Buddha Maitreya

Description

This is a classic sculpture of a Standing Bodhisattva Maitreya, with a chipped Halo behind His head, where His hair is arranged in a beaded net with a topknot. He is standing on a plinth with flower motif and gazing intently with a benign expression. ^{1 fg 60, 61, 62, 63, 73, 74, 75, 76, 77, 93, ; 2 fg 139, 140, 142}

Although both arms are missing, the position of the left arm seems to indicate that it held a water pot (kundika) containing amrita (the elixir of life); a symbolic promise of salvation in the future which fulfils the spiritual role of the Bodhisattva Maitreya.

The juxtaposition of distinctly Hellenistic classical features, particularly the realistically rendered drapery of Samghati and robust musculature, with the indigenous elements of uttarīya and Indian prototypes from Art of Mathura, typifies it as a Gandharan (Greco-Buddhist) sculpture.

The earlier Standing Bodhisattva Maitreya (before 3^rd CE) were often depicted with thick moustache, long-flowing hair, powerful and fleshy musculature of the body, coupled with lavish assortment of accessories to emphasize the Matireya's regal bearing. For this sculpture, the Bodhisattva Maitreya is depicted with a thin moustache, decent musculature, adorned with a humble necklace and head band.

Description

This is a classic sculpture of a Meditating Bodhisattva Maitreya, with a chipped Halo behind His head. His hair is arranged in a beaded net with a topknot and He is seated on a low throne, gazing intently with a benign expression, while His hands are seen holding a floral spray, which might well be a Nagapuspa flower.

The Buddha Maitreya is featured in a Padmasana (lotus) position, in which the Buddha is seated cross-legged, with the soles of His feet visible on a low throne which is topped with a cushion above a carpet. His hands are interlaced in Dhyana (meditation) mudra. ^{1 fig 44, 45, 57, 58, 59, 70, 71, 72; 2}

Bodhisattvas tend to be more lavishly attired than figures of the historical Buddha. Where many Buddha figures (except crowned Buddhas) have only a simple monk's robe draped over one's shoulder, Bodhisattvas are adorned with diaphanous robes, bracelets, arm bands, necklaces and silk thread pouches containing amulet boxes, elaborate hairdos, and sometimes a moustache (as seen in this sculpture). Bodhisattvas are often represented as princely figures, alluding to the historical Buddha's life as a prince before He renounced His kingdom, and distinguishing them from the Buddha, who is attired as a mendicant monk.

Similar to the Gandharan sculptures of Buddha Shakyamuni, this remarkable artefact shares many characteristics of the Greco-Roman art (50 BCE to 400 CE) and Parthian art (247 BCE to 224 CE) - halo, curly whorls of beaded net hair, sharp facial features, musculature and voluminous U-shaped robes with cascading folds - combined with Indian artistic traditions. Later Gandharan sculptures (3^rd CE) like this one, have bodies with a sense of breath in the belly and softer physique.

Description

This is an exceptional piece of the Bodhisattva Maitreya depicted seated on a raised throne, His legs crossed at the ankles and His feet resting on a stool; an expression developed in Gandhara, which had an unprecedented influence on the later Buddhist art of East Asia, especially in China and Korea, from 6th century CE onwards. ^{1 fg 118, 134, 226}

Crossed-ankle Bodhisattva Maitreya are commonly found in the famous Buddhist Grottoes in China. Here, the deep relief is sensitively rendered, carved with superb attention to the stylized chignons, individuated facial features, powerful physical forms, and the jewellery and raiment of the figures.

In His lowered left hand, He holds the sacred water vessel (Kundika) containing Amrita (the elixir of life), which is a symbolic promise of salvation in the future, fulfilling the spiritual role of the Maitreya. His right hand is raised, palm turned inward, and this unusual gesture known as Vismayahasta, signifying astonishment and wonder, appears often on Gandharan Maitreyas and is preserved in later Kashmiri and Swat Valley representations of this Bodhisattva.

The preaching Bodhisattva Maitreya is flanked by ten devotees, five on each side; the devotees (possibly female) on the right are dressed lavishly in voluminous drapery while the devotees (possibly male) on the left are plainly dressed, extending their offerings to the Bodhisattva Maitreya.

This piece shows the important link between the Gandharan and Buddhist Grottoes in China such as Longmen, Yungang and more, serving as a pre-cursor to the Bodhisattva Maitreya prototypes.

Cave 275, view of the interior and sculpture of a bodhisattva, Northern Liang dynasty (420-429 CE). Mogao caves, Dunhuang, China. © The Dunhuang Academy

Description

This style—with Bodhisattva Maitreya crossing His legs at the ankles—is primarily found at massive Buddhist grottoes, such as the Mogao Caves at Dunhuang, the Yungang Grottoes in Datong, and the Longmen Grottoes in Luoyang.⁶

Most of them are dated to the Northern Wei dynasty (386-534). However, at Dingzhou, Hebei Province, very few of the Bodhisattva Maitreya sculptures are dated to that earlier period. It is not until the Northern Qi (550-577) that Bodhisattva Maitreya became one of the major subjects in Buddhist sculpture.

Historical Background

According to Art Historian Asha Das in 'Maitreya Buddha in Literature, History and Art', the Maitreya has two forms - a Buddha and as a Bodhisattva - with Gandharan attributes that can be classified as follows:^{7, pg116-117}

1. The art of Gandhara is primarily a religious art serving the Buddhist Faith.


2. Under Greek influence since its invasion by Alexander, the Gandhara produced a great quantity of sculptures. This art characteries by distinct classical influences deriving from Indian soil and Hellenistic sources. This blending of culture creates the Greek-Buddhist art of India (now in Pakistan and Afghanistan). Though mixed with foreign elements, it is essentially and indisputably Indian in character.


3. It has many contacts with Greek statuary such as the posture of the figure wherein gravity of the body generally is completely over one leg, while the other is gently bent and at rest. The realistic treatment of the folds on cloths composed as voluminous and graceful. Rendering of the long hair arranged in loose curls or gathered in a knot on top of the head.


4. The Gandhara art was based to a very large extent on the familiar worldly art of time. The artists took only such changes and additions as were required to give it Buddhistic modification and tinge.


5. The purity of the features, the elegance of the half-closed eyes, muscular torso which suggests strong affinities with the Greco-Roman traditions, the unbreakable line joining of the eye-brows, the bridge of nose and well-arranged moustache in some of the Buddha figures and most of the Bodhisattva Maitreya figures are the general characteristic features of this art.


6. The ornamentation is highly elaborated. From the stylistic view point, almost all the figures share common features such as crown, jewelled necklaces and earrings.


7. Bodhisattva Maitreya often bears a moustache. Bodhisattva Maitreya with a moustache is certainly very common, though not a universal sign of Gandhara representation. It is certainly not a typical normal Indian representation, but from a Gandhara image spread from Central Asia to the Far East. Bodhisattva Maitreya is depicted with very long ear lobes too.

1. http://www.buddhanet.net/e-learning/history/maitreya2.htm

2. http://www.buddhanet.net/e-learning/dharmadata/fdd28.htm

3. https://www.britannica.com/topic/Maitreya-Buddhism

4. https://www.heritagemuseum.gov.hk/en_US/web/hm/exhibitions/data/exid218/exhibit_1.html