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"Juliano, Annette L"
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Reinventing the Wheel: Paintings of Rebirth in Medieval Buddhist Temples
Rather, he employs a strategy of the exemplary by assembling a small group of select images, mainly wall paintings in Buddhist temple sites in India, Tibet, Central Asia, and China. Since at this time the monks had not yet learned to paint a wheel of death and rebirth, the Buddha not only proceeded to command the monks to do so \"beneath the room or the gate of the temple\" (p. 55), but also offered detailed instruction about the proportions and drawing of the wheel and the appropriate iconographic content. From an art historical perspective, a metaphoric or symbolic space exists between text and image; the maker of the image, the artist, functions as the mediator translating from beliefs written or transmitted verbally to the visual. Commissioned by a wealthy ruling family, Cave 17 was a vihara; both the resident monks and the patron's family would have had access to the painting and the cave. Since there are so very few unequivocal clues about the religious practices of laypeople at this time, it is difficult to establish what other viewers may have visited this cave and the Ajanta site.
Book Review
Buddhism in China
\"A rare look at the Kuyang, Pinyang and Yunkang cave complexes\"
Magazine Article
