COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1972.43
amicoid
CMA_.1972.43
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:
India
cdt
India
Creator Dates/Places
false
Creator Name-CRT:
India, Gandhara, probably Peshawar area, Kusana Period
crt
India, Gandhara, probably Peshawar area, Kusana Period
Creator Name-CRT
false
Title:
Standing Sakyamuni
otn
Standing Sakyamuni
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
2nd half of the 2nd Century
oct
2nd half of the 2nd Century
Creation Date
false
Creation Start Date:
150
ocs
150
Creation Start Date
false
Creation End Date:
199
oce
199
Creation End Date
false
Materials and Techniques:
gray schist
omd
gray schist
Materials and Techniques
false
Style or Period:
Kusana Period
std
Kusana Period
Style or Period
false
Creation Place:
Gandhara
ocp
Gandhara
Creation Place
false
Dimensions:
Overall: 119.7cm
met
Overall: 119.7cm
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:
1972.43
ooa
1972.43
ID Number
false
Credit Line:
Gift of Morris and Eleanor Everett in memory of Flora Morris Everett
ooc
Gift of Morris and Eleanor Everett in memory of Flora Morris Everett
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:
The invasion led by Alexander the Great in the late fourth century BC resulted in the settelment of Bactria, India's northwestern province. It gave the beginning to a classical style that, centuries later, developed into Gandhara art, which flourished through the first three centuries of the Christian era. This Hellenistic and, later, Roman styles left a deep mark on Indian sculpture. This sculpture provides a perfect example of the results. Large detached images of buddhas are characteristic of the advanced phase of Gandhara art. The early stage was represented primarily by small narrative reliefs with scenes from the life of the Historical Buddha, Shakyamuni, which decorated Buddhist monuments in profusion. With the growing popularity of Mahayana Buddhism, when the demand for an icon was created, large detached images were executed and placed in shrines, niches, and courtyards of Buddhist monasteries. There are two basic types of buddha images: standing and seated. Buddha wears a sanghati (monastic garment), which in most of the standing images covers both shoulders. In the seated figures it is sometimes worn only over the left shoulder. The lower hem of the garment reveals the antaravasaka (undergarment). The hands are in standard positions: the right one raised to the chest level, expressing an abhaya mudra (blessing or reassurance); the left one, extended along the body, holding the hem of the monastic garment. The posture of Shakyamuni is relaxed, with the left leg slightly bent at the knee and moving forward. The garment, draped in a fashion that recalls Greco-Roman sculpture, follows the contours of the body underneath. Both the transparency of the clothing and the tendency to model the body are predominant in the advanced Gandhara style. At thesame time, this sculpture displays a high usnisa, wide-open eyes, a moustache, and a moderately large halo--characteristics associated with the earlier Gandhara style--indicating that the second half of the second century AD is the most likely date for this figure. S.C.
cxd
The invasion led by Alexander the Great in the late fourth century BC resulted in the settelment of Bactria, India's northwestern province. It gave the beginning to a classical style that, centuries later, developed into Gandhara art, which flourished through the first three centuries of the Christian era. This Hellenistic and, later, Roman styles left a deep mark on Indian sculpture. This sculpture provides a perfect example of the results. Large detached images of buddhas are characteristic of the advanced phase of Gandhara art. The early stage was represented primarily by small narrative reliefs with scenes from the life of the Historical Buddha, Shakyamuni, which decorated Buddhist monuments in profusion. With the growing popularity of Mahayana Buddhism, when the demand for an icon was created, large detached images were executed and placed in shrines, niches, and courtyards of Buddhist monasteries. There are two basic types of buddha images: standing and seated. Buddha wears a sanghati (monastic garment), which in most of the standing images covers both shoulders. In the seated figures it is sometimes worn only over the left shoulder. The lower hem of the garment reveals the antaravasaka (undergarment). The hands are in standard positions: the right one raised to the chest level, expressing an abhaya mudra (blessing or reassurance); the left one, extended along the body, holding the hem of the monastic garment. The posture of Shakyamuni is relaxed, with the left leg slightly bent at the knee and moving forward. The garment, draped in a fashion that recalls Greco-Roman sculpture, follows the contours of the body underneath. Both the transparency of the clothing and the tendency to model the body are predominant in the advanced Gandhara style. At thesame time, this sculpture displays a high usnisa, wide-open eyes, a moustache, and a moderately large halo--characteristics associated with the earlier Gandhara style--indicating that the second half of the second century AD is the most likely date for this figure. S.C.
Context
false
Related Image Identifier Link:
CMA_.1972.43.tif
ril
CMA_.1972.43.tif
Related Image Identifier Link
false