Mogao Cave 329: Illustration of the Maitreya Sutras

CHINA, Gansu, Dunhuang; Tang dynasty

This mural occupies the entire north wall and dates to the Early Tang period (618–712). It is among the earliest depictions of both Maitreya Sutras within a single illustration, a practice which became customary after the Early Tang. The Sutra on the Ascent of Maitreya is at the top and the Sutra on the Descent of Maitreya is in the middle and lower registers.
A pair of two-story pavilions appears in the center of the upper register. Between the pavilions are Maitreya Bodhisattva and two attendants. Maitreya wears a floral headdress and a robe which crosses the left shoulder. He is seated on a lotus throne with legs pendent. Before him is a gathering of seated Bodhisattvas who listen to the Dharma. The scene represents Maitreya teaching the Dharma in Tusita Heaven.
The three assemblies of Maitreya are depicted in the lower half of the illustration. At the center is Maitreya Buddha seated with legs pendent and forming the vitarka (teaching) mudra. Bodhisattvas surround the Buddha. The image represents the first assembly of Maitreya after his rebirth. The second and third assemblies are depicted below and on both sides. At the bottom of the mural is the scene of King Sankha’s renunciation, with people lined up on the left and right, awaiting tonsuring.
This sutra illustration has less narrative content and gives more prominence to the images of Maitreya than previous depictions. The influence of Sui dynasty (581–618) techniques is still apparent, along with a new compositional style that would continue well beyond the Early Tang period.