The Los Angeles County Museum of Art (LACMA) has reopened a significant exhibition titled ‘Realms of the Dharma: Buddhist Art Across Asia,’ featuring around 180 exquisite sculptures and paintings from its permanent collection.
This showcase marks the return of important works that had been packed away for almost eight years due to the demolition of the museum’s original campus and the construction of a new building for its permanent collection.
The current exhibition is a reimagined version of the display that toured to Mexico City’s National Museum of Anthropology in 2018, while planned subsequent travels to museums in Texas and the Pacific Northwest were halted due to the COVID-19 pandemic, leaving these artistic treasures in storage for a lengthy period.
Among the highlights is the historical figure Siddhartha Gautama, widely recognized as Shakyamuni Buddha, who resided in India around the 5th century BC.
Artistic representations of the Buddha began in abstract forms a few millennia ago, often symbolizing his teachings through non-figurative means like light-emitting whorls or Bodhi trees, signifying enlightenment.
It wasn’t until several centuries after his death that figurative images emerged, evolving as Buddhist teachings spread across Asia, incorporating local influences from various cultures, including elements from Daoism in China and Shinto in Japan.
LACMA’s collection includes stunning examples from across South and Southeast Asia, each reflecting regional interpretations of Buddha’s form and teachings.
Some notable pieces include a mesmerizing 8th-century brass and silver statue from Kashmir, depicting the Buddha seated with a serene expression, and a regal Tang Dynasty statue, carved from white stone, which embodies the essence of imperial majesty.
In another section, a distinctive Burmese Buddha adorned in reddish lacquered wood makes an impactful statement with an oversized gesture of peace, affirming the various symbolic meanings attributed to Buddha’s hand movements, or mudras.
A life-sized Gandhara sculpture also demonstrates the historical influences in Buddhist art, with its peace mudra reflecting the Greco-Roman interactions just as much as its artistic grace.
Buddhism, with its extensive historical and cultural complexity, presented challenges in understanding its art. The artists themselves remain largely anonymous, yet the artworks exhibit a shared philosophical calm that defines the Buddha’s essence, embodying the paradox of being both an immovable force and an unstoppable reality.
The exhibition also includes numerous ritual objects such as a jewel-encrusted crown, ceremonial knives, and a striking offering cabinet, intricately painted with fierce deities advising caution to those who might disrespect sacred contents.
Additionally displayed are sculptures and paintings of bodhisattvas—those who delay their own nirvana to assist others—adding to the diverse representation within the exhibition, including fantastical forms with multiple faces and arms signaling the complex narratives surrounding these figures.
One striking piece is a 15th-century painting depicting the ecstatic coupling of deities, characterized by a dynamic embrace between the crimson goddess Vajravarahi and the blue god Chakrasamvara.
This vividly painted work tantalizes the viewer, combining eroticism with spiritual intent in a composition meant to provoke deep reflection.
The layout of ‘Realms of the Dharma’ introduces viewers to Siddhartha Gautama, discuss Buddhist principles, and present the artworks largely organized by chronology and their geographical origins, a standard practice for museum exhibitions.
However, LACMA’s timing comes as the museum prepares to transition to a theme-based arrangement in its new David Geffen Galleries, set to open next April—suggesting a possible shift from art as mere illustration of religious teachings.
While the exhibition does provide an informative exploration of Buddhism, the challenge remains in presenting the nuances of this religion without oversimplifying its rich artistic history.
Interestingly, the museum addresses the broader context of Buddhism in America, noting the challenges of acceptance and understanding in a nation where only a small fraction of the population identifies as Buddhist.
Despite California being home to a large number of Buddhists due to immigration patterns, a mere 100,000 individuals actively practice Buddhism in Los Angeles, making this exhibition even more vital for cultural education and appreciation.
Moreover, the exhibition raises awareness around the often-contentious history of ownership regarding these sacred works, highlighting discussions of provenance and acquisitions in the modern museum context.
One notable piece, a 15th-century painting from Nepal, has been cited in discussions regarding rightful ownership since it was acquired by LACMA in 1977, when standards for art collecting were undoubtedly different.
Unfortunately, the exhibition does not delve deeply into matters of contested ownership or provenance research, an oversight that could enrich the visitor’s experience and understanding.
‘Realms of the Dharma’ is scheduled to run until July 2026, ensuring that this extraordinary collection is available for public viewing before it is moved to make way for future exhibitions in the Geffen building.
The installation in the Resnick Pavilion is a meticulous presentation worthy of multiple visits, offering a rare opportunity to engage with significant works that illustrate the rich tapestry of Buddhist art before their disappearance into storage once more.
image source from：latimes
