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Gain access to this incredible resource through either a monthly or a yearly subscription and search the entire collection from your desktop, compare multiple images side by side and zoom into the minute details of the images. Visit www.davidrumsey.com/amica for more information on the collection, click on the link below the revolving thumbnail to the right, or email us at amica@luna-img.com . Creator Nationality: Asian; Indian Sub-Continent; Indian Creator Dates/Places: India Creator Active Place: India Creator Name-CRT: India, Kashmir, 8th Century Title: Fasting Buddha Title Type: Primary View: Full View Creation Start Date: 700 Creation End Date: 799 Creation Date: 8th century Creation Place: Kashmir Object Type: Decorative Arts and Utilitarian Objects Classification Term: Ivory Materials and Techniques: ivory Dimensions: Overall: 12.4cm x 9.5cm AMICA Contributor: The Cleveland Museum of Art Owner Location: Cleveland, Ohio, USA ID Number: 1986.70 Credit Line: Leonard C. Hanna, Jr. Fund Rights: http://www.clemusart.com/museum/disclaim2.html Context: After the Begram ivories, the second largest group of ancient ivories from the Indian world that survives is from Kashmir. Unlike the Begram ivories, which were secular, Kashmir ivories are exclusively Buddhist and most were produced in ateliers active in the eighth century. As suggested by a couple of surviving examples (one in the British Museum and another in private collection in India), they were conceived as small portable altars. A larger central plaque, such as the one seen here, was set in a painted wooden architectural shrine and flanked by two smaller ivory figures of attendants. Although only two complete shrines are known today, several ivory plaques and attendant figures still survive. The ivory here (one of two owned by the museum) is unusual in terms of its iconography since it shows Buddha as a fasting ascetic. This iconography, while popular in Gandharan art, was not commonly found outside this school. Buddha sits within the trefoil-arched cave in the dhyanasana position, with his hands folded in his lap in the meditation gesture. His emaciated body with the conventional but effective skeletal-vein structure, sunken stomach, and haggard face are the most successful means used by the artist to portray the haunting image of an ascetic who overcomes the limitations imposed on him by his human form in order to attain higher spiritual values. In accordance with the rules of continuous narration, the master is shown three times (two figures of Buddha flank the central image). On the left, heis in his emaciated form with his head resting on his right hand supported by his left raised knee, as if exhausted. The female figure immediately below him seems to offer him a rice-filled bowl (like those used by Buddhist monks to beg for food). It maywell represent Sujata, who provided Buddha's first meal at the conclusion of his austerities. Here, however, he seems oblivious to her offer. On the right, he is seated in the "European pose" (pralambapadasana) with his legs extending down from the throne,supported by the lotus. Once again well nourished, he is attired in monastic garb, indicating that he has achieved enlightenment. He now holds his begging bowl in the palm of his left hand, while his right, partially broken, is raised to his open mouthinthe gesture of eating. Next to him is another female, probably again Sujata. The three Buddhas sit on a cushioned rocky podium. The rock formations among the figures that hover above the central images suggest a cave setting. Also present are celestial attendants on the top, the usual heads of ascetics (siddhas) framing the arch, and many yaksha and dwarf-like figures, probably representing the temptation of Buddha by the evil forces of Mara. Although partially damaged in the center, the scene below looks like an ordinary genre scene with multiple figures involved in a lively discussion. Because cows are present and some figures seem to be churning butter (ghi), the scene could depict the household of Sujata's father (who was a cowherd), where the story ofBuddha's enlightenment is discussed in vivid terms. It may, however, simply depict villagers and their flock paying homage to Buddha. The panel is a superb example of refined workmanship, more intricate and delicate than most. This ivory employs a richajourý (pierced) technique where the perforated areas create a lace-like effect. The plaque curves slightly, following the tusk's natural contour. No traces of paint remain, which may indicate that the piece was cleaned at one point. The ivory has a richbrown patination. S.C. AMICA ID: CMA_.1986.70 AMICA Library Year: 1998 Media Metadata Rights: Copyright, The Cleveland Museum of Art AMICA PUBLIC RIGHTS: a) Access to the materials is granted for personal and non-commercial use. b) A full educational license for non-commercial use is available from Cartography Associates at www.davidrumsey.com/amica/institution_subscribe.html c) Licensed users may continue their examination of additional materials provided by Cartography Associates, and d) commercial rights are available from the rights holder. Home
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