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Volume two of Marylin Rhie’s widely acclaimed and formative multi-volume work presents a comprehensive, scholarly and detailed study of the Buddhist art of China and Central Asia from 316-439 A.D. during the formative early periods of Buddhism in the Eastern Chin and Sixteen Kingdoms Period. Using texts translated from the Chinese together with stylistic and technical analyses, the chronology and sources of the art are more clearly defined than in previous studies for the regions of South and North China (other than Kansu) and the important sites of Tumshuk, Kucha and Karashahr on the Northern Silk Route in eastern Central Asia. Furthermore, by incorporating extensive religious and historical materials, this work not only contributes to clarifying the regional characteristics of the art, but also offers new insights into the broader, interregional relationships of this politically fragmented period.

S17/0500 --- S17/0510 --- S17/0520 --- #SML: Chinese memorial library --- China: Art and archaeology--Buddhist art: general --- China: Art and archaeology--Buddhist art: paintings --- China: Art and archaeology--Buddhist art: sculpture --- Buddhist art --- Art bouddhique --- S17/0214 --- S32/1100 --- 7.032.1 --- Art, Buddhist --- -Art, Buddhist --- -Art, Central Asian --- Chinese art --- Central Asian art --- Art, Lamaist --- Buddhism and art --- China: Art and archaeology--Archaeology China: Pre-Han and Han --- Central Asia--Civilization, culture and art --- Oosterse- en Aziatische kunst in de Oudheid --- Art, Chinese. --- 7.032.1 Oosterse- en Aziatische kunst in de Oudheid --- S17/0215 --- China: Art and archaeology--Archaeology: Three Kingdoms till Song --- Art, Chinese --- Art --- Art, Gandhara --- Gandhara art --- Art, Central Asian. --- Art chinois --- Art de l'Asie centrale

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This book, third in a series on the early Buddhist art of China and Central Asia, centers on Buddhist art from the Western Ch'in (385-431 A.D.) in eastern Kansu (northwest China), primarily from the cave temples of Ping-ling ssu and Mai-chi shan. A detailed chronological and iconographic study of sculptures and wall paintings in Cave 169 at Ping-ling ssu particularly yields a chronological framework for unlocking the difficult issues of dating early fifth century Chinese Buddhist art, and offers some new insights into textual sources in the Lotus, Hua-yen and Amitabha sutras. Further, this study introduces the iconographpy of the five Buddhas and its relation to the art of Gandhara and the famous five colossal T'an-yao caves at Yün-kang.

Art, Central Asian. --- Art, Buddhist--China. --- Art, Chinese. --- Art, Buddhist--Asia, Central. --- Chinese art --- Central Asian art --- Art, Chinese --- Art, Gandhara --- Buddhist art --- S17/0215 --- S17/0500 --- S32/1100 --- Art, Buddhist --- Art, Lamaist --- Art --- Buddhism and art --- Gandhara art --- China: Art and archaeology--Archaeology: Three Kingdoms till Song --- China: Art and archaeology--Buddhist art: general --- Central Asia--Civilization, culture and art

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Buddhist sculpture --- Sculpture --- Fo guang si (Wutai Xian, China) --- History. --- Dunhuang manuscripts.

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