Development of the Iconography of Maitreya Preaching in Tuṣita Heaven and Pensive Image as Heavenly Multitude through the Northern Route

Abstract

The iconography of Maitreya preaching in Tuṣita Heaven illustrates the contents of Foshuoguan Milepusa Shangsheng Doushuaitian jing(hereafter, Shangsheng jing) in which Maitreya, who was promised that he will attain Buddhahood after Sakyamuni’s nirvana, preaches in Tuṣita Heaven. It originated from Gandhara region that includes Kapisa and was introduced to Central Asia and China by the Northern Route. In the Kizil Caves, there are Maitreya images sitting cross-legged and preaching to the heavenly multitude. Compared to the examples found in the Gandhara region, the heavenly multitudes here are depicted with increased importance. Moreover, the multitudes seating cross-legged or with two feet drawn together in the art of Gandhara region became pensive bodhisattvas in the Kizil Caves, and those in the lower rows in the cave also seem to represent the pensive multitude mentioned in Shangsheng jing. As the iconography was introduced to China, the heavenly multitude who stood with attending bodhisattvas were reduced in size whereas images of Maitreya became more dominant. The fact that cross-legged Maitreya is usually attended by pensive bodhisattvas to form a triad shows that the Chinese perception of Shangsheng jing differed from that of Gandhara and Central Asia. The palaces of Tuṣita Heaven that resemble the wooden architectures of China show that the iconography has been Sinicized. There are many inscriptions on the pensive bodhisattvas of late Northern Wei that include the word ‘pensive image,’ suggesting that they were made to represent pensive heavenly multitude listening to the preaching of Maitreya in Tuṣita Heaven. Accordingly, it can be deduced that the images of pensive bodhisattva reflect not only Sakyamuni meditating when still Prince Siddhartha, but also pensive heavenly multitude in accordance with the iconography of Maitreya preaching in Tuṣita Heaven.