COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
ASIA.1979.091a-c
amicoid
ASIA.1979.091a-c
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Southeast Asian; Burmese
crc
Asian; Southeast Asian; Burmese
Creator Nationality
false
Creator Name-CRT:
Myanmarese
crt
Myanmarese
Creator Name-CRT
false
Title:
Buddha Shakyamuni with Kneeling Worshippers
otn
Buddha Shakyamuni with Kneeling Worshippers
Title
false
View:
Full view
rid
Full view
View
false
Creation Date:
14th-15th century
oct
14th-15th century
Creation Date
false
Creation Start Date:
1300
ocs
1300
Creation Start Date
false
Creation End Date:
1499
oce
1499
Creation End Date
false
Materials and Techniques:
Gilt copper alloy
omd
Gilt copper alloy
Materials and Techniques
false
Creation Place:
Myanmar
ocp
Myanmar
Creation Place
false
Dimensions:
H. 16 in. (40.6 cm); W. 14 3/4 in. (37.5 cm)
met
H. 16 in. (40.6 cm); W. 14 3/4 in. (37.5 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:
1979.091a-c
ooa
1979.091a-c
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:
The art of Myanmar remains the least studied among the traditions of Southeast Asia, in part owing to a lack of available material. The art of the Pagan period (849-1287), when Myanmar was a major political and economic force in Southeast Asia and an important center for the practice of Buddhism, remains the best known. This bronze Buddha seated in the lotus posture is dated to the 14th or 15th century. He holds his right hand in the earth-touching gesture (bhumisparshamudra) and his left hand in the gesture of meditation (dhyanamudra). The position and posture of the Buddha, his idealized form, and the stylized depiction of his drapery--in particular the way in which the shawl is draped twice over the left shoulder--continue visual traditions from the art of the Pagan period, but several details help to date this sculpture to a later time. These include the Buddha's slim waist; his long fingers and toes, each of equal length; the casting of the lotus pedestal in two parts; and the dense geometric decoration incised into the central part of this pedestal. On the base are two lions and an image of the earth goddess wringing her hair to wash away Mara's hordes, a reference to one of the Eight Great Events of Shakyamuni's life prior to his enlightenment, when he vanquished the demon Mara and the forces of illusion. Two small figures of monks, each of whom holds a piece of cloth between folded hands, are attached to the base. These monks are Mogallana and Shariputra, two of Shakyamuni's most important disciples, who symbolize the importance of skill and knowledge in the search for enlightenment. Historical disciples such as Mogallana and Shariputra are more important in Theravada--an austere branch of Buddhism based on early scriptures in the Pala language--than in other branches of Buddhism, and the prominence given to such images in later Myanmarese art reflects the influence of this branch.
cxd
The art of Myanmar remains the least studied among the traditions of Southeast Asia, in part owing to a lack of available material. The art of the Pagan period (849-1287), when Myanmar was a major political and economic force in Southeast Asia and an important center for the practice of Buddhism, remains the best known. This bronze Buddha seated in the lotus posture is dated to the 14th or 15th century. He holds his right hand in the earth-touching gesture (<I>bhumisparshamudra</I>) and his left hand in the gesture of meditation (<I>dhyanamudra</I>). The position and posture of the Buddha, his idealized form, and the stylized depiction of his drapery--in particular the way in which the shawl is draped twice over the left shoulder--continue visual traditions from the art of the Pagan period, but several details help to date this sculpture to a later time. These include the Buddha's slim waist; his long fingers and toes, each of equal length; the casting of the lotus pedestal in two parts; and the dense geometric decoration incised into the central part of this pedestal. On the base are two lions and an image of the earth goddess wringing her hair to wash away Mara's hordes, a reference to one of the Eight Great Events of Shakyamuni's life prior to his enlightenment, when he vanquished the demon Mara and the forces of illusion. Two small figures of monks, each of whom holds a piece of cloth between folded hands, are attached to the base. These monks are Mogallana and Shariputra, two of Shakyamuni's most important disciples, who symbolize the importance of skill and knowledge in the search for enlightenment. Historical disciples such as Mogallana and Shariputra are more important in Theravada--an austere branch of Buddhism based on early scriptures in the Pala language--than in other branches of Buddhism, and the prominence given to such images in later Myanmarese art reflects the influence of this branch.
Context
false
Related Document Description:
Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 43.
rdd
Asia Society. <I>Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection.</I> New York: Asia Society, [1981], p. 43.
Related Document Description
false
Related Image Identifier Link:
ASIA.1979.091.a.tif
ril
ASIA.1979.091.a.tif
Related Image Identifier Link
false