Illustrated Buddhist manuscripts were produced in Nepal by at least the early 11th century, and the round faces and long, thin physiques of the figures illustrating four leaves from a manuscript of the
Gandavyuha indicate that this is a Nepali rather than an Indian work. Unlike the figures in Indian manuscripts, which evoke movement through their stylized or exaggerated poses, the Nepali figures twist and turn within the picture plane. In addition, the Nepali palette favors red and blue while thatused in Indian paintings features red and yellow. The sketchy treatment of the figures in these leaves and the style of calligraphy of the text help to date the manuscript to the late 11th or early 12th century.
The Gandavyuha is part of an influential text known as the Avatamsaka Sutra (Flower-Ornament Sutra). The Gandavyuha narrates the pilgrimage of a young boy named Sudhana as he travels from teacher to teacher in search of enlightenment. Sudhana's journey illustrates hisgrowing mastery of Buddhist wisdom,and it also loosely parallels the life of Shakyamuni. In these four leaves, Sudhana is shown either walking under trees or seated before the various initiates whom he visits. On leaf B, the small red tower located between the small figure of Sudhana and the larger image of the bodhisattva he visits suggests the painting may represent Sudhana's visit to Maitreya, during which the bodhisattva presents the young pilgrim with a vision of his paradisiacal tower. The lack ofany identifying characteristics, on the other hand, makes it impossible to determine which teacher Sudhana is visiting in the scene on leaf C.
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Illustrated Buddhist manuscripts were produced in Nepal by at least the early 11th century, and the round faces and long, thin physiques of the figures illustrating four leaves from a manuscript of the <I>Gandavyuha</I> indicate that this is a Nepali rather than an Indian work. Unlike the figures in Indian manuscripts, which evoke movement through their stylized or exaggerated poses, the Nepali figures twist and turn within the picture plane. In addition, the Nepali palette favors red and blue while thatused in Indian paintings features red and yellow. The sketchy treatment of the figures in these leaves and the style of calligraphy of the text help to date the manuscript to the late 11th or early 12th century.<P>The <I>Gandavyuha</I> is part of an influential text known as the <I>Avatamsaka Sutra</I> (<I>Flower-Ornament Sutra</I>). The <I>Gandavyuha</I> narrates the pilgrimage of a young boy named Sudhana as he travels from teacher to teacher in search of enlightenment. Sudhana's journey illustrates hisgrowing mastery of Buddhist wisdom,and it also loosely parallels the life of Shakyamuni. In these four leaves, Sudhana is shown either walking under trees or seated before the various initiates whom he visits. On leaf B, the small red tower located between the small figure of Sudhana and the larger image of the bodhisattva he visits suggests the painting may represent Sudhana's visit to Maitreya, during which the bodhisattva presents the young pilgrim with a vision of his paradisiacal tower. The lack ofany identifying characteristics, on the other hand, makes it impossible to determine which teacher Sudhana is visiting in the scene on leaf C.</P>
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