Peacock King Mingwang Shanghai Museum Song, Yuan, Ming, and Qing Dynasty Bronze Exhibition
Fusion of Ancient and New: The Retro and Innovative Exhibition of Song, Yuan, Ming, and Qing Dynasty Bronzes
Has been ongoing for a long time
This statue invited by the Shanghai Museum
Collected from the Ethnological Museum of Berlin
Standing 145 cm tall
The Ming Dynasty Xuande gilt bronze Peacock King Mingwang statue is truly imposing
Making the surrounding artifacts pale in comparison
The Peacock King Mingwang, Sanskrit name Mahāmāyūrī,
Is the personification of the Peacock King Dharani,
Often depicted as a female figure,
Characterized by holding a peacock feather or riding a peacock.
Its belief originated during the sectarian Buddhism period in ancient India,
A mantra for curing snake venom.
During the miscellaneous esoteric Buddhism period, only Dharani scriptures were seen,
In the middle esoteric Buddhism stage, a personified deity image was formed,
In the late esoteric Buddhism stage, it was often regarded as one of the "Five Protective Buddha Mothers."
The "Five Protective Buddha Mothers" are a collection of five personified female Dharani deities:
The Great Request Buddha Mother from the Mahāsuṇḍarī Dharani Sutra,
The Great Thousand Shatter Buddha Mother from the Mahākṣaya Buddha Mother Sutra,
The Peacock King Mingwang from the Peacock King Sutra,
The Great Cold Forest Buddha Mother from the Mahāśītavana Buddha Mother Sutra,
The Great Secret Mantra Buddha Mother from the Mahāmāyūrī Dharani Sutra.
Therefore, it has had considerable influence in India, China, Japan, Korea, and other places.
The Peacock King Dharani was introduced early into the Chinese Han cultural area,
During the Eastern Jin and Southern Dynasties,
There were already Chinese-translated scriptures such as the Silk Shīlìmìduōluó,
But the flourishing period of related images should not be earlier than the High Tang period.
In the 8th century, Yijing and Kukai successively retranslated this scripture,
And attached ritual texts with deity images,
After which the production of Peacock King Mingwang statues and altar scenes began to flourish.
During the Tang and Song dynasties, images mostly followed the Chinese ritual texts,
Concentrated in the Hexi region murals and Bashu region stone carvings.
During the Yuan, Ming, and Qing dynasties, works were deeply influenced by Tibetan esoteric Buddhism,
Including murals, thangkas, sculptures, and scripture illustrations in various forms.
The earliest example of the Peacock King Mingwang image appears in
The 7th-century Western Indian Ellora Caves,
Including a one-face, two-arm statue.
After the 8th century,
A one-face, four-arm seated statue from the Pala dynasty in Eastern India,
Was introduced into the East Asian Sinographic cultural sphere and developed considerably.
By the 11th century at the latest,
The Himalayan region began to popularize
Three-face six-arm or three-face eight-arm seated statues,
Gradually spreading to surrounding areas.
This statue is a three-face eight-arm model,
With an overall style blending Han and Tibetan elements.
Because of its large size,
The detail photography is relatively simple.
Note that the engraving on the front of the two claws,
From the Ming Xuande period, is quite small (Fig. 5),
Extremely difficult to see on-site,
Photography requires a telephoto lens.
The height of the peacock's head and the chest of the Mingwang,
Are partially obscured in frontal shots,
Raising the camera is necessary to capture the complete Mingwang (Figs. 10, 16).
Because it is the undisputed centerpiece,
To get a photo without people,
You can only wait until closing time,
Just before the last visitor is asked to leave by staff,
To get it (Fig. 18).
Exhibition period: 2025.11.12 - 2026.03.16
Location: Shanghai Museum East Building, First Floor, First Special Exhibition Hall
Admission: Free