Art Salon -- Buddha painting in Mogao Caves, Cave 17
The image emanates an otherworldly peace and grandiose to the viewer. Each figure bears a halo behind its head except a female figure in the bottom left corner, which looks like a miniature compared to all the grand figures in the painting. This work has a wide range of colors, red, blue, green, black, yellow, all used to vivify the scene. The author also adds a highly decorative touch to the painting where the central figure is seated, this can be observed on the lotus pedals under the figure and the canopy above him.
The elevated and enlarged buddha immediately dominates our attention as we view the painting. He is seated still, with his hands in a certain posture. The bodhi tree has such elaborate shape that its acorn-shaped fruits are also detailly depicted. The dandling ornaments with white beadles add touches of elegance. Even on the two poles that support the cartouche, one could see pearl and gems. The lotus beneath the buddha is so intricate in comparision to that of the bodhisattva’s, with swirling patterns all over the pedals. While the back figures, like in most Chinese paintings, are hardly distinguishable. They are represented by their typical look and attire.
The image celebrates both elements of realism and non-realism. The painter made efforts to depict the muscle on buddha’s hand, the curvature of bodhisattvas’ breast and belly. The painter also incorporates the colored shading to create depth and texture, which could be observed in various body features and physiognomy details such as the nose and eye socket. Yet, on the other hand, the flying apsaras on the top give off a mythical feeling. Besides, the image does not seem to follow the perspective rule since the frontal figure seems smaller while the ones in the back are larger. It draws the viewers away from realism to illusion. Why does the painter choose to use realistic techniques to address non-realistic objects here?
Furthermore, it seems to invite the viewers to join the painted seated figures and directly communicates with the viewer. The central figure is facing frontally to the viewer, his eyes open, looking directly into yours. Most of the figures face the audience: the monks in the back, the two seated bodhisattvas behind the buddha. Even the other two bodhisattvas in the front are slightly turning outwards and do not block viewers’ entrance into the painting. What is the viewership for this particular piece? What engagement does the viewer back in the days have with the buddha painting?