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UID:86@harvard-yenching.org
DTSTART;TZID=America/New_York:20180330T120000
DTEND;TZID=America/New_York:20180330T133000
DTSTAMP:20201027T004201Z
URL:https://www.harvard-yenching.org/events/shift-buddhist-iconography-bet
 ween-8th-and-12th-century-rock-carvings-and-mandala-murals/
SUMMARY:A Shift in Buddhist Iconography between the 8th and 12th Century: R
 ock Carvings and Mandala Murals in Eastern and Western Tibet
DESCRIPTION:\n	Zhang Changhong (Associate Professor\, The Palace Museum\, B
 eijing\, China\; HYI Coordinate Research Scholar)\n	Chair/Discussant: Leon
 ard van der Kuijp (Professor of Tibetan and Himalayan Studies\, Department
  of South Asian Studies and EALC Department\, Harvard University)\n\n\n	In
  the past decades\, a large number of Buddhist rock carvings dating to the
  Tibetan imperial period (8th-9th C.) were discovered in the eastern Tibet
 an area\, the border area of Qinghai\, Sichuan and the Tibetan Autonomous 
 Region (TAR). It is notable that the image of Vairocana was the dominant m
 otif in this period. He appears by himself\, in combination with Avalokite
 śvara and Vajrapāṇi\, as well as in the composition with eight Bodhisa
 ttvas. After the collapse of the Tibetan empire and institutional Buddhism
  at around the middle of the 9th century\, a descendant of the Tibetan imp
 erial family went into exile and established his regime in the remote west
 ern Tibetan area of TAR. There Buddhism was reintroduced with the support 
 of the Lama-king Ye shes 'od (947-1024/37) and the great translator Rin ch
 en bzang po (958-1055). During their lifetimes\, numerous Buddhist monaste
 ries\, stupas and caves were constructed. Some of them still exist and are
  thus witnesses of the revival of Buddhism from the end of the tenth centu
 ry onward. In the beginning of this period\, the image of Vairocana makes 
 its appearance together with Avalokiteśvara and Vajrapāṇi\, therewith 
 apparently continuing his iconography of the imperial period. However\, th
 is changed soon with the maṇḍala-s that began to dominate the art work
  in the monasteries and caves from the middle of the 11th century onward. 
 The maṇḍala-s in question were those of the Vajradhātu and the Dharma
 dhātuvāgīśvara. In my presentation\, I will discuss the dynamics of th
 e shift in the iconographic presentation of Vairocana from the imperial pe
 riod of the Snga dar to the post-imperial period of the Phyi dar period (t
 he earlier and the later spread of Buddhism in Tibet) and illustrate my re
 marks with abundant archaeological and art historical evidence. And I will
  try to offer a tentative interpretation.
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