is especially evident in the tradition associated with the
distinctly Korean votive paintings (Korean, t’aenghwa)
hung above the main altars of temple buildings.
Among the many themes depicted is that of the dhar-
madhatuwith the “nine assemblies in seven locations.”
Interestingly, this follows more or less the same icono-
graphical arrangement as the similar, but much ear-
lier, Chinese Buddhist paintings from Dunhuang.
Japan
The teachings associated with Huayan (Japanese,
Kegon) Buddhism were transmitted to Japan from
China and Korea during the late seventh century, and
the Kegon school became one of the leading denomi-
nations of Japanese Buddhism during the Nara period
(710–794). During the eighth century a number of
temples were established under imperial patronage for
the Kegon school in the capital. Among these, Todaiji,
located in the center of Nara, is the most important
and imposing. In this temple Emperor Shomu (r.
724–749), imitating Empress Wu Zedian, established
the Kegon school as an imperial cult. To this end he
had cast in bronze a sixteen-meter-high image of
Vairocana Buddha, the largest such image in the world
at that time. The lotus petals of its enormous seat are
adorned with engraved scenes of the dharmadhatuand
imagery from the Avatamsaka-sutra.The image was
dedicated in a large ceremony in 752.
During the ninth century the Kegon school declined
with the transfer of the capital to Heian (Kyoto) in 794
and the rise of Tendai and SHINGONBUDDHISM. How-
ever, even after its decline the Kegon school continued
to exert considerable influence on Japanese Buddhism.
During the late Heian period the charismatic monk
Myoe KOBEN(ca. 1173–1232) continued to transmit
Kegon doctrines and practices at Kozanji outside Kyoto.
Due to his influence many pieces of religious art associ-
ated with the Avatamsaka-sutrawere created, including
paintings of the dharmadhatuand Sudhana’s journey.
Southeast Asia
The Avatamsaka-sutraalso became popular in South-
east Asia, where we find Sudhana’s journey promi-
nently displayed among the reliefs decorating the
three-dimensional mandala edifice of BOROBUDURin
Java, which was part of the S ́ailendra kingdom (ca.
750–860). Images in bronze and stone of Vairocana
and other buddhas and bodhisattvas associated with
the imagery of the Avatamsaka-sutrahave also been
found elsewhere in Java, most notably in the vicinity
of Prambanam in the central part of the island.
See also:Central Asia, Buddhist Art in; China, Bud-
dhist Art in; Horyuji and Todaij; Japan, Buddhist Art
in; Korea, Buddhist Art in; Southeast Asia, Buddhist
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