COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1966.30
amicoid
CMA_.1966.30
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; Pakistani; Kashmiri
crc
Asian; Indian Sub-Continent; Pakistani; Kashmiri
Creator Nationality
false
Creator Name-CRT:
Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
crt
Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
Creator Name-CRT
false
Title:
Standing Budda, (Udayana Type)
otn
Standing Budda, (Udayana Type)
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 10th Century
oct
c. 10th Century
Creation Date
false
Creation Start Date:
880
ocs
880
Creation Start Date
false
Creation End Date:
1019
oce
1019
Creation End Date
false
Materials and Techniques:
brass
omd
brass
Materials and Techniques
false
Style or Period:
Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
std
Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
Style or Period
false
Dimensions:
Overall: 98.1cm, Base: 28.4cm
met
Overall: 98.1cm, Base: 28.4cm
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:
1966.30
ooa
1966.30
ID Number
false
Credit Line:
John L. Severance Fund
ooc
John L. Severance 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:
The northwestern frontiers of India were a melting pot of various cultural influences, and it was also the area responsible for the dissemination of Indian culture to the outside world. During the early centuries of the Christian era, the territory of Gandhara primarily held this distinction, while from the eighth century onward, Kashmir took over the role. The invasion of the White Huns in the fifth century and the Muslim raids in the early eighth century devastated the area and the focal point moved farther northeast, to the then politically more stable Kashmir, ruled by the Karakota dynasty. Some of the most spectacular bronzes produced in the Indian world belong to this school. This style is distinguished by great elegance and sophistication. Its slightly elongated figures combine the naturalistic modeling of Gandhara and the sensuality of Gupta art. This bronze, one of the largest and most important Kashmiri bronzes to survive to this day, provides a spectacular example of this style.While originally thought to be somewhat earlier, today we are inclined to date it to the late tenth to early eleventh centuries, on the grounds of similarities with some wooden sculptures from the monastery of Tabo, as well as the Tibetan inscription that appears on its base. It refers to 'Lhatsun [â??god-monk,' a title used for some monks of the royal linage] Nagaraja.' There is a good chance that he may be identifiable with a personage of that name in West Tibet who dates to the beginning of the eleventh century. Thisidentification, as well as the fact that the inscription is in Tibetan, poses an interesting problem as to whether the image was commissioned by a Tibetan, made in Kashmir and only inscribed in Tibet, or made in West Tibet itself. As time goes by, our knowledge of West Tibetan (Ladakhi) art has expanded and we know today that its early phase is virtually undistinguishable from what used to be considered a 'classical Kashmir style.' The best examples of that are sculptures such as the Maitreya in Mulbek (dating to about the ninth century) or the murals of Alchi (dating to about the eleventh century). Thus one could argue effectively both points that the image was cast in Kashmir for the Tibetan market or possibly was made in West Tibet, especially since weknow that many Kashmiri artists were active there. Considering the proximity of Kashmir and Ladakh it is not surprising to find cultural traditions so closely overlapping. S.C.
cxd
The northwestern frontiers of India were a melting pot of various cultural influences, and it was also the area responsible for the dissemination of Indian culture to the outside world. During the early centuries of the Christian era, the territory of Gandhara primarily held this distinction, while from the eighth century onward, Kashmir took over the role. The invasion of the White Huns in the fifth century and the Muslim raids in the early eighth century devastated the area and the focal point moved farther northeast, to the then politically more stable Kashmir, ruled by the Karakota dynasty. Some of the most spectacular bronzes produced in the Indian world belong to this school. This style is distinguished by great elegance and sophistication. Its slightly elongated figures combine the naturalistic modeling of Gandhara and the sensuality of Gupta art. This bronze, one of the largest and most important Kashmiri bronzes to survive to this day, provides a spectacular example of this style.While originally thought to be somewhat earlier, today we are inclined to date it to the late tenth to early eleventh centuries, on the grounds of similarities with some wooden sculptures from the monastery of Tabo, as well as the Tibetan inscription that appears on its base. It refers to 'Lhatsun [â??god-monk,' a title used for some monks of the royal linage] Nagaraja.' There is a good chance that he may be identifiable with a personage of that name in West Tibet who dates to the beginning of the eleventh century. Thisidentification, as well as the fact that the inscription is in Tibetan, poses an interesting problem as to whether the image was commissioned by a Tibetan, made in Kashmir and only inscribed in Tibet, or made in West Tibet itself. As time goes by, our knowledge of West Tibetan (Ladakhi) art has expanded and we know today that its early phase is virtually undistinguishable from what used to be considered a 'classical Kashmir style.' The best examples of that are sculptures such as the Maitreya in Mulbek (dating to about the ninth century) or the murals of Alchi (dating to about the eleventh century). Thus one could argue effectively both points that the image was cast in Kashmir for the Tibetan market or possibly was made in West Tibet, especially since weknow that many Kashmiri artists were active there. Considering the proximity of Kashmir and Ladakh it is not surprising to find cultural traditions so closely overlapping. S.C.
Context
false
Related Image Identifier Link:
CMA_.1966.30.tif
ril
CMA_.1966.30.tif
Related Image Identifier Link
false