The Passage of Shakyamuni Buddha into Nirvana
Featuring works by Asian artists in response to spiritual concepts, the exhibition “Divine Beings: China at the Center of Cross-Currents in Asian Art” spotlights exceptional works along with more than 30 selected works from the Norton’s collection.
Divine Beings: China at the Center of Cross-Currents in Asian Art is on view through January 31, 2021.
By Laurie Barnes, Elizabeth B. McGraw Curator of Chinese Art, Norton Museum of Art
Muromachi Period, 1336–1573
Hanging scroll, ink and color on silk, 62 5/16 x 42 7/16 in.
On loan from the Collection of Dora Wong
Image courtesy of Sotheby’s
The Passage of Shakyamuni Buddha into Nirvana
This rare and important hanging scroll by the Japanese artist TOSA YUKIHIRO* depicts the passing of the historical Buddha Shakyamuni into nirvana. In Buddhist thought, nirvana is a release from the cycle of death and rebirth. Parinirvana is the ultimate nirvana, which occurs with the death of the physical body of someone who has attained enlightenment.
The Buddha passes into nirvana while lying on a platform in meditation beneath sacred trees near the banks of the Batsudaiga River, represented behind a host of disciples. In the surrounding crowd are Bodhisattvas, Buddhist monks, Hindu deities, men and women of every class, a multitude of animals, and even some mythical beasts.
Scanning the crowd, one cannot help but notice the anguish on the faces of many. Some are so overcome with grief that they roll around on the ground crying uncontrollably. These tormented expressions are meant to reflect their attachment to Buddha’s physical body, revealing their imperfect wisdom. In front of the Buddha’s platform, Ananda, a pale, young disciple wearing a red and green patchworked robe has fainted from grief. Calling out for Ananda to wake up, the wiser, older disciple Kasyapa wears a gold-trimmed khaki-colored robe and holds a begging bowl. The Bodhisattva Ksitigarha, who kneels in a white-flowered robe facing Historical Buddha, along with some others dispersed throughout the crowd wear expressions of sadness and composure, honoring the Buddha’s wish that his death should not be mourned since he was passing into a state of perfect bliss.
In the back row behind the Buddha, an enlightened bodhisattva wearing a bejeweled crown bows her head with eyes closed and wears an expression of absolute serenity. Bodhisattvas understand that all beings eventually die and that the goal is a release from samsara, the bitter realm of existence. At the upper right descending on a cloud above the trees, Anarit-su-sonja, one of the Buddha’s most important disciples, escorts Maya, Shakyamuni Buddha’s mother, and two attendants. A full moon floats at the top of the scroll. Buddhist scriptures relate that Shakyamuni Buddha entered nirvana under a full moon making the beginning of the second Indian lunar month of Vesakha, which occurred in 2020 on April 21.
The artist who painted this scroll, TOSA YUKIHIRO, was active from about 1406 -1451. He was a leading artist in the Tosa School, an official painter to the imperial court, and patronized by members of the military elite. He sought to keep the classic Japanese Yamato-e style of painting seen in this work alive at a time when Zen Buddhist monochrome ink painting styles were popular.
The Yamato-e style flourished during Japan’s Kamakura period (794–1185). During this earlier period, Japanese artists’ depictions of the Parinirvana narrative were influenced by Chinese paintings. Japanese artists adopted stylistic elements such as the realistic rendering of animals, human beings, and ogres in Yukihiro’s painting. Another Chinese convention evident in this work is the rich application of gold and vibrant tones of navy blue, blue-green, and vermilion red. Yamato-e painting evolved to feature large bands of clouds and water that divide space and the “birds’-eye” view. Yukihiro’s mastery is evident in the precision and expressiveness of details, as well as his control of the brush. He sought to keep the classic Japanese Yamato-e style of painting seen in this work alive at a time when Zen (Chinese Chan, Korea Seon) Buddhist monochrome ink paintings, such as the Tiger and Dragon hanging scrolls included in Divine Beings, were popular.
Formerly a possession of the Hōju-in temple, now Important Cultural Property, Nara National Museum
Paintings depicting the Buddha entering nirvana have long served as the main image at Buddhist temples on the anniversary of the Buddha’s passing from this world into nirvana. Scholars trace the origin of Parinirvana images to sculptures dated to 100s to 300s from Gandara (now part of India and Pakistan). The scene recurs in the Ajanta Caves, another famous Buddhist site, carved from basalt stone in 462. Shared over the Silk Road, the imagery reached China where it can be seen in cave temples at Kizil created as early as the 400s. This imagery had already reached Japan in the 700s where a Parinirvana scene dated 711 exists in the Horyu-ji temple in Nara.
Parinirvana paintings are centerpieces of Vesak and Parinirvana Days. Celebrated according to various lunar calendars the former is usually celebrated in April or May, and the latter in February. Buddhists listen to a recitation of the Nirvana Sutra. The faithful at these ceremonies reflect on their indebtedness and are believed to conceive Buddhas within themselves, ensuring that they, in turn, will enter nirvana.
We are grateful to Dora Wong for sharing this exquisite painting with the Norton Museum’s audiences.
A few Buddhist works in the Norton Collection
- Bodhisattva Maitreya, circa 483–503
Northern Wei Dynasty
Dark gray limestone, from a cave at Longmen, Luoyang, Henan Province, 22 5/8 x 14 1/2 x 3 1/2 in. (57.5 x 36.8 x 8.9 cm)
Purchase, R. H. Norton Trust, 62.5 - Colossal Buddha Head, circa 673–705
Tang Dynasty
Gray limestone, from a cave at Longmen, Luoyang, Henan Province, approximately 30 x 16 x 16 in. (76.2 x 40.6 x 40.6 cm)
Purchase, R. H. Norton Trust, 61.14 - Seated Bodhisattva Guanyin, probably 1800s
Qing Dynasty
Porcelain with transparent, ivory-tone glaze, made at the Dehua kilns, Fujian Province, 14 1/4 x 8 1/4 x 7 1/2 in. (36.2 x 21 x 19.1 cm)
Estate of Leonard and Sophie Davis, 2002.180
4. Attributed to Xing Xian-zhi 邢獻之, active early to mid–1600s
The Dragon-Taming Luohan, circa 1600–1620
Ming Dynasty, Wanli Reign
Carved rhinoceros’ horn, overall: 3 1/2 x 5 1/2in (8.9 x 14 cm)
Gift of Ann R. Richards in memory of R. Norton Richards, 2014.3
5. Budai, late 1700s to early 1800s
Qing Dynasty
Porcelain, overglaze enamel decoration, height 6 in. (15.2 cm)
Gift of Leo and Doris Hodroff, 2002.10
Other Links:
A portion of the Nirvana Sutra- English translation: https://www.youtube.com/watch?v=weVCDcjk624
From the Nirvana (Mahaparinirvana-sutra) Sutra, Volume I, (Taisho Volume 12, Number 374) translated from the Chinese by Mark L. Blum. Published by Bukkyo Dendo Kyokai America, Inc., 2013, as part of the BDK English Tripitaka Series
The Parinirvana Sutra, a teaching providing a synopsis of the text: https://vimeo.com/291704901
