To describe Gilles Béguin's book Buddhist Art: An Historical and Cultural Journey as a “visual feast” is an understatement. It is an immense book that takes on a monumental task, and should not be considered for a casual read on the subject, if only because of its sheer size. Instead, scholars and casual readers can look to Béguin's Buddhist Art for a comprehensive and well-illustrated journey though the vast world of Buddhist art in Asia, from its earliest form in India, through Southeast Asia, Central Asia, and the Himalayas, to China, Korea, and Japan.
In his foreword, Béguin clearly states that this book “is not aimed at the specialist … but rather it hopes to satisfy the curiosity of the well-informed reader” as an introduction, a goal that is achieved with success. Rather than fill gaps in knowledge about Buddhist art, this book is a meticulous compilation of sources that will give readers an excellent sense of the vast span of space and time influenced by Buddhism in Asian art. The book is written with the clear intention of demonstrating the impact of Buddhism on the arts across Asia.
Before launching into the chapters on Buddhist art, Béguin explains the doctrine of Buddhism, outlining the evolution of Buddhism as a religion and key concepts and terms. This chapter also includes descriptions of the different schools of Buddhism, how they developed, how they diverge, and how their various foci spread to different regions. A second introductory chapter discusses the manifestation of these Buddhist ideas and teachings in visual art. Each component or art form is approached separately: the stupa and its forms, monastic architecture, Indian foundations for the development of images, stories depicted, iconography, and the role of books or manuscripts in art. These initial two chapters in particular are a must for the beginning or casual reader, as they provide an excellent foundation for the details that follow and also can continue to be of use as readers further their knowledge by exploring more specialized works.
Following the introductory material is a chapter focusing on the necessary discussion of India as the homeland of Buddhism and the source of its art. A short discussion of the expansion of Buddhism into Asia continues the introduction before the bulk of the book is approached. The remaining fourteen chapters of the book are organized by geographic region and reflect a general historical progression. Béguin pays attention to details throughout these chapters and to the division of regions into their specific kingdoms. For example, instead of grouping Southeast Asia together, Béguin highlights most of the major kingdoms their own chapters: Java, Khmer, Cham, Srivijaya, Thailand, and Myanmar. Within each of these chapters, the historical, stylistic, religious, and material details are given.
Within the diverse styles, regions, and historical periods, Béguin presents extant works that fit nicely within the canon of Buddhist art. He uses description and analysis of individual works to explain larger ideas with general success. Perhaps too great an emphasis is placed on sculpture and architecture, to the detriment of painting and other artistic traditions, although the focus on these media is likely to have been intended to maintain consistency and relative simplicity in order to keep the book from being even longer than it already is.
The book is clearly a labor of love, and its presentation of Buddhist art from across Asia without any favoring any one area is much appreciated. To say that this book is a great contribution to existing literature on Buddhist art would be an overstatement, awarding it credit that it neither deserves nor aims for. Instead, it makes an excellent addition to any library for its images, exploration of relationships between geographic and temporal areas, and general analysis.
