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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Nationality: Asian; Indian Sub-Continent; Indian Creator Dates/Places: India Creator Active Place: India Creator Name-CRT: India, Sarnath, Gupta Period Title: Standing Buddha Title Type: Primary View: Full View Creation Start Date: 400 Creation End Date: 499 Creation Date: 5th century Object Type: Sculpture Materials and Techniques: sandstone Dimensions: Overall: 76.2cm AMICA Contributor: The Cleveland Museum of Art Owner Location: Cleveland, Ohio, USA ID Number: 1943.278 Credit Line: Purchase from the J. H. Wade Fund Rights: http://www.clemusart.com/museum/disclaim2.html Context: The Gupta period is known as the renaissance or golden age of Indian art. These terms signify the highest level of accomplishment in the plastic arts, both in physical perfection and in spiritual content. The tendency of the Gupta age, similar to that of the Western classical tradition, is to emphasize physical beauty: thus the interest in depicting the human form as youthful and idealized. The transparent clothing of the figures reveals the body, the proportions are elongated and elegant, and the postures relaxed and graceful. The images are rendered three-dimensionally with the stress on plasticity and volume. The Sanskrit term frequently used to describe this characteristic of Gupta sculpture is prana (breath), referring to the inner energy and vitality combined with three-dimensionality and plasticity. The sculptures seem alive, swelling with "inner breath," voluminous and vibrant at the same time. Consequently, prana refers as much to the spiritual as it does to the physical aspects of Gupta sculpture. This spirituality in sculpture is further emphasized by the facial expression, here unfortunately impossible to appreciate as the head of the statue is missing. This sculpture depicts an incomplete image of Buddha from the Sarnath school. Distinguishing marks of Sarnath sculpture are the buff-colored sandstone (known as the Chunar stone) and transparent clothing. Were it not for the hem of the sanghati (monastic garment) around the neck, wrist, and ankles, the figure could have passed for being unclothed. The excess fabric of the garment is gathered on both sides of the image. Evident at the waist is the line signifying the antaravasaka (undergarment) worn under the monastic garment. There was once a halo around the image decorated along the edge with scallops and beading, of which only a fragment remains on the left side. The body of Buddha sways to the side in a graceful tribhanga (three-bent) posture. The proper right arm is outstretched along the side of the body in a varada mudra (gesture of bestowing) while the other is bent at the elbow; the hand, which once held the hem of the robe, has broken off. The sequence of the arms in this instance is reversed. Usually the right hand is lifted while the left remains pendant (see 1968.40). S.C. AMICA ID: CMA_.1943.278 AMICA Library Year: 1998 Media Metadata Rights: Copyright, The Cleveland Museum of Art AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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