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Tantric Buddha Vairochana as Vajrasattva

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Tantric Buddha Vairochana as Vajrasattva

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Analysis:

I selected this artwork due to the very vibrant and apparent depiction of the Buddha in the center of the painting. Recurring symbols are used to identify the Buddha such as elongated earlobes, jewelry, the ushnisha, and the meditative stance, along with the bhumisparsha mudra of reassurance. The details around his head, the gold coloring given to his body, and the visual element of symmetry also depict his importance to the viewer. This relates to our teachings on Buddhism and key elements in art, because learning about the main depictions of the Buddha in various forms of artwork has allowed me to detect them and their meanings.

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Tantric Buddha Vairochana as Vajrasattva, 1150-1200 c., The Cleveland Museum of Art, Cleveland, CA. https://www.clevelandart.org/art/1989.104, accessed February 24, 2025.

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The seated Buddha is identified as Vairochana by his hand gesture symbolizing supreme enlightenment. His golden color and the vajra on his finger suggest he appears as Vajrasattva, representing all enlightened beings. The image of a monk in his crown likely represents the donor's guru, depicted as a small monastic figure at the lower right.

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Analysis:

I thought it would be interesting to analyze a sinicized version of a bodhisattva that we've previously seen in class; Avalokiteshvara, a symbol of compassion. India and southwest Asia often depict this figure as a male, but in China, Guanyin is most commonly portrayed as a woman, which is what this statue reflects. Symbols of an elevated status are also evident, such as the ushnisha and the use of jewelry. She is also adorned heavily with robes, which is another major difference between Southeast Asian and Chinese iconography. Additionally, her facial features also seem to represent the beauty standards of the time through her plump face and upturned eyes. The material of this artwork is porcelain, a celebrated innovation of Chinese art. Dynasties like the Ming and Tong, are renowned for their mastery of ceramic craftsmanship.

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Figure of Guanyin. Chinese, Dehua. 18th–19th century. Porcelain (modeled with a female figure sitting on a tall, reticulated taihu rock). 19 x 9 5/8 x 6 in. (48.3 x 24.45 x 15.24 cm). Eugene Fuller Memorial Collection, 43.42. Seattle Art Museum. Photo: Paul Macapia.

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This porcelain figure represents Guanyin, a bodhisattva who has achieved enlightenment but compassionately remains in the world to guide and aid others. Crafted in the tradition of Dehua porcelain—a celebrated specialty since the seventeenth century—the figure is modeled as a serene female form seated atop a tall, reticulated Taihu rock. Dehua artisans were primarily known for producing refined depictions of Buddhist and Daoist deities in luminous white porcelain.

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Analysis:

I chose this structure due to its elaborate details and the representation of a familiar bodhisattva, Avalokiteshvara. Here, he is depicted with multiple heads and eleven arms to signify a higher level of spirituality and divinity. He is also adorned with a very detailed ushnisha, which adds a sense of wisdom to his character. Again, we see multiple hand gestures previously discussed in class being performed, such as the varada (charity) and abhaya (reassurance) mudras. Another important symbol of the Buddhist religion that we have discussed is the lotus flower, which can be seen at the bottom of the structure, acting as a platform on which Avalokiteshvara stands; perhaps to symbolize purity and spiritual awakening. Our lectures have provided me with the context of this bodhisattva, and its significance to Buddhism.

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The Eleven-Headed Avalokiteshvara, also known as Ekadasamukha Avalokiteshvara, is an 18th-century Tibeto-Chinese gilt bronze sculpture with painted details. Previously titled "The Lord Who Faces in Every Direction (Samantamukha)," this piece represents the bodhisattva of compassion with multiple heads, symbolizing his all-seeing nature.

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Analysis:

This portrait of Mughal Emperor Shah Jahan reflects the Persian and Indian influence of Indian Miniatures. The ornate, stylized, and delicate details surrounding the border, on top of the naturalism of Jahan's facial/body expressions, are key highlights of the artistry of the Mughal Empire. These portraits were often used to depict important events, reflecting Shah Jahan's high status. In class, we discussed the different elements of Indian miniatures and even learned about Shah Jahan and his contribution to art and the Mughal Empire, such as the renowned Taj Mahal. With this information in mind, I was able to recognize some of the key features within this artwork to help me identify not only the person but the period in which it was created.

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This portrait was once thought to depict Emperor Jahangir, but recent research identifies the sitter as his son and successor, Prince Khurram—later known as Shah Jahan, the Mughal emperor who built the Taj Mahal. Shah Jahan was both a protégé and a rival to his father.

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Landscape after Kuncan’s Painting of a Thatched House on Mount Tiantai

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Landscape after Kuncan’s Painting of a Thatched House on Mount Tiantai

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Analysis:

This painting is a tribute to 17th-century painter-monk Kuncan and a good representation of Chinese painting techniques and traditions. The Dong-Ju style is seen through the depictions of trees with exposed trunks, vegetative dots, and hemp-fiber strokes used for texture. Additionally, we see inscriptions in the top left corner, a hallmark of Literati painters, as they were highly skilled in poetry and calligraphy. The color scale and gradient suggest the use of ink washes, adding a sense of ambiguity and otherworldliness that was prominent in Literati paintings when China was under foreign rule by the Mongols (Yuan Dynasty). Lastly, the abundance of nature with the addition of a few man-made buildings reflects Daoist values of living in harmony with nature.

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Landscape after Kuncan’s Painting of a Thatched House on Mount Tiantai. By Chang Shangpu (Chinese American, 1918–2021). ca. 1960–1970. Ink and colors on paper. H. 52 1/2 in. x W. 20 1/4 in. (image); H. 62 3/4 in. x W. 24 1/2 in. (overall). Gift of Constance Chang, 2005.45. Asian Art Museum of San Francisco. Not on view.

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Copying ancient masterpieces was a key method for Chinese artists to learn traditional techniques. Chang Shangpu began this practice as a teenager and continued it throughout her life. Inspired by the landscapes of her hometown, Nanjing, she often turned to its scenery even after moving to the U.S. This work reflects the somber mood of a painting by Kuncan (1612–1674), a Ming loyalist who became a monk after the dynasty’s fall. His expressive style and themes of solitude deeply influenced Chang. She recalled, “By the time I had finished seeking the Dao [Way] around this mountain, my eyes were severely strained.”

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Landscape after Kuncan's Painting of Thatched House on Mount Tiantai

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Analysis:

This bowl resembles the jade ware and pottery we studied in class, with its floral motif and minimalist design. It also shares similarities with the early funerary pieces we examined, which featured understated decoration and were placed in tombs as offerings to the Po—the aspect of the soul believed to remain in the earthly realm. Like those objects, this piece appears to have been directly carved or shaped from stone, much like the jade pieces we saw.

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Fluted Bowl in the Shape of a Flower. Qing dynasty (1644–1911). China, 1644–1911. Nephrite. H. 2 in. x Diam. 9 1/4 in. (H. 5.1 cm x Diam. 23.5 cm). The Avery Brundage Collection, B60J408. Asian Art Museum of San Francisco, Gallery 13.

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This elegant fluted bowl, carved from green nephrite, is shaped like a blooming flower. It dates to the Qing dynasty (1644–1911) and originates from China. With its delicate vertical ridges and petal-like form, the bowl stands 2 inches high and measures over 9 inches in diameter. It belongs to the Avery Brundage Collection and is currently on view in Gallery 13 at the Asian Art Museum.

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Analysis: Prince Shotoku served as a regent during the Asuka period, when Buddhism was introduced in Japan. This particular statue caught my eye because it is a lot more fleshier than the other Asian depictions of figures in their sculptures, even though it is not associated with a direct depiction of a Buddha or Bodhisattva. Another thing I found interesting was that Prince Shotoku is associated with the historical Buddha Shakyamuni, which wasn't as popular in Japan as Zen and Pure Land Buddhism. Additionally, his hands are postioned in a general representation of prayer, and not a specific mudra.

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Prince Shotoku at Age Two. Ca. 1300. Japanese. Wood with polychrome, rock-crystal inlaid eyes, 26 7/8 x 11 1/8 x 11 1/8 in. (68.3 x 28.2 x 28.2 cm). Eugene Fuller Memorial Collection, 36.22.

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Prince Shotoku (572–622) served as regent for his aunt Empress Suiko (554–628) and is often credited with founding Buddhism in Japan. He was considered to be an incarnation of Shakyamuni, the historical Buddha, in Japan, and the story told about his life parallels that of Shakyamuni’s. This statue portrays him at age two, when, according to his legend, he turned east, joined his hands in prayer, and chanted the name of the Buddha.

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Analysis: This artwork captures the cinicized depictions of Buddhism, and how this was carried over into Korea. While defining characteristics such as the ushnisha and elongated earlobes remain, facial physiotomy differs from original depictions of the Buddha/Bodhisattvas. The biggest, and arguably the most important figure, is the Buddha in the middle, who holds the mudra of teaching. Behind him is a green halo to signify his heightened sense of spirituality and divinity. Similar to Chinese and Japanese depictions, this Buddha is heavily clothed, and only his neck and head are revealed. The lotus motifs and depictions of a tiger and elephant are also consistent in their depictions, and can be traced all the way back to Indian Buddhism.

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Shakyamuni Triad. Ca. 20th century. Korean. Pigment on fabric, 69 x 68 in. (175.3 x 172.7 cm). Gift of Robert and Sandra Mattielli, 2012.27. Seattle Art Museum. Photo: Elizabeth Mann.

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This image is a vibrant and colorful Buddhist painting featuring a central figure of the Buddha flanked by bodhisattvas and other divine attendants. The Buddha, seated and haloed, holds a gesture of teaching or reassurance. Surrounding him are four haloed figures with serene expressions, all dressed in elaborate robes. At the bottom, a white elephant and a blue lion—both sacred animals in Buddhist iconography—face each other, symbolizing power, wisdom, and protection. The background is filled with stylized clouds and lotus motifs, enhancing the divine and celestial atmosphere of the scene.

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Analysis: This Japanese artwork reflects a lot of Chinese Literati paintings in that it is arranged in a one-corner composition, and contains colophons describing the scene depicted. The women, however, are depicted differently from Chinese noblewomen as their faces as less plump, and are adorned with different hairstyles. I chose it because I thought it heavily resembled a lot of the other Chinese and Korean artworks we've seen in class.

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Three Courtesans. 1760–1849. Japan. Ink and color on paper, 24.7 x 32.4 cm (9 3/4 x 12 3/4 in). Freer Gallery of Art, Smithsonian Institution.

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National Museum of Asian Art/Smithsonian, Washington DC.

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This artwork is a Japanese woodblock print depicting three elegant women engaged in a refined leisure activity, likely related to poetry or a game. The women are dressed in elaborate kimono with intricate patterns and ornate hair accessories, signifying their high status or involvement in the pleasure quarters. They are seated indoors near a small decorative stand with dolls or miniature figures, possibly referencing the Hinamatsuri (Doll Festival). Japanese calligraphy fills much of the background, suggesting poetry or a dialogue, adding a literary and contemplative atmosphere to the scene.