Images, Legends, and Relics Worship in Southern Song Mingzhou: Interpretating “King Aśoka Stupa” and “Relics’ Light” from the Daitokuji Old Collection’s 500 Luohans Paintings

The Daitokuji Old Collection’s 500 Luohans Paintings 五百羅漢圖, painted by Southern Song Mingzhou 明州 artists Lin Tinggui 林庭珪 and Zhou Jichang 周季常, have become a focal point in recent studies on the Chinese Buddhist material culture of the Song Dynasty. Among the 500 Luohans series, five paintings are related to the ancient Indian legend of Emperor Aśoka’s creation of 84,000 stupas. These paintings include “Building a Stupa” (No.78), “King Aśoka Stupa Emitting Light” (No.79), “Precious Stupa on the Rock” (No.80), and “Miracle of Light-Emitting Relics” (No.81), which are currently housed in the Daitokuji 大德寺 in Kyoto, Japan, and “Luohans Watching the Relics’ Light” (B5), which is housed in the Museum of Fine Arts in Boston, the US. However, the way in which the “King Aśoka Stupa” 阿育王塔 and “Relics’ Light” 舍利光 series were integrated into the overall visual narrative of the 500 Luohans in the Daitokuji and Boston collections, as well as the profound meanings and social-cultural contexts embedded in these images, have been rarely studied in depth. The introduction of the miraculous relics theme into the Daitokuji Old Collection’s 500 Luohans Paintings originates from an earlier version by the monk Fa Neng. However, Fa Neng’s version recorded by the Northern Song literati Qin Guan 秦觀 does not mention the King Aśoka Stupa. The artists had considerable freedom in depicting miraculous relic phenomena and King Aśoka Stupa. The specific details of King Aśoka Stupa’s background in Tiantai Mountain 天台山, such as rock bridges, waterfalls, and rock caves, as well as the craftsmanship of King Aśoka Stupa, reflect particular contemporary ideas. The vivid depictions of the “King Aśoka Stupa” and “Relics’ Light” in the Daitokuji Present Collection and the Boston Collection of the 500 Luohans may indicate a close connection between the creation of these images and the fervent Relics Worship at King Aśoka Temple 阿育王寺 in Mingzhou during Southern Song. This paper synthesizes these images, ancient Chinese and Japanese manuscripts, and fieldwork insights to interpret the sources and significance of these images.