
Mark Rasmussen
International Director
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International Director
犍陀羅 二/三世紀 片巖佛陀碑
Of the finest quality in carving, and finished with an alluring polish, this frieze is among the most distinctive Gandharan panels for its restrained use of negative space, focusing our attention on its single, complete subject: Buddha meditating under the Bodhi tree.
His figure exhibits the classic Gandharan style, wearing a monastic robe covering both shoulders that drapes naturalistically across his torso and ankles, and pulls taut around the knees. His handsome face has slightly upturned lips and dimples that exude the hint of smile under his calm, meditative expression. His hair pulled over the domed ushnisha is carved with exquisite wavy lives, redolent of the sun's brilliant rays.
A double nimbus in low relief frames him, emphasizing his enlightened status. According to Dr. Pal, this feature is extremely rare in Gandharan art appearing in only one other instance to his knowledge (Pal, Asian Art at the Norton Simon Museum, vol.1, 2003, p.57, no.25). However, the double nimbus certainly proliferates throughout Central Asia and China among images that Gandharan art comes to inform, such as a c.700 printed handscroll of repeated Preaching Buddha images found in Cave 17 at Dunhuang held in The British Museum (acc.#1919,0101,0.254).
Regarding the panel's original architectural context within the ancient region of Gandhara's stupas and monasteries, the composition is framed by two lintels with a trapezoidal gap above the seated Buddha which probably served as a hinge device attaching this panel to another element above it. Compare with another architectural tile featuring the same dovetailed notch in the Metropolitan Museum of Art (acc.#1980.527.4).
Lastly, the treatment of the lotus pedestal is another intriguing feature of this refined work. The unadorned petals are divided by a deeply carved line, giving an abstract quality to a composition that is otherwise informed by a high figural sensibility. This style of lotus petals is also present in other works in the British Museum (acc.#1886,0618.14 & 1902,1002.47).
Published
Simon Ray Ltd, Indian & Islamic Art, London, 2014, no.3.
Provenance
Collection of Dr. Ernst A. Lomnitz, acquired 1930s
Thence by descent to Georgina Lomnitz in 1985
Simon Ray Ltd, London, 10 September 2014