Who painted Section of the Flower Garland Sutra, Fascicle 53?

Section of the Flower Garland Sutra, Fascicle 53 was painted by Unknown in 1075.

Where can I see Section of the Flower Garland Sutra, Fascicle 53?

Section of the Flower Garland Sutra, Fascicle 53 is held by Los Angeles County Museum of Art.

What movement is Section of the Flower Garland Sutra, Fascicle 53?

Section of the Flower Garland Sutra, Fascicle 53 is associated with Byzantine icon painting.

Artwork

Section of the Flower Garland Sutra, Fascicle 53

Unknown , 1075

Section of the Flower Garland Sutra, Fascicle 53 is an unspecified painting by the Byzantine icon painting artist Unknown. It dates from 1075 and is held in the collection of the Los Angeles County Museum of Art.

About this work

Overview

The work titled “Section of the Flower Garland Sutra, Fascicle 53” is a painted fragment of a hand‑scroll. Rendered on a yellowed support, the piece displays densely arranged Chinese characters in a formal script. Visible tears, discoloration and surface wear indicate considerable age, marking it as a historic document rather than a purely decorative painting.

Subject & Meaning

The calligraphic text is taken from the Flower Garland Sutra, a Mahāyāna Buddhist scripture that elaborates on the interdependence of all phenomena. The passage likely conveys doctrinal teachings on the nature of reality, reflecting the religious function of the scroll as a vehicle for meditation and instruction.

Technique & Style

The fragment combines painting and calligraphy, with ink applied in a uniform, regulated hand characteristic of formal Buddhist scriptoria. The background’s aged, yellowed hue results from the natural degradation of the original paper or silk, while the ink retains a deep, matte black, emphasizing legibility over ornamental flourish.

History & Provenance

Now part of the Los Angeles County Museum of Art collection, the scroll’s precise origin remains undocumented, though its material condition suggests it dates from a period when Buddhist texts were routinely hand‑copied for monastic use. The fragment’s acquisition by LACMA reflects the museum’s broader interest in East Asian religious art.

Context

During the era when the Flower Garland Sutra was widely transcribed, scrolls served both as liturgical objects and as carriers of artistic expression. The formal script employed here aligns with the aesthetic conventions of Chinese Buddhist monasteries, where calligraphic precision was valued as a manifestation of spiritual discipline.