On Intermediality of the Medicine Sutras and Their Imagery During the Sui Dynasty at Dunhuang

Abstract

Despite being the most popular sutra tableau in Dunhuang, the utter lack of any comprehensive, or chronological academic analysis even in Chinese calls for a thorough research on the Medicine Buddha Sutra iconography at Dunhuang. This paper will explore the Medicine Buddha both in the literary form, the sutras, and the visual form, the sutra tableaux, when they first appeared in China during the Sui Dynasty. First, the relevant sections of the four Medicine Buddha Sutra translated in Chinese will be examined in detail. Then, the earliest four pictorial representations, namely Caves 417, 433, 436, and 394 at Dunhuang, will be scrutinized to establish a firm foundation of this said sutra tableau for later periods. By comparing the deities, and other special attributes presented in these images with what were recorded in the sutras, this paper reveals how the anonymous monastics and artists “re-presented” the Medicine Buddha from literary form to pictorial form, which embodies the intermediallity during the Sui Dynasty in Dunhuang. After analyzing how the textual elements such as the Medicine Buddha, attendant Bodhisattvas, Twelve Demigods, Four Heavenly Kings, and the magical life-prolonging instruments were depicted in the paintings, intermediality between the texts and imagery is brought to light. Two most decisive details, the small sizes of the cartouches for the inscriptions of the Twelve Demigods, and the number of Medicine statues that should be present at the ritual, clearly show the Medicine Buddha Sutra imagery painted during the Sui Dynasty in Dunhuang is based on the earliest Chinese edition, Sutra on the Initiation to Remove Unwholesome Deeds and Attain Salvation from Birth and Death Taught by the Buddha, translated by Śrīmitra.