The Genealogy of a Creative Anomaly: Tracing the Conflated Iconography of Mañjuśrī and Samantabhadra from Dunhuang to Late Imperial Folk Prints

This article investigates a unique iconographic anomaly in late medieval Dunhuang silk paintings: the conflation of the bodhisattvas Mañjuśrī and Samantabhadra. Focusing on two key artifacts from the 9th and 10th centuries and tracing their legacy to later folk prints, this study argues the phenomenon is not a scribal error but a creative Anomaly—a deliberate ritual synthesis. The analysis reveals this synthesis was driven by two forces: a phonetic re-semanticization in the local dialect and a theological logic born from the integration of Huayan School doctrines with Esoteric ritual practice. The paper demonstrates how Huayan metaphysics were operationalized through condensed Esoteric invocations, turning the inscription into a functional ritual shorthand. Crucially, this study demonstrates the genealogical survival of this Silk Road variant in Ming and Qing dynasty woodblock prints. It uncovers a parallel, non-canonical lineage of visual piety, sustained through workshop copybooks rather than elite textual discourse. This trajectory challenges the linear narrative of Buddhist art history, highlighting the generative power of localized adaptations existing outside the purview of the written canon.