Title: Fu Shuo Yueguang Tongzi Jing (The Buddha Speaks the Sutra of the Moonlight Boy), 1271. An Extraordinarily Rare and Complete Two Fascicle Set of Sutras Made in the Goryeo Dynasty of Korea, Under Yuan Dynasty Control. 30 Pages of Golden Sutras, and 32 Pages of Sumptuously Painted Illustrations
Condition: Good
A late 13th century set of two sutra fascicles, comprising of the complete Fu Shuo Yueguang Tongzi Jing, or The Buddha Speaks the Sutra of the Moonlight Boy. The manuscript is a rather uncommon sutra on Yueguang Tongzi, also known as Prince Moonlight.
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. Both volumes open with a masterfully and sumptuously produced, five-panel/leaf painting or frontispiece, each one somewhat varying from the other. The upper volume also has a two-panel and four-panel painting, while the lower volume has a singular two-panel painting. There are also two one-panel paintings to each.
The first five-panel painting is that of Shakyamuni Buddha preaching to his followers while other deities and followers attend. To the left are other, smaller scenes, displaying various figures and other Bodhisattvas
The second five-panel painting displays a great Bodhisattva enthroned atop a lotus dais, flanked by other sitting deities and Bodhisattvas, while another figure makes a plea to Samantabhadra. This painting has roughly 20 figures depicted.
The four-panel painting displays the Amida Buddha enthroned, flanked by other Bodhisattvas and deities, while listening to the request of a worshipper. There are ten figures total.
Of the smaller but still impressive two-panel paintings, the first is a dazzling image of Guanyin, the Bodhisattva of compassion, also known as Avalokiteśvara, flanked by representative symbols typically seen in depictions. The second two-panel painting is a shining depiction of the Buddha, with several worshippers and/or followers below.
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 17 characters per column.
It should be noted that the colophon at the end of this is signed to the Twelfth Year of Zhi Yuan, being the era name of Emperor Shizu of Yuan, most famously known as Kublai Khan (Reign 1260-1294).
On dating this particular set of fascicles, comparisons have been made to a number of other Yuan Dynasty fascicles sold at prior sales (See Lot 368 at the Bonhams sale of 30 May 2016, Lot 131 at the Christie’s Sale of 19 Sep 2023, and lot 631 at the Christie’s sale of 10 Mar 2010), and quite helpful, several other Goryeo fascicles I have studied or cataloged have commemoration dates to the Years of Zhiyuan (至元) 1264–1294, under Kublai Khan, not to be confused with the very similarly written Era of Zhiyuan (至元) 1335–1340, under Toghon Temür Khan.
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.
Two illuminated fascicles in orihon format (25 x 9.5 cm), 16, 16, double sided leaves. 60 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. There is some staining throughout, heavier to the margins, but affecting and partially rubbing away some letters of text. 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. There are two small holes affecting text and a painting panel.
Both 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).