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\title{ \hfill\break \hfill\break  Buddhism in East Asia - MFA Trip}
\author{Introduction to Asian Religions - WC108RE\\ Martha H. Greenberg}
\date{May 3, 1995}
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\def\bod{boddhisattva}
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\indent 

This paper discusses two objects from the Museum of Fine Arts in Boston.
The items were chosen to represent two different religious and
philosophical movements in East Asia.  The sculpture of Guanyin from
China, as a portrayal of the most popular \bod, is uniquely suited to
represent Mahayana Buddhism. The chest from Burma, meant for holding
sacred Pali scriptures, represents Theravada (Hinayana) Buddhism.


\section{Guanyin}

\begin{singlespace}
Guanyin (\Bod\ of Compassion; Sanskrit: Avalokitesvara) \\
\noindent
China, Jin Dynasty, 12th century CE \\
\noindent
Lacquered wood with painting and gilding \\
\noindent
Harvey Edward Wetzel Fund 20.590 \\
\end{singlespace}

\subsection{Description}

The museum's descriptive plaque on this piece of sculpture reads:
\begin{quotation}
This Guanyin is seated in the ``Royal Ease'' pose, with his right hand
propped up on his knee, grasping a sash with his hand in a relaxed {\em
mudra}-like gesture.  He is clothed in flowing robes and adornments,
with a seated Buddha in his crown.  His head is slightly tilted, with
downcast eyes, and a slight smile.  Though by no means female, this
Guanyin seems to convey an impression of femininity.  Originally,
Avalokitesvara was depicted by Indian Buddhists as a princely young man,
plainly distinguished from his female manifestation.  Eventually, it is
the female representation that becomes most popular in China.  The
confluence of Buddhism with the already sophisticated technical skills of
Chinese artists brought about modifications of the Indian image,
producing sensitive, more naturalistic representations of
Avalokitesvara, like the present Guanyin.
\end{quotation}

The sculpture is about three feet tall, and one and one half feet wide.
It is covered in gilding, green and red paint.  The figure has a reddish
jewel in its forehead, large, hanging ears and lobes, and long hair
(past its shoulder).  It is Oriental-looking, rather than
Indian-looking.  It is wearing a headdress with a seated Buddha and
various knobs, curlicues and protrusions, including two horns sticking
out of the sides of his head.  It has a greenish shawl (the colors are
very faded) draped over its shoulders and around its left hand, a red
cloth in its right hand and around its right wrist, which is possibly
attached to its pants, and a red, thin sash diagonally across its chest
(left shoulder to right side of waist).  It is also wearing necklaces
with jewels and tassels around its neck, red, very loose flowing, almost
skirt-like pants and a white and green over-skirt with ties and tassels.
The pants have beads going down its legs to its knees, where they become
flowers with a tassel hanging down.  The figure has bare feet and a
slightly fat belly.


\subsection{Interpretation}
\indent
% see pg 219 in the text, also 213.
% pg 244-245 discuss Tara

Guanyin is a \bod\ who is often depicted by the Chinese, who mostly
practice Mahayana Buddhism.  He is also known as Kuan-yin or Kannon in
Japan and Avalokita in India.  \Bod s (Pali - {\em Bodhisatta}) are
those who are destined to be enlightened.  Theravada Buddhism only
recognizes two \bod s, Gautama before he was enlightened, and the future
Buddha, Maitreya.  However, they became very important in the Mahayana
doctrine, where there are an infinite number of them.  According to
Mahayana Buddhism, \Bod s are beings that have enough merit to reach
Nirvana, but they have taken a vow not to enter it in order to help
other people.  They hear prayers and can transfer some of their merit
(of which they have a lot, due to the way they have lived their previous
lives) to people who call on them.

Guanyin is the most popular of the \bod s.  His name in Sanskrit means
``the Lord Who Looks Down on This Age from Above'', and he is supposed
to watch the people alive now and save them with compassion.  He is
usually, as in this sculpture, dressed as a prince, with a high
headdress and with his right hand extended in a gracious
gesture.\footnote{David S. Noss and John B. Noss, {\em A History of the
World's Religions} (New York: Macmillan, 1994) 219.}  The ``Royal Ease''
position shows both his outstretched hand, which denotes his gifts to
men, and his princely status.  

%Guanyin is shown as being plump, well-clothed, and bejeweled.  This indicates
%that he is of this world.  
%position of figure
%features, jewel
%importance of this \Bod , lots of figures - compare to them

In China, Guanyin is typically depicted as being female.  This sculpture
is shown as being male, but with feminine traits.  \Bod s are viewed as
being beyond sexuality, and are often depicted as either one.


\section{Burmese Chest}

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Chest (sadiak) \\
\noindent
Burma, late 18th - early 19th century \\
\noindent
Wood; gilt relief decoration \\
\noindent
Gift of Michael Hallward in Memory of his Father, Reginald Hallward 48.500 \\
\end{singlespace}


\subsection{Description}

The description plaque on this piece of sculpture reads:
\begin{quotation}
Decorated with Burmese-style {\em st\={u}pas}, seated Buddhas, celestial
figures, and palm trees, this chest was intended as a container for
sacred Buddhist texts ({\em s\={u}tras}).  According to labels on the
back, it was acquired by the Hallward family in 1885 and was exhibited
in the ``British Empire'' exhibition of 1924.
\end{quotation}

The chest is approximately two and one half feet tall, two feet deep,
and two and one half feet wide.  It is covered in very detailed and
intricate carvings.  The chest is a box with a top-opening lid, on a
platform that descends in three steps and is supported on four claw
feet.  There is a large carving on the front panel, and two matching
smaller ones on the side panels.  The back and top are not carved.

The carving on the front panel depicts a temple, with one large stupa,
and three smaller ones to each side.  The background is full of vines
and flowers, and there are palm trees, and poles, two of which have
roosters on them.  Near the bottom of the temple are several
strange-looking animals, and above it several clapping deities are
floating.  Also above the temple are two boxes with bells in them and
elaborate roofs, and two boxes with Buddhas seated in them.  Twenty-two
Buddhas surround this panel.  The Buddhas are seated in the lotus
position on throne-like seats.  

The carvings on the sides show another temple, this one with only one,
large stupa.  The background is covered in flowers, and there are two
palm trees with dates on them.  The panel is surrounded by figures with
demonic-looking heads on curved arms.  The sides of the supporting
platform are carved in a vine motif.


\subsection{Interpretation}
\indent
% pg 250-251
% 207-211

%politically activist

Burma, now know as the Union of Myanmar, is mostly Theravada Buddhist.
This chest was acquired under the British occupation of Burma.  
In Theravada Buddhism, Buddha is revered, but cannot help anyone else
reach Nirvana, nor can any other person or being.  Only the individual
can help himself, by meditation, studying the ancient Pali texts and
becoming a monk.  

The importance of, and emphasis on, texts is shown by the fact that
such an elaborate chest was built to house the scriptures.  Such an
object would likely be built by a layman or community as an act of
devotion, and possibly presented to a monastery during the feast days at
the end of Vassa.  The temples pictured on the chest are of the
typical Burmese design, with many stupas.   One of the highest acts of
devotion for a layman is to build a stupa, and the ones here may be a
way of symbolically building some, or may indicate a desire to be able
to build one in the future.

The twenty-four Buddhas most likely signify the twenty-four Buddhas that
the Pali texts say existed.  The twenty-two around the panel would then
represent the twenty-two that preceded Gautama, and the two in the
center representing Gautama Buddha and Maitreya, the next Buddha.
The demons on the ground, and the floating deities above the temple
probably serve to protect the image.  The dates on the palm trees
signify hopes for prosperity or fruitfulness.  


These two objects represent the focus of the common people in the two
different branches of Buddhism.  In Mahayana Buddhism, the people pray
to \bod s to help them reach Nirvana, and Guanyin is the most important
of them.  In Theravada Buddhism, Nirvana is reached by meditation and
study of the holy text, such as the ones this chest is supposed to hold.
Building such a chest would be an important act of devotion of a layman
in Theravada Buddhism.  These objects show the divergence between the
Buddhist movements in East Asia.


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