Abstract
This paper discusses the development of images representing the “Nirvana Transformation” from the Western Wei grotto 127 at Maijishan (middle-sixth century) to the early Tang, or Wu Zetian Zhou period, grotto 332 at Dunhuang (late-seventh century). The Tang period represents the apex of development for the “Nirvana Transformation” image. Although the basis for such depictions drew mainly from descriptions in the Nirvana Sutra (Mahāparinirvāṇa Sūtra), reproductions actually varied considerably over time, even becoming vulgarized, following different translations and related scriptures. In the process of explication, the elements of each image that relate to teachings concerning nirvana were also constantly changing to fit the social and political environment of the times. Form and substance were sometimes preserved, but also underwent important and fundamental changes to match vicissitudes from era to era. The “Nirvana Transformation” image on the south wall of Mogao grotto 332 is rich in content and dramatic in presentation. It is the most important and perhaps the only representative wall painting from the Wu Zetian Zhou period. A distinguishing feature of the image is the addition of Māyā, the Buddha’s mother; her repetitive depiction in the image is quite dominant and suggests a connection with Empress Wu Zetian, who at the time held power.
Keywords
Maijishan, Dunhuang Mogao grottos, Nirvana Transformation, Wu Zetian Zhou period, Māyā
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