Abstract:
This paper traces Buddhist art or iconic visuals along the Silk Road.I use
the term ‘Uddésaka’ visualsto explore their role in maintaining the Buddhist
citadels and the resultant contributions to the civilisations they fostered
from the Kushana Empire to China, Japan and Korea.For example, peaceful
international relations and economic exchanges between these nation states
helped the growth of these Buddhist bastions contributing to national harmony.
The monastic led foundations were patronized by national hierarchies which
resulted in a repertoire of personnel adorning the visuals in addition to the
Buddha, his disciples and Bodhisattvas. The leadership and patronageof
these personnel in maintaining the civilizations are under researched and
underestimated by debates on Mahayana and Hinayana streams.Nevertheless,
the spread of the Buddhavachana from Jaumbudveepa to the Eastintegrates with
striking similarities across the visuals irrespective of the stream of Buddhist
discourse. The essence of Buddhist consciousness that took root across these
nations in the east isevident in those Uddésaka visuals. The Silla Kingdom
of Korea, the Magao, Thousand Buddhaand Longman Grottoes of China, the
Karla, Kanheri, Bhaja Ajanta and Ellora Caves are great examples. Sri Lanka
was a pivotal partner in the endeavour of transferring Buddhist knowledge
through art form. The Bulguksa temple containing the Seokguram Grotto
in the Silla Kingdom South Korea is exceptional in its resemblance to the
Samadhi Buddha of Anuradhapura Kingdom Sri Lanka. The Karla and other
caves in Maharashtra, India resemble the complexes in Dunhuang China. The
Nelum pethi, Palapethi and the Liyawela designs said to be indigenous to Sri
Lankan art inspired by Buddhism are found in the caves in China. However,
these historical artefacts and visuals provide only a glimpse of the task and
role played by these Buddhist sanctuaries. The descriptive and heritage value
in touristic terms are insufficient to understand the lessons from these bygone
civilizations and their Uddésaka visuals. This paper tries to uncover the lessons
and the messages that lie beyond those visuals for the greater good of humanity
in this day and age of violence across the globe.
