Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760) / Standing Budda, (Udayana Type) / c. 10th CenturyNorthern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
Standing Budda, (Udayana Type)
c. 10th Century

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Creator Nationality: Asian; Indian Sub-Continent; Pakistani; Kashmiri
Creator Name-CRT: Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
Title: Standing Budda, (Udayana Type)
Title Type: Primary
View: Full View
Creation Start Date: 880
Creation End Date: 1019
Creation Date: c. 10th Century
Object Type: Sculpture
Materials and Techniques: Brass
Dimensions: Overall: 98.1cm, Base: 28.4cm
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1966.30
Credit Line: John L. Severance Fund
Style or Period: Northern India, Kashmir, Reign of Lalitdaitya (c. 724-760)
Context: The northwestern frontiers of India were a melting pot of various cultural influences, and it was also the area responsible for the dissemination of Indian culture to the outside world. During the early centuries of the Christian era, the territory of Gandhara primarily held this distinction, while from the eighth century onward, Kashmir took over the role. The invasion of the White Huns in the fifth century and the Muslim raids in the early eighth century devastated the area and the focal point moved farther northeast, to the then politically more stable Kashmir, ruled by the Karakota dynasty. Some of the most spectacular bronzes produced in the Indian world belong to this school. This style is distinguished by great elegance and sophistication. Its slightly elongated figures combine the naturalistic modeling of Gandhara and the sensuality of Gupta art. This bronze, one of the largest and most important Kashmiri bronzes to survive to this day, provides a spectacular example of this style.While originally thought to be somewhat earlier, today we are inclined to date it to the late tenth to early eleventh centuries, on the grounds of similarities with some wooden sculptures from the monastery of Tabo, as well as the Tibetan inscription that appears on its base. It refers to 'Lhatsun [รข??god-monk,' a title used for some monks of the royal linage] Nagaraja.' There is a good chance that he may be identifiable with a personage of that name in West Tibet who dates to the beginning of the eleventh century. Thisidentification, as well as the fact that the inscription is in Tibetan, poses an interesting problem as to whether the image was commissioned by a Tibetan, made in Kashmir and only inscribed in Tibet, or made in West Tibet itself. As time goes by, our knowledge of West Tibetan (Ladakhi) art has expanded and we know today that its early phase is virtually undistinguishable from what used to be considered a 'classical Kashmir style.' The best examples of that are sculptures such as the Maitreya in Mulbek (dating to about the ninth century) or the murals of Alchi (dating to about the eleventh century). Thus one could argue effectively both points that the image was cast in Kashmir for the Tibetan market or possibly was made in West Tibet, especially since weknow that many Kashmiri artists were active there. Considering the proximity of Kashmir and Ladakh it is not surprising to find cultural traditions so closely overlapping. S.C.
AMICA ID: CMA_.1966.30
AMICA Library Year: 1998
Media Metadata Rights: Copyright, The Cleveland Museum of Art

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