Historic Gandhara
Kushan Period, 3rd–4th century AD
Stucco, pigments
41.5 cm
Provenance
Private Collection, Germany
Approximately three centuries after the end of the Buddha’s earthly existence, during which time the Master was depicted in aniconic forms, the first representations of him in human forms appeared.
The earlier icons, where the Enlightened One was evoked through his absence (i.e. an empty throne or his footprints, the wheel of the Dharma, etc.), during the second and the first century B.C. were gradually replaced by images depicting the Buddha as an itinerant monk with Apollonian features. This shift was driven by the Mahayana school, which required less symbolic images for the devotion of a growing number of devotees.
In these sculptures, in addition to the perfect proportions of the head, his transcendent nature is emphasized by several physical characteristics. The most evident are the ushnisha (cranial protuberance) and the urna (raised mark between the eyes). His elongated earlobes recall the heavy earrings that Prince Siddhartha wore before renouncing his aristocratic status.
The creation of images of the Buddha in human form occurred almost simultaneously in historic Gandhara (present-day Pakistan and Afghanistan) and Mathura (modern Uttar Pradesh), the southern capital of the Kushan Empire. The two artistic centres produced different styles: Gandhara’s imagery was strongly Hellenized, whereas the Mathura school remained more rooted in Indian tradition.
The earlier icons, where the Enlightened One was evoked through his absence (i.e. an empty throne or his footprints, the wheel of the Dharma, etc.), during the second and the first century B.C. were gradually replaced by images depicting the Buddha as an itinerant monk with Apollonian features. This shift was driven by the Mahayana school, which required less symbolic images for the devotion of a growing number of devotees.
In these sculptures, in addition to the perfect proportions of the head, his transcendent nature is emphasized by several physical characteristics. The most evident are the ushnisha (cranial protuberance) and the urna (raised mark between the eyes). His elongated earlobes recall the heavy earrings that Prince Siddhartha wore before renouncing his aristocratic status.
The creation of images of the Buddha in human form occurred almost simultaneously in historic Gandhara (present-day Pakistan and Afghanistan) and Mathura (modern Uttar Pradesh), the southern capital of the Kushan Empire. The two artistic centres produced different styles: Gandhara’s imagery was strongly Hellenized, whereas the Mathura school remained more rooted in Indian tradition.
Remarkable in both size and sensitivity, this large Buddha head is a fine example of Gandharan art from its mature period. In Historic Gandhara, particularly from the 3rd century onward, stucco became a widely used medium for sculpture, often preferred over schist.
Due to its malleability and lighter weight, stucco was particularly suitable for creating large-scale images, allowing for more detailed and refined modelling.
In this sculpture, characterised by a strong Hellenistic influence, the choice of material enabled a faithful adherence to stylistic principles—softly waved hair, a realistically rendered ushnisha, and well-defined facial features in perfect proportion—while also capturing the serene detachment of the meditating Buddha, with half-closed eyes and a sensual mouth traced by a faint smile.
The red and black pigments highlighting the facial details add further realism, enhancing the impression of a living, communicative presence. The excellent state of preservation, aside from minor visible losses, allows us to appreciate the artwork in its almost pristine condition.
Due to its malleability and lighter weight, stucco was particularly suitable for creating large-scale images, allowing for more detailed and refined modelling.
In this sculpture, characterised by a strong Hellenistic influence, the choice of material enabled a faithful adherence to stylistic principles—softly waved hair, a realistically rendered ushnisha, and well-defined facial features in perfect proportion—while also capturing the serene detachment of the meditating Buddha, with half-closed eyes and a sensual mouth traced by a faint smile.
The red and black pigments highlighting the facial details add further realism, enhancing the impression of a living, communicative presence. The excellent state of preservation, aside from minor visible losses, allows us to appreciate the artwork in its almost pristine condition.
