Lute, Sword, Snake, and Parasol-The Formation of the Standard Iconography of the Four Heavenly Kings in Chinese Buddhist Art

Bibliographic Data

ID3393511
AuthorsTianshu Zhu (0000-0002-2039-5359, University of Macau, corresponding author)
Year2023
Volume14
Issue6
Pages798
Publication date2023-06-16
Open AccessYes
TypeARTICLE
VenueReligions (JOURNAL)
Journal identifiersISSN: 2077-1444 • E-ISSN: 2077-1444
PublisherMDPI AG (PUBLISHER • IT)
DOI10.3390/rel14060798
OpenAlexW4380988034
LanguageEN
Citations received2
References cited5

The Four Heavenly Kings, Sida Tianwang 四大天王, are the guardians of the four quarters of the world in Buddhism. They are among the most frequently represented protective deities in Buddhist art across different traditions. In their standard iconographies developed in China popular during the Ming and Qing dynasties (1368-1911), they wear full armor, and each holds exclusive attributes-lute (pipa 琵琶), sword, snake, and parasol-from the east, south, west, to the north respectively. There is no direct textual base in the Chinese cannon for such iconographies. Neither can we find prototypes in India or central Asia. Indeed, how did this iconographic group develop in China? In the past, since the standard iconographies of the Four Heavenly Kings are clear, and identification is no problem, comprehensive in-depth study on this is lacking. Actually, those attributes came from a Tantric tradition related to Tibetan Buddhism filtered through the Xi Xia (1036-1227) and Yuan (1206-1368). What revealed in the development of this iconography is the complex relationship among the Tibetan, Tanguts, Mongols, and Chinese Buddhism

Ancient history · Archaeology · Art · Art history · Buddhism · Central asia · China · Geography · Iconography · Literature · Lute · SWORD · Chinese history and philosophy · Eurasian Exchange Networks · History · Indian and Buddhist Studies

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