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A Sinização do Budismo na China Tang
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O Budismo afirma-se como uma proposta religiosa indiana, cujo surgimento está datado para meados do I milénio a.C., na região gangética. Os cismas iniciais, que ocorreram no seio da sua comunidade monástica, após a morte de Siddhartha Gautama, o seu fundador, levaram à afirmação de diversas correntes. Dentro destas, importa-nos a Mahāyāna, que iniciou o seu processo de difusão através da Ásia Central, via Rota da Seda terrestre, atingindo a China, ainda durante os Han.
Ao longo do seu percurso, o Budismo sofreu adaptações, tendo incorporado entidades de outras tradições e cultos com os quais contatou, o que promoveu um alargamento do seu corpus documental, que se viu traduzido para línguas locais, assim como um desenvolvimento das suas representações artísticas. Estas múltiplas alterações chegaram às Portas de Jade, em Dunhuang- A partir dali, durante o período de fragmentação política chinesa, da primeira metade do I milénio d.C., o Budismo foi-se infiltrando na sociedade chinesa, sofrendo outras mudanças.
A grande consolidação desta religião na China ocorreu durante o período dinástico Tang, cujo contexto político e cultural permitiram uma série de alterações sinizantes no seu quadro teórico, cúltico e artístico. O cosmopolitismo Tang abriu portas ao surgimento e desenvolvimento de escolas Budistas chinesas, que procuraram aproximar esta religião estrangeira às propostas teórico-filosóficas pré-existentes.
A nível artístico, as representações budistas que se foram construindo ao longo da Ásia Central, foram também marcadas pelo quadro mental do País do Meio, dando origem a uma arte budista chinesa.
Com esta dissertação pretende-se, assim, caracterizar o processo de afirmação do Budismo chinês, durante a dinastia Tang, com especial foco na corrente Mahāyāna. As múltiplas transformações teóricas, cúlticas e artísticas, ocorridas no País do Meio, serão ilustradas através do recurso às peças datadas desta época, patentes na coleção permanente do Museu do Centro Científico e Cultural de Macau.
Buddhism affirmed itself as an indian religious proposal, whose appearance dates back to the middle of 1st millenium BC, at the Gangetic region. The initial schisms, which took place inside the monastic community, after the death of Siddhartha Gautama, its founder, led to the affirmation of various currents. Inside those, the most important for us is the Mahāyāna, which began its diffusion process through the Central Asia, by the land routes of the Silk Road, reaching China during the Han dynasty. Along its course, Buddhism suffered some adaptations, incorporating entities from other traditions and cults with which it contacted, thus promoting the enlargement of its documentary corpus, translated into local languages, and also developing its artistic representations. These multiple changes, at some point, reached the Jade Gates, at Dunhuang. From there, during the Chinese political fragmented period, in the first half of the 1st millenium AD, Buddhism infiltrated in the Chinese society, suffering new changes. The great consolidation of this religion in China occurred during the Tang dynastic period, whose political and cultural context allows a set of sinizating changes inside its theoretic, cultic and artistic framework. Tang cosmopolitanism opened the doors for the emergence and development of several Chinese Buddhist schools, which sought to bring this foreign religion closer to the preexisting theoric-philosophical proposals. In the artistic level, the Buddhist representations that have been built throughout Central Asia, were also marked by the Chinese cultural scenario, giving rise to a Chinese Buddhist art. With these dissertation we intend to characterize the process that led to the affirmation of a Chinese Buddhism, during the Tang dynasty, with a special focus in the Mahāyāna current. The multiple theoretical, cultic and artistic transformations in China will be illustrated through the analysis of pieces dating from this period, which belongs to the Macau Scientific and Cultural Center Museum permanent collection.
Buddhism affirmed itself as an indian religious proposal, whose appearance dates back to the middle of 1st millenium BC, at the Gangetic region. The initial schisms, which took place inside the monastic community, after the death of Siddhartha Gautama, its founder, led to the affirmation of various currents. Inside those, the most important for us is the Mahāyāna, which began its diffusion process through the Central Asia, by the land routes of the Silk Road, reaching China during the Han dynasty. Along its course, Buddhism suffered some adaptations, incorporating entities from other traditions and cults with which it contacted, thus promoting the enlargement of its documentary corpus, translated into local languages, and also developing its artistic representations. These multiple changes, at some point, reached the Jade Gates, at Dunhuang. From there, during the Chinese political fragmented period, in the first half of the 1st millenium AD, Buddhism infiltrated in the Chinese society, suffering new changes. The great consolidation of this religion in China occurred during the Tang dynastic period, whose political and cultural context allows a set of sinizating changes inside its theoretic, cultic and artistic framework. Tang cosmopolitanism opened the doors for the emergence and development of several Chinese Buddhist schools, which sought to bring this foreign religion closer to the preexisting theoric-philosophical proposals. In the artistic level, the Buddhist representations that have been built throughout Central Asia, were also marked by the Chinese cultural scenario, giving rise to a Chinese Buddhist art. With these dissertation we intend to characterize the process that led to the affirmation of a Chinese Buddhism, during the Tang dynasty, with a special focus in the Mahāyāna current. The multiple theoretical, cultic and artistic transformations in China will be illustrated through the analysis of pieces dating from this period, which belongs to the Macau Scientific and Cultural Center Museum permanent collection.
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Cosmopolitismo Tang Rota da Seda Budismo Chinês Budismo Mahāyāna Arte Budista Mahāyāna Buddhism Chinese Buddhism Silk Road Tang Cosmopolitanism Buddhist Art