“On Golden Tablets”: The Cleveland Museum of Art’s Aṣṭasāhasrikā Prajñāpāramitā Manuscript as a Self-Referential Icon
This article examines the paintings on the five surviving illuminated palm-leaf folios and the interiors of the two wooden covers of the Cleveland Museum of Art’s almost complete Perfection of Wisdom in Eight Thousand Lines, or the Aṣṭasāhasrikā Prajñāpāramitā-sūtra, from the early twelfth century (...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
[2020]
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| In: |
Religions
Year: 2020, Volume: 11, Issue: 3 |
| Further subjects: | B
Materiality
B palm leaf B pothi B Icon B Prajñāpāramitā B Nepal B Manuscripts |
| Online Access: |
Presumably Free Access Volltext (Verlag) Volltext (doi) |
MARC
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| 520 | |a This article examines the paintings on the five surviving illuminated palm-leaf folios and the interiors of the two wooden covers of the Cleveland Museum of Art’s almost complete Perfection of Wisdom in Eight Thousand Lines, or the Aṣṭasāhasrikā Prajñāpāramitā-sūtra, from the early twelfth century (CMA, Acc. No. 1938.301). Earlier scholarship on the CMA manuscript has overlooked the importance of the first folio, which depicts centrally a female personification of the Prajñāpāramitā text itself. Focusing on the details of the image and comparing it to the other instances of the figure in the manuscript, I argue that the golden image of Prajñāpāramitā on folio 1v serves as the core self-referential icon of the manuscript, alluding to not only the content of the text itself, but also to the very manuscript the image resides in. This essay shows the ways in which South Asian palm-leaf manuscripts can be understood from the purview of materiality, already well established in the scholarship of western European medieval parchment manuscripts. | ||
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