Maṇḍala or Sign? Re-Examining the Significance of the “Viśvavajra” in the Caisson Ceilings of Dunhuang Mogao Caves†
Round 1
Reviewer 1 Report
Comments and Suggestions for AuthorsIn my opinion, this paper could potentially be published “with major revisions.” It offers valuable information and conducts an intriguing, in-depth analysis. However, it requires a more nuanced approach in certain areas, the inclusion of additional figure details, and more thorough explanations of arguments and previous research.
This paper examines the viśvavajra image depicted in the caisson ceilings of the Dunhuang Mogao Caves and explores how the symbolic meaning of the viśvavajra in Dunhuang evolved over time. The research and analysis are highly compelling, as they thoroughly investigate the Dunhuang murals and effectively utilize various sources, such as Buddhist scriptures, commentaries, and esoteric mandalas. However, some sections necessitate further explication, as there are instances where the logic of crucial arguments omits intermediate steps. Additionally, some citations referencing previous research are absent. While figures are presented, more detailed plates are needed to explicate the specifics of the images. If these areas are addressed, this paper has the potential to become a significant and impactful study with profound implications for the academic understanding of the relationship between Dunhuang murals and esoteric Buddhism.
First, the central argument of this paper is that the viśvavajra sign occupying the central part of the caisson ceilings in Dunhuang murals represents the śāntika maṇḍala, which is associated with the fire offering kuṇḍa and signifies the homa maṇḍala. However, pertinent homa-maṇḍala manuscripts from the Tang dynasty, including Figure 7 (a sketch of the śāntika maṇḍala), appear to depict a dharma-wheel rather than a viśvavajra in the center. Whether the central depiction is a viśvavajra or a dharma-wheel is a significant distinction that warrants further clarification. The author seems to be well aware of this discrepancy and acknowledges the different positions depicted centrally and peripherally.
The author cites a tantra attributed to Amoghavajra, titled “Scripture of the Sublime Grasp of the Immeasurable Portal" to elucidate how this difference in depicted positions can be reconciled with the author’s central argument. However, this text does not provide a definitive visual representation, and so the visual appearance of the viśvavajra wheel (十字金剛輪) remains unclear. It could enhance the reader’s understanding if the author offers their interpretation of what the viśvavajra might resemble visually and includes a referential image in the form of a figure.
Second, this paper explores how the viśvavajra symbol found on the caisson ceilings of the Mogao Caves in Dunhuang transformed in its meaning over time. According to the paper, initially representing a mandala associated with fire offering rituals, it gradually came to symbolize the Buddha Vairocana. However, as the author mentions in lines 285-289, even if Vairocana or Rocana is not portrayed visually, he serves as "both the central yidam of this microscopic Buddhist cosmic arrangement and the central deity of the entire śāntika maṇḍala." If so, this mandala could have originally symbolized Vairocana Buddha, even if he is not explicitly depicted, implying an acknowledgment of his presence from the outset. From this perspective, the viśvavajra symbol, as representing the śāntika maṇḍala, could arguably have symbolized Vairocana Buddha from the beginning. Clarification is needed as to why the author views the symbol's representation of Vairocana Buddha as a transformative change that occurred later in its evolution, rather than being an inherent symbolic meaning present from the start.
Third, the author's profound reflection and research are evident when arguing that the small Cave 361 was constructed in accordance with the śāntika maṇḍala introduced by the Homa Ritual Procedures, while also acknowledging that there is no evidence to suggest that it was ever used for actual fire offering rituals within the cave. The issue arises from the fact that the documents the author relies upon to resolve this discrepancy are from the Song dynasty. The same thoughts and ideas might have existed during the Tang dynasty, but the documents did not survive, with only the Song dynasty records remaining. When there is a discrepancy between the artifacts discussed in the paper and the periods of the documents or reference figures used as evidence, a detailed explanation should be provided to contextualize this temporal gap.
*I have listed some suggestions or corrections for minor errors below.
1. Clearly delineating between previous research and the author's arguments would enhance the paper's clarity. The author frequently cites Zhao Xiaoxing from the Dunhuang Academy, but often does not explicitly state whether the author concurs or dissents from Zhao's opinions, or how their perspective differs. If the author is the first to identify the viśvavajra symbol at the center of the Dunhuang mural ceilings as representing the śāntika maṇḍala, this should be unambiguously stated in the paper to highlight the novelty of their interpretation.
2. There are several sections where citations are necessary but missing. For instance:
- In the introduction, when discussing the prevalence of the viśvavajra in Dunhuang caves.
- On page 8, in the section explicating the Buddha Vairocana.
- On page 13, when linking the sixteen Buddhas from the ten directions to "The Analogy of Transformed City" (Hua-cheng-yu-pin 化城喻品) in The Wonderful Dharma Lotus Sūtra (Miaofa-lianhua-jing 妙法蓮華經).
Proper citations from previous research are needed in many sections besides the above instances to substantiate the author's arguments.
3. The paper mentions, "this article will concentrate on examples from the Southern area caves of the Mogao Caves, notably Cave 361 and Cave 14." However, the rationale for selecting these particular caves is not elucidated. Providing a detailed explanation of why these two caves were chosen, what significance they hold, and what critical insights can be gained by comparing them would substantially enhance the persuasiveness of the paper.
4. More detailed descriptions of the figures and the inclusion of additional figure details would enhance the paper's persuasiveness. For example, for figure 3-1 from the British Museum, it should specify when it was created and where it was discovered. If the exact details are unknown, the author should acknowledge this limitation, as it is crucial to demonstrate that these aspects have been considered. This will also aid readers in comprehending why it serves as a suitable comparison with the ceiling mural of Cave 361 in Dunhuang.
5. On page 4, the author states that the caisson ceilings in the Mogao Caves featuring a viśvavajra sign in the center can be classified into three distinct types. Providing reference figures for each example of these cave murals would be beneficial, as text descriptions alone make it challenging to visualize the distinctions. Furthermore, as a relevant consideration, are these differences purely typological, or do they carry distinct symbolic meanings? What is the origin of these typological differences? Are they due to chronological variations or differences in the creators of the caves?
6. line 433: Ronaca --> Rocana
Comments on the Quality of English LanguageOverall, the author demonstrates a high level of English proficiency. There are no major grammatical errors or spelling mistakes apparent, and the writing style and expressions used are well-suited for an academic paper. A careful re-reading of the paper for editing purposes, to polish these minor areas, should be sufficient.
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Reviewer 2 Report
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