A gray schist stupa base with four scenes from the life of Buddha
A gray schist stupa base with four scenes from the life of Buddha

GANDHARA, 2ND/3RD CENTURY

Details
A gray schist stupa base with four scenes from the life of Buddha
Gandhara, 2nd/3rd century
Each side with two columns framing a scene, one with his birth, with Queen Maya at center clutching the fronds of a tree above and the Buddha emerging from her side, another with the Great Departure, with Siddhartha escaping on his horse; another with Buddha seated in meditation on a low throne at center, flanked by Indra and Brahma who entreat the Buddha to preach; the last with the reunion with his former followers at Sarnath, with the Buddha at right and a muscled youth at center supporting three lotus blossoms in the form of the triratna symbol
12¼ in. (31 cm.) wide
Provenance
Collection of Dr. Alston and Eivor Callahan, Alabama, by 1984
Collection of Dr. Mike and Mrs. Teresa Callahan, Alabama, acquired as a gift, Christmas 1985
Literature
Pal, P. Light of Asia, 1984, p. 53, cat. no. 1
Exhibited
Light of Asia, Los Angeles County Museum of Art, 4 March -- 20 May 1984; The Art Institute of Chicago, 30 June -- 26 August, 1984; The Brooklyn Museum, 1 November 1984 -- 10 February 1985; and Birmingham Museum, Alabama, 2010 to present (521.2010)

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Lot Essay

In the Buddhist period of Gandhara, small stupas in schist and bronze were used to inter religious relics housed within the various monasteries of the region, and the life stories of the Buddha were often depicted in narrative relief. The present example includes four of the more important stories in the Buddha's life, but is unusual in its presentation of the sermon at the deer park at Sarnath. In many examples, the Buddha is shown in a preaching gesture surrounded by his disciples and with one or two deer to denote the location; in others, the triratna, or "Three Jewels," representing the Buddha, the Dharma, and the Sangha (monkhood), were used as an aniconic depiction of the scene. The present work includes both the Buddha and his disciples, as well as the triratna symbol. Such blending of religious ideas is characteristic of the Gandharan period and indicates the experimentation practiced by the artisans of the region.

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