Buddhism was initially viewed with distrust by much of China; as a foreign belief pursuing theoretical principles which differ from the ancient traditions (Confucianism and Daoism). Buddhism in China (Mahayana) gained influence gradually and the devotion to the religion by the imperial patronage further exemplify Buddhist imagery. However, the development of numerous iconographic monuments by the imperial patronage differs in terms of style and aesthetics value hence suggests the distinctive practice each time period had with Chinese Buddhism. This paper aims to make a comparison between the Shakyamuni Buddha of the Northern Wei Dynasty; Cave 140, Middle Bin Yang (Figure 1) and the Buddha Vairocana of the Tang Dynasty; Feng Xian Temple (Figure …show more content…
This forms a hierarchy in the religious art. The classics of Buddhism teaching through Mudras representation remain unchanged as well. For a seated Buddha there are 5 commonly used hand gestures; Dharmacakra, Dhyana, Bhumisparsa, Varada and Abhaya mudra. The Shakyamuni Buddha of cave 140 sits in a meditative gesture with his left hand resting upon his left thigh expressing the Varada (giving) mudra and his right hand raised in Abhaya (Protection) mudra. Despite the erosion of the ‘hands’ - Buddha Vairocana conveys the holiness of his character in the scene. According to Denise Patry Leidy “The usage of such combination are often seen in Chinese Buddhism art, to show manifestation in the temporal world.” Although the tradition of the Buddha image remain unchanged between the two periods, they differ in terms of craftsmanship. The Shakyamuni Buddha, cave 140, of the Northern Qi dynasty were depicted with thin torso, narrow shoulders which bear similarities to a Chinese