Recently, I came upon an article in Oriental Art that suggested that Wu Zetian’s patronage of Buddhist art was motivated by a need for political legitimacy instead of religious devotion. The author, Ning Qiang, uses the prominence of certain sutras that legitimize a female, bodhisattva ruler and the sculpting of feminine Buddhas to cement his argument. I’ve read a similar theory in Kenneth Ch’en’s Buddhism in China and thought it was interesting enough to share.
In 690, Empress Wu used the Dayun Jing (Grand Cloud Sutra, or the Mahamegha-sutra), which was translated during the Liang period by Zhu Fonian and Dharmakshema, as spiritual propaganda to legitimize her status. Ning writes that “The sutra contained an important prophecy of the imminent reincarnation of Maitreya as a female deity, monarch of all the world, something which was needed by Empress Wu to justify her position as a female ruler” (31).
The Dayun Jing describes the world under the female rule:
"Harvests will be bountiful, joy without limit. The people will flourish, free of desolation and illness, of worry, fear and disaster [. . .] At that time all her subjects will give their allegiance to this woman as the successor to the imperial throne. Once she has taken the Right Way, the world will be awed into submission." (Twitchett 305)
According to Ch’en, a monk named Huai Yi took useful phrases and included that “Empress Wu Zhao was the incarnation of the Maitreya on earth and therefore qualified to rule as successor to the Tang Emperors” to the historic Dayun Jing (221).
The resulting document is the Dunhuang manuscript S 6520, entitled Dayun Jing Shenhuang Shouji Yishu (Commentary on the Meaning of the Prophesy about the Divine Emperor in the Grand Cloud Sutra). To explain the transformation of Bodhisattva Maitreya from male into female, the sutra relayed “the story of ‘tiannu’ (Daughter of Heaven) was quoted from the Vimalakirti-nirdesa to explain the empress’ ‘bodily transformation from male into female.’ (Ning 31)
These sutras were distributed throughout every prefecture in China and two Dayun Temples were erected in each prefecture. Copies of the sutra and of the commentary have been found in Dunhuang’s library cave. (Ning 31)
Ning also describes Buddhist sculptures portraying the Empress Wu. Cave 96 at Dunhuang has a 34 meter high Maitreya statue that was made in 695, during the reign of Wu Zetian. The Empress did not commission the statue (though according to Ch’en, she did commission other caves at Dunhuang), instead, the Yin family, an elite clan in Dunhuang, built it. Here’s a description of statue in Cave 96:
"Instead of following the common practice of moulding the Buddha in a male body covered by a monk’s robe, this statue was shaped according to a woman’s bodily form and clothing. The imposing breasts are exposed to clarify the sex of the Buddha. The womanly dress further ensures her female identity. These unique features of the Buddha image, not found in other Buddha images at the site, thus demonstrates the local support for Empress Wu and reveal the local responses to the political reforms that took place in the capital, specifically, to the establishment of the legitimacy of a female monarch in the early Tang." (Ning 31)
This statue suggests that the Yin family politically supported the female emperor (Ning 32). I couldn’t find an image of the statue on the internet, but if someone else has one, please post it
Ning provides other instances that suggest Emperor Wu’s use of Religious doctrine and iconography to legitimize her rule and gender, including the Treasury Rain Sutra found in Cave 321 at Dunhuang, but listing them would be redundant.
Comments, questions, anything…please share
My Questions:
Though Wu Zetian shrewdly used Buddhism to legitimize her usurpation, she must have done something else. How else did Wu Zetian solidify her power and persuade others to accept a female ruler? Did she have close connections in the army? How did she instill fear in the court factions?
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Sources:
Ch’en, Kenneth. “Buddhism in China: A Historical Survey.”
Ning, Qiang. “Gender politics in Medieval Chinese Buddhist art; Images of Empress Wu at Longmen and Dunhuang.” Oriental Art. Vol. 2 (2003) p. 28-39.
Twitchett, Denis and Fairbanks, John K. “Cambridge History of China.”