Page 442 - The Golden Age of Chinese Archaeology: Celebrated Discoveries from the People’s Republic of China

in low relief, with the flames reaching upward and
terminating in an apex directly above the Buddha's
head. Measuring eighty-three centimeters high with
usnisa — the cranial protuberance that is one of the
thirty-two signs symbolizing his perfect wisdom and
enlightenment — the Buddha's form is lean and
slender, his features rendered with delicate refine-
ment, his large eyes downcast, and a slight smile
lighting his open countenance. The expression is
kind and benevolent, in harmony with his gestures
(mudras) of "have no fear" (abhaya) and "gift-bestow-
ing" (varada).
A halo, composed of plump lotus petals framed
by multicolored concentric rings, encircles his head,
terminating in an intricate rosette garland carved in
low relief. These radiant emanations from the Bud-
dha are given emphasis with gilding (the traces are
visible on the face, hands, bare feet, and exposed
parts of his body), and they are echoed by the large
oval body halo of petals and concentric rings, all of
which retain some of their original mineral colors.
i5i The Buddha's hair is dressed in tight curls with
Painted stone standing Buddha remains of sapphire blue, the traditional color of
with two bodhisattvas his hair, and his lips have traces of vermilion.
His monk's robe is composed of three layers:
Height 138 (54 Ys), width at base 90 (35 Ys)
an outer shawl, draped to resemble a sleeved gown,
Late Northern Wei Dynasty (386-534 CE)
and an inner upper and lower robe, the latter,
From Qijisi, Qingzhou, Shandong Province
secured with a wide chest sash. The garment is a
Qingzhou Municipal Museum, Shandong Province slight modification of the more exposed Indian-
style that clung to the body and, with a diagonal
This painted limestone sculpture, unearthed on drape, fully revealed the right shoulder. Strongly
10 December 1994 in Qijisi, depicts a standing visible on the lower half of the outer shawl is the
Buddha, flanked by two bodhisattvas against a vibrant color that covered the entire garment: a
flame-shaped nimbus with seven flying apsaras. The design of bright vermilion rectangles on the bias
find-site corresponds to the ancient Qiji Monastery, on which are painted fine lines of mineral color —
situated (according to the Jiajing Qingzhou Prefec- malachite, ultramarine blue and ochre. On the hem
tuml Gazeteer, 1522 -1566) in the northwestern cor- of the inner garment, there is also painted a border
ner of Dongyang city, the administrative center of of fine vermilion stripes. The rectangles refer to the
Qingzhou during the Northern Wei period (386- patches or rags, which according to the Vinaya, the
534 CE). Broken prior to its burial, the sculpture Book of Monastic Discipline, should constitute the
was found in seven pieces. Three Garments of a monk's robe, indicating humil-
The figures are sculpted in high relief with the ity and avoidance of luxury. The more Chinese
head of the Buddha, his body, shoulders, hands appearance of the image may reflect the interest of
and feet as if emerging from the stone. He stands the dowager empress Feng and the Northern Wei
against a magnificent aureole, elaborately carved policy of adopting Han culture, which by the third

441 | B U D D H I S T S C U L P T U R E FROM Q I N C Z H O U