Title: Fóshuō Wúliàngshòu Jīng (The Buddha Speaks the Infinite Life Sutra), 1376. An Extraordinarily Rare and Complete Seven Fascicle Set of Sutras Made in the Goryeo Dynasty of Korea (Or Possibly China?), Under Yuan Dynasty Control. Over 200 Pages of Golden Sutras, and More than 60 Pages of Sumptuously Painted Illustrations
Author: Original Text Possibly by Mahīśāsaka Monastics; Chinese Translation by Buddhabhadra
Condition: Good
A late 14th century set of seven sutra fascicles, comprising of the complete Fóshuō Wúliàngshòu Jīng, otherwise known as The Amitāyus Sutra. This set has been produced in the Goryeo Dynasty of Korea, when they served as a semi-autonomous vassal state of the Yuan Dynasty.
Also known as the Sutra of Immeasurable Life Spoken by Buddha, or the Longer Sukhāvatīvyūha Sūtra, it is one of the two Indian Mahayana sutras which describe the pure land of Amitābha, and along with the Sukhāvatīvyūha Sūtra, one of the more highly influential texts in East Asian Buddhism, being one of the three central scriptures of East Asian Pure Land Buddhism.
One of the purported origins of the Sutra was that it was compiled during the time of the Kushan Empire of the Yuezhi Peoples sometime between the first and second century CE, by an order of Mahīśāsaka monastics.
The earliest known Chinese translation displays traces of being translated from the Gāndhārī language, and there are five known translations in the Chinese Buddhist Canon. This edition looks to be the third translation of the Fóshuō Wúliángshòu Jīng, by Buddhabhadra (359-429 CE), and his assistant Baoyun.
On the contents itself, the sutra is presented by the Buddha Shakyamuni as a discourse, usually set near the city of Shravasti in India. In a rough order of events, it begins with the journey he took as a Bodhisattva to full enlightenment as the Buddha, which required meditation for five eons, a series of 48 vows to save all sentient creations, and the eventual creation of the Paradise Realm, or Pure Land of Sukhāvatī.
The vows themselves do vary depending on the translation or version of the sutra, but it commonly states in the Chinese versions that there are 48, including vows such as:
- Rebirth for those who hear Amitabha's name.
- Guaranteed awakening and nirvana for those reborn in his land.
- His infinite light halo and life span.
The sutra also espouses the general virtues of the Amitabha, and benefits to those who encounter his life, including the magnificence and splendor of Sukhāvatī, where no evil or suffering is known, and why one should aspire to be reborn in the Pure Land.
The manuscripts have been produced on layered leaves of indigo dyed mulberry paper, and have been entirely written in golden ink, produced using an early gold shell power with types of gelatinous animal glue. It should be noted this practice of producing sutras was utilized as early as the Tang Dynasty in China, spreading to Korea and Japan, and continues as an existing practice. Often, such sutras were written in alternative inks of gold and silver, and during the Goryeo period (918-1392), this devotional practice reached its peak, with the production of numerous examples made for many patrons. To meet the great demand, the Royal Office for Sutras (Sagyongwon) was established in the twelfth century, in which monks and professional calligraphers dedicated themselves to the production of manuscripts like these. While decorated sutra fascicles do exist from the Mid to Later Joseon Period, they are nowhere near as decorated or elaborate in make or design.
Each manuscript cover is beautifully and extravagantly decorated, with four glittering lotus flowers painted vertically in gold, with vine patterns filling the remaining space, and the title as well as fascicle number as the center. All seven volumes open with a masterfully and sumptuously produced, six-panel/leaf painting or frontispiece, each one somewhat varying from the other. There is also a two-panel painting at the end of each fascicle (except for the seventh and final fascicle, and the second fascicles’ two-painting painting being depicted earlier), as well as two one-panel paintings to each.
The first six-panel painting is that of Shakyamuni Buddha enthroned, flanked by a host of various deities and followers, of which 19 figures are depicted, while two heavenly attendants fly down to the Buddha.
The second six-panel painting is that of Shakyamuni preaching to his followers while other deities and followers attend. To the left are other, smaller scenes, displaying various figures and other Bodhisattvas.
The third six-panel painting displays a scene in Paradise, displaying Shakyamuni flanked by two bodhisattvas, most like Kannon and Seishi. There are also monks preaching to various deities and other Buddhas, whilst two Bodhisattvas standing on lotus flowers welcome two newly birthed souls to paradise, the latter figures coming out of lotus petals in the water. A classical scene more famously known in the Taima Mandala. This painting has roughly 25 figures depicted.
The fourth six-panel painting shows the great Bodhisattva Samantabhadra enthroned atop a lotus dais, flanked by other sitting deities and Bodhisattvas, while another figure makes a plea to Samantabhadra. This painting has roughly 21 figures depicted.
The fifth six-panel painting shows another scene of Shakyamuni Buddha seated amongst other deities and followers, while listening to the request of one. There is also a second scene to the left, being a grand depiction of the Ekādaśamukha, or the Eleven-Faced Avalokiteśvara. This painting has roughly 12 figures depicted.
The sixth six-panel painting depicts another scene of Shakyamuni Buddha preaching, with some differences in the placement and presence of attending followers and deities. To the left are various scenes depicting everyday life and deities.
The seventh and final six -panel painting is that of another scene of Shakyamuni Buddha preaching, with many followers and deities in attendance, and there are other scenes of various figures and buddhas.
Of the smaller but still impressive two-panel paintings, the first is a large and detailed depiction of Shakyamuni atop a lotus dais. The second painting is that Kṣitigarbha, the Bodhisattva of all hell-beings with the responsibility to guide all souls in the Six Realms of Rebirth. The third painting is another, but visually distinct depiction of Shakyamuni atop a lotus dais. The fourth painting is that of a ferocious deity standing atop small lotus petals, with a blade enclosed in his arms. I am reminded of Simkamukha, one of the wrathful deities. The fifth painting is possibly that of Guanyin, the Bodhisattvas of compassion, also known as Avalokiteśvara. She is flanked by two attendants, while carrying a banner. The sixth painting and final painting is that of another mighty deity, arm outstretched, possibly one of the other wrathful deities.
Each of the eight one-panel paintings displays a different scene, whether it be various Luohans or Arhats on a journey or task, or different deities and Bodhisattvas.
The sutra text is neatly bordered in gold, and each column divided with golden ink as well, being written with up to 18 characters per column.
It should be noted that the colophon at the end of this is signed to the Fifth Year of Xuanguang, being the final era name of Emperor Zhaozong of Northern Yuan, or Biligtü Khan Ayushiridara (Reign 1370 –1378). Interestingly, the name of the temple appears to be of Chinese origin, so there is a possibility that these manuscripts were produced in China and simply followed the Goryeo style of illuminated sutra fascicules.
In Hsin-Chen Tsai and Tanya Uyeda’s article, “Line Up, Back to Back: Restoration of a Korean Buddhist Sutra in Accordion Book Format”: “There are two documented Goryeo Period Korean sutras in U.S. collections. One is in the collection of the Metropolitan Museum of Art, and the other is in the collection of the Cleveland Museum of Art (CMA).” Keeping in mind that the Kenneth Spencer Research Library also now owns a Goryeo Period copy (14th Century, undated) of the Flower Garland Sutra, this would indicate that there are only at least 3 extant Goryeo Period Sutras in the United States, and by extension the rest of North America since Canada has no documented examples. It is also noted that the British Library has one Goryeo Sutra dated 1341, though other European holdings are presently unknown. With that in mind, the subsequent offering of these fascicles, as well as the other examples, represents what is likely the largest selection of illuminated Goryeo Kingdom sutras to be offered for sale in the Western Market in recent years.
Seven illuminated fascicles in orihon format (24.2 x 9 cm), 16, 16, 18, 18, 18, 18, 20 double sided leaves. 234 pages total, not including covers. Gold ink on indigo dyed paper
These manuscripts are in good shape, with some rubbing and wear to the covers, and the golden ink and floral designs dulled a bit, but still shining brightly. There is some staining throughout, heavier to the margins. The layer of lamination to each of the manuscripts appears to have largely preserved most of the illustration work and script, with even affected areas still shining.
All seven of the manuscripts have been damaged by some form of white deposits, boring through small portions of the manuscript, with several forming small pinprick holes. At first glance, the initial conclusion was mold-based damage, but after extensive consultation to try and identify the damage, it has been thankfully concluded that the damage is NOT mold. Having spoken to the head of conservation at the Kenneth Spencer Research Library of the University of Kansas, the damage appears to be some sort of accretion. Further consultation with the conservator Minah Song, who has studied an example at MFA Boston, as well as another manuscript with similar damage, indicates that the damage seems to be intentional, albeit crudely. The currently prevailing theory is that these deposits are potentially related to a type of Buddhist ritual, though incense ashes have been rules out, as the damage appears to be calcium based. A comparative fascicle with similar damage can be seen in lot 631 at the Christie’s sale of 10 Mar 2010, being only a 5-leaf fragment dated Zhi Zheng 9 (1350).