We do not know precisely who carved this stele because it lacks an inscription. However, we can compare it to inscribed and dated examples through stylistic and iconographic comparison. Based on the elongated figures and the attention to linear patterning in the robes, we may assert a firm late Northern Wei date. These details, along with the flames of the aureole, indicate an early 6th-century date. When it comes to Buddhist art, there is a long history of anonymous artisans. Typically, more than one individual would work on the piece at a time, and they did so without the expectation of credit, but because they believed in the message, it would spread their beliefs. 

Patrons covered the cost of the work they wanted created. Patrons’ names would be inscribed on the works of art created. Inscribed works from this period often reference filial piety, seeking a good rebirth for ancestors of family members, which suggests a change in Buddhism after its assimilation into Chinese culture. Buddhism started in India as a religion renouncing all familial and societal ties, but inscriptions on these Chinese works suggest otherwise, considering they would be prayers of well-being for those recently departed, uttered even by monks and nuns. 

By the mid-5th century, the Northern Wei dynasty controlled an empire encompassing much of northern China. Founded by the Tuoba people, the Northern Wei rulers were considered foreign. Along with the Chinese government structure and culture, they adopted Buddhism as their state religion.  They supported the spread of Buddhism and patronized Buddhist art. Of significant importance are the caves temples of Yungang in Shanxi province. The Worcester Art Museum’s stele was likely made in adjacent Shaanxi province. 

Andrew Amo-Mensah, Class of 2027, College of the Holy Cross