The Beginnings of Buddhist Art

f California RegionalFacility THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES cv I THE BEGINNINGSOF BUDDHIST ART Primed forA. PAUL GEUTHNERand A. bySucc", Anoers, France. BURDIN. F. GAVLTIER THtBERT, en W tn ':'iissxsr:' "" < o p DEDICATEDWITH PROFOUND RESPECT AND AFFECTIONATE REGARDTO > M. AUGUSTE BARTHMember of theInstitute: MASTER OF PENETRATING AND CREATIVE CRITICISMIN ALL BRANCHES OF SANSKRIT LEARNING June 1^14. TREFACE To the ratherthe limited circle oj scholars interested in Indian Art and Archeologystudies work of M. Foucher requires no introduction. His numerous devoted to these subjects, and in particular his comprehensive treatise on the Grseco-Buddhist Art of Gandhdra, have fully established his position as a leader in this sphere. A collective edition of his essays and addresses, dispersed in various serial and periodical publications, will therefore be sure of a warm welcome.this The translators do not disavow a hope that English version may appeal not only to those readers, chiefly in the East, to whom the author s original presents a difficulty, but also to a rather wider public in England and which in Paris attendedthe America. Aware of the interest delivery of M. Toucher's lectures, they would regret ijthe charm had so far evaporated in translation as to forfeit a share inespecially the growing appreciation of Oriental art. Buddhism jor veyed is. it is Buddhist monuments that are here sur- of course, a subject of vast extent. We may add that it is a highlystage, organic subject, and that the study of it is still at a specially interesting the stage of discovery. We cannot touch it in any part without evokingmight compareletit to res- ponses from distantcarpet; and unexpected quarters. We a magicGrsco- we fix upon some well defined topic, relating, us say, to the Buddhist school of Gandhdra, and promptly, even without our volition, someanalogy or connection transports usto the Central Asia, China or Japan of many centuries later, even if we have not to continue ourflight to Java in the ninth century or Cambodia in the twelfth. The reader will find in these pagestransitions.to the abundant examples of suchingeniousitself, The first essays reach back by a highlyvery origins of Buddhist art in India and probable hypothesis and give us the measure of its possibilities by what it has achieved at Sdnchi and Barhut. Already wethe Persia of the detect some traces of foreign influence, from Achxmenids. Soon an abrupt irruption of Hellenistic art VIII PREFACEthe the overwhelmstions, native schools, and creates a repertory of religious composito which Buddhist propaganda carriesislands. Central Asia, the Far East,most and the Malay Thus is established, a genetic connection between the religious art of Europe and Asia a double efflorescence from oneclosely root, strikingly exemplified in the case of thethe earliest sculptural type of Christ, Buddha type, which resembles and most curiously in that of the ^Tutethe lary Pair' , found throughout the zuhole Buddhist spherein ancient and at same time Gaul : or shall we claim the highest degree of interest for the case of the 'Madonna' group {Essay IX). which ultimately derived, in allthe probability, from ancient Egypt has ended by conqueringto be fruitful, both whole world ? Tins splendid generalisation cannot fail on the European: and onwhileit the Asiatic side, in inspiration for future researches in the mean- may be welcomed as reestablishing by the aid of art that feeling of solidaritythe and sympathy between India and Europe, luhich flourished during palmy days of Vedic studies, but latterly has been somewhat discouraged by specialism. Need we remark that, where religious art and archeology are the thenu, literature and literary history cannot be far away ? M. Fouchrhas commentedwith which heis upon the predominantly narrative character of the bas-reliefs: dealing it may indeedlife mt'St, be said that, apart from purely decorative figures andthe symbols, the great bulk of them are illustrations of scenes from the life of Buddha. The indeed, be conceived in an ample sense, according to that grandiose Indian conception whereby, asus, the biography is not confined to M. Fouchcr opportunely remindsthe a single span, but coversexistence, whole series of countless births, under all forms of which were necessary for the accumulation of the positive and negative characteristics manifested finally inthe Great Being, the Perfijly Illuminated. The scenes thenfore needvery alphabet to be read, and at first the was wanting. The problem was offar greater obscurity than in the case of what M. Foucher terms the magnificent illustrated bible constituted by the sculptors of the cathedral of Chartres.texts of the Thethosethe Buddhist religion have only gradually been made knownlife : events in the which were specially marked out for illustration twelve acts of Buddha and so forth had not been separated out ; the J^taka book, recording the tales of previous births, was not at first available. The names of those scholars to whom we are indebted for the first tentatives at decipherment, such as the inspired, if not impeccable, archxologist. General Sir Alexander Cunningham, Prof. Griinwedel of the Berlin Ethnographicalof the Imperial Museum, Dr. Serge d' Oldenburg, Perpetual Secretary PREFACEÂcademy ofSt. Petersburg, IXfound recurring inFoucher' s and others will be M. Fou- chers pages. But undoubtedly the matter has in M. own work made a long step forwardso : the reader will remark not only the artistic insight which gives much ease and certainty to the identifications in this volume, but also the emergence of principles fitted to serve as a guide for future discovery and criticism in this field of study.art, In a word, we see taking shape, not onlyin an but also a science of discoveryto and interpretation regard to Buddhist, and by consequence Indian, illustration.is lA history of Buddhist Art a task for the future ; may we some day have the pleasure of welcoming a systematic treatise upon the subject from M. Foucher's oiun pen. For the presentits we are only at the commencement. Nothing guarantees us that inwithit beginnings the Art shall be found on a level the doctrine, or that it shall follow a parallel course, or again thatrapidity. shall develope with a proportional Gn the contrary, we see alreadyit that atits Sdnchi and Barhut, afterto centuries of active speculation, makespiety. appeal primarily a community characteri::êd by naive and simple In the case of Christianity how many centuries of dogmatic strife precede the age of the primitives ! Nevertheless the reader who turns from the essays on Barhut and Sdnchi to those dealing with the Great Miraclebe his impression, if he and with Boro- Budurhis much clearer wouldof embraced in view the medieval and modern art China, fapan, and Tibet cannotpartialless sophis- fail to note the metaphysical contemplation which has groiun upon the decayto the of the older popular piety. Yet even here we have a warning as reversions whichticated society: may result from the transplanting of religion to since in the sculptures ofit is Boro Budur an atmosphere,that true, of hypertropical softness no small admixture ofwefind againinis a frank pleasure in mere story-telling which the special charm of Sdnchi and Barhut.London. June, 1914.F. W. Thomas. We are indebtedIndia for the use of photographs to the Secretary of State for Dr. J. Bdrgess, and Prof. A. A. Macdonell (England); to Prof. Ed. Chavannes, Mr. Henry H. Getty and M.A. Grijkwedel and Dr. A.Sir V Golodbew (France)to Mr. JJ. ; to Prof. von Le Coq (Germany); H. (now Ph. Vogel John) Marshall, Sir Aurel Stein and Mr. (now Prof.); (India) to Major Van Erp (Java)des Inscriptions : and for the loan of blocks to the Academie et Belles-Lettres, et theE. Sociitd Asiatique and MM. Esperandieu, Gdimet, Hachette C'% Leroux (Paris), and to the Ecole franâise d'Extr^me-Orient (Hanoi).In thewill be body of the work and in the descriptions attached to the plates found indications in detail of what we owe to this kind cooperation. We tender here our grateful thanks for help in the absence of which the majority of these essays either would never have come into being or could not have been combined to form of a volume. Some faults of impression and minor errata will perhaps be judged excu- sable in an English book printed in France. P. S. It should moreover be stated which the reader himself may in view of some few details that this volume, with exception notice1914. of the index and tables, has been in print since June Through the enforced postponement of its appearance, the dedication to M. A. Barth has become (since April 15, 1916) unfortunately only a tribute to his memory. CONTENTS PagsI. II. The Beginnings of Buddhist Art i The Representations ofReliefs of Barhut JAtakas on the Bas2961 The Eastern Gate of THE Sanchi Stupa .... IV. The Greek Origin of the Image of Buddha Gaul and India V. The Tutelary Pair VI. The Great Miracle at Qravasti VII. The Six-Tusked Elephant VIII. Buddhist Art Java IX. The Buddhist MadonnaIII.. . . in139 in IN . . . 147185 in 205 271293 Index ILLUSTRATIONS Hariti, the Buddhist Madonna : painting from Turf an... frontispiecePage Plates I-IV. Beginnings of Buddhist ArtI. 28 Buddhist symbols on ancient Indian coins. II. The The three last Great Miracles : 1 atIII. Sdnchi ; 2" at Amaravati.: first Great Miracle; I" in Gandhara z" at Amaravati.: IV. The four Great Miracles 1 in Gandhara; 2" at AmaravHi ; 3 at Benares. Plates V-VI.V. Jatakas at BarhutIn medallions. 60 VI. On the rail-coping. Plates VII-X.VII,I. The Eastern Gate of the Sanchi Stupa. i 10 General view taken from the East. 2. Back-view of Lintels of Eastern Gate.Eastern Gate (/ro/ wVu'). VIII, I. 2. Divine guardianInterior face of at entrance.left jamb. IX, I. The Conversion of the Kagyapas.Interior face ofleft jamb. 2. The Return to Kapilavastu. Interior face of right jamb. X, I. The Vocation, or Great Departure.lintel. Front view of middle2..\ Procession to the Bodhi-Tree.Front viewof lower lintel. XIVPlates XI-XVI.XI,I. ILLUSTRATIONS Greek Origin of the Buddha TypeBuddhasin the . . 138 Lahore Museum.Mess, Mardin. 2. Buddha in the Guides' XII, I. 2. The Village of Shahbaz-Garhl. The Ruins of Takht-i-Bahai.TheVillage of Sahri-Bahlol. XIII, I. 2. Excavations near Sahri-Bahlol.Shah-ji-ki-Dheri (Kanishka Stupa). XIV, I. 2. Indo-Greek and Indo-Scythic Coins. XV,XVI, I. 2.I. The Relic-casket of Kanishka. The Bodhisattva Type.Types of Bodhisattva, Buddha and monk.Grco-Christian Christ and Grsco-Buddhist Buddha. 2. Plates XVII-X VIII.XVII.XVIII. The Tutelary Pair 146 In Gaul. In Gandhara. Plates XIX-XXVIII. The Great Miracle of ^ravasti . . . ILLUSTRATIONSPlates XVPage. . XXXI-XLIV.XXXI,I. Buddhist archeology in Java: 270 Boro- Budur General view {from the north-west') 2. XXXII.XXXIII,I. 2. First Gallery (part of west fa(ade). Section and plan.Silhouette.Staircase (north side). XXXIV, I. Story of Sudhana,against the no. 3 : Incantation Naga (central portion).1 1: XXXV,I. Story of Sudhana, no. Manohara's flight. Above : The Bodhisattva's farewell to the gods. Story of Sudhana,no. i2:ThePrince'sreturn. Above : The Bodhisattva's descent upon earth. XXXVI,I Story of Sudhana, no. 16(right-hand portion). : At the fountain Story of Mandhatar, no. 12garments. : The rain of 2. The Bodhisattva chooses his bride. Story of king îbi, the Dove and the Hawk. Above The first of the Bodhisattva's fourAbove: : promenades. XXXVII, I. Story of Rudrayana, no. 6 : Presentation ot the cuirass (left-hand portion)2. Story of Rudrayana, no. 9yana'svisit. : Mahakatya- Above : The Bodhisattva with his first BrahmanXXXVIII,I. teacher. Story of Rudrayana,Qaila's no. 10 : The nun sermon (left-hand portion).1 1: 2. Story of Rudrdyana, no. Queen CanJra- prabha's ordination (central portion). XXXIX.XL,I. Story of Rudrayana, fragments of nos. 12,13 and 14. Story of Rudrayana, no.parricide. 16 : After the Above : The ascetic Bodhisattva declines the aid of the gods. Story of Rudrayana, no. 19jewels (left-hand portion). : The rain of XVIXLI,I. ILLUSTRATIONSPage Boro-Budur : Story of the pair of Kinnaras (antral portion of the second scene). 2. Story of Maitrakanyaka, no.offering (central portion). i : The purse- XLII, I. TheUnder Story ofMaitrakanyaka, no. 2: The mother'sIn supplication (left-hand portion). 2. Story of Maitrakanyaka, no. 7 : the Inferno city (right-hand portion). XLIII, I. unfinished statue of Buddha.the central cupola, Boro-Budur. 2 Trailokyavijaya. Bronze in the Batavia Museum. XLIV. The Goddess Cunda between two Bodhisattvas. On the south western wall of the Chandi Mendut. Plates XLV-L. The Buddhist MadonnaAfter a wall-painting fromI. 92 XLV.XLVI.XLVII.XLVIII.I. Domoko (Chinese Turkestan)As set up in2. Side view before removal \2.: British Museum Suckling Madonna i. Romanesque; Coptic. Indo-Greek images ofHariti Hariti.in and her partner Gandhara. 2 Hariti in Java. XLIX.L. Japanese images of Ki-si-mo-jin. Chinese images of Kuan-Yin. .V. B. A detailed description of each plate will be found either in the body of the livry or on the page de garde opposite the plate. The Beginnings of Buddhist Art.C) Buddhism is a historical fact; only: it has not yet beenlater that completely incorporated into historywill be achieved. sooner or Meanwhile its initial period remains, we must confess, passably obscure.little Toits add to our difficulty, the that we think we knowtimes ofits of the social and politicalbirth has been learned: state of India in the almost entirely through medium thus the frametask, is no better defined than the picture.it But the arduousB. C. thoughis may be, is not impossible.it The fifth century not so remote a