Skip to main content

Buddha Shakyamuni

Life in the Palaces

Artefact Description

This alto-relievo (due to its diminutive size) was likely to be part of a larger piece. It is divided into three sections, which are separated by two Corinthian columns, indicating that the narrative takes place spatially in the same location.

 

The first section on the left shows a female figure facing the Prince in a stationary position. She stands with her left leg crossed in front of her right leg. Her right hand is placed on her abdomen and her left hand supports her left cheek. Her head is slightly tilted to her left and she is scantily dressed, in only a skirt and a simple necklace.

 

In the middle sections, Prince Siddhartha is depicted in the palace, seated in Lalitasana ('royal ease' posture) on a cushioned bench, with his right leg on a raised pedestal, and his raised left leg resting on his right thigh. His right hand supports his right cheek, with his head slightly tilted, while his left hand touches his left ankle. Wearing a shawl covering his left shoulder and a dhoti, his hair is tied up in a top knot and he appears staring straight ahead in a pensive mood.

 

The scene on the right shows the side view of a figure (likely to be female; first from the left) holding onto the column and looking at the Prince. Gazing slightly upwards towards the Prince, she is half-naked, wearing only a dhoti.

 

Behind her is a large Corinthian pillar where two smaller-sized figures stood: the left figure appears to be male and fully naked. He uses a clarinet-like, single-reed instrument, while the figure on the right has both hands beating a drum in front, at the level of his groin. It is unclear if these two figures are musicians or decorations on the column itself.

 

Above the columns on the balustrade can be seen three spectators (or guards) gazing downwards (only their heads and shoulders are visible).

 

The presence of the musicians and the two flanking female figures, coupled with the solemn expression of the Prince, indicates that this is a depiction of the Antahpura (royal harem) scene, when the Prince was seduced by the female attendants in his palace, before his Renunciation.

Historical Background

It was foretold that the boy would be either a great ruler or a great spiritual teacher. King Suddhodana preferred the first outcome and prepared Prince Siddhartha accordingly.

 

King Suddhodana was wary that any contact with unpleasantness might prompt Siddhartha to seek a life of renunciation and become a religious teacher. Not wanting to lose his son to such a future, the King protected him from vicissitudes.

 

With the hopes of stopping the Prince from thinking about leaving home, his councillors advised to provide Prince Siddharta with holistic education, by giving him lessons in arithmetic, astrology, archery, craftmanship, writing, boxing, horseback riding, and other feats of physical activities. His reputed teacher called Visvamitra1 p167, was called to the palace to equip him with diverse knowledge, arts and skills, expected of a warrior prince.3 p25

 

There were three palaces built for him to live during the 3 seasons:1 p235

  • Ramya, for winter;
  • Suramya, for summer; and
  • Subha, for rainy season.

These were fitted with luxuries and highly comfortable, with various entertainers.2 p23, 4 p354

Bibliography:

  1. The Lalita Vistara, English Translation by R. L. Mitra, 1998, ISBN 81-7030-576-4
  2. Ven. Weragoda Sarada Maha Thero, Life of The Buddha In Gandhara Art, 2006, ISBN 981-05-7045-7
  3. Indian Museum, Kolkata, The Way of The Buddha, reprint 2005
  4. Ratan Parimoo, Life of the Buddha in Indian Sculpture, 1936, ISBN 13:9788124605523
  5. Charles F. Chicarelli, Buddhist Art: An Illustrated Introduction, 2004, ISBN 974-9575-54-7