Sizeable fresco fragment with polychrome
decoration against tan slip; a youthful Buddha is
shown fully frontally with nimbus formed of
stripes
of different width and colours emanating behind
head; wears heavy outer robe -sa?ghati- and
holds
right hand with fingers tensed and palm turned
inwards to left breast; head faces slightly to the
right and bears typical features including heavy-
lidded, almond eyes beneath high, arched brow,
slender triangular nose and small, full-lipped
mouth; the earlobes are classically sagging and
typical elevation of force in the middle of his skull
known as a ushnisha is present; his body is
framed
by a mandorla formed of a thick blue stripe.
Buddhism took a hold of Gandhara – a tract of
country on the west bank of the Indus River that
comprises the Peshawar Valley and the modern
Swat, Buner and Bajaur – during 3rd century BCE.
The earliest examples of Buddhist sculpture were
produced at this time, however rather than being
in
the image of Buddha they recounted episodes
from
his life, intending to glorify him. By 1st century
BCE
Gandharan art had come into being and by 3rd
century ACE, the School of Gandhara had initiated
and established not only the practice of
portraying
the Buddha in bodily form but also, a distinct and
uncompromising set of strictures to which these
images must abide.
The facial features, extended ear lobes – caused
by
discarding the heavy gold earrings appropriate to
Buddha’s warrior class upon leaving home
towards
enlightenment, ushnisha and gesture (mudra) are
part of a distinct physiognomy and readily identify
Buddha.
Other features however attest influence across a
wider geographical area. For example, the
hairstyle
relates to Chinese imagery and the mandorla –
traditionally an almond-shaped aureole of light
surrounding a holy figure – appears in Christian
art
as a standard attribute of Christ. Furthermore,
Buddha’s rather ample visage speaks more of
classical influence. The conquest of Alexander the
Great during 4th century BCE and influx of
Hellenistic art, while short-lived, left an enduring
mark on the nascent School of Buddhist
sculpture.
There was an incredible surge in the output of
Buddhist images, western aesthetics became
prominent and images of Buddha based on Greco-
Roman models.
While, orthodox elements of the classic Buddhist
iconography did endure and remain little changed
over centuries, with such a long history of foreign
occupation since its first appearance in the
historical
sources during 9th century BCE – under Persian
rule
until the conquest of Alexander the Great between
327-326 BCE, and thereafter intermittently
between
a succession of foreign powers until once again
falling under Persian helm in 3rd century ACE – it
is
not surprising that the changes in the socio-
economic and political landscape gave rise to
shifts
in the arts.
Gandharan murals and wall paintings have scant
survived.
- (LO.1309)
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