Iconography of Pensive Buddhisattave and Great

Iconography of Pensive Buddhisattave and Great Renunciation: Examples from Miniture Portable Shrines from Gandhara Muhammad Hameed Rabiqa Abid Bukhari

This paper deals with two significant moments of the life story of

the Buddha as depicted in miniature portable shrines from

Gandhara. These tiny objects of unique character represent

another type of productive from the hands of Gandharan artists

who used their skill so precisely by accommodating all the main

characters of a story in a very limited space. In a couple of

examples from these shrines, the iconography of which shall be

explained in the main text, we have a very interesting depiction of

Pensive Buddhistava which through light on his attitude before

deciding to leave home. The second part of the present work is

about the representation of Siddharta and its depiction in

miniature shrines. The Buddhist narrative art depicted in general

sculptures and reliefs gave freedom to followers, pilgrims, and

artists to produce an inclusive picture of the whole life of the

Buddha, however, this was not the case as far narrative art on

portable shrines is concerned. Methodology used in the papers

consist of introduction and description of the relevant fragments,

their themes wise iconographical interpretation and its

comparative analysis of the imagery of both the aforementioned

episodes with the general narrative scheme of Gandharan

sculpture. Textual references for the events have also been quoted

for further studies in the future.

Key Words: Buddha, Buddhisattva, pensive, renunciation, Miniature Portable

Shrines, Iconography, Gandhara, Buddhist Art.

Iconography of Pensive Buddhisattave and Great Renunciation: Examples from Miniture...

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Introduction to Miniature Portable Shrines

The Miniature portable shrines, are mostly found damaged and in the form of fragments and are mostly made of stone. Pieces made of metal and ivory have also been recorded. These shrines can be divided into two categories. In terms of subject matter and theme depicted, these shrines are divided into two main categories, namely, “Buddhist shrines” and “Hindu diptychs”. The Buddhist shrines have three main categories. Its first group is referred to as “Building-Shaped Shrines” and in this paper only one fragment is included, The ShaikhanDheri. Next group of the Buddhist shrines is belongs to “Miniature Stūpa-Shaped objects”. Two fragments of this group are discussed in this study. Rest of the Buddhist shrines are primarily in the form of diptychs. These have different types, namely “Elephant and Rider Type” “Basket Man Type”, “Brāhmaṇa Type” and “Plain Exterior Type”. The second category of Miniature Portable Shrines is in the form of Hindu diptychs having different types which include, “Ṣaṣṭhī Type”, “Ekamukhaliṅga Type”, and “Kumāra Type”. The scope of the present study in limited to the Buddhist Portable Shines with special focus on depiction of two important episodes of the life of the Buddha. Only four fragments of the shrines will be discussed. In the following details of these tiny objects including description of the each fragment, name and category of the object, its size, material, provenance, accession number (if available), custody and amount of literature written about that particular piece of shrine. Figure. 1. The ShaikhanDheri Shrine

Figure 1. View from Top Figure 1.1. Three Dimensional View

Pakistan Vision Vol. 22 No. 1

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Figure 1.2.The Northern Façade Figure 1.3. The Western Façade

Figure 1.4. Remaining Part of the Southern Façade

Figure 1.5. The Eastern Façade


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Type Building-Shaped Shrine Material Stone (Grey Schist) Size H: 8.5, L: 13.3 cm Date 2/3rd century C.E. Provenance ShaikhanDheri, Charsadda (Pakistan) Acc. No. SHK- 1963-1-11 Location Peshawar University Museum Literature Dani 1965/66: 42, Pl. XVII, Nos. 1-3. Allchin 1972: 15-26, Pls.

VII-XI. Nehru 1989: 91, Pl. 173 and Sen-Gupta 2002: 45, Nos. 5 & 6.


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Figure 2. Part of a “Miniature Stūpa-Shaped Object” from Peshawar

Museum

Figure 2. Front View Figure 2.1. Side View

Figure 2.3. View of Right Side Figure 2.4 View of Left Side


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Figure. 3. Part of a “Miniature Stūpa-Shaped Object” from The Metropolitan

Museum of Art, New York


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Figure 3. Complete View of the Fragment

Figure 3.1.Left Side of the Fragment Figure 3.2. Right Side of the

Fragment Type Miniature Stūpa-Shaped Object Material Stone (Phyllitic Schist) Size H: 11.4, L: 3.2 cm Date 5/6th century C.E. Provenance Unknown Location The Metropolitan Museum of Art, New York Acc. No. 1994.489 Literature Lerner 1984: 40, No. 10.Yoshihide 2000: 130, Pl. 7. Sen-Gupta

2002: 53, No. 17 and Behrendt 2007: 81-82, No. 64.


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Figure.No. 4. Left Wing of a Buddhist Diptych Carved on Both Sides

Fig. 4.1. Exterior

Fig. 4.2.Interior


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Type Elephant and Rider Type Material Stone (Grey Schist) Size H: 8 cm Date 5/6th century C.E. Provenance Unknown Location National Museum, Tokyo Acc. No. TC745 Literature Yoshihide 2000: 135, Pl. 21.

Pensive Bodhisattva The first example of the representaion of Pensive Bodhisttava, in the miniature shrines, comes from the shaikhan Dheri.

Figure. 5. Rectangular Panel of the Western Façade

The lower rectangular panel (Fig. 5) of the Western façade of the ShaikhanDheri shrine represents a seated turbaned and jeweled Bodhisattva whose head is slightly turned to his left and is supported by his left palm. The right hand is raised to the chest level and most probably holds a small pot beneath the chin as suggested by Allchin (1972: 22). He is flanked by heavily dressed figures, looking at the central figure. The figures on the immediate right of Bodhisattva probably holds a musical instrument. The remaining figures either stand in adoration or hold some unidentified objects. Dani interpreted the scene as “offering of food to seated Buddha” (1965/66: 42). On the other hand, Allchin (1972: 22) and Dye (1976: 230-231) identified it as “life in the palace” Although the central figure on the reliefs is depicted without an umbrella or a halo, he can be none other than the Bodhisattva himself. If one attempts to read this composition in connection with the scene depicted in the upper panel, it can be suggested that it may represent either moment of the


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Bodhisattva’s thought about renunciation. Such representation is usually labeled as the “pensive Bodhisattva”.

Figure 5.1. Pensive Bodhisattva. Photo from Gandharan Archives Kurita.

http://gandharanarchives.blogspot.com/search/label/18.The%20First

%20Mediation In Gandhara there are fragments that illustrate this particular event (Fig. 5.1). His pensive style indicates “contemplation of a next step” i.e., abdication of royal life in search of the truth. The figures around him are trying to wake him up from his muse. Schlingloff mentioned that such depictions correspond to the textual description which describes that the Bodhisattva had fallen asleep in the palace and then woke up (2000/2013 Vol. I: 364).1 Kurita published a relief that gives a complete picture of the moment before “great departure” (2003: Fig. 125). It includes two scenes: i) “Bodhisattva meditating in the palace”, ii) “great renunciation”. Another example of similar execusion of the theme was published by Ingholt and later on by Kurita (Fig. 5.2 ).2 The relief from Shaikhan Dheri shrine can be considered as one of the very few examples which show the Bodhisattva in this manner.

http://gandharanarchives.blogspot.com/search/label/18.The%20First%20Mediation

http://gandharanarchives.blogspot.com/search/label/18.The%20First%20Mediation


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Figure 5.2. Meditation of Bodhisattva in Palace. Relief from Peshawar

Museum. Acc. No. PM-02754. Photo from Gandhara 2008: 222. Here we can see the haloed seated Bodhisattva, sitting on a lotus throne in a frontal meditation pose, surrounded by female musicians and dancers. Second Depiction of the Pensive Bodhisattva and First Meditation The middle panel of the Miniature stupa shaped shrines form the collection of Peshwar Museum depicts “pensive Bodhisattva” (Fig. 6). Here turbaned and bejewelled Bodhisattva sits, turned to his right, on a raised platform with his right leg down and the left leg resting on right knee. His left hand is placed near the neck and the elbow rests on the left knee. The right hand lies near the left knee. A figure stands on either side of the Bodhisattva. The lower part of the relief depicts a seated figure in the lower right corner and a ploughman with his two bulls in the lower left corner of the panel.


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Figure 6. The Middle Panel of the Fragment

The artisans involved in manufacturing the shrine and depicting scene deviated from the traditional style of representing this particular event of life of the Buddha in main line of the Gandharan sculptures and reliefs.3 However, a very few of the main stream of the Gandharan sculptures depict the Bodhisattva’s attitude before practising meditation (Fig. 6.1).4 Our relief represents one such example from the miniature portable shrines. It depicts the environment, location and mind-set causing the first meditation. Kurita has illustrated two such reliefs which bear close resemblance (2003: Figs. 133 & 606). One of the reliefs depicts the Bodhisattva looking to his right in a pensive mood, while the second relief shows the Bodhisattva looking to his left. The standing figures on each side of the Bodhisattva could be the king and attendants.

Figure 6.1.Line Drawing of a Gandharan Relief Depicting Attitude of the

Bodhisattva before First Meditation. Relief from National Museum

Karachi, after Schlingloff 2000/2013 Vol. II: 69.


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According to Schlingloff the literary versions of the narrative can be found in: Mahāvastu,ed. Vol. II. p. 130, 14- f: p. 45, 4 – p. 47, 19. transl. Vol. II. p.

42-45.

Mūlasarvāstivādavinaya,Skt. ed. Gnoli, 1, p. 75, 16 - p. 77, 25. p. 107, 26

f.

Buddhacarita,V, v. 3-23; ed. p. 45-48; transl. p. 61-66.

Lalitavistara,ch.11; ed. p. 128, 15- p. 132. 17; trad. p. 118-21.

Divyāvadāna, ed. p. 391, 14-20.

Nidānakathā, ed. p. 57, 20- p. 58, 12.transl. p. 74 f.

Majjhimanikāya, Nr. 36; ed. Vol. I. p. 246, 31-35. transl. Vol. I. p. 3.

T 184, ed. Vol. III. p. 467.

T 185, ed. Vol. III. p. 475b-c.

T 188, ed. Vol. III. p. 618b.

T 189, ed. Vol. III. p. 629a-b.

T 190, ed. Vol. III. p. 705b- 707a.

T 191, ed. Vol. III. p. 944b-c.

T 193, ed. Vol. IV. p. 66 a-c (2000/2013 Vol. I: 355).

Great Renunciation The contemplation of Siddharta before leaving his palace life was a difficult decision to make. Consequently the desire to find answer of sufferings of the world and quest for enlightenment could only be attained after renunciation. The scene of leaving palace was depicted on numerous reliefs and panels, along with other important scenes, i-e, Birth, enlightenment and Death. The same was also executed in the Buddhist Miniature Portable shrines. Here we have three examples. First Example of the Depiction The first example of the depiction of “great renunciation” is from the Stupa shaped Miniature Portable shrine from the collection of Peshawar Museum, Pakistan. The lower panel of the right section of the fragment depicts “great renunciation” (Fig. 7). The Bodhisattva is coming out of the palace astride a horse, holding the reins. He is depicted in the usual princely manner. A Yakṣa emerges from the ground and lifts up the horse’s hooves. Among the figures accompanying the Bodhisattva, the one in front of the horse could be Vaiśravaṇa,5 guiding the rider. The figure behind the Bodhisattva could be Vajrapāṇi. The other figures in the background of the scene are city goddesses, which Zwalf misinterpreted as being earth-goddess (1996: 166-168). The relief’s lower right corner is broken.


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Figure 7. Representation of Renunciation

The relief belongs to one of the two main categories of the Gandharan reliefs, which depict the same event. Like many other Gandharan reliefs, it shows the Bodhisattva and the horse in profile (Fig. 7.1).6 The second category of the reliefs represents the scene in a frontal view, common in false gables.7 Still there is another category of the reliefs, which illustrate the event in a three quarter view.8 These reliefs incorporate more figures along with the depiction of city gates.


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Figure 7.1. The Great Renunciation on a Gandharan Relief from Indian

Museum Calcutta. Acc. No. 5045. Photo from Gandhara 2008: 183. The literary references of the episode can be found in Mahāvastu, II: 159-64; Lalitavistara, XV. L. 202-25, transl. 176-96, Saṅghabhedavastu, I: 88-9; Buddhacarita, V: 68-87 and Jātaka,ed. I: 62-3, transl. 172-5 (Cf. Zwalf 1996: 166-67). The fragment’s interior elaborates a different iconographical scheme. It is divided into two registers, framed inside the usual brick lining. Each register portrays an important scene from Buddha’s life. Both the scenes are complete.


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Figure 8.Upper Register of the Fragment.afterYoshihide 2000: 135.

Second Depiection

The second example of the depiction of “great renunciation” is from the elephant and Rider type Portable shrine from the collection of National Museum, Tokyo, Japan.. The upper register depicts “great renunciation” (Fig. 8). Turbaned and bejewelledSiddhārtha rides Kaṇthaka by holding reigns in both hands. A turbaned figure stands behind the horse, next to an altar, placed in lower right corner of the relief. Another turbaned figure armed with a bow in left hand and arrow in right, is depicted in front of the horses striding to the left and looking back at the rider. According to Tanabe, the figure is none other than Vaiśravaṇa, the guardian deity of the Northern region (1993/94: 157-185). Besides Vaiśravaṇa, two Yakṣas are also depicted underneath the horse. They emerge from ground and hold Kaṇthaka’s legs. In the background, two half-length figures are witness to the event. This representation of “great renunciation” remained one of the popular episodes of Gandharan artists as well as of the sculptors responsible for making portable shrines.9 Third Depiction of the Episode In present collection of the shrines, the moment of leaving life of the palace is shown in one of the sections of the fragment of shrine. Interesting and noteable aspect of the imagery is the way whole scene is produced. (Fig. 9). The composition of the narrative is again different from the usual pattern and due to


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limited work space, the prince is shown engaged in conversation with the half length figure behind him. The body gestures of Siddhartha are well executed and made self exoplaintaory as he is on the move and leaving the palace. His both hands are positioned in an impressive way. It appears as foot of the prince is restiong upon the shoulders of the female figures occupying lower corners of the compostion. When we compare the depiction with general reliefs in Gandhara, we often see Yakhsas in this position who place their hands underneath the foot of the prince or his horse.

Figure 9. The Upper Panel of the Fragment.

According to Zwalf (1996: 164), religious text such as Mahāvastu, ed. Vol. II: 159-61, Lalitavistara, XV.L: 201-2 & 205-10, Buddhacarita, V: 47-63 & 68-72,Mūlasarvāstivādavinaya, Saṅghabhedavastu, Skt. ed. Gnoli, I: 81, 85 and Jātaka Introduction, I. ed. 61-2, transl. 171-3, described this episode from life of the Buddha. Conclusion

The life story of the Buddha and the way artists depicted it in these tiny objects certainly provide us a glimpse of another medium of narrating the life events. The episodes explained in the above mentioned text are not only significant regarding their depiction but also scheme of narration and selection of the event is also


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equally meaningful. The portable shrines were used as private entity of travellers, pilgrims, missionaries and of those having no regular access to main stupas and monasteries. By keeping these shrines in their pockets or handing in neck in the form of emulates they fulfilled their religious and spiritual requirements. The important scenes depicted in these shrines strengthen their beliefs and devotion for the religion. Pensive behaviour of Siddhartha is clearly an indication of metal fight for saying good bye to wordily affairs and to enter into the path of enlightenment which he attained ultimately. This message was conveyed to followers of Buddhism and particularly for those who had no time to visit religious places on their journey. These shrines also helped in diffusion of Buddhist iconography beyond Gandhara.


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End Notes and Bibliography

1 To read more about the representation of contemplating figures in Gandhara and related textual sources see Miyaji 2004: 60-63. 2Ingholt 1957: Pl. 45. Kurita 2003: 63, Fig. 126. 3 Cf. Kurita 2003: Figs. 129-134. Zwalf 1996: Pls. 171-172. 4 Kurita 2003: Figs. 132 & 606. According to Quagliotti, such depictions represent Siddhārtha in first meditation, seated in a pensive attitude Quagliotti 1996: 97-115. 5For more information about the depiction of Vaiśravana and previous identifications of the figure, see Tanabe 1993/94: 157-185 & 2000: 1087-1100. 6 E.g. Ackermann 1975: Pls. XIV, XVb&XXIIb. Faccenna 1964 Vol. II. 2: Pl. CXXVIIb. Ingholt 1957: Pls. 45 & 47. Kurita 2003: Figs. 138, 148 &155. Zwalf 1996: Pl. 178. 7For more examples, see Ackermann 1975: Pl. XXXVIIIa. Faccenna 1964 Vol. II. 3: Pl. CDXVII. Ingholt 1957: Pl. 40. Jongeward 2003: Cat. No.20.Kurita 2003: Pl. 2.I,2.II. Figs. 145, 149 &151.Nehru 1989: Pls. 5,18&19. Zwalf 1996 Vol. II: Pl. 176. 8Faccenna 1964 Vol. II. 3: Pls. CDX, CDXI, CDXII, CDXIII. Faccenna 1962 Vol. II, 2: Pl. CLI. Ingholt 1957: Pl. 48. Jongeward 2003: Cat. No.18.Kurita 2003: Figs.144, 145,150,152-56. Zwalf 1996: Pl. 177. 9 For Gandharan reliefs, see footnotes 6-8. Bibliography

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Iconography of Pensive Buddhisattave and Great