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This relief, possibly from a household shrine,
depicts the deities Hariti and Pancika. Seated on
a double throne, each is portrayed in a relaxed
pose as if engaged in conversation. Both have
their divinity emphasized by the inclusion of the
nimbus. According to tradition, Hariti, prior to
her conversion to Buddhism, was a cruel and
vengeful personality. The mother of five hundred
sons she nourished them on the flesh of other
children stolen from their parents. In order to
reveal to Hariti the injustice of her actions the
Buddha seized her youngest child. Beside herself
with grief Hariti repented and converted to
Buddhism. She became associated with
motherhood, fertility and prosperity. Often
depicted with small children clambering across
her lap, this relief shows her other identifying
attribute, the cornucopia. The representation of
Hariti was apparently conflated with that of the
Greek goddess of Fortune, Tyche, who was often
depicted with a cornucopia. This kind of
interaction between Classical and Buddhist
artistic conventions is typical of Gandharan art.
Situated on the Silk Road, at the crossroads
between East and West, Gandhara has been
described by one scholar as a ‘melting pot of
cultures.’ Certainly, following its conquest by
Alexander the Great in the 4th century B.C., the
Greeks exerted an important cultural influence.
This continued even after the Greek dynasties
were overthrown and the Kushans, from northern
China, became established in the first century
A.D.
Pancika was Hariti’s consort and traditionally
associated with wealth. When the two figures
appear together they also symbolise harmony in
marriage. Pancika carries his customary attribute,
the staff, and previously held something in his
left hand which is now unidentifiable. It may have
been a money-bag as was customary in such
depictions. He is dressed in a Roman-style tunic
and leggings rather than an Indian dhoti. The
relief is made from grey schist, a material
indigenous to Gandhara and extremely popular
with local artists. In excellent condition, this
sculpture would make a wonderful addition to
any collection.
For a similar but earlier example of this subject
in Gandharan art, see Pratapaditya Pal, 'Indian
Sculpture: Volume 1,' (1986), p.166.
- (LK.013)
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