COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1970.43
amicoid
CMA_.1970.43
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Name:
Unknown
crn
Unknown
Creator Name
false
Creator Nationality:
Asian; Indian Sub-Continent; Indian
crc
Asian; Indian Sub-Continent; Indian
Creator Nationality
false
Creator Name-CRT:
India, Amaravati, Satavahana Period
crt
India, Amaravati, Satavahana Period
Creator Name-CRT
false
Title:
Adoration of the Bodhi Tree
otn
Adoration of the Bodhi Tree
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
2nd Century
oct
2nd Century
Creation Date
false
Creation Start Date:
100
ocs
100
Creation Start Date
false
Creation End Date:
199
oce
199
Creation End Date
false
Materials and Techniques:
limestone
omd
limestone
Materials and Techniques
false
Style or Period:
India, Amaravati, Satavahana Period
std
India, Amaravati, Satavahana Period
Style or Period
false
Dimensions:
Overall: 80cm x 57.1cm
met
Overall: 80cm x 57.1cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1970.43
ooa
1970.43
ID Number
false
Credit Line:
Purchase from the J. H. Wade Fund
ooc
Purchase from the J. H. Wade Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
While the Gandhara and Mathura styles flourished in north and central India, another style developed in the south: the Andhra style, named after Andhra Pradesh province, or Satavahana, after the name of the ruling dynasty. Like the contemporary northernstyles, it served predominantly Buddhism. Its major monument, no longer extant, was the stupa of Amaravati. That monument was richly decorated with sculptural reliefs depicting scenes from jatakas (previous lives of Buddha) and images of the master.The relief here represents what is referred to as an aniconic scene, depicting the worship of the bodhi tree under which Buddha achieved his enlightenment. In aniconic depictions Buddha is not shown in anthropomorphic form, but represented by various symbols,such as the bodhi tree, royal umbrella, imprint of his feet, or his throne. Three figures (two males and one female) are shown adoring the tree. They carry vases with flowers as offerings, pouring flowers at the base of the tree. The male figure on the rightof the panel is badly mutilated and a section of the tree on the top is missing.The relief presents the new sense of realism and elegance that characterize the Andhra style. Figures are deeply carved in a variety of postures and they overlap, creatinga sense of perspective and giving the impression that they exist within space. Compositions are usually crowded with figures who are slim and elegant in their elongation and convey vitality and movement.The stone used by Andhra sculptors is a white-green limestone that looks like marble and distinguishes sculptures of this school from all others. Sculptures in the Amaravati style are relatively rare. The largest group survives in the British Museum in London (more than 120 pieces), and others are in theMadras Museum, and the Musée Guimet in Paris. In the United States, museum collections in Boston, Kansas City, Los Angeles, the Metropolitan in New York, and Cleveland have some examples. In addition to this relief, the Cleveland museum has another oneofaniconic subject, the pillar of fire. S.C.
cxd
While the Gandhara and Mathura styles flourished in north and central India, another style developed in the south: the Andhra style, named after Andhra Pradesh province, or Satavahana, after the name of the ruling dynasty. Like the contemporary northernstyles, it served predominantly Buddhism. Its major monument, no longer extant, was the stupa of Amaravati. That monument was richly decorated with sculptural reliefs depicting scenes from jatakas (previous lives of Buddha) and images of the master.The relief here represents what is referred to as an aniconic scene, depicting the worship of the bodhi tree under which Buddha achieved his enlightenment. In aniconic depictions Buddha is not shown in anthropomorphic form, but represented by various symbols,such as the bodhi tree, royal umbrella, imprint of his feet, or his throne. Three figures (two males and one female) are shown adoring the tree. They carry vases with flowers as offerings, pouring flowers at the base of the tree. The male figure on the rightof the panel is badly mutilated and a section of the tree on the top is missing.The relief presents the new sense of realism and elegance that characterize the Andhra style. Figures are deeply carved in a variety of postures and they overlap, creatinga sense of perspective and giving the impression that they exist within space. Compositions are usually crowded with figures who are slim and elegant in their elongation and convey vitality and movement.The stone used by Andhra sculptors is a white-green limestone that looks like marble and distinguishes sculptures of this school from all others. Sculptures in the Amaravati style are relatively rare. The largest group survives in the British Museum in London (more than 120 pieces), and others are in theMadras Museum, and the Musée Guimet in Paris. In the United States, museum collections in Boston, Kansas City, Los Angeles, the Metropolitan in New York, and Cleveland have some examples. In addition to this relief, the Cleveland museum has another oneofaniconic subject, the pillar of fire. S.C.
Context
false
Related Image Identifier Link:
CMA_.1970.43.tif
ril
CMA_.1970.43.tif
Related Image Identifier Link
false