The Gandhara region of Pakistan was one of the earliest centers of production in the Buddhist stone sculpture tradition. Using primarily gray or green schist, the hallmark of Gandharan sculpture, this school developed around the Buddhist narrative tradition. This particular relief carving is part of a narrative on the life of the Shakyamuni Buddha and captures the moment just before he performed a miracle. The panel illuminates an episode from his biography just after he attained Enlightenment.
The figure of Shakyamuni Buddha is the most prominent figure in the relief. He sits on a raised throne with three flowers, each composed of five heart-shaped petals, most likely blown-open lotus blossoms (Zwalf 183). These flowers are a symbol of his recent enlightenment. The Buddha sits elevated upon the throne with his legs folded under him, soles of the feet facing the sky. He raises his right hand up with the palm facing outward in the abhaya mudra or “fear-not” gesture and rests the left hand open on his lap (Reynolds 253; Lee 38). The Buddha’s earlobes are lengthened from wearing heavy jewelry during his life as a prince. His wavy hair is pulled into a topknot over a cranial bump or ushnisha which represents the additional wisdom and knowledge the Buddha possesses (Reynolds 253).
The heavily draped folds of the Buddha’s robes are typical of the sculpture from Gandhara but appear to bear some relation to ancient Greco-Roman sculpture. The Buddha's wavy hair can also be likened to Western Classical art forms. Some scholars suggest that Indian art of this period, particularly from Gandhara, was indeed influenced by Greek culture. They point out the finer distinction of features in these sculpture schools as opposed to the fuller, fleshier features of the majority of Indian sculpture. The drapery of the clothes also bears a resemblance to Greek art, whereas art of southern India depicts light, almost transparent clothing. However, this may simply reflect a difference in climate between North and South. Proponents of the “Greco-Buddhist” theory also point to the hair in Gandharan figures. It is often sculpted to show wavy hair, whereas the more common Indian sculptures depict hair in small, tight curls, often called snail curls. There is some historical basis for the Greco-Buddhist theory. Alexander the Great conquered Gandhara and neighboring Bactria in 329-325 B.C. Greek rule would last for two centuries in Bactria and one century in Gandhara. Although what is known as Gandharan sculpture did not begin until the reign of the Kushana kings, a century and a half after Greek rule in either region ended, the argument for Greek influence on Gandharan art still has merit (Rowland 30; Nehru 16-28; Hallade 77). In The Offering of the Four Bowls, proponents of the Greco-Buddhist theory point to the strong, heavy folds of the Buddha's robes, the finely carved facial features, and the wavy hair to substantiate their case.
Above the figure, a stylized tree provides a leafy arch over the Buddha and accentuates the triangular shape of his seated form. This is the bodhi tree, under which the Buddha attained Enlightenment at Bodhgaya. It is identifiable by its distinctive heart-shaped leaves. The heavy canopy of leaves over the head of the Buddha is common to many early Gandharan reliefs of this period (Marshall 56).
Two attendants on each side of the Buddha stand holding bowls in their hands. They are offering the Buddha his first meal after attaining enlightenment. In order not to show favoritism to any one attendant, he changes the four bowls into one. This scene freezes the moment just before this miracle takes place. An additional eight attendants worship the Buddha above and behind the first four. Sherman Lee suggests these twelve attendants are turbaned monks with halos. While the lower four carry bowls, the upper eight carry fruits or vegetables (Lee 38). Below, a frieze of six nude figures stand holding a large grape garland, another possible Classical influence. The garland-bearing figures is a popular motif in early Christian and Roman sarcophagi (Rowland 30). All hold the garland around their necks and let it drop between each other, achieving an undulating, snake-like effect. In each dip, a lotus flower stands facing a different direction and a bunch of grapes hangs from the lowest part of the garland.
To the right, a female figure stands on a vase underneath a tree. She dwells within a niche, perhaps a stylized room or temple, and faces the Buddha with hands together in a gesture of adoration. Lee suggests a companion adorer on the left side of the relief has been lost. The two women in niches would have flanked the miracle of the four bowls and defined the borders of the episode. Fragments of another scene include three additional figures that face away from the miracle of the four bowls, perhaps attending upon another event (Lee 38).
This piece was probably used to decorate the base
of a stupa
or a large iconic sculpture. The fact that this is just one scene
in the life of the Buddha and a section of another scene indicates that
this was one of a series of episodes that probably wrapped around in a
continuous narrative band. It would serve as an instructional or
a meditational tool for Buddhist worshippers to the site in the process
of circumambulation around the structure (Hallade 103-4).
Published in:
200 Objects in the Baltimore Museum of Art, a picture book. Baltimore, The Museum. 1955.
Lee, Sherman E. “Asian Art at the Ackland Art Museum”. Orientations.
Vol. 24, no. 4. April 1993
Tara E. Miranda