Sandstone figure of the
Buddha
From Sarnath, Uttar Pradesh,
India
Gupta period, 5th century
AD
The sculpture of the Gupta period (AD 320-550)
forms a standard to which all subsequent Indian art can be
referred. Indeed, the influence of the visual arts of this period
spread beyond the confines of India, to Sri Lanka, South-east Asia
and the Far East.
Images of
the Buddha at this time are known for their monumental simplicity.
They often have heavy lidded eyes and a gentle smile marked by a
pronounced lower lip, set in an oval head with heavy cheeks. Most
sculptures of the Gupta period have elaborate wig-like hairstyles,
and those of the Buddha have tight snail shell curls. In addition
to these features, this image wears a characteristically clinging
garment that looks almost wet in appearance. He holds his right
hand up with an open palm in
abhaya-mudra, the
gesture meaning that in his refuge, there is nothing to
fear.
Images of the Buddha
were further distinguished by special attributes, such as the
cranial protuberance
(ushnisha), an emblem of
his superior mental powers; the
urna on his forehead;
elongated earlobes; three lines across his neck; lotus and
chakra (wheel) marks
upon his palms and feet, and long arms that reach his knees. The
Indian affinity for nature led to images with attributes shared
with the natural world, such as the shoulders which were meant to
convey the power of a lion, eyes like lotus buds, eyebrows like
swans in flight etc. These attributes are not merely physical
resemblance, but serve also as poetic metaphors, that come from a
deep respect and understanding of the realms of the divine and the
natural, manifest
earth.
Sarnath
was a site well known to the Buddhist world as the Buddha delivered
his first sermon there. It has been one of the key centres of
Buddhist pilgrimage since ancient times.