arelli 2004, 67] This region experienced cultural infusion, especially Hellenistic influences.[]
With these new cultural integrations, trade, religion, and art flourished during this time. For instance, international trade thrived in the Kushan Empire. [See Ball 2008, 80] The Kushan economy was one of only three economies throughout the world that had gold-based currencies. [See Ball 2008, 80] During this time, a new school of Buddhism was OOOOOOOOOOOOOOHHHHHHHHHHHHHHHHHHHg: Mahayana . Unlike Theravada , Mahayana reinterpreted the dharma , expanded the role of the bodhisattva , and introduced the concept of the “Pure Land. ” [See Chicarelli 2004, 60-63] The Silk Road enabled Buddhist missionaries and monks to spread Buddhism. [See BBC- A History of the World in 100 Objects, Episode 41 ] In addition, Hellenistic and Roman culture influenc ed Gandharan art [See Chicarelli 2004, 65]. For instance, many Western artisans entered Gandhara and began to sculpt distinct Hellenistic features [See Rowland 1965, 117 ] especially in the face and clothing [See Chicarelli 2004, 69]. By combining Buddhism and art into images, missionaries were able to use these images to spread Buddhism despite a language barrier. [See BBC- A History of the World in 100 Objects, Episode 41 ] Furthermore, these sculptures of Buddha assisted followers to reach enlightenment by picturing Buddha in his or her mind. [See BBC- A History of the World in 100 Objects, Episode 41 ] Generally, sculptures such as this, sat in front of stupas . [See BBC- A History of the World in 100 Objects, Episode 41 ] These sculptures would have various themes and meaning, but would serve as “visual texts” [See Kinnard 2006, 49] to portray either Buddha’s life or his teachings. Ultimately, these objects served as an outlet for ritual worship. [See Kinnard 2006, 49]
World-Historical Significance[]
Within a broad spectrum of world history, this sculpture symbolizes the transformation of the Buddha image and the influence of other cultures. Originally, images of Buddha were symbolic of his life, such as footprints and the bodhi tree , [See BBC- A History of the World in 100 Objects, Episode 41 ] but with the spread of Mahayana and Hellenistic influences, Buddhist art began to portray images of the Buddha. [See Chicarelli 2004, 64] Creating the image of Buddha began during the first century B.C.E. in two locations: Mathura and Gandhara [See Rowland 1976, 9]. Through the images of Buddha, Mahayana believers could undergo spiritual devotions and they believed Buddha resided in the image and could achieve spiritual merit. [See Chicarelli 2004, 64] These images were initially carved near stupas. [See BBC- A History of the World in 100 Objects, Episode 41 ]
With the Hellenistic and Roman influences, Gandhara sculpture portrayed various Greek and Roman art. [ See Chicarelli 2004, 65] For instance, the face resembles the Greek god Apollo , and the robe is similar to a Greek toga with the many folds. Furthermore, the wavy hair is also adopted from Greek culture. [ See Chicarelli 2004, 69]
During this same time, Christian iconography was also developing. Early third century C.E. paintings in Roman catacombs are the earliest examples. [See Early Christian Art and Architecture 2010 ] Initially, Jesus was represented with symbols, such as a fish and a cross, and it was not until later that his image became represented. [See Early Christian Art and Architecture, Funk and Wagnalls ] Thus, Jesus and Buddha both were portrayed through symbols before they were depicted through images.
This sculpture didn’t circulate through world trade, but the image of Buddha spread with the assistance from the many travelers who visited Gandhara and then continued to travel by the Silk Road. Thus, the image was able to spread across the world, and in effect, the Buddhist religion grew into a universal religion. To date, the image of Buddha remains one of the most recognized and iconic images in the world. [See BBC- A History of the World in 100 Objects, Episode 41 ]
Suggested Bibliography[]
Ball, Warwick. The Monuments of Afghanistan: History, Archaeology, and Architecture. London: I.B. Tauris, 2008, 78-115.
Chicarelli, Charles F. Buddhist Art: An Illustrated Introduction. Chang Mai, Thailand: Silkworm Books, 2004, 3-70.
Jacob, Kinnard N. The Emergence of Buddhism. Westport, CT: Greenwood Press, 2006, 49.
Rowland, Benjamin, Junior. Introduction to The Evolution of the Buddha Image, by Benjamin Rowland Junior, 8-9. New York: Asia House Gallery Publication, 1976.
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http://www.britannica.com/EBchecked/topic/225179/Gandhara
http://www.britannica.com/EBchecked/topic/325483/Kushan-dynasty
http://www.britannica.com/EBchecked/topic/358037/Mahayana
http://www.britannica.com/EBchecked/topic/483872/Pure-Land-Buddhism
http://www.britannica.com/EBchecked/topic/497416/religious-symbolism-and-iconography
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http://www.britannica.com/EBchecked/topic/544491/Silk-Road
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"EARLY CHRISTIAN ART AND ARCHITECTURE." (n.d.): Funk & Wagnalls New World Encyclopedia, EBSCOhost (accessed April 21, 2011).
"Early Christian art and architecture." Columbia Electronic Encyclopedia, 6th Edition (July 2010): 1. Literary Reference Center, EBSCOhost (accessed April 21, 2011).
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"Object Details: The Buddha." British Museum. Accessed April 21, 2011. http://www.britishmuseum.org/research/search_the_collection_database/search_object_details.aspx?objectid=225497&partid=1&searchText=RRI5353&fromADBC=ad&toADBC=ad&numpages =10&orig=%2fresearch%2fsearch_the_collection_database.aspx¤tPage=1.
Rowland, Benjamin. "A Cycle of Gandhara." Bulletin of the Museum of Fine Arts 63, no. 333 (1965): 117.
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