Explain the Origin and Development of the Buddha Image.

There is no human image of the Buddha during the early centuries of Buddhist art. He was usually represented symbolically such as by an empty throne, foot print, a tree, an umbrella or a stupa. It was until the 1 st century B.C. or the 1 st

century A.D. that the anthropomorphic form of Buddha image appeared in India.

The traditional explanations for the initial absence of human image of the Buddha are:

1. There was no tradition of making images for the sages or the great teachers in ancient India, i.e. it reflects an early preference for an iconic imagery.

2. The people believed that Buddha is a muni, and according

to Upanisad, the body of a muni cannot be seen because it

is illumines.

3. The Buddha is a Mahapurisa, there was no model of such

Mahapurisa to follow, and the artists could not visualize the

32 great marks of the Buddha.

Apart from the nature of ancient beliefs and traditions, the

teaching of the orthodox Theravada was also one of the deterring

factors in image making of the Buddha. Besides the rejection of art as a form of emotional thrilling, they emphasized the practice of the Dhamma rather than the devotion to the Buddha as the way

to Nibbana.

The making of Buddha image has several legendary accounts:

1. After the Enlightenment, the Buddha went to Tusita

heaven to preach to the gods, king Udayana of Kosambi

missed him very much. At the request of the king, Thera

Moggalana sent an artist to the heaven to carve out the

figure of the Buddha in Sandal wood. It is about 5 feet

high. When the Buddha returned from the heaven, this image rose up to welcome him.

2. When the Buddha went to Tusita heaven to preach Dhamma to his mother, the people of Kosala missed him a lot. They assembled at the Buddha’s abode and began to shout, asking for the Buddha. After the Buddha had returned from the heaven the king thus asked him to leave his figure in his abode so that he could go anywhere he like without any problem arise again. Then the Buddha stood on the edge of a lake and requested the king’s artist to draw his figure which was reflected in the water. But the painter could not do it because the water was waving.

Actually, the appearance of the Buddha image has several historical factors, i.e.

1. Due to the flourishing of the Mahayana Buddhism. The

concept of Trikaya became popular. The Mahayana

propagated Bhakti cult, i.e. devotion to the Buddha as a way of salvation. The Greek people who were image worshippers became Buddhists and they started to

create the Nirmana kaya of the Buddha.

2. According to Y. Krishan, the material prosperity of the period is also another important factor. Epigraphically evidence shows that the Kushans extended their royal patronage to the cause of Buddhism. They encouraged and donated the creating of Buddha images.

The development of the Buddha images had undergone 4 important stages, i.e:

1st stage – Gandhara Buddha image (1 B.C. - 550A.D.)The Buddha image of Gandhara is foreign in its

technique and style. Not only is the Buddha represented in human form but almost in the round. The sculpture is monumental as the Gandhara figure of the Buddha is heroic in scale. It voluminous drapery with heavy pleats

in relief is un-Indian, being an imitation of the Roman toga. The hair on the Buddha’s head are arranged artistically and tied up in a Chignon like krobylos (jatamukuta) in Greek sculptures. There is a plain halo behind the head. Both the shoulders are covered; even the posture of the feet is not seen. The heads are not in the traditional gesture, the Greeks could not understand the

meaning of ‘mudra’.

Again, the Gandhara Buddha is aesthetically beautiful: the physiognomy is Greek-like, well proportioned with fine features. It is, as Foucher said, a ‘monk-god’, a Hetlenized Buddha or an Indianized figure of Apollo. Its facial expression is noble but worldly, it lacks the spiritual realization and beatitude which are of Indian characteristic.

2nd stage – Mathura Buddha image (1 st B.C.)Actually, Mathura image appeared almost at the same

time with the Gandhara image. The Mathura Buddha image took the Yaksha as the model. He is fatty and strong. The best example is a Katra Budddha image made of sandstone. It is a seated Buddha image in the padmasana posture under a Bodhi tree. The robe is indicated by parallel schematic lines cover only the left shoulder; the chest is partly covered and the lower part of the legs and feet are seen. The hairs are drawn together tightly and are not wavy or curly and are crowned with a karpada, a shell-like usnisha. There is a marginally scalloped halo behind the head. He is seated in the

‘abhaya mudra’ on a simple throne where three lions are

depicted. His eyes are widely opened; Indra and Brahma are on his either side. The artist was fully understood the symbolism of Buddhism.

3rd stage – Amaravati Buddha image (2nd A.D.)This is the combination of Gandhara and Mathura

Buddha images. Its physical appearance was like an Indian, but the robe was like the ‘tago’ of the Gandhara

image, it has many folds.The main characteristic of Amaravati Buddha image is

that it is not stout and flabby but is lean and tall, like the Buddha image in Sri Lanka. It has a medium size of usnisha. Most of the images are standing figures and they are livelier than any other Buddha image.

4th stage – Gupta Buddha image (320 A.D.)During the Gupta period, the philosophy of Hinduism

and Buddhism has reached their advance stage, and thus influence the creation of Buddha images. This was the Golden Age of Art in India.

The Buddha image was created with the real quality of the Buddha, both physically and spiritually. It was evolved on the basis of Mathura Buddha image, but Gandhara’s influence was also seen. Most historians believe that Gupta image is the mixture of Gandhara, Mathura and Amaravati.

The image is ennobled and was beautified to the utmost. The body of the figure is soft, yet is seen little stout. The curve of the body is visible underneath the transparent robe. The face is oval with a sense of tranquility and profound meditation. The best example is

the Buddha image in the Dhammacakra pravartana mudra found in Sarnath. It possesses the dedicate radiance beauty, soft line and graceful majesty. It seems to be withdrawn from the phenomenal world and appeared cold and inaccessible. The eyes are half-closed suggesting introspection. Apart from all these, the figure has perfected by technical excellence. It is very smooth, cold and hard. The treatment of the image has reached the highest perfection with great restrainment, tranquility and harmony.