Buddhist art


Buddhist art is visual art produced in the context of Buddhism. It includes depictions of Gautama Buddha and other Buddhas and bodhisattvas, notable Buddhist figures both historical and mythical, narrative scenes from their lives, mandalas, and physical objects associated with Buddhist practice, such as vajras, bells, stupas and Buddhist temple architecture. Buddhist art originated in the north of the Indian subcontinent, in modern India, Pakistan and Afghanistan, with the earliest survivals dating from a few centuries after the historical life of Siddhartha Gautama from the 6th to 5th century BCE.
As Buddhism spread and evolved in each new host country, Buddhist art followed in its footsteps. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. In India, Buddhist art flourished and co-developed with Hindu and Jain art, with cave temple complexes built together, each likely influencing the other.
Initially the emphasis was on devotional statues of the historical Buddha, as well as detailed scenes in relief of his life, and former lives, but as the Buddhist pantheon developed devotional images of bodhisattvas and other figures became common subjects in themselves in Northern Buddhist art, rather than just attendants of the Buddha, and by the late first millennium came to predominate.

History

Pre-iconic phase (5th–1st century BCE)

During the 2nd to 1st century BCE, sculptures became more explicit, representing episodes of the Buddha's life and teachings. These took the form of votive tablets or friezes, usually in relation to the decoration of stupas. Although India had a long sculptural tradition and a mastery of rich iconography, the Buddha was never represented in human form, but only through Buddhist symbolism. This period may have been aniconic.
Artists were reluctant to depict the Buddha anthropomorphically, and developed sophisticated aniconic symbols to avoid doing so. This tendency remained as late as the 2nd century CE in the southern parts of India, in the art of the Amaravati School. It has been argued that earlier anthropomorphic representations of the Buddha may have been made of wood and may have perished since then. However, no related archaeological evidence has been found. At least in later centuries there was a tradition that, missing Lord Buddha while he was teaching his mother in the Tavatimsu Heaven, his monks made images of him which he blessed on his return. This appears in texts such as the 5th century CE Vinaya commentary the Samantapāsādikā,
The earliest works of Buddhist art in India date back to the 1st century BCE. The Mahabodhi Temple at Bodh Gaya became a model for similar structures in Burma and Indonesia. The frescoes at Sigiriya are said to be even older than the Ajanta Caves paintings.

Iconic phase (1st century CE – present)

Chinese historical sources and mural paintings in the Tarim Basin city of Dunhuang accurately describe the travels of the explorer and ambassador Zhang Qian to Central Asia as far as Bactria around 130 BCE, and the same murals describe the Emperor Han Wudi worshiping Buddhist statues, explaining them as "golden men brought in 120 BCE by a great Han general in his campaigns against the nomads." Although there is no other mention of Han Wudi worshiping the Buddha in Chinese historical literature, the murals would suggest that statues of the Buddha were already in existence during the 2nd century BCE, connecting them directly to the time of the Indo-Greeks.
Anthropomorphic representations of the Buddha started to emerge from the 1st century CE in Northern India, with the Bimaran casket. The three main centers of creation have been identified as Gandhara in today's North West Frontier Province, in Pakistan, Amaravati and the region of Mathura, in central northern India.
Hellenistic culture was introduced in Gandhara during the conquests of Alexander the Great in 332 BCE. Chandragupta Maurya, founder of the Mauryan Empire, conquered the Macedonian satraps during the Seleucid-Mauryan War of 305–303 BCE. Chandragupta's grandson Ashoka, who formed the largest Empire in the Indian subcontinent, converted to Buddhism following the Kalinga War. Abandoning an expansionist ideology, Ashoka worked to spread the religion and philosophy throughout his empire as described in the edicts of Ashoka. Ashoka claims to have converted the Greek populations within his realm to Buddhism:
After the overthrow of the Mauryan Empire by the Shunga Empire, the Greco-Bactrian and subsequently the Indo-Greek Kingdoms invaded north-western India. They facilitated the spread of Greco-Buddhist art style to other parts of the subcontinent. The Indo-Greek King Menander I was renown as a great patron of Buddhism, attaining the title of an arhat. Meanwhile, Pushyamitra Shunga persecuted Buddhism, presumably to further erase the legacy of the Mauryan Empire. This led to the decline of Buddhist art east of Mathura.
Gandharan Buddhist sculpture displays Hellenistic artistic influence in the forms of human figures and ornament. Figures were much larger than any known from India previously, and also more naturalistic, and new details included wavy hair, drapery covering both shoulders, shoes and sandals, and acanthus leaf ornament.
The art of Mathura tends to be based on an Indian tradition, exemplified by the anthropomorphic representation of divinities such as the Yaksas, although in a style rather archaic compared to the later representations of the Buddha. The Mathuran school contributed clothes covering the left shoulder of thin muslin, the wheel on the palm, the lotus seat.
Mathura and Gandhara also influenced each other. During their artistic florescence, the two regions were even united politically under the Kushans, both being capitals of the empire. It is still a matter of debate whether the anthropomorphic representations of Buddha was essentially a result of a local evolution of Buddhist art at Mathura, or a consequence of Greek cultural influence in Gandhara through the Greco-Buddhist syncretism.
This iconic art was characterized from the start by a realistic idealism, combining realistic human features, proportions, attitudes and attributes, together with a sense of perfection and serenity reaching to the divine. This expression of the Buddha as both man and God became the iconographic canon for subsequent Buddhist art.
Remains of early Buddhist painting in India are vanishingly rare, with the later phases of the Ajanta Caves giving the great majority of surviving work, created over a relatively short up to about 480 CE. These are highly sophisticated works, evidently produced in a well-developed tradition, probably painting secular work in palaces as much as religious subjects.
Buddhist art continued to develop in India for a few more centuries. The pink sandstone sculptures of Mathura evolved during the Gupta period to reach a very high fineness of execution and delicacy in the modeling. The art of the Gupta school was extremely influential almost everywhere in the rest of Asia. At the end of the 12th century CE, Buddhism in its full glory came to be preserved only in the Himalayan regions in India. These areas, helped by their location, were in greater contact with Tibet and China – for example the art and traditions of Ladakh bear the stamp of Tibetan and Chinese influence.
As Buddhism expanded outside of India from the 1st century CE, its original artistic package blended with other artistic influences, leading to a progressive differentiation among the countries adopting the faith.
The Silk Road transmission of Buddhism to Central Asia, China and ultimately Korea and Japan started in the 1st century CE with a semi-legendary account of an embassy sent to the West by the Chinese Emperor Ming. However, extensive contacts started in the 2nd century CE, probably as a consequence of the expansion of the Kushan Empire into the Chinese territory of the Tarim Basin, with the missionary efforts of a great number of Central Asian Buddhist monks to Chinese lands. The first missionaries and translators of Buddhists scriptures into Chinese, such as Lokaksema, were either Parthian, Kushan, Sogdian or Kuchean.
Central Asian missionary efforts along the Silk Road were accompanied by a flux of artistic influences, visible in the development of Serindian art from the 2nd through the 11th century in the Tarim Basin, modern Xinjiang. Serindian art often derives from the Greco-Buddhist art of the Gandhara district of what is now Pakistan, combining Indian, Greek and Roman influences. Silk Road Greco-Buddhist iconography may have influenced the Japanese god Fūjin.
The art of the northern route was also highly influenced by the development of Mahāyāna Buddhism, an inclusive branch of Buddhism characterized by the adoption of new texts, in addition to the traditional āgamas, and a shift in the understanding of Buddhism. Mahāyāna goes beyond the traditional Early Buddhist ideal of the release from suffering of arhats, and emphasizes the bodhisattva path. The Mahāyāna sutras elevate the Buddha to a transcendent and infinite being, and feature a pantheon of bodhisattvas devoting themselves to the Six Perfections, ultimate knowledge, enlightenment, and the liberation of all sentient beings. Northern Buddhist art thus tends to be characterized by a very rich and syncretic Buddhist pantheon, with a multitude of images of the various buddhas, bodhisattvas, and heavenly beings.