Toyok (Tuyugou) Cave 20: A Pure Land Cave Temple in the Desert with the Earliest Illustrations of the Visualization Sūtra
In this paper, I examine the iconography, religious function and text–image relationship of one of the earliest illustrations of the apocryphal Visualization Sūtra, namely, the mural painting on the left (south) wall of Cave 20 at the Toyok Grottoes in Turfan created in the late sixth century. I stu...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
MDPI
2024
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| In: |
Religions
Year: 2024, Volume: 15, Issue: 5 |
| Further subjects: | B
Visualization Sūtra
B contemplation of the impure B Pure Land visualizations B Toyok (Toyuq) |
| Online Access: |
Volltext (kostenfrei) Volltext (kostenfrei) |
| Summary: | In this paper, I examine the iconography, religious function and text–image relationship of one of the earliest illustrations of the apocryphal Visualization Sūtra, namely, the mural painting on the left (south) wall of Cave 20 at the Toyok Grottoes in Turfan created in the late sixth century. I study this mural with a structuralist approach to situate it within the overall pictorial program of the cave temple. I argue that this wall painting was designed as a visual and verbal cue to assist the meditating monks in situ to separately visualize the different individual visions constituting the “Thirteen Visualizations” taught in the sutra, excluding the five visions directly related to the Amitāyus Triad, namely, the eighth, ninth, tenth, eleventh and thirteenth visualizations. These five visualizations were likely facilitated by icons of the Amitāyus Triad placed in the center of the cave. The meditators started from the contemplations of the impure represented on the right (north) wall as preparational practices to eliminate their sins, improve their karma and thereby enhance their spiritual purity to a level appropriate for performing the Pure Land visualizations. They then turned to the left wall to perform the Pure Land visualizations represented there that end with the twelfth visualization: imagining oneself being reborn in Sukhāvatī. Continuing from the twelfth visualization, the meditators, in a state of meditational concentration, turned their faces to the rear wall to enter the Western Pure Land via the various lotus ponds represented on the rear wall. |
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| ISSN: | 2077-1444 |
| Contains: | Enthalten in: Religions
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| Persistent identifiers: | DOI: 10.3390/rel15050576 |