COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
ASIA.1979.007
amicoid
ASIA.1979.007
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Indian Sub-Continent; Indian
crc
Asian; Indian Sub-Continent; Indian
Creator Nationality
false
Creator Dates/Places:
North Indian
cdt
North Indian
Creator Dates/Places
false
Creator Name-CRT:
North Indian
crt
North Indian
Creator Name-CRT
false
Title:
Buddha
otn
Buddha
Title
false
View:
Full view
rid
Full view
View
false
Creation Date:
Gupta period, late 5th-early 6th century
oct
Gupta period, late 5th-early 6th century
Creation Date
false
Creation Start Date:
466
ocs
466
Creation Start Date
false
Creation End Date:
533
oce
533
Creation End Date
false
Materials and Techniques:
Copper alloy
omd
Copper alloy
Materials and Techniques
false
Creation Place:
India
ocp
India
Creation Place
false
Dimensions:
H. 14 1/8 in. (35.9 cm)
met
H. 14 1/8 in. (35.9 cm)
Dimensions
false
AMICA Contributor:
Asia Society
oon
Asia Society
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
1979.007
ooa
1979.007
ID Number
false
Credit Line:
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
ooc
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
Credit Line
false
Rights:
orl
<a href="http://www.asiasociety.org"target="_new">http://www.asiasociety.org</a>
Rights
false
Context:
This seated Buddha holds his hands in the preaching gesture (dharmachakramudra). His broad shoulders, full torso, and clinging drapery continue stylistic traditions found in the city of Sarnath during the imperial Gupta period (c. 319-c. 500). On the other hand, the proportions of the face and physique are more elongated than is common in Buddhas from Sarnath and other sites in Uttar Pradesh. This is most evident in his folded legs, which are noticeably long in proportion to his torso. A similar subtle elongation is found at sites such as Bhitargaon and in northeast India, making it difficult to suggest a provenance for this piece.
The bump, or ushnisha, on top of the Buddha's head signifies his advanced spiritual state and great knowledge. The elongated earlobes refer to his early life as a prince, when he wore heavy earrings, which remind the faithful that they, too, should reject worldly goods and pleasures. The downcast eyes symbolize the Buddha's understanding and mastery of meditation. The hair is cropped short and shaped like snail shells. All of these are typical features of buddha images. The U-shaped fixture on the back of this Buddha's head was used to attach a large body-halo to the sculpture.
A consecratory inscription carved on the pedestal is often found on Indian sculpture; this creed loosely translates as, "All those phenomena which are born of causes, Tathagata [that is, Buddha] spoke indeed of all those causes, and their cessation (was also preached by him)." This sculpture has been dated on the basis of the paleography of this inscription. It is written in the northern Indian Brahmi script, which was commonly used in the late 5th and early 6th century.
cxd
This seated Buddha holds his hands in the preaching gesture (<I>dharmachakramudra</I>). His broad shoulders, full torso, and clinging drapery continue stylistic traditions found in the city of Sarnath during the imperial Gupta period (c. 319-c. 500). On the other hand, the proportions of the face and physique are more elongated than is common in Buddhas from Sarnath and other sites in Uttar Pradesh. This is most evident in his folded legs, which are noticeably long in proportion to his torso. A similar subtle elongation is found at sites such as Bhitargaon and in northeast India, making it difficult to suggest a provenance for this piece.<P>The bump, or <I>ushnisha</I>, on top of the Buddha's head signifies his advanced spiritual state and great knowledge. The elongated earlobes refer to his early life as a prince, when he wore heavy earrings, which remind the faithful that they, too, should reject worldly goods and pleasures. The downcast eyes symbolize the Buddha's understanding and mastery of meditation. The hair is cropped short and shaped like snail shells. All of these are typical features of buddha images. The U-shaped fixture on the back of this Buddha's head was used to attach a large body-halo to the sculpture.</P><P>A consecratory inscription carved on the pedestal is often found on Indian sculpture; this creed loosely translates as, "All those phenomena which are born of causes, Tathagata [that is, Buddha] spoke indeed of all those causes, and their cessation (was also preached by him)." This sculpture has been dated on the basis of the paleography of this inscription. It is written in the northern Indian Brahmi script, which was commonly used in the late 5th and early 6th century.</P>
Context
false
Related Document Description:
Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 9.
rdd
Asia Society. <I>Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection</I>. New York: Asia Society, [1981], p. 9.
Related Document Description
false
Related Document Description:
Lee, Sherman E. Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd. New York: Asia Society, 1970, pp. 14, 30.
rdd
Lee, Sherman E. <I>Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd.</I> New York: Asia Society, 1970, pp. 14, 30.
Related Document Description
false
Related Document Description:
Pal, Pratapaditya. The Ideal Image: The Gupta Sculptural Tradition and Its Influence. New York: Asia Society in association with John Weatherhill, 1978, p. 71.
rdd
Pal, Pratapaditya. <I>The Ideal Image: The Gupta Sculptural Tradition and Its Influence.</I> New York: Asia Society in association with John Weatherhill, 1978, p. 71.
Related Document Description
false
Related Document Description:
Schroeder, Ulrich von. Indo-Tibetan Bronzes. Hong Kong: Visual Dharma, 1981, pp. 204, 208, 212-13.
rdd
Schroeder, Ulrich von. <I>Indo-Tibetan Bronzes</I>. Hong Kong: Visual Dharma, 1981, pp. 204, 208, 212-13.
Related Document Description
false
Related Document Description:
Young, Mahonri Sharp. 'Treasures of the Orient: A Rockefeller Collection.' Apollo (November 1970), pp. 329-39.
rdd
Young, Mahonri Sharp. 'Treasures of the Orient: A Rockefeller Collection.' <I>Apollo</I> (November 1970), pp. 329-39.
Related Document Description
false
Related Image Identifier Link:
ASIA.1979.007.a.tif
ril
ASIA.1979.007.a.tif
Related Image Identifier Link
false