Shandao 18th–early 19th century Japan Sitting upon a lotus pedestal is an eminent monk associated with the practice of Pure Land Buddhism, Shandao (Japanese: Zend?) of Tang-dynasty (618–906) China. He places his palms together as he contemplates the Buddha Amida (Sanskrit: Amit?bha). Followers of Pure Land Buddhism aim to experience birth in the realm Amida, a paradise ideally suited for the pursuit of enlightenment. The sculpture is one of a pair, the other sculpture depicting H?nen, of Kamakura-period (1185–1333) Japan. Shandao’s religious thought inspired that of H?nen, and the two are ofte
Shandao 18th–early 19th century Japan Sitting upon a lotus pedestal is an eminent monk associated with the practice of Pure Land Buddhism, Shandao (Japanese: Zend?) of Tang-dynasty (618–906) China. He places his palms together as he contemplates the Buddha Amida (Sanskrit: Amit?bha). Followers of Pure Land Buddhism aim to experience birth in the realm Amida, a paradise ideally suited for the pursuit of enlightenment. The sculpture is one of a pair, the other sculpture depicting H?nen, of Kamakura-period (1185–1333) Japan. Shandao’s religious thought inspired that of H?nen, and the two are often shown together in paintings. The paintings are based upon a vision of Shandao experienced by H?nen. In the dream, the Chinese monk validates H?nen’s mission to spread throughout Japan the belief in Amida’s salvific powers. The two face one another, Shandao floating above H?nen on a bank of clouds. Sculpted, seated figures of the pair such as this are unusual, although paintings of the two seated facing forward in Chinese-style chairs are this sculpture and its mate are identified on their backs in Shandao. Japan. 18th–early 19th century. Wood, with traces of color and gilt and inset glass eyes. Edo period (1615–1868). Sculpture
Size: 3001px × 4000px
Photo credit: © MET/BOT / Alamy / Afripics
License: Licensed
Model Released: No
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