ARTH183 1st Edition Lecture 4 Outline of Last Lecture I. Form, Style, and Function of the Great StupaII. Carvings at the Great StupaA. “The Great Departure:” Form, stylea. Simultaneous narration/continuous narrative, aniconicB. “Tree Goddess:” Form, styleIII. Kushan PeriodA. Iconography of the BuddhaOutline of Current Lecture I. Kushan Period ContinuedA. Mathura style examplea. “Seated Buddha with Two Attendants”B. Gandhara style examplea. “Standing Buddha”II. Early vs. Later Buddhism and BodhisattvasA. Early Buddhism characteristicsB. Later Buddhism characteristicsC. Bodhisattvasa. Bodhisattva iconographyb. “Maitreya”III. Gupta Period Buddhist ArtA. The Gupta DynastyB. Gupta style examplea. “Standing Buddha”Current LectureKushan Period Continued“Seated Buddha with Two Attendants.” Kushan period, c. 82 C.E. Red sandstone: Example of Mathura regional style, one of 2 main styles of the Kushan period; has all the hallmarks of Buddha iconography, but halo and ushnisha are now broken off. Right hand is These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.raised in the reassurance mudra (mudra=gesture with iconographic significance)-Mathura=Southern capital of the Kushan Empire with large school of sculpture-Mathuran style: Figure is depicted as fleshy, with no strong sense of underlying skeletal or muscular structure-looks soft, almost like a blow-up doll; Faces are open, smiling, andlook directly out at the viewer with wide-open eyes, engaging with them. This is mirrored in the openness of the body/posture; Heads tend to be very round; Clothing clings closely, pulled tight to the body and showcasing it; Material of red sandstone is typical of the Mathura region and itssculpture*Often parts of the Buddha’s body are compared to features of the natural world, resulting in more abstracted depictions of these body parts in later Mathuran art (upper arm is like an elephant trunk, neck is like a conch shell, etc.)“Standing Buddha.” Kushan period, ca. 2nd-3rd c. C.E. Schist: Example of Gandhara regional style; exhibits the same iconography, showing that this is firmly established even at thisearly stage-Buddha wears 2nd variation on monk’s robe, but this is not a regional difference-it can be found in Mathura too (same with standing pose)-Gandhara=A lot of Greek influence, ties to other areas of the continent as a sort of crossroads-Gandharan style: Face is less round with features more sharply cut-the head tiltsslightly down and the eyes are half-lidded, creating a more introspective look; More modeling ofhuman body structure/increased naturalism; Rendering of robe has more volume, deeply carved folds with a rhythmic repetition of curved forms that draws the eye across the body; Often see use of Classical-inspired contrapposto pose (unequal weight placed on legs)*Greek statues of Apollo are probably the primary model (rendering of hair, body, treatment of drapery and falling fabric)Early vs. Later Buddhism and BodhisattvasEarly Buddhism: The earliest known form of Buddhism is called Theravada/Vinaya/Hinayana. Believe that Sakyamuni was a human being, not a god, that there is only a single Buddha, and that every person is individually responsible for their own enlightenment, using Sakyamuni or his disciples as a modelLater Buddhism: Mahayana (“Greater Vehicle”-like a giant raft ferrying everyone to enlightenment) is the later form of Buddhism; a salvational religion. Believe that there are manyBuddhas, the Buddha is divine, and one Buddha is born as a human each eon. See Bodhisatvas as their model for behavior.-Bodhisattvas=”Enlightened beings”; kind of a deity a rank below Buddhas. They choose not to attain nirvana in order to continue to exist in our world and help all sentient beings achieve enlightenment; embody virtue of compassion.*Bodhisattva iconography is based on princely imagery: Jewelry, long hair,wearing elaborate clothing (often bare-chested)…usually has halo and may or may not have urna, but doesn’t have ushnisha“Maitreya.” Kushan period, 3rd c. C.E. Schist: Maitreya is one bodhisattva; the “Buddha ofthe Future,” he awaits in heaven his time to be born in our world. He is sometimes represented as a bodhisattva but also sometimes depicted as a Buddha (holding a vase can sometimes be a clue for a bodhisattva Maitreya)-In Gandharan style: No smile, deeply carved drapery, bare chest has indications of anatomy and musculature, contra pposto pose gives sense of movement to figure*Different Maitreya sculpture in Mathuran style has same iconography, but style is soft, with clinging garments and open, smiling faceGupta Period Buddhist ArtGupta dynasty (320-647 C.E.): We’re not sure how the Kushan period/Empire ended, butby the 3rd and 4th century we see a period of fragmentation in Northern India with lots of small kingdoms-eventually the Gupta emerge to take control of North India, with control stretching a little into the Deccan region-The Gupta style only came into maturity in the 5th c. under Chandragupta II with less war and more money and religious patronage*This is the first period with a large body of Hindu sculpture“Standing Buddha.” 319-500 C.E. Red sandstone: The Gupta style comines elements of Kushan period Mathura and Gandhara style-Figures begin to have slender, elongated limbs; the face is round, but the eyelids are lowered and there is no smile; The pattern of drapery is drawn from a Gandharan model, but it is flattened and clings in a Mathuran style rendering (“string” drapery); Hair is representedas rows of circular swirls (“snail-shell” curls); Halos are often elaborately and deeply carved, often with botanical elements*Turned out hand is a gesture of giving associated with blessing, often paired with the reassurance