociology, and art history. This book cial action" through both visual and written evi‐ stands at the forefront of the trends of increasing dence (p. 41). Traditionally, pan-Asian iconogra‐ interest in ritual practice and interdisciplinary phies and Buddhist ideas have usually been stud‐ studies over the last two decades. In this book, ied in the paradigm of transmission. However, Teiser studies images from India, Southeast Asia, Teiser instead introduces the notion of "discursive Central Asia, Tibet, and China. Furthermore, he practice," that is, how "the metaphor of the wheel examines the notion of the wheel of rebirth at the was interpreted in diferent places" with their level of specifc geographical sites, thus transcend‐ specifc patrons and viewers (pp. 41-42). He seeks ing generic cultural and regional concepts. Teiser "the meaning of any local example of the wheel in shows us how meanings of the wheel were engen‐ how it combines a reinterpretation of the canoni‐ H-Net Reviews cal possibilities with the site-specifc construal of ic temple, Tabo. Since all three sites were patron‐ meaning and the juggling of political forces" (p. ized by local ruling families, Teiser concludes that 49). the three paintings would have been accessible Chapter 2 focuses on the canonical account of only to the family members of the patron and a the wheel of rebirth in the M?lasarvâstiv?din small group of monks. vinaya. In the study of Buddhist images, scholars Therefore these wheel images did not serve usually select a minimum-length passage from a as public institutions, as instructed in canonical text that is deemed necessary for interpretation. texts. Teiser proposes that the three wheel paint‐ Here, not only does Teiser analyze the text in ings, all located at the beginning of the icono‐ great detail, he also pays attention to the social graphic plans of the sites, functioned to lead to history of the vinaya. In addition, he examines and prepare the viewer for the main images, i.e., a whether the vinaya was available at places where Buddha image in Ajanta, paradise scenes in Yulin, images of the wheel were found, the relationship and a tantric in Tabo. Only the wheel between the description of the wheel and other image at Baodingshan (thirteenth century) in stories found in the same section of the vinaya, Sichuan Province, China, discussed in chapter 9, is and the possible sectarian afliation with the M? accessible to the public. The site was constructed lasarvâstiv?da school. Teiser's compelling study under the direction of a local religious impre‐ rests solidly upon both his mastery of texts and sario. A native saint fgure is situated in the center his thorough understanding of Buddhist schools of the wheel. In terms of the wheel images in and vinaya texts. However, a more detailed dis‐ Kumtura Cave 75, Kucha, in present-day Xinjiang cussion on sectarian afliations would have been Province, China, discussed in chapter 6, Teiser welcome.[1] proposes that "the commissioners sponsored the Chapters 3, 6, 7, 8, and 9 are dedicated to ex‐ cave in order to memorialize the monk (depicted amination of individual representations of the on the main wall) and his specialty of meditation" wheel from specifc sites, of which examples are (p. 162). He also suggests that the paintings of the presented below. Chapters 4 and 5 raise diferent wheel are associated with meditation in this area issues which I leave for a separate discussion. and functioned as visual aids in monastic educa‐ tion (p. 161).[2] In the sections on individual images, Teiser works with a wide variety of textual sources, es‐ Chapters 4 and 5 stand out from the rest of pecially inscriptions. Recently, scholars have be‐ the chapters mentioned above, all of which study come increasingly aware of the necessity of study‐ images of the wheel at specifc sites. Chapter 4 ing Buddhist images in their original context and studies the narrative depiction of King Rudray? this book is an excellent example of this contextu‐ na's painting, which is a portrait of the Buddha in‐ alized approach. Teiser places emphasis on locat‐ scribed in writing with the Three Refuges, the ing the image: physically, in the iconographic plan Five P recepts, and the Twelve Conditions of De‐ of the temple/cave; historically, in the background pendent Origination. The major literary sources of patronage; and functionally, in the experience for the wheel of rebirth, the M?lasarvâstiv?din of the viewers. Chapter 3 is devoted to the earliest vinaya and the Divyâvad?na, also contain another extant example of the wheel in Ajanta Cave 17 tale involving a painting related to the Twelve (ffth century), India. Chapter 7 studies the depic‐ Conditions. Narrative depictions of this story ap‐ tion of the wheel in a tenth-century cave temple pear in Kizil Cave 83 (ffth century, Kucha),[3] at Yulin, China. Chapter 8 discusses the image of Barabudur (ninth century, Java), and more recent the wheel in the eleventh- century Tibetan esoter‐ Tibetan thankas. Teiser uses this example to

2 H-Net Reviews demonstrate "the variety and efcacious nature of M?lasarvâstiv?da vinaya, a moon symbolizing didactic paintings throughout the early medieval nirv??a is depicted outside the wheel. Here, one's world" (p. 104). own nirv??ais perceived as the method of salva‐ Teiser suggests in chapter 5 a hypothetical tion from sa?s?ra. Such emphasis is consistent study of paintings of the sa?s?racakra in temples with H?nay?na beliefs. As Teiser is also aware, in as they might have been painted in Tang Dynasty later Tibetan paintings, Amit?bha's paradise is of‐ (618-907) China. Here Teiser searches for clues ten added into the iconography, occasionally within a wide variety of sources: the iconography along with other Buddha and fgures. of the so-called cosmological Buddha (a type of In Japanese paintings, the Buddha fgure in the Buddha image in which the Buddhist world sys‐ center is usually Amit?bha (p. 246). These new ele‐ tem is depicted inside his body);[4] Daoxuan's ments are derived from the Mah?y?na approach (596-667) imaginary ground plan of the to salvation. In Tibetan paintings, a transforma‐ monastery in ?r?vast?; and architectural elements tion-Buddha (or transformation-bodhisattva) is in paintings of paradise scenes from Dunhuang. usually shown in each realm of rebirth yet this is As these subjects indicate, none of them ofer di‐ also absent in the original M?lasarvâstiv?da text. rect evidence for Tang temples. Teiser concludes Perceiving the Buddha via a multi-body concept is that paintings of the wheel were "probably paint‐ another fundamental development in Mah?y?na ed in walkways or cloisters in the outer precincts" Buddhism. The wheel from Baodingshan and the in Tang metropolitan temples (p. 145). In the over‐ "Illustration of the Ten Realms of Mind Contem‐ all iconographic program of a temple, Teiser is plation" in Japanese Buddhist art express the idea probably correct to locate the wheel in the en‐ that existence in sa?s?ra is no diferent from the trance and precinct areas. However, the hierarchy mind. This notion marks a signifcant stage in the of the iconographic plan in a temple is multiva‐ history of Buddhist teachings. With all of these re‐ lent. For example, the , as markable changes in the iconography of the protective deities, are usually located in the gate‐ wheel of rebirth, how much can we rely on the house. Nevertheless, it would not be surprising if political force from local patrons to explain the they appeared again at the corners on the central meaning of these images? altar in the main hall. In addition, I have seen an One of the major objectives of this study is to image of the six paths of rebirth deriving from the examine who were supposed to see these images character of xin, or "mind," painted on the wall in‐ and their actual function in relation to these visi‐ side the main hall of the Yong'an Temple in Hun‐ tors. In the construction of Buddhist temples, yuan, Shanxi.[5] Although this section demon‐ rulers at various levels, state or local, have always strates Teiser's wide-ranging knowledge in the been important patrons. Teiser concludes that feld of art history, the book would be more coher‐ paintings in temples, such as Tabo, and caves, ent without the problematic assessments made such as Ajanta Cave 17, were only available to the here. patron's family and a few select monks. My sec‐ From the perspective of Teiser's concerns ond question is, can we assume that temples (not about "canonical vs. local," this study appears to just caves) throughout the Buddhist world are all be successful. However, I would like to ask fur‐ private spaces available only to their patrons, and ther, what exactly are the diferences among not open to public? More evidence is needed here these representations of the sa?s?racakra? Are in order to support his argument.[6] they just variations, as it is vaguely suggested in Images of the sa?s?racakra have not raised this book? For example, in the descriptions of the major interest until recently. Monika Zin and Di‐

3 H-Net Reviews eter Schlinglof have also published a book on the tions (pratyaya), and the Five Efects () to subject, Sa?s?racakra: Das Rad der Wiederge‐ explain the workings of causality in their Abhid‐ burten in der indischen Uberlieferung (2007). harma. With respect to the function of the chain Thanks to these studies, representations of the of causality, phenomenal events were analyzed in wheel throughout Asia are now becoming better terms of interactions among infnitesimal dhar‐ understood. This book is innovative in the way mas (David Bastow, "The Mah?vibh??? Arguments that it studies Buddhist images as part of social for Sarvâstiv?da," Philosophy East & West 44 [July and ritual practice as well as in how it approaches 1994]: 489-500.) The whole theory of causality was religious practice at the local level. Teiser's study so crucial and unique to the Sarvâstiv?da that this is informed by the best of contemporary method‐ school was also called the "Hetuvadin," or the ology, which is eloquently expressed through his causalists. (, Samayabhedopara‐ lucid writing. Therefore, it will not only appeal to canacakra T 2033.49.22c.) In short, the design of scholars, but to anyone interested in Buddhist cul‐ the sa?s?racakra diagram was consistent with the ture. Any serious student in Buddhism-related fundamental doctrine, near-scientifc attitude, felds cannot aford to neglect this study. Because and the strong interest in causation of this partic‐ of the wide coverage, this book can also serve as a ular school. reading for a broad range of courses in Asian [2]. From what is known about the cave, Teis‐ studies, from college lectures to graduate semi‐ er's identifcation has to be considered specula‐ nars. tion. I have doubts about his argument on the Notes identity of the main monk-like fgure and the [1]. Teiser dedicates one paragraph to the sub‐ function of the cave. ject of sectarian afliation, in which he recognizes [3]. I am not convinced by Teiser's identifca‐ that the Sarvâstiv?din/ M?lasarvâ tiv?din "theory tion of the Kizil painting. Without solid proof or about personal continuity from one rebirth to the exclusive identifable attributes, perhaps, the sub‐ next" was "perfectly consistent with the school's ject of this painting is better left to remain uncer‐ interest in the wheel of life and death" (p. 75). tain. If Teiser had left this out, it would not have Since all Buddhist schools believe in rebirth and undermined his major arguments. causality, one wonders how the Sarvâstiv?dins [4]. In his discussion of the cosmological Bud‐ might have difered on these questions. Further dha, Teiser basically follows Angela Howard's issues of exploration also arise from this topic. For identifcation (Angela Falco Howard, The Imagery example, Sarv âtiv?dins maintain that the basic of the Cosmological Buddha [Leiden: E. J. Brill, entities, , always exist through the past, 1986]). However, cosmological Buddha is not a present, and future whereas the Sthaviras and traditional Buddhist term, but is instead Howard's Sautr?ntikas are inclined more towards the doc‐ creation. Since Howard's study, three images with trine of transience. (Shwe Zan Aung and C.A. F. this same iconography but inscribed as Rhys Davids, Points of Controversy, Being a Trans‐ Buddha have been published. lation of the Kathavatthu [London: Text Soci‐ [5]. The temple was built in the Jin Dynasty ety, 1915], 87-88). This position determines the (1115-1234) and was remodeled many times. The Sarvâ tiv?dins' emphasis on the karmic relation‐ precise date of the mural is unknown. As with ship between cause and efect, which explains the those of many other small temples from the later connection between the past and future. The periods in China, the paintings in this temple have Sarvâstiv?dins further developed a very complex not been published. system of the Six Causes (hetu), the Four Condi‐

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[6]. Zhang Yanyuan (815-76) in his Lidai minghua ji discusses the appreciation for the paintings in temples located in the two Tang capi‐ tals among the public. Many of these temples were patronized by royal members, yet there is no evidence in his book that shows that access to those temples was reserved only for the patron's family. In addition, temples in Thailand can pro‐ vide living examples. While the temple inside the palace is probably a private space of the king, oth‐ er temples patronized by kings in the past are open to all even today.

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Citation: Tianshu Zhu. Review of Teiser, Stephen F. Reinventing the Wheel: Paintings of Rebirth in Medieval Buddhist Temples. H-Buddhism, H-Net Reviews. March, 2008.

URL: https://www.h-net.org/reviews/showrev.php?id=14307

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