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2. Maitreya Pakistan, Gandhara 2nd c. - 3rd c. gray shist, height 54 cm. |
Maitreya is identified by the form of his hairstyle and by the kalasa in his left hand. In Asia he is worshipped as the messianic Bodhisattva and the Buddha of the future. As a Bodhisattvas, he was seen as one of the actual creators of the universe. ‘Bodhi’ means knowledge,‘Sattva’ means essence. Having attained enlightenment, Maitreya wished to guide mankind to the true path of Buddha. At present he is considered to reside in the Tushita heaven, waiting to become the Buddha of the next great world age. Portrayed in an upright standing posture, Maitreya’s weight rests on his left leg and his right leg is slightly bent. He wears a long and finely pleated dhoti, sandals ornamented with mythical animal heads, a knotted cord, and a shawl that swirls over his left shoulder. Various motifs decorate the collar. His left armband is concealed by the dhoti; the other has a design of open lotus flowers within beaded borders. A rope-like necklace supports a pair of ferocious makaras, holding a bead between them. Several charm boxes are attached to the string he wears across his body. Maitreya’s hair is arranged in finely incised wavy strands, the upper part drawn up over the ushnisa, the symbol of his infinite wisdom, into a pillow-shaped and bejeweled topknot. The Bodhisattva wears a moustache and locks of hair fall onto his shoulders. His elongated ears are adorned with protruding animals, and a circular nimbus encircles his head. The front of the rectangular throne is carved with three open folded lotus flowers beneath a border of finely delineated leaves. The kalasa containing the elixir of immortality is held in the god’s left hand. This sculpture is a classic example of the Gandhara period, pocessing the typical stylistic characteristics. The influence of the Greco-Roman aesthetic is apparent in the naturalistic treatment of the dhoti and hairstyle and the realism of the facial expression. The use of hard stone shist, the shape of the pleated dhoti and the iconographic elements of purely Indian origin, such as the rich diversity of jewellery and elaborate ornamentation, are all typical for a depiction of a Bodhisattva in the period of this distinctive first Buddhist school of art. This medium-sized but impressive statue is a superb and classic example of Gandhara art. The eye for fine detail and the well balanced movement are striking. The assured carving has an organic rhythm and dynamic force and gives convincing and vital shape to the body beneath the fine dhoti. The facial expression reveals a high level of intellect and humanity that superbly enhances the inspirational impact of this majestic image. Provenance: Collection Khun Surat Osthanugrah, Thailand. Art Loss Register Certificate, Reference S00002779. I. Kurita, Gandharan Art, The World of the Buddha, vol.II, Tokyo, 2003, p.18, n°29. The facial structure and elaborate topknot of the present figure is similar to this example in the Karachi Museum. Pl.18, an upper torso fragment displaying stylistic similarities is in the Sherrier collection. W. Zwalf, A catalogue of the Gandhara Sculpture in the British Museum, vol.II, British Museum Press, London, 1996,`p.297, n°50. Pakistan, Bodhisattva Maitreya, Gandhara, Coll. British Museum, height 92,7 cm. |