These outstanding sculptural panels are Song Dynasty representations of the Lotus Sutra, which was compiled in the first century AD and is one of the most important texts in Buddhism. The pieces concern a series of parables that are being outlined by Buddha, who sits to the right surrounded by his followers. His words are recorded in the columns of text on each side of the pieces, and are represented pictorially in the centre. There are seven parables in the Lotus Sutra, all embodying the essence of Mahayana Buddhism and the attainment of Buddhahood. They concern humble people who rely upon the guidance and wisdom of an older, paternal figure, and in so doing learn the path of righteousness and thus attain equilibrium with the cosmos. These examples date to the Song Dynasty (960-1279 AD), which is often referred to as the Third Great Flowering of Chinese Culture.The Lotus Sutra, also known as the Sutra on the White Lotus of the Sublime Dharma is one of the most influential Mahayana sutra in East Asia, and was compiled in Kashmir in the first century AD. It represents an address made by Buddha in his later life, and which was then stored away for half a millennium in the realm of the dragons until humankind would be able to comprehend it. It was first translated from Sanskrit into Chinese in c.209 AD. It made several landmarks in Buddhism, notably the concept of the Buddha’s eternal nature, its skilful use of parable, and the fact that it is one of the first sutras to employ Mahâyâna ("Great Vehicle") Buddhism. Buddha is seen to be a father, essentially immortal in the sense of continuing influence and power even after his earthly demise. It repudiates emptiness (úûnyatâ) as the ultimate vision, and states Buddhic Wisdom to be a transcendental, bliss-bestowing state. The tenets of full Buddha-hood are the understanding of truths expressed in the Lotus Sutra, and thus a more fundamental understanding of the cosmological order that results in the elevation of lesser beings to full Buddha status. It is highly significant in that it also implies that all religious paths may lead to this enlightened state, thus opposing doctrinal confrontation.Representations of the parables follow certain conventions for the placement and representation of the most important elements – especially the appearance and positioning of the Buddha, the text and the parable story. It is thus not possible to identify the parables in all cases. The seven parables are described below:1) The carts and the burning house: The rich man entices his children from a burning house by offering them carts laden with objects with which to play. When they emerged unscathed, they were greeted with carts laden with objects far beyond their expectations.2) The wealthy man and the poor son: A son deserts his father to wander abroad. Many years later he returns, not recognising the wealthy man his father has become. The latter, realising that his son is unable to act as a reliable heir, disguises himself and builds up his son’s confidence through giving him increasing responsibility and kindness, thus making him worthy and upstanding.3) The medicinal herbs: All growing things – be they trees, grasses or herbs – differ in size, name and form, yet they benefit from the same rain and grow in the same soil, yet when they fruit or blossom all are different.4) The gem and the magic city: A leader led people along a dangerous road to the place of treasures; only he knew the proper route. The people following became weary and wanted to return, upon which me conjured up a magic city and promised them rest there. Once they had rested, it vanished, and he took them onwards to the true place of treasures.5) The gem in the jacket: A beggar visits an old friend who takes pity on him and attached a priceless gem to his jacket while he sleeps. The beggar, unaware, leaves the next day and for years travels the road, homeless and weary. His friend meets him and scolds him for having been so blind to his potential wealth.6) The brilliant gem in the king’s topknot: A great king demanded the obedience of other, warring states, which disobeyed his orders. He went in and suppressed them, but was much taken by the fierce and loyal fighting his foes displayed. He gave them presents and gifts, excepting a jewel he kept hidden within his hair. This he kept, and only gave it up to those who accepted his dominion.7) The excellent physician: The physician’s children ate poison in his absence, and begged him to cure them on his return. He made an elixir to cure them, and the rational ones took it at once and thus were saved. The irrational ones, however, refused to believe its benefit and did not take it. He found it necessary to trick them, and left the medicine with an exhortation to take it. He went away, and sent a messenger to state that he had died. His children, bereft, were so saddened they remembered his parting wish, obeyed it, and thus were cured.All of these illustrate the avuncular/paternal nature of Buddha and the efforts – and even trickery – to which he goes to save his children/mortals. He is also the cloud which waters the earth and all in it, great and small. In all cases, the righteous receive rewards, which are inevitably the enlightenment of Buddha-hood.This Song Dynasty example is a masterful rendering of this important theme. This period saw enormous social change under comparatively enlightened monarchs, who introduced sweeping reforms of social and administrative bodies, instituting examinations and abolishing hereditary and aristocratic rights, and introduced a standing navy. Corruption was essentially halted, paving the way for the world’s first paper money, producing a stable climate for scientific and artistic advances – notably the world’s first astronomical clock tower, the refinement of woodblock printing, the invention of movable type, and advances in cartography, engineering, philosophy and mathematics.This remarkable pair of panels would have once adorned a major building or the tomb of a very prominent personage. They constitute a remarkable survival and a superb reminder of the grandeur of ancient China.- (AM.0346 (LSO))

Antiquities
Ancient Asian