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Lot Essay
Among the few known examples of pre-Pala and early Pala period black stone sculpture, the present example must be regarded as among the most important and largest of its type. Closely following the Gupta idiom and retaining the refined sense of volume and smooth surface as typified in fifth century Sarnath sculpture, it also reflects a slightly later northeastern Indian influence. It shares the smooth flowing diaphanous robe more revealing than concealing of a gracefully modeled body, the pose with a gentle swing of the right hip and the gesture of holding the hem in his left hand, the distinct arched collar and tightly curled hair. This is combined with a more humorous expression and the left foot turned in a more exaggerated way, indicating the emergence of a regional style.
Two smaller related steles of Buddha were discovered in the ruins of the Buddhist monastery at Sultanganj, Bhagalpur district, Bihar, in 1861, one now in the Avery Brundage Collection at the Asian Art Museum of San Francisco, see S. and J. Huntington, Leaves from the Bodhi Tree, The Art of Pala India (8th-12th centuries) and Its International Legacy, 1990, cat. no. 1, dated circa 6th/7th century, with the pronounced lower lip, distinctly almond-shaped eyes, and the slightly flared and crisply defined ear lobes; the other at the British Museum, also flanked by Maitreya, cf. W. Zwalf, Buddhism, Art and Faith, 1985, fig. 139, p. 105, dated 7th/8th century.
Compare also with a seated late 7th century figure of Buddha from Telhara, Patna district, about 20 miles west of Nalanda, cf. F. Asher, The Art of Eastern India, 1980, pl. 79, displaying similar facial features. The site was visited in the first half of the 7th century by the Chinese pilgrim Xuanzang, who mentions several images, although no other early examples are currently known.
Asher, op. cit., p. 77f., attributes the present piece to the Gaya district based on stylistic evidence relating it to the earliest standing Buddha from Bodhgaya, pairing the slightly heavy forms with Nalanda style influence in the pose, garment and details such as the incised crescent line marking the knees. The Buddhist creed is inscribed in virtually identical characters to a creed carved on the pedestal of a seated Buddha from Bodhgaya, now in the Naradah Museum (Asher, pl. 137), datable to no later than the end of the 8th century.
Two smaller related steles of Buddha were discovered in the ruins of the Buddhist monastery at Sultanganj, Bhagalpur district, Bihar, in 1861, one now in the Avery Brundage Collection at the Asian Art Museum of San Francisco, see S. and J. Huntington, Leaves from the Bodhi Tree, The Art of Pala India (8th-12th centuries) and Its International Legacy, 1990, cat. no. 1, dated circa 6th/7th century, with the pronounced lower lip, distinctly almond-shaped eyes, and the slightly flared and crisply defined ear lobes; the other at the British Museum, also flanked by Maitreya, cf. W. Zwalf, Buddhism, Art and Faith, 1985, fig. 139, p. 105, dated 7th/8th century.
Compare also with a seated late 7th century figure of Buddha from Telhara, Patna district, about 20 miles west of Nalanda, cf. F. Asher, The Art of Eastern India, 1980, pl. 79, displaying similar facial features. The site was visited in the first half of the 7th century by the Chinese pilgrim Xuanzang, who mentions several images, although no other early examples are currently known.
Asher, op. cit., p. 77f., attributes the present piece to the Gaya district based on stylistic evidence relating it to the earliest standing Buddha from Bodhgaya, pairing the slightly heavy forms with Nalanda style influence in the pose, garment and details such as the incised crescent line marking the knees. The Buddhist creed is inscribed in virtually identical characters to a creed carved on the pedestal of a seated Buddha from Bodhgaya, now in the Naradah Museum (Asher, pl. 137), datable to no later than the end of the 8th century.