Comparison
While there are many examples of Wei statuary, there are fewer examples from the Northern Zhou, which replaced the Wei with more solid, massive, and sculptural forms. The influences mentioned earlier that came from India (and perhaps SE Asia) begin to be apparent in this period and the subsequent Sui, when stiffly posed figures are replaced by more liquid tribhanga stances.
Interestingly, one of the most common types of caves found at both Dunhuang and Yungang—that of a cave with a central shaft—is not found at Maijishan.
We have almost no records of Maijishan during the Tang, a period during which it was probably in part under the control of the Tibetans as a result of the An Lu-Shan rebellion (who saw an opportunity to swoop in and capture Chang'an and its regions). Because both Dunhuang and Maijishan were under Tibetan occupation in 845 CE, the year of the great Buddhist persecutions, both were fortunately saved.
Today, we can find some Tang sculptural influence in the powerful modeling of some of the guardian deities, for example, the very large dvarapala on the narrow open terrace from which lead the Seven Buddha Halls.
Read more about this topic: Maijishan Grottoes
Famous quotes containing the word comparison:
“When we reflect on our past sentiments and affections, our thought is a faithful mirror, and copies its objects truly; but the colours which it employs are faint and dull, in comparison of those in which our original perceptions were clothed.”
—David Hume (1711–1776)
“Intolerance respecting other people’s religion is toleration itself in comparison with intolerance respecting other people’s art.”
—Wallace Stevens (1879–1955)
“It is very important not to become hard. The artist must always have one skin too few in comparison to other people, so you feel the slightest wind.”
—Shusha Guppy (b. 1938)