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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

Writing in 1790, William Hurd noted the icons of Ceylon were "fantastic and monstrous," while one, "formed like a giant," was called "Buddu."

The accompanying engraving of the Buddha shows a curious bearded figure with a tall crown and sword held aloft in his right hand.🧵
🗃️ 📜 #SriLanka

The image is a detailed engraving showing a religious ceremony. Central to the scene is a statue of a deity, depicted standing on a raised platform. The statue is adorned with a crown and holds a sword in its right hand. Surrounding the platform, a group of people are engaged in worship, gesturing and offering items towards the statue. On the left side, a person kneels, extending an offering. The setting appears to be an ornate room with religious imagery and weaponry on the walls.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

Despite Hurd's caption citing the "ceremonies of adoration paid to the idol Buddu," the illustration reflects much of the confusion over Buddhism at the time.

The original engraving made for Van Spilbergen, held by the Rijksmuseum, can be viewed here: tinyurl.com/msxm74bu
#buddhasinthewest

Image shows detail of the engraving., including the fine line work to render the icon’s face.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

The king’s image with crown and sword were reprinted in Theodor de Bry’s Petit Voyages in 1605, but by the following century, possibly under the editorial hand of Picart, the image was treated as the Buddha.

Supplicants with offerings were added to the scene to exemplify a religious setting. 4/5

Image shows a magnifying globe highlighting offerings being presented to the icon.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

Key elements of the iconography are seen in an engraving from documents prepared by Joris van Spilbergen, member of the first Dutch embassy to Ceylon in 1602.

According to Van Spilbergen, the image was part of King Vimaladharmasūriya's "coat of arms," and thus depicted the Ceylonese royalty. 3/5

Image shows a magnifying globe highlighting the sword held aloft.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

Hurd's engraving was not original, it was copied from Bernard Picart's widely circulated Ceremonies and Religious Customs published between 1723–1743.

The sword, unexpected for a buddha’s iconography, is not addressed in Picart's text, moreover, we now know the image has a non-Buddhist origin. 2/5

Image shows the engraving on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 1d

Writing in 1790, William Hurd noted the icons of Ceylon were "fantastic and monstrous," while one, "formed like a giant," was called "Buddu."

The accompanying engraving of the Buddha shows a curious bearded figure with a tall crown and sword held aloft in his right hand.🧵
🗃️ 📜 #SriLanka

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Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Located in the mountains of Yunnan, China, the Qiongzhu Temple houses a collection of fantastic Buddhist statues.

This Thousand-Armed Guanyin icon is surrounded by over 200 arhat disciples, comprising part of a Five Hundred Arhat image collection over a century old. 🧵
🗃️ 📜 #Sinology #筇竹寺

The image shows a black and white photograph of a Guanyin statue with multiple arms, centrally placed within a room. The statue is elaborate, with several radiating arms each holding different objects. It stands on a pedestal in front of an intricate backdrop that appears to include swirling cloud-like patterns. Surrounding the central figure are smaller statues or carvings located on two tiers of platforms resembling a theater or gallery setting. The upper tier seems to contain seated figures in rows, while the lower level hosts standing figures clothed in traditional attire. The room appears to be part of a temple or monastery, characterized by wood and stone structures.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Records reveal the images were made by an artist from Sichuan, Li Guangxiu, who along with several assistants crafted the arhat icons over a period of seven years (1883-1890).
#Buddhasinthewest

Image shows detail of the halftone print.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

In addition to the main hall, the arhat statues were further divided between two halls on temple grounds, each constructed with three rows of shelving to hold the numerous icons.

Each painted statue is about one meter in height. 5/6

The image shows a page from the magazine article highlighting two photographs featuring assemblies of Buddhist arhats. The upper section depicts a group of monks, dressed in traditional robes, seated and standing in various poses, with expressions ranging from contemplative to animated. The monks are closely positioned, creating an intimate grouping within a dimly lit setting. The bottom section displays another group of monks, also in robes, positioned both seated and standing. This group includes monks holding objects such as staffs, further enriching the scene with a sense of activity. The entire composition is monochromatic, emphasizing contrasts in light and shadow, and is part of a historical art piece.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

The French text cites the Samaññaphala Sutta to give context to the arhats, who are the Awakened disciples of the Buddha.

In East Asian, the arhats are often shown as having curious physical characteristics; here we can spot one arhat with a long, craning arm reaching up to hold the moon. 4/6

The image comprises a vintage newspaper page featuring two black-and-white photographs and extensive text. The left photograph depicts intricately carved dragons and Buddha figures inside a temple. The figures are large, ornate, and appear to be made of wood with detailed artistry. The dragons wrap around the pillars, and several Buddha statues are visible in the background. The right photograph displays a group of arhats portrayed in a lively manner, one as if reaching towards celestial elements above them. The scene is dramatic, with dynamic postures suggesting movement or divine interaction. The surrounding text is in French and details the historical context and description of the images.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

The photos seen here were printed in L'Illustration, reputedly the first international illustrated magazine published out of Paris.

This issue was released in December 1927, containing what the editor believed were otherwise unpublished photographs of Qiongzhu Temple. 3/6

Image shows the cover of the magazine with two men in military attire shaking talking to each other in a large building.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

While the temple was founded in the 13th century, a devastating fire allowed major reconstruction and expansion projects under the Qing Emperor Guangxu.

Three new buildings, completed in the 1880s, were used for housing newly commissioned clay statues of the Five Hundred Arhats. 2/6

Image shows the halftone print on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 4d

Located in the mountains of Yunnan, China, the Qiongzhu Temple houses a collection of fantastic Buddhist statues.

This Thousand-Armed Guanyin icon is surrounded by over 200 arhat disciples, comprising part of a Five Hundred Arhat image collection over a century old. 🧵
🗃️ 📜 #Sinology #筇竹寺

1 11 46

Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

Following the success of colonial pavilions at World’s Fairs, France initiated its own independent Colonial Expositions in the 1890s.

In Marseilles in 1906, famous architectural sites from French Indochina were reconstructed, including a towering Buddhist pagoda representing Annam.🧵
🗃️ 📜 #Vietnam

The image shows a vintage illustration of a traditional East Asian-style pagoda and temple set within a lush landscape. The pagoda has a tall, multi-tiered design with each tier featuring a set of round windows. The main structure is adorned with ornate roof edges that curve upward. Surrounding the building are leafy green trees, adding to the serene setting. In the foreground, several people in European dress are walking on a dirt path, giving a sense of scale and liveliness to the scene.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

The following year, in 1907, Paris held another colonial exposition, but recreated a different pagoda to represent Annam.

A photo illustrated book of the 1906 Marseilles Exposition is digitized by the University of Aix-Marseille, viewable here: tinyurl.com/mczsvn6s
#Buddhasinthewest

Image shows detail of the reconstructed pagoda.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

While often obscure in exposition literature, the "Annam Pavilion" was a replica of the pagoda from Tien Mu Temple, in the city of Hue, which was founded in 1601.

The pagoda was a popular subject of souvenir photographs sold by studios throughout French Cochinchina, Annam, and Tonkin. 4/5
#天姥寺

Image shows detail of the reconstructed temple building.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

Held during the height of the postcard craze, the exposition grounds opened its own dedicated postcard pavilion.

While the cancellation is unclear on the obverse, this card appears to have been sent from Marseilles; its destination was Port-Vendres, further down the Mediterranean coast. 3/5

Image shows the reverse of the postcard. The stamp from the receiving post office reads "Port-Vendres."

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

Jules Charles-Roux, organizer of the colonial portions of the Paris World’s Fair of 1900 and head of the 1906 exposition, showcased the pagoda behind the main Indochina gate.

The pagoda was also set at the head of a replicated "Hanoi road" populated with real inhabitants of the protectorate. 2/5

Image shows the postcard on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 6d

Following the success of colonial pavilions at World’s Fairs, France initiated its own independent Colonial Expositions in the 1890s.

In Marseilles in 1906, famous architectural sites from French Indochina were reconstructed, including a towering Buddhist pagoda representing Annam.🧵
🗃️ 📜 #Vietnam

1 2 26

Reposted by Buddhas in the West Material Archive

Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

An astounding 400,000 hand-colored photographic prints were used for all editions of Francis Brinkley’s Japan: Described and Illustrated by the Japanese.

Produced in Boston between 1897 and 1898, this work was the pinnacle of photographic book publishing at the turn of the century. 🧵
🗃️ 📜 #Japan

The image features a large, serene statue of Amida Buddha seated in a meditative pose on a stone platform; the icon is known as the Kamakura Daibutsu. The statue’s body is painted an aged blue-gray color . Three men sit or stand in the lap of the statue. On both sides of the statue, ornamental stone lanterns rise, matching the platform in color and material. The background reveals a lush setting with tall trees extending into the clear sky, contributing to the tranquil atmosphere. The ground consists of stone pathways leading up to the platform.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

While the number of one million photos for Brinkley’s Japan was likely exaggerated by Tamamura for publicity, this was truly an enormous undertaking.

To view the first volume of Brinkley’s Japan held by the Getty Museum, see here: tinyurl.com/bddt5z32
#buddhasinthewest

Image shows fine detail of the print and hand-coloring.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

Tamamura's output was so extensive in preparation for Brinkley's book, there was a fivefold increase in Japan's photography exports between 1895 and 1896.

This volume of work was achieved at expense of quality, as many of the color washes are pale and poorly executed. 4/5

Image shows magnifying globe highlighting a seated individual on the statue.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

Unlike most books of the era which used photomechanical prints, Brinkley’s Japan used mounted photographs.

The Great Buddha of Kamakura was the second full page photograph, following Mt. Fuji, in the first volume, suggesting its perceived value in the American visual language of Japan. 3/5

Image shows the reverse of the photograph. The words “The Bronze xBhuddax Buddha at Kamakura” are inscribed in pencil.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

The photographs were imported from Japan from the Yokohama studio of Tamamura Kōzaburō, one of the most prolific Japanese photographers of his generation.

He reportedly employed 350 artists for several months to complete the job, yet Tamamura's name is omitted from the final publication. 2/5

Image shows the photograph on top of a wooden table.

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Buddhas in the West Material Archive @buddhasinthewest.bsky.social · 8d

An astounding 400,000 hand-colored photographic prints were used for all editions of Francis Brinkley’s Japan: Described and Illustrated by the Japanese.

Produced in Boston between 1897 and 1898, this work was the pinnacle of photographic book publishing at the turn of the century. 🧵
🗃️ 📜 #Japan

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