An artistic depiction of the footprint of the Buddha from Sanchi, India from the 1st Century CE
Brief Identification[]
This sandstone carving from the 1st century is a depiction of the feet of Siddartha Gautama. Siddartha Gautama also known as the Buddha, the founder and main figure within the religion of Buddhism originating in India. Carvings such as these are referred to by “Buddhapada” in Sanskrit, and act as a form of iconography for use in religious practice or worship for followers of Buddhism.
Buddhapada can be found throughout the region of India, with the specific Buddhapada shown within the main image being from Sanchi, India. Most depictions of Buddhapada, include intricate circular designs within the carving of the feet and other detailings within the toes. The creation of Buddhapas dates back to the 2nd or 3rd Century BCE at the earliest [See Sensabaugh, 2017], with it being a generally common artistic depiction of the Buddha in religious art from the time period.
The current location for the Buddhapada depicted within this main image is currently located within a German Museum in Berlin
Technical Evaluation[]
Buddhapada are typically carved into stone such as sandstone. India, the common location of origin for these types of artifacts, has a storied history of stone carving, dating back as far as the second millennium BCE [See Gupta, 1981]. The general process for stone carvings around the time period at which the particular Buddhapada within the given image was made, during the 1st century, was taking a rectangular block of stone, and marking out the outline of the carving in either charcoal or a colored substance called “Kari”. Then the Sculptor (Rupakrita) would use a chisel (Tanka) to carve out the carved structure from the block [See Gupta, 1981]. Other tools were used, such as hammers, but the chisel was the primary tool utilized for stone carving in general, and likely similarly so for Buddhapada.
Some Buddhapada depict both the left and right foot of the Buddha, others such as the one seen in the main picture only depict one of the two feet. Most depictions come with circular imagery alongside or within the footprints themselves. These circular carvings are typically meant to represent lotus flowers called “Cakra” or “Padma” [See Sensabaugh, 2017]. The exact shape of each of the feet tend to have some deviation away from actual feet shapes, with some depictions being significantly more squared off and symmetrical compared to an actual foot as seen with the Buddhapada displayed in the British Museum [See British Museum]
Buddhapada, are subject to variance due to the circumstances of their creation, with tradition in methodology playing a big role in how carvings are designed. According to Gutama Sen Gupta's "A NOTE ON THE METHOD OF STONE-CARVING IN INDIA", he describes stone carving as highly "Tradition-bound" [See Gupta]. In Sanchi in particular, the location of origin for this artifact, has a particular notable history with Buddhist stone carvings. Sanchi is noted by some to have some particular designs for its Buddhist arts unique to the region, being noted to have particular human-and-floral motifs seen in very few works outside of the region [See Spink, 1958].
Local Historical Context[]
The depictions of Buddhapadas are intertwined primarily with the history of Buddhism as a religion, with their earliest depictions dating back to the Maurya period (321-184 BCE) and the corresponding Mauryan Empire. During this time period, and the ruling of the Mauryan empire, Buddhism rose to prominence under its king, Asoka, who is described by Lars Fogelin in their article "Providing for the Buddha: Monastic Centres in Eastern India", as a "...great hero-king of Buddhism" [See Fogelin, 2012]. The actions of Asoka lead to a rise in Buddhism within the region due to their active support of the religion. This support of the religion lead to the creation of Buddhist monasteries, and in turn, the creation of more Buddhist religious artwork under Asoka's rule. Asoka had commanded the creation of carvings of Buddhist edicts and more Stupas throughout his empire [See Department of Asian Art, 2000]. Buddhapadas, being religious artwork for Buddhism, was used in Buddhist worshipping practices, depicting Siddartha Gautama, the Buddha. They are representative of what the Buddhist religion focused on venerating through worship during these time periods, as Buddhapas trace back to the earlier centuries through the focus on venerating the feet of the Buddha shown through stone carvings and the Stupas such as the one at Sanchi.
The other main use for Buddhapadas as imagery for Buddhism is their inclusion in larger Buddhist stone carving structures such as Stupas or within rock-cut temples. These stupas are of great significance to the Buddhist religion, as they house important relics of Buddhism, and depict important events within the religion, such as within the Great Stupa of Sanchi, according to Himanshu Prabha Ray, in their writings in "Providing for the Buddha: Monastic Centres in Eastern India" when discussing the Stupas, states that "A graphic representation of the division of the relics is provided by the three architraves on the gateways to the main stupa at Sanchi" [See Ray, 2008]. Depictions of Buddhapada within Stupas, can been seen in the Stupa relief displayed in the British Museum which contains a Buddhapada [See British Museum]. The creation of these Stupas and Buddhapadas both date back to as early as the priorly mentioned Maurya period (321-184 BCE), and lasting further into the future. According to reports on the history of the Buddhapada by David Ake Sensebaugh in "Footprints of the Buddha" for Yale's university art bulletin, Buddhapadas are said to have been found in "the region of ancient Gandhara—now parts of present-day northwest India, Pakistan, and Afghanistan" around the 2nd or 3rd century and also have been depicted as apart of "the second-century b.c.e. stupa at Bharhut", a different region within India [See Sensebaugh 2017].
The time period at which the artifact within the main picture originated from, the 1st century, also happens to coincide or slightly predate the rise of Mahayana Buddhism around either 78 CE or the second century CE [See Eliot, 1954]. As Buddhapadas were still being created far into the later centuries after, as according to Sensebaugh’s article: “Footprints of the Buddha”, Buddhapadas appeared “In a second-century c.e. relief from the great Buddhist site at Amaravati in Andhra Pradesh, India”, showing their continued presence in Buddhist art during the time period at which Mahayana Buddhism rose [See Sensebaugh 2017]. The rise of Mahayana Buddhism came with a multitude of changes to Buddhist religious imagery, with that subset of the religion now depicting the Buddha in full rather than the earlier Buddhist art conventions that Buddhapadas fall under, depicting the Buddha, in a manner that Lars Fogelin describes in their article “Material Practice and the Metamorphosis of a Sign: Early Buddhist Stupas and the Origin of Mahayana Buddhism”, as "...conspicuous absence…” [See Fogelin, 2012].
World Historical Significance[]
The Buddhapada, as both its own artifact, and as a symbol found on other Buddhist religious artifacts, is representative of a consistent idea throughout Buddhist artwork, religion, and history. Buddhapadas are indicative of a time period within Buddhist religious art of depicting the Buddha but before the creation of full depictions of Siddartha Gautama in full body rendition, with other artworks from around the time period similarly representing him through absence in artworks of empty seas or empty space beneath a parasol [See Deheja, 2007, Buddhism] Being an artistic depiction of Siddartha Gautama years after his death, the artistic interpretation can be seen as a metaphorical representation of his significance despite no longer being physically around.
In the wider perspective of history, Buddhapadas coincide with the rise of an empire that gave the religion of which it is associated a massive rise in influence. This empire, despite falling, would lay the groundwork for major changes within the religion, both artistically and philosophically through the lingering actions of the leader that brought it to the forefront. Buddhapadas, in their use as both a symbol within major Buddhist religious works such as the Stupas, represents both the early years of Buddhist art, but also the precipice of change for Buddhism.
Bibliography[]
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Stupa 1 (The Great Stupa). 3rd century BCE - 1st century CE. Structural, sandstone. https://jstor.org/stable/community.14505551.
Buddha’s Footprints (Buddhapada). 1st century BCE. Limestone, 67.5 cm high. British Museum, London, United Kingdom. Erich Lessing Culture and Fine Arts Archives. Artstor. https://jstor.org/stable/community.18148642.
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