The Significance of the Standing Bodhisattva in Art History

Historical Context

Gandhara refers to a region in present-day North-West Pakistan and North-East Afghanistan, which came under Greek rule during the 4th century BCE. This period coincided with Greece’s transition from its Classical Age to the Hellenistic era. The influence of Greek culture extended into Gandhara, shaping its artistic direction even 700 years later during the Kushan Empire of the 3rd century CE. As a vital Silk Road trading hub, Gandhara intertwined Eastern and Western cultures, bridging the arts of India, China, ancient Rome, and Greece. This vibrant cultural exchange birthed the unique style of Greco-Buddhist art, with the 3rd-century Standing Bodhisattva serving as a key representation of this East-West fusion.

General Composition

Standing Bodhisattva is a free-standing sculpture crafted from a single piece of local gray schist, measuring 153 cm in height, 51 cm in width, and 17 cm in depth (5 ft ¼ in high, 1 ft 8 in wide, and 6 ⅝ in deep). The statue presents a prominent figure positioned on a base relief featuring five smaller figures, accompanied by two columns on either side.

Buddhist Bodhisattvas

The central figure represents a bodhisattva, a compassionate individual in Buddhism who postpones their own enlightenment to aid others in breaking cycles of rebirth. Bodhisattvas serve a role akin to saints in Christianity, acting as intermediaries between disciples and a divine purpose. Within Buddhism, this purpose revolves around achieving enlightenment akin to the Buddha. Thus, bodhisattvas embody a connection between the material and spiritual realms.

Great Holiness

Standing Bodhisattva features thick hair flowing down to shoulder length, styled in leonine curls, gathered atop the head in an ushnisha, symbolizing wisdom. The presence of an urna, or dot on the forehead, reinforces this attribute. The figure is adorned with a halo, although only a fragment remains attached to the left shoulder, the rest is lost. This element underscores the sacredness of the bodhisattva.

Jewelry

The bodhisattva is adorned with a limited selection of jewelry: a floral-patterned necklace attached to a rope-like chain, which exhibits a Roman influence, while its pendant reflects South Asian artistic sensibilities. The armband on the left upper arm showcases a more distinctly Greco-Roman design, featuring a figure with a sunburst halo between two lions. This imagery may represent the Buddha, articulating the bodhisattva’s unique position straddling both material and spiritual realms.

Wet Drapery

Standing Bodhisattva showcases intricate drapery folds that gracefully envelop the form. The right shoulder and arm drape the fabric in a fashion reminiscent of a Roman toga, cascading down the back and enveloping the waist. The thick layers ripple down the thighs and legs, flowing like a river – a technique referred to as “wet drapery.” This method, which is known from ancient Greek sculptures like the figures from the Parthenon or the Venus de Milo and the Winged Nike of Samothrace, is evocative of the bodhisattva’s Hellenistic roots.

Plinth Buddha

Standing Bodhisattva is raised upon an elaborately carved base. At the center, a larger seated figure is flanked by four smaller figures and two pillars, all possessing the same visual elevation. This differential sizing highlights a hierarchical relationship where the largest figure signifies greater importance. With the central figure seated on a lotus flower and donning an ushnisha, it is unmistakably a sacred individual.

The National Gallery of Australia classifies this as another bodhisattva. However, I contend it depicts the Buddha delivering his first sermon at Sarnath, which aligns with the left hand’s position in the now-missing abhaya mudra of the earlier noted Standing Bodhisattva. The surrounding figures likely represent his followers or attendants gathered to hear his teachings.

Roman Relief

The base is framed by Corinthian columns at either end, and the overall aesthetic of the base resonates with the grandeur of Roman imperial art. The plinth strongly resembles well-preserved examples of ancient Roman relief sculptures, serving both as a structural foundation and as an illustrative narrative to the religious imagery present.

Multicultural Origins

Standing Bodhisattva beautifully illustrates the Greco-Buddhist style characteristic of Gandharan art, a style embraced by many notable museums globally. The statue presents quintessential Greco-Roman traits, including sharp brows and a toga-like drapery style, alongside distinctly South Asian characteristics such as wavy hair, the ushnisha, an urna, and specific mudras. Thus, Standing Bodhisattva encapsulates the multicultural essence of Gandharan artistry, where Hellenistic influences beautifully meld with Pakistani roots — a meeting of East and West, where Greece and Pakistan converge to create extraordinary artwork.