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• 1 2024-11-19T15:54:48-08:00 When and why was this stele made? 8 plain 2024-11-21T09:42:17-08:00

  
  This stele was likely created around the 6th century CE in the Shaanxi province in China. Buddhism was extremely popular in Northern China leading up to the 6th century. However, it was also caught up in political turmoil following the collapse of the Han Dynasty in 220 CE. The eventual location of the creation of the stele was the capital of several short-lived regional dynasties until eventually being taken over by the Northern Wei Dynasty. In the late 5th century CE, Northern Wei Emperor Xiaowen enacted reforms that sought to reshape the area's culture. A consequence of these reforms is a visible change in the style of Buddhist art from foreign influence to a traditional Chinese aesthetic. The Northern Wei Dynasty controlled parts of the Shaanxi province, and this Buddhist stele was created in this context. 
  
  
  Many of the steles created during this time were sponsored by families or individual donors, including members of the imperial family. These steles were commissioned to enrich a temple environment, suggesting they were meant to aid in worship practices. Buddhism grew popular in China during the Northern Wei not only because it was the state religion of the Tuoba Wei rulers but also because it emphasized ensuring the quality of an individual’s next life. This idea appealed to people of all social classes; as such, steles like this were often commissioned to secure comfort for an individual and his family in their future lives. 
  
  
  Cave temples and carvings like this stele have been found at essential locations along ancient roadways. These sites were undoubtedly important for Buddhist missionaries and could have been places to stop. The stele presents the Buddha frontally enthroned and flanked by two bodhisattvas, suggesting it was necessary for the worship practices of Buddhist devotees. The second side of the stele, in addition to a standing Buddha triad, displays narrative scenes from the life of Prince Siddhartha, the historical Buddha. This piece may have been used by monks to spread the teachings of the Buddha. 
  
  Jacob Ryan, Class of 2025, College of the Holy Cross

• 1 2024-11-19T16:03:50-08:00 How was this stele made? 3 plain 2024-11-21T09:42:30-08:00

  Stone carving in China dates as far back as the first century C.E. Some scholars assert that stele carving in China was introduced with Buddhism. Even before its adaptation into Buddhist tradition, the use of stele was incorporated into significant monuments in China. Focusing on funerary and commemorative intent, stone tablets were created for honorariums and events. Placed in public spaces, the stone slabs were emblematic of community identity. Many feature inscriptions that preserve literary and philosophical works – a technique contrasting with Buddhist tradition, which involves more visual carvings. 
  

  Carved from sandy gray limestone, the stele measures thirty-nine by about fifty-six inches in width and height. The stele is free-standing and decorated on both sides, indicating that it may have been initially positioned for devotees to circumambulate clockwise. Limestone sculptures were used in worship and teaching, with many being found in shrines or temples.  Its front features a seated, frontal Buddha flanked by two princely-attired bodhisattvas carved in high relief. The etchings on the Buddha’s face reveal methodical care. The triad projects outward from the stone, sculpted with three-dimensional detail. Sakyamuni is depicted as reaching his right hand downward. This gesture, classified as the Buddha “calling the earth to witness,” is interpreted as a signal for his point of enlightenment. Placed at the medial axis of the stone slab, the primary figure of the Buddha Sakyamuni, his garments were carved with lines of calligraphic rhythm. Through its “zig-zag” patterning, the technique generates a billowing effect to the ends of the figure. 
  

  Sakyamuni’s eyes are composed of pink clay coated with fragments of dark varnished pottery designed as his irises. At one point, the stele may have stood on a pedestal containing an inscription. Overall, the piece serves as a visual reflection of the artistic trends of the Northern Wei dynasty, as seen in the elongated forms and linear aesthetic. Originally brightly painted, it is now seen with faded traces of color. Muted reds and oranges still visible in the cascading flames of the main images must have been striking before the ravages of time. Aside from what remains of a general pink tone, it is difficult to imagine the bright colors of its original state. 

  In contrast to the structured, high relief of the front images, a lively collage of narrative scenes surrounds a standing Buddha triad on the back. These scenes, carved in low relief, portray the Buddha Shakyamuni's life and his past lives (jataka tales). 
  
  Avery Nientimp, Class of 2027, College of the Holy Cross