The After Life of the Buddha: Parinirvana Images in Eurasia
This article examines religions in which the life of the spiritual leader is as important as the death, and where the narratives of death (and not just of life) enter the image cycles in art. The Buddha willed himself to die when he was eighty at Kushinagara. Buddhism is one of the rare world religions where there is a huge repertoire of mahaparinairvana images. Buddhism values the release from the cycle of rebirths and deaths. The sets and cycles of images that make up the representation of the death of the Buddha in sculpture and paintings in caves spread across Eurasia are described in detail. The death images are important spatially, materially and culturally. These images began to be made in Mathura, were perfected at Gandhara and travelled all the way across Central Asia to China and beyond. The relics left behind after cremation were enshrined in stupas. They represented a continuation of dharma, of the presence of the Buddha even after he had passed on. The article analyses in detail three caves – Cave 26 in Ajanta in Maharashtra, India; Cave 205 in Kizil in Kucha, Central Asia (East Turkestan) and Cave 148 in Mogao, Dunhuang, China. All three caves juxtapose monumental images of the Dying Buddha with different themes related to his death: The Temptation of Demon Mara in Cave 26, Ajanta; how King Ajatashatru was told of Buddha’s passing along with the cremation of the coffin with the mahaparinirvana Buddha in it in Cave 205, Kizil. Cave 148 at Mogao contains the most complete set of scenes and images representing events pre- and post- Buddha’s death in sculptures and murals. In addition, there are Chinese interpretations of the Pure Lands in large murals.