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After the collapse of the Tang Dynasty (906 AD),
there was a succession of short-lived
governments, known as the Five Dynasties. This
period of relative unrest came to an end with the
establishment of the Northern Song Dynasty in
960 AD.
Renewed political stability helped to
usher in a period of economic prosperity and a
massive rise in population.
Amongst the numerous achievements of the Song
Dynasty was the
development of Neo-Confucianism- a
philosophical movement heavily influenced by
Buddhist teachings. Although Buddhism had
reached China from India during the Han
Dynasty, it took considerable time for the new
faith to make any
progress. This was partly because it had to
compete with native ideologies, namely
Confucianism and Daoism. It was possible,
however, to find common ground between these
belief systems and by the era of the Tang
Dynasty,
Buddhism was experiencing a golden age in
China.
Even today, when entering the main hall of a
Buddhist temple in China, one will always admire
two
rows of sculpted figures, traditionally numbering
eighteen in total. These figures are known as the
Eighteen Lohan. Lohan is the Chinese term,
derived from the Sanskrit word Arhan, for a
disciple or follower of Buddha who has reached a
state of enlightenment. The Lohan had been a
popular subject in Chinese art, at least since the
cultural flourishing of the Tang Dynasty.
Traditionally, they are always produced in sets of
sixteen or eighteen, with the numerical difference
being
result of discrepancies in Buddhist texts. By the
Song Dynasty, artists began to depict each Lohan
with individualized facial features. Having
achieved enlightenment, Lohans were free from
all earthly desires and no longer subject to the
cycle of rebirth.
Serenity and wisdom are implied
by the evident wrinkles and the Lohan's stoical
expression.
- (RL.0994)
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