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Toward a Methodology for the Study of Buddhist Fine Art: (using an example of Zanabazar’s works)
Abstract
The article provides a comparative analysis of different approaches to the study of Buddhist iconography and objects of religious art: scientific academic and traditional Buddhist. Their main goals and objectives, understanding of the fine art style in art history and the Buddhist tradition are considered. The possibility and necessity of using diverse sources of research, or rather, the complex and multidisciplinary principle of working with cult images of Buddhas, bodhisattvas and deities for the most profound and adequate understanding of them, as well as exhibiting them in a museum or other exhibition space, is argued. The ideal model for the development of such a research methodology, in the author's opinion, is the work of the greatest Buddhist master Gombodorjiin Zanabazar (1635–1723), who combined the qualities of both an artist, a highly educated Buddhist adept, spiritual mentor, and a ruler of the state. The types of written and other verbal sources, as well as the types of objects or visual sources that should be used to reveal the theme of Buddhist artistic creativity are considered. It was also made an attempt to formulate the most urgent tasks and promising directions for researchers of Tibeto-Mongolian Buddhists fine arts.
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This is another article in the series of researches published by the present author, which deal with the iconography and the meaning of Buddhist deities of Vajrayana in particular in Mongolian Buddhism. Buddha Akshobhya is a one of the Tathagata Buddhas, the forefathers of Five Buddha families or Five Dhyani Buddhas. The article deals with the development stages of the Akshobhya cult, some specific features of its practice among Mongolian Buddhists and the visual representations by the famous master Ondor Gegen Zanabazar (1635–1723). The author publishes here images of various sculptures of Akshobhya from the collections of temples, museums, as well as private collections in Mongolia.
Images of Buddha Amitayus are recognizable by the main attribute -a vessel with the elixir of immortality placed in his palms, which rest upon his knees. The images of various versions are very often found in the Tibeto-Mongolian Buddhist regions. This is explained by the wide popularity of his cult. The Amitayus cult is one of the tantric ways to protect the life and health of the believer. Rituals aim to extend the time of life on purpose to continue the active practice of Buddhism. Among the main texts connected to the cult are the “Sukhavati-vyuha Sutra” (1 st century), "Amitayus-dhyana Sutra” (4 th century), and the "Longevity Sutra”. Amitayus is a power manifestation of Tathagata Buddha Amitabha, the head of the lotus family. He lives in the Pure Lands of Sukhavadi, where Amitayus stays among the bodhisattvas in the retinue of Buddha Amitabha. This factor is directly linked to the idea of a long life. The Western Paradise of Sukhavati is a place where all the material and bodily needs are readily available to live beings. The aggression and the acquisitiveness are defeated, and people are exclusively concerned with their spiritual growth. The great Mongolian artist, educator and head of state paid due attention to the cult of Amitayus, which is evidenced by the magnificent sculptures which constitute his artistic heritage. These are large sculptures of Buddha Amitayus from the Museum-Temple of the Choijin Lama in Mongolia and the Museum of the History of Buryatia in Ulan-Ude, Russia. The sculptures differ in size, technique, plastic, as well as some details. At the same time, proportions, filigree processing at all stages of production, unity of aesthetics and style remain unchanged.
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Информация об авторе Сурун-Ханда Дашинимаевна Сыртыпова -доктор исторических наук, ведущий научный сотрудник, Отдел сравнительной культурологии Института востоковедения Российской Академии наук, г
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Информация об авторе
Сурун-Ханда Дашинимаевна Сыртыпова -доктор исторических наук,
ведущий научный сотрудник, Отдел сравнительной культурологии Института
востоковедения Российской Академии наук, г. Москва, Россия; ssyrtypova@
ivran.ru, https://orcid.org/0000-0002-7239-4454.
Leading Research Associate, Institute of Oriental Studies
- D Surun-Khanda
Surun-Khanda D. Syrtypova -Dr. Sci. (Hist.), Leading Research Associate,
Institute of Oriental Studies, Russian Academy of Sciences, Moscow, Russia; ssyrty-pova@ivran.ru, https://orcid.org/0000-0002-7239-4454.