Abstract

This paper considers the process of how the image of Mount Sumeru, the axis mundi of the Indian Buddhist cosmology, was transmitted from the Indo-Iranian cultural sphere to the Chinese cultural sphere in the fifth and sixth centuries. The research focus is mainly on the representations of Mt. Sumeru in the wall paintings of two monumental Buddhist sites from this period, the Kizil Grottoes (Kucha) and the Mogao Grottoes (Dunhuang), with reference to a relevant image in the Yungang Grottoes (Datong). As the monks of Kucha were in direct intellectual contact with contemporaneous India via the Sanskrit language, it is a purely Indian Buddhist cosmological worldview that is reflected in early Kizil paintings. In Dunhuang, on the other hand, the earliest-extant Sumeru representation clearly shows the visual syncretism of Buddhist and Taoist cosmologies. These visual symbols of the “World” are composites of multiple historical factors, such as languages, geopolitical situation of regional powers, and ideological trends of the regions.