Vimalakirti and the Doctrine of Nonduality

CHINA; Yuan dynasty

According to an inscription written on this artwork by Wang Zhenpeng, the inner palace attendant of the West Lotus Leaf Hall, in 1308 he received an imperial order from Emperor Renzong (reigned 1311–1320) to copy Ma Yunqing’s artwork Vimalakirti and the Doctrine of Nonduality. This drawing is the result of his efforts.
The Vimalakirti Sutra describes how the ailing Vimalakirti was visited by Manjusri and other Bodhisattvas, disciples, and heavenly beings. Through his answers to numerous questions posed to him by the visitors, Vimalakirti illuminated the essence of Mahayana teachings on emptiness and nonduality.
The long-bearded Vimalakirti sits cross-legged on a bed. He wears a thin cap and carries a whisk. Although he is sick, he appears focused and ready for debate. On the left, Manjusri Bodhisattva sits on a platform facing Vimalakirti. The Bodhisattva joins the palms in front of the chest and rests both feet on lotus pedestals. There is an incense burner between the two figures. An apsara stands on the right beside the incense burner, holding a tray of flowers. On the left, Sariputra brushes petals from his clothes. This represents a scene from the sutra in which apsaras scatter flower petals and they only stick to those who have not rid themselves of all discriminating thoughts. On the far right behind Vimalakirti’s bed, a group of disciples, a Bodhisattva and a Heavenly King stand and listen to the debate. A lion and a small child are depicted beside Manjusri, and a group of Bodhisattvas, an Arhat, and an official kneel behind the platform. A Dharma protector stands on the far left.
The figures are depicted with black lines; each has a distinct facial expression. Unlike the illustration of Vimalakirti Teaching the Dharma painted by Li Gonglin and kept in the Palace Museum in Beijing, China, the thickness and style of the lines in this drawing remain constant throughout.