Eastern Word Buddhist Art

Eastern World
Buddhist Art

Sumary of Buddhist artworks

To introduce the readers
Buddhism - one of the five largest religions in the world - originated in India,
the cradle of human civilization. After thousands of years of development, the
Buddha's ideas have gone beyond the territory and spread widely to Eastern
countries. Philosophers and images from Buddhism have always been the
inspiration for many works of art. In different countries and different times,
works on Buddhism always have certain characteristics.
Eastern World Buddhist Art is an artbook designed to provide readers with
images and brief information about Eastern Buddhist works. Thereby, we
hope that readers will have a broader view of Buddhism, seeing the diversity of
Buddhist art works of different countries in each period. From there, readers
can feel the beauty of Buddhist art and the unique features of Buddhist culture
between countries.

Design by Le Hoang Do, Nguyen Hai Dang, Nguyen Ho Khanh Vy, Tran
Hoang Dung, Pham Tran Truc Ngoc.
Mentor by Hoang Thi Anh Nghi
Subjects: Magazine and Journal Design
Production: Faculty of Fine Arts and Design - Vanlang University

CONTENTS

South Asia 8
Afghanistan 18
Pakistan 28
India 38
Sri Lanka 48
Nepal

East Asia 64
Mongolia 78
China 106
Taiwan 114
Korea 106
Japan 142
154
Southeast Asia 164
Myanmar 174
Thailand 184
Cambodia 192
Vietnam 198
Philippines
Singapore
Indonesia

Pakistan
Sri Lanka

6 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

SOUTH ASIA

Afghanistan

India

Nepal

South Asia - Afghanistan 7

AFGHANISTAN

During the pre-Islamic era, Buddhism was one of the most powerful religious
movements in Afghanistan. When the Greek Seleucid Empire formed
an alliance with the Indian Maurya Empire in 305 BC, Buddhism came
in Afghanistan for the first time. In modern-day northern Pakistan and
Afghanistan, Greco-Buddhism thrived under the Greco-Bactrian Kingdom
(250 BC-125 BC) and the subsequent Indo-Greek Kingdom (180 BC- 10 AD).
The Kushan Empire, which employed the Greek alphabet to write its Bactrian
language, was the epicenter of Greco-Buddhism.

Artwork 2

Artwork 3

Artwork 1

8 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Scenes from Niche with Standing Head of Buddha Seated Landscape in
the Life of the the Seated Buddha 5th–6th century Bodhisattva Afghanistan
Buddha Bodhisattva late 6th century page 14 Maitreya 1972 - 1972
Kushan dynasty, Shakyamuni page 13 (Buddha of page 17
late 2nd-early Flanked by the Future)
3rd century Devotees and an 7th–8th century
page 10 Elephant page 16
ca. 4th–5th
century
page 12

Artwork 5

Artwork 6

Artwork 4

South Asia - Afghanistan 9

Scenes from the Life of the These panels, which ornamented a massive stupa
Buddha (reliquary), illustrate the Buddha’s four major life
episodes. Each event’s culminating climax was depicted by
Kushan dynasty1, late 2nd-early 3rd century artists, who focused each piece around a big figure of the
Buddha or his mother. Devotees went clockwise around
the mound, their right shoulders facing the enshrined
artifacts, taking in the sights.

PARINIRVANA THE ENLIGHTENMENT
According to Buddhist traditions, the Buddha, at the After meditating for forty days beneath a pipal tree, the
age of eighty, lay down between two shala trees and Buddha approached the moment of omniscience. Evil
abandoned his physical body to enter the blissful state demons, including two toppled soldiers beneath the
of nirvana. Only the first shala tree is visible here; the Buddha’s seat, have failed to distract him.Calmly lowering
second was depicted on the now-missing right section. his right hand, the Buddha touches the earth goddess to
By depicting the Buddha lying on his side, artists clearly witness his attainment of enlightenment. (In Buddhist
distinguished his liberation from the cycle of rebirth from sculpture, the earth-touching gesture [bhumisparsha
an image of ordinary death. mudra] always signals the moment of enlightenment.)
He is also depicted with the characteristic forehead
mole (urna),cranial bump (ushnisha) that symbolize his
immense spiritual capacity.

1During the first three centuries of the Common Era, the Kushan dynasty, it into five chiefdoms, one of which being the Kushans' (Guishuang). Kujula
often written Kusana, was a reigning line descending from the Yuezhi, a Kadphises (Qiu Jiuque), the Kushan chief, secured the political unity of the
people that reigned over much of northern India, Afghanistan, and portions of Yuezhi empire under his control a century later.
Central Asia. In the 2nd century BCE, the Yuezhi invaded Bactria and split

10 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Historical period(s) Collection Provenance
late 2nd-early 3rd century Freer Gallery of Art Unknown
Classification(s)
Dimensions Geography
H x W x D: 67 x 289.8 x 9.8 cm (26 Sculpture, Stone Pakistan or Afghanistan

3/8 x 114 1/8 x 3 7/8 in)

THE FIRST SERMON AT THE DEER PARK IN PARINIRVANA
SARNATH According to Buddhist traditions, the Buddha, at the
age of eighty, lay down between two shala trees and
Surrounded by ascetics and deities, the Buddha raises one abandoned his physical body to enter the blissful state
hand in the gesture of reassurance as he offers his first of nirvana. Only the first shala tree is visible here; the
teaching. The wheel and animals on his throne represent, second was depicted on the now-missing right section.
respectively, his teachings and the sermon’s location in a By depicting the Buddha lying on his side, artists clearly
deer park. His fine, symmetrical features, wavy topknot, distinguished his liberation from the cycle of rebirth from
and naturalistically draped monk’s robe were adopted an image of ordinary death.
from the vocabulary of Greco-Roman.

South Asia - Afghanistan 11

Niche with the Seated The lunette would have been seen from below during ritual
Bodhisattva Shakyamuni circumnambulation of a Buddhist stupa (relic mound).
Flanked by Devotees and Shakyamuni is shown as a bodhisattva wearing a princely
an Elephant hat and fabrics. Given that the sculpture was carved during
the fifth century—long after classical traditions in the West
ca. 4th–5th century had declined—the lifelike anatomy and intricate classical
portrayal of interacting worshippers seems exceptional.

Historical period(s) Collection Geography
ca. 4th–5th century The Metropolitan Museum of Art Afghanistan
Dimensions Classification(s) Provenance
H. 16 9/16 in.(42cm); W. 18 1/4 in- Sculpture John Eskenazi Ltd. , London, until
.(46.4cm); D. 10 in.(25.4cm) 2005, sold to MMA

12 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Standing Buddha The dissemination of the Gandharan style was aided by
movable metal images, which can be found in Gandhara,
late 6th century Kashmir, and Tibet. This Buddha’s hairdo is made up
of repeated bands, a theme common in late Gandharan
stuccos as well as pictures from Kashmir and Sind.

Historical period(s) Collection Geography
late 6th century The Metropolitan Museum of Art Afghanistan
Dimensions Classification(s) Provenance
H. 16 9/16 in.(42cm); W. 18 1/4 in- Sculpture John Eskenazi Ltd. , London, until
.(46.4cm); D. 10 in.(25.4cm) 2005, sold to MMA

South Asia - Afghanistan 13

Head of Buddha The lunette would have been seen from below during ritual
circumnambulation of a Buddhist stupa (relic mound).
5th–6th century Shakyamuni is shown as a bodhisattva wearing a princely
hat and fabrics. Given that the sculpture was carved during
the fifth century—long after classical traditions in the West
had declined—the lifelike anatomy and intricate classical
portrayal of interacting worshippers seems exceptional.

Historical period(s) Collection Geography
ca. 4th–5th century The Metropolitan Museum of Art Afghanistan
Dimensions Classification(s) Provenance
H. 16 9/16 in.(42cm); W. 18 1/4 in- Sculpture John Eskenazi Ltd. , London, until
.(46.4cm); D. 10 in.(25.4cm) 2005, sold to MMA

14 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

( Inclination ) ( Inclination )

( Inclination ) ( Inclination )

head rotation angles ( Inclination ) ( Angle of elevation )
South Asia - Afghanistan
15

Seated Bodhisattva This sculpture is from the most recent phase of Gandharan
Maitreya (Buddha of craftsmanship. It shares aesthetic similarities with Shahi
the Future) sculpture from northern Pakistan and Afghanistan, as well
as recent Gandharan studios like Sahri-Bahlol.
7th–8th century

Historical period(s) Collection Geography
ca. 4th–5th century The Metropolitan Museum of Art Afghanistan
Dimensions Classification(s) Provenance
H. 16 9/16 in.(42cm); W. 18 1/4 in- Sculpture John Eskenazi Ltd. , London, until
.(46.4cm); D. 10 in.(25.4cm) 2005, sold to MMA

16 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Akino Fuku (Akino Fuku born July 25, 1908, died October 11, 2001) was a Japanese painter. She was born in Futamata, Shizuoka Prefecture's Iwata-gun
(currently, Nimata Town, Tenryu Ward, Hamamatsu City). Her paintings of Indian themes, landscapes, and people made her famous.

Landscape in Afghanistan those created by mountains, beneath pure blue skies. The
majesty of this region’s environment is captured in Akino’s
1972 - 1972 dramatic brushwork, which shows the great effect of the
Akino first visited Afghanistan in 1971, seeing the capital flowing cloud and the vast mountains below.
city of Kabul as well as the Bamiyan ruins, which are
notable for their Buddhist relics. This image represents
a gigantic cloud she spotted on her journey to Bamiyan,
traveling across the sky and producing a shadow as deep as

Historical period(s) Collection Geography
ca. 4th–5th century The Metropolitan Museum of Art Afghanistan
Dimensions Classification(s) Provenance
H. 16 9/16 in.(42cm); W. 18 1/4 in- Sculpture John Eskenazi Ltd. , London, until
.(46.4cm); D. 10 in.(25.4cm) 2005, sold to MMA

South Asia - Afghanistan 17

PAKISTAN

A small number of Buddhists may still survive in Pakistani Kashmir, and a
large group persists east of the Line of Control in Jammu & Kashmir. Mulbekh
and Shergol in the Indus valley (to the east of Kargil) and much to the west of
Leh, the Nun Kun massif and Rangdum Buddhist monastery at the head of the
Suru river valley (a tributary of the Indus) on the Indian Kashmiri 

Artwork 03

Artwork 02

Artwork 01

18 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Enthroned Seated Buddha Standing Standing The Death of Bust of a
Buddha 1st to mid-2nd Bodhisattva Bodhisattva the Buddha Bodhisattva
Granting Boons century Gandharan Maitreya (Parinirvana) ca. 4th–5th
dated by page 22 region (Buddha of the ca. 3rd century century
inscription to 3rd 4th century Future) page 25 page
ca. 600 page 23 ca. 3rd century 26
page 20 page 24

Artwork 05 07
Bodhisattva
Avalokiteshvara
7th century
page 27

Artwork 04 Artwork 06
Artwork 07

South Asia - Pakistan 19

Enthroned
Buddha Granting
Boons

dated by inscription to ca. 600

One of the three earliest datable
sculptures linked with the Gilgit
monarchy in northern Pakistan is
this Buddha. All were commissioned
by Queen Mangalahamsika, who
according to Gilgit chronicles was
King Vajraditayanandi's senior queen
(reigned ca. 600). “Om,” says the
Sanskrit1 donor inscription carved
on the front cartouche. This is a
thoughtful present. Shri Paramadevi
(Highest Queen) Mangalahamsika
ordered this holy gift to be made”.

Historical period(s)
dated by inscription to ca. 600

Dimensions
H. 9 5/8 in. (24.4 cm); W. 6 in. (15.2
cm); D. 3 1/2 in. (8.9 cm)

Collection
The Metropolitan Museum of Art

Classification(s)
Sculpture (Gilt brass with silver and
copper inlay)

Geography
Pakistan (Gilgit Kingdom)

Provenance
Carlton Rochell Ltd. , New York,
until 2011, sold to MMA

Sanskrit1 is the holy language of Hinduism, as well
as the language of traditional Hindu philosophy
and Buddhist and Jain historical writings. It was
a link language in ancient and medieval South
Asia, and it became a language of religion and
high culture, as well as the political elites in parts
of these countries, as Hindu and Buddhist culture
was transmitted to Southeast Asia, East Asia, and
Central Asia in the early medieval century.

20 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Section of the Buddha’s face to examine the work’s features and materia pt in detail.
South Asia - Pakistan 21
ls in greater detail.

Close-up of the work to view the Sanskrit inscription in the Brahmi scri

Seated Buddha

1st to mid-2nd century

This tiny bronze Buddha is most
likely one of Gandhara’s first iconic
depictions of Shakyamuni. His
unique halo contains serrations
that symbolize radiating light, and
he sits in a yogic position with his
right hand in abhaya mudra (a sign
of approachability). His hairdo, the
shape of his robes, and the treatment
of his body all show aesthetic ties
to Western classical traditions. This
Buddha has more in common with
Roman sculpture than any other
Gandharan2 bronze.

2Between the first and fifth centuries of our
time, Gandhara art flourished in the area that
is northwest Pakistan today. In their Buddhist
sculptures, Mediterranean antique, at that time
excitingly contemporary, melded with Indian
and Iranian influences to create a harmonious
whole. A Buddha between Corinthian columns,
a Heracles as Buddha’s companion appeared
natural in this early Buddhist pictorial world.
This cosmopolitan visual language was made
possible in service of an Indian religion through
the expansion of the Hellenistic empires to the very
heart of Central Asia (fourth century through the
first century BC), through migrations of different
“Hellenized” people from Central to South Asia,
and finally through the rapid increase in trade
of the Imperium Romanum with India (from the
first century AD). Gandhara was integrated in
the Silk Road network. The steady influx of people
of different characters, of ideas and forms, made
Gandhara an early stage for global networking.

Historical period(s) Collection Geography
1st to mid-2nd century The Metropolitan Museum of Art Pakistan (ancient region of Gandhara)
Dimensions Classification(s) Provenance
H. 6 5/8 in. (16.8 cm); W. 4 1/2 in. Sculpture (Bronze with traces of Mr. Muneichi Nitta , Tokyo (until
(11.4 cm); D. 4 in. (10.2 cm) gold leaf) 2003 donated to MMA)

22 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Standing
Bodhisattva

Gandharan region, Afghanistan
or Pakistan 3rd?4th century

Bodhisattvas are Buddhist beings
who have made a voluntary
commitment to stay on Earth until
all sentient beings have attained
enlightenment. In Mahayana
Buddhism, which emphasizes global
redemption over personal freedom,
bodhisattvas play a crucial role. The
depiction of bodhisattvas as kings is
common. Their gilded hair, opulent
clothes, and ornate decorations
represent both worldly and spiritual
prosperity, reminding worshipers
that these creatures, despite their
spiritual rank, are still of this earth.
The Buddha was initially shown
in human form in Gandharan art.
Despite the fact that Gandhara
was only under Greek rule for a
brief period in the fourth century
BCE, the Mediterranean influence
on Afghanistan and Pakistan’s arts
resulted in a distinct early Buddhist
sculptural style. This young man
stands on a pedestal flanked by four
attendants and two Corinthian
columns, on which is also painted
a sitting bodhisattva. The figure
had thick, shoulder-length curly
hair with a fringe and a topknot, as
well as a halo behind his head that
is now mostly absent. One of the
distinguishing features of a great guy
is the urna (mole) on his forehead.

Historical period(s) Collection Geography
1st to mid-2nd century The Metropolitan Museum of Art Pakistan (ancient region of Gandhara)
Dimensions Classification(s) Provenance
w510 x h1530 x d170 cm Sculpture (Grey schist stone) National Gallery of Australia, National
Gallery of Australia, Canberra, 2008

South Asia - Pakistan 23

Standing
Bodhisattva
Maitreya (Buddha
of the Future)

ca. 3rd century

The lip of the sacred water flask
in his left hand, as well as his loop
topknot, a hairdo typical to Maitreya
pictures, can be used to identify
this bodhisattva as Maitreya. Donor
figures worship a Buddhist reliquary
on a low throne underneath a canopy
at the base.

Historical period(s) Collection Geography
ca. 3rd century The Metropolitan Museum of Art Pakistan (ancient region of Gandhara)
Provenance
Dimensions Classification(s) Peter Marks Gallery , New York, until
H. 64 1/4 in. (163.2 cm); W. 21 in. (53.3 Sculpture (Gray schist) 1991, sold to MMA
cm); D. 8 in. (20.3 cm)

24 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

The Death of When the Buddha died in the city of Kushinagara in northern India, according
the Buddha to Buddhist legend, he broke free from the cycle of rebirths and reached
(Parinirvana) nirvana, or complete freedom from karmic rebirth. The Buddha is surrounded
by ordinary and monastic mourners expressing their sadness in this panel,
ca. 3rd century which would have been placed in the harmika enclosure at the pinnacle of a
stupa (relic mound). These emotions contrast with the serenity of the monk
Subhadra, who is seated in front of the Buddha’s body and is the only one
who understands the actual significance of the Buddha’s death. In the decades
that followed, images of the Buddha’s paranirvana based on this Gandharan
template became major icons for devotion across the Buddhist world.

Historical period(s) Collection Geography
ca. 3rd century The Metropolitan Museum of Art Pakistan (ancient region of Gandhara)
Dimensions Classification(s) Provenance
H. 26 in. (66 cm); W. 26 in. (66 cm); Sculpture (Schist) In the collection of Christian
D. 3 in. (7.6 cm) Humann (Pan-Asian Collection

South Asia - Pakistan 25

Bust of a This artwork was created at a period when the previous sculptural tradition’s
Bodhisattva realism was giving way to a more formal approach as artists attempted to
represent enlightened people. The sculpture’s ornate hairdo, which includes a
ca. 4th–5th century topknot and hair hanging behind the shoulders, evokes Maitreya, the Buddha
of the Future. The iron remnants of an attachment in his left ear, as well as
the slots for affixing metal ornamental components around the border of his
jeweled hair adornment, indicate that this picture was originally decorated
with metal parts.

Historical period(s) Collection Geography
ca. 4th–5th century The Metropolitan Museum of Art Pakistan (ancient region of Gandhara)
Dimensions Classification(s) Provenance
H. 30 in. (76.2 cm); W. 17 in. (43.2 Sculpture (Gray schist) Abby Aldrich Rockefeller , New York
cm); D. 9 in. (22.9 cm)

26 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Bodhisattva
Avalokiteshvara

7th century

This is one of the most important
early medieval metal symbols linked
with Swat Valley Buddhist art.
The work is linked to related main
schools of religious figure creation
in Gilgit (northern Pakistan) and
Kashmir, and its physiognomy and
draperies reflect late Gandharan
influences. Avalokiteshvara’s
four-armed form is the start of
a long line of figures known as
“Bodhisattvas of the Six-Syllables,”
who are linked to the renowned
prayer “Om Manipade Hum1.” This
iconographic representation is a
visual representation of that prayer.

1The six-syllable Sanskrit mantra Au mai padme
h (Sanskrit:, IPA: [ mpdme ]) is particularly asso-
ciated with Avalokiteshvara, the bodhisattva of
compassion, in his four-armed Shadakshari form.
It is also known as Avalokiteshvara's sadaksara
(six syllabled) and paramahrdaya, or "innermost
heart," in the Mahayana Kravyhastra. The mantra
is thought to be a condensed form of all Buddhist
teachings found in this book.

Historical period(s) Collection Geography
7th century The Metropolitan Museum of Art Pakistan (Swat Valley)
Provenance
Dimensions Classification(s) Christie’s, London , 27th March 1972,
H. 6 3/4 in. (17.1 cm); W. 4 3/4 in. (12.1 Sculpture (Brass with silver and lot 184
cm); D. 3 1/2 in. (8.9 cm) copper inlay)

South Asia - Pakistan 27

INDIA

Buddhism is an ancient Indian religion that originated in and around
the ancient Kingdom of Magadha (now Bihar, India), and is centered on
the teachings of the Gautama Buddha, who was regarded as a “Buddha”
(“Awakened One”) despite the fact that there were other Buddhas before
him. Beginning during the Buddha’s lifetime, Buddhism expanded outside
of Magadha. The Buddhist community broke into two branches under the
reign of the Buddhist Mauryan Emperor Ashoka: the Mahsghika and the
Sthaviravda, each of which expanded throughout India and splintered into
countless sub-sects. The Theravda, which is found in Sri Lanka and Southeast
Asia, and the Mahyna, which is found in the Himalayas and East Asia, are the
two primary branches of Buddhism today. Vajrayana Buddhism is frequently
categorized as a branch of Mahyna Buddhism, although some academics
believe it to be a separate branch entirely.

Artwork 01

Artwork 03

Artwork 02

28 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 34 05 06
Drum panel Birth of Buddha Manjuvajra The Bodhisattva Architectural
depicting a Siddhartha Preaching the Mandala Avalokitesvara Ensemble from
stupa with Pala, ca. 10th First Sermon at 11th century Expounding a Jain Meeting
the Buddha century C.E. Sarnath page the Dharma Hall
Descent from page 32 11th century to a Devotee: last quarter of
Trayastrimsa page 33 Folio from a 16th century
Heaven Ashtasahasrika page 36
second half of Prajnaparamita
the 3rd century Sutra
page 30 Manuscript
early 12th
century
page 35

Artwork 06

Artwork 05

Artwork 04

South Asia - India 29

Drum panel This limestone panel was part of a larger set that ringed a huge stupa’s drum. It
depicting a stupa depicts the Buddha standing at the stupa’s entrance, surrounded by two female
with the Buddha worshippers. At either side of the lion-crowned doorway, attendants with fly
Descent from whisks (chauris) stand. This comprehensive picture depicts the appearance of a
Trayastrimsa stupa and its adorning ornamentation during this time period. The somewhat
Heaven extended proportions of the humans and animals, as well as the Buddha’s
corpulence, are typical of Nagarjunakonda’s art.
second half of the 3rd century

Historical period(s) Collection Geography
Second half of the 3rd century The Metropolitan Museum of Art India
Provenance
Dimensions Classification(s) New York and Paris, from August
H. 48 in. (121.9 cm); W. 29 3/4 in. (75.6 Sculpture (Limestone) 1926 until 1928; sold to MMA
cm); D. 6 3/4 in. (17.1 cm);

30 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

the upper part of the plate is limed

the lower part of the plate is limed 31
South Asia - Afghanistan

Birth of
Siddhartha

Pala, ca. 10th century C.E.
Maya, standing with a little flexion
of the torso, is depicted clutching
a sala tree limb. Her waist region
looks to be emitting the infant
Buddha. The bejeweled woman is
joined by Brahma, the creator of
the cosmos, who has three heads,
and Vishnu, the preserver, who has
four arms. To the right of the lady,
a tiny image of the Buddha stands
on five lotuses, signifying the seven
stages after his birth. According
to tradition, the Buddha said, “I
am born for enlightenment of the
benefit of the world; this is my final
birth in the world of things,” while
taking seven steps. On the right
side, Indra, the king of the heavens,
is portrayed holding a cloth, having
received the kid after birth. On the
left, we notice a female attendant.
On the pedestal, two worshippers are
sitting. The sculpture is a brilliantly
visual depiction of the narrative
and a magnificent example of late
Gandhara art.

Historical period(s)
Pala, ca. 10th century C.E.
Dimensions
Basalt 37.8x24.2x10 cm.
Collection
Indian Museum, Kolkata
Classification(s)
Sculpture
Geography
Nalanda, Bihar, India.
Provenance
Unknown

32 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Buddha
Preaching the
First Sermon at
Sarnath

11th century

The Buddha giving his first sermon
in a deer forest at Sarnath, north of
Bodhgaya, where he had achieved
enlightenment a few weeks before,
is a common subject in medieval
Buddhist art. With his monk robe
pulled over both shoulders and his
outstretched hand signaling the
spinning of the wheel of Buddhist
law, or dharma, he is seated in a
complete yogic posture (dharmacakra
mudra). “To the cause of the
holy religion [by] the stonecutter
[sculptor] Vijaka,” reads a Sanskrit
inscription on the lotus-throne base
in proto-Bengali script. This is one of
the few times a Pala-dynasty sculptor
has been named.

Historical period(s)
11th century
Dimensions
H. (without base) 24 1/4 in. (61.6 cm);
W. 20 in. (50.8 cm); D. 8 in. (20.3 cm)
Collection
The Metropolitan Museum of Art
Classification(s)
Sculpture (Black stone)
Geography
India (Bihar, probably Nalanda)
Provenance
Paul Mallon , Paris, until 1920; sold
to MMA

South Asia - India 33

Manjuvajra
Mandala

11th century
This sculpture depicts an esoteric
version of Manjushri, the
Transcendent Wisdom Bodhisattva.
He has three heads and six arms,
four of which carry a bow and
arrow, a sword, and a lotus, and
the other two of which hold vajras
(thunderbolt scepters) and are
crossed at the chest in an esoteric
gesture (mudra) indicating great
knowledge. The sword, which slices
through ignorance and illusion, is
the most conspicuous weapon in
this arsenal. The throne is framed
by leogryphs riding lions, legendary
makara emerge from the tripartite
cusped nimbus, and garlands flutter
from the central tower (sikhara).

Historical period(s)
11th century
Dimensions
H. 46 in. (116.8 cm); W. 24 in. (61 cm);
D. 7 1/2 in. (19.1 cm)
Collection
The Metropolitan Museum of Art
Classification(s)
Sculpture (Black stone)
Geography
Bangladesh or India (Bengal)
Provenance
Cora Timken Burnett , Alpine, NJ
(by 1918 until d. 1956;
bequeathed to MMA)

34 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

The Bodhisattva
Avalokitesvara
Expounding
the Dharma
to a Devotee:
Folio from a
Ashtasahasrika
Prajnaparamita
Sutra Manuscript

early 12th century

The enthroned Avalokiteshvara,
bodhisattva of compassion, sits
in a temple shrine setting with a
bhadra-style superstructure of the
Pala style, crowned, bejeweled, and
framed by two white lotus blossoms.
To the female devotee who stares up
in rapture at her rescuer, his hands
held in double vitarkamudra teach
the Perfection of Wisdom sutra. The
psychological drama in this scenario
of intense humanist feeling follows
scriptural instructions outlining how
believers should gaze on the divine.

Historical period(s)
early 12th century
Dimensions
Page: 2 3/4 x 16 7/16 in. (7 x 41.8 cm)
Image: 2 1/2 x 1 15/16 in. (6.4 x 4.9 cm)
Collection
The Metropolitan Museum of Art
Classification(s)
Paintings (Opaque watercolor on
palm leaf)
Geography
India, West Bengal or Bangladesh
Provenance
T. T. Gallery , Kathmandu, Nepal,
until 2001, sold to MMA

South Asia - India 35

Architectural
Ensemble from a
Jain Meeting Hall

last quarter of 16th century

The carved wooden dome, balconies, climbed toward the dome, which are ensemble may be easily observed. The
and supports of this architectural only known from early photos. The original metal grillwork, which kept
ensemble belonged to the Vadi ashtakikpalas are the figures carved bats and birds out of the mandapa’s
Parshvanatha Jain temple’s gudha- around the dome (eight regents of interior, has been replaced with a
mandapa (meeting and prayer hall) in the directions). Traces of pigment larger wooden grating.
Patan, Gujarat. On May 13, 1596, the suggest that the interior of the In the sixteenth century, artisans of
temple was dedicated. This section structure was once painted. the great Mughal emperor Akbar
of the temple was demolished during The Museum’s construction in the turned this especially exquisite and
renovations and enlargements in the original mandapa is unknown; it ornate early Gujarati wood carving
early twentieth century; nothing of most likely lay on top of the flat roof, into stone on certain structures at
the original construction remains allowing light into the structure. Fatehpur-Sikri (City of Victory) and
in Patan. Some of its components One of the four sides, which has had the harem at the Red Fort in Agra.
were lost, including the eight huge several plaster repairs, has been left
figures of musicians and dancers that off in this installation so that the

Historical period(s) Collection Geography
Second half of the 3rd century The Metropolitan Museum of Art India
Provenance
Dimensions Classification(s) New York and Paris, from August
H. 48 in. (121.9 cm); W. 29 3/4 in. (75.6 Sculpture (Limestone) 1926 until 1928; sold to MMA
cm); D. 6 3/4 in. (17.1 cm);

36 Eastern World Buddhist Art - A brief introduction to Buddhist artworks



SRI LANKA

As of 2012, Theravada Buddhism is Sri Lanka’s most popular and official
religion, with 70.2 percent of the population practicing it.

Buddhists can be found among both the majority Sinhalese population and
other ethnic groups in Sri Lanka.

Buddhism has been accorded the highest priority under Article 9 of the Sri
Lankan Constitution, which may be traced back to an attempt to restore
Buddhism’s position prior to the colonial era. Article 10 of the Sri Lankan
constitution, on the other hand, protects the religious liberties of all
communities. Sri Lanka is one of the oldest Buddhist countries in the world.

Artwork 02

Artwork 03

Artwork 01

38 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 42 03 04 05
Buddha Offering Buddha Pair of Reliquary stupa The Birth
Protection 18th century Manuscript [dagoba] of Prince
mid-15th–16th page Covers Sinhalese Siddhartha
century early 19th community19th Gautama
page 40 century century Maligawage
page page 44 SarlisMid 20th
43 century
page 46

Artwork 04

Artwork 05

South Asia - Sri Lanka 39

Buddha Offering
Protection

mid-15th–16th century
This imposing Buddha makes the
abhaya mudra gesture with his right
hand, conveying compassionate
protection, while his left hand
supports the sweeping fall of the
monastic robe (uttarsanga). The
icon’s monumentality is exceptional
for the period. It provides a stylistic
bridge between a great eighth-
century late-Anuradhapura-style
rock-cut Buddha at Avukana and
the full-bodied figures with robes in
stylized water-patterning folds of the
successive Kandyan period

Historical period(s)
Mid-15th–16th century
Dimensions
H. 20 7/8 in. (53 cm); W. 5 7/8 in. (15
cm); Diam. of pedestal 5 7/16 in. (13.8
Collection
The Metropolitan Museum of Art
Classification(s)
Sculpture (Copper alloy with gilding)
Geography
Sri Lanka. western regions
Provenance
Joseph Fernando , Sri Lanka and
USA (by 1956 until d., by descent to
son); Dr. Quintus and Mrs. Wimala
Fernando , Phoenix, AZ (until d.
2004, by descent to son
Barry Fernando)

South Asia - Sri Lanka 41

Buddha This work represents Kandyan-period Buddha imagery at its finest. The
figure’s physique is robust, and the full face lacks the softness of features
18th century found in lesser works of the period. Auspicious marks (lakshana) appear here,
and the lowered left arm is a convention that persisted throughout the later
Kandyan period.

Historical period(s) Collection Geography
18th century The Metropolitan Museum of Art Sri Lanka, Kandy district
Dimensions
H. (figure) 23 3/8 in. (59.4 cm); H. Classification(s) Provenance
(incl. base) 25 9/16 in. (65 cm) W. 8 Sculpture (Copper alloy with gilding) Joseph Fernando , Sri Lanka and USA
11/16 in. (22 cm) (by 1956 until d., by descent to son); Dr.
Quintus and Mrs. Wimala Fernando.

42 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

Pair of The Buddha's mahaparanirvana, or great passage into nirvana at the moment
Manuscript of his mortal death, is shown on these wood covers for a palm-leaf book (ola).
Covers Devout laypeople frequently commissioned finely adorned manuscripts and
offered them to monasteries as a merit-earning act.
early 19th century

Historical period(s) Collection Geography
early 19th century The Metropolitan Museum of Art Sri Lanka (Kandy or Colombo district)
Provenance
Dimensions Classification(s) Joseph Fernando , Sri Lanka and USA
Overall (each): 2 1/4 x 28 5/8 in. (5.7 x Paintings (Wood with polychrome) (by 1956 until d.)
72.7 cm)

South Asia - Sri Lanka 43

Reliquary stupa
[dagoba]
Sinhalese

community19th century

Physical remains—bones, teeth, floating within, the entire beauty and
hair, and nails—of the historical function of this magnificent piece
Buddha and notable Buddhist is best understood. The complex
monks and teachers have long been flower, which represents spiritual
held in reliquaries ranging from purity, features many rows of petals,
architectural monuments to small stamens, and a center pod that also
portable repositories across Sri opens, revealing a tiny chamber that
Lanka. The Buddha's relics serve as formerly housed a precious relic. The
holy reminders of his knowledge and reliquary, which is bell-shaped with
memorialize his earthly presence. a circular tiered base, square upper
Stupa, or spectacular reliquary chamber, and spire, is modeled after
buildings, dot the island's terrain, Sri Lanka’s earliest stupa, Thuparama
and tiny containers are frequently Dagoba in Anuradhapura. One of
fashioned of costly gold, silver, Sri Lanka’s most revered locations,
bronze, or crystal. the monument holds the Buddha’s
The beautiful nineteenth-century collarbone.
reliquary in the Gallery, known as The renowned golden dagoba, which
dagoba in Sinhalese, is composed of houses a tooth retrieved from the
silver. The vessel’s rim is decorated Buddha’s ashes, has a similar form. It
with delightful pictures of cows is maintained at Kandy’s Temple of
and elephants, while the relatively the Sacred Tooth, where it is paraded
plain dome is accented with regions on an elephant in a spectacular
of exquisite floral and foliate yearly procession. This stupa-shaped
patterning. The square part of the reliquary is the Gallery’s first
sculpture and the silver pendants significant acquisition of Sri Lankan
hung from the stupa’s lotus bud art, encapsulating old and timeless
pinnacle include Bodhi leaf patterns, Buddhist images and concepts.
referring to the tree beneath which
the Buddha attained enlightenment.

When the framework is opened
to show the delicate silver lotus

Historical period(s) Collection
Second half of the 3rd century The Metropolitan Museum of Art

Dimensions Provenance
H. 48 in. (121.9 cm); W. 29 3/4 in. (75.6 New York and Paris, from August
cm); D. 6 3/4 in. (17.1 cm) 1926 until 1928; sold to MMA

Geography Classification(s)
India Sculpture (Limestone)

44 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

South Asia - Afghanistan 45

The Birth of Prince
Siddhartha Gautama

Maligawage SarlisMid 20th century
Siddhartha (Buddha) is supposed to have been born
from his mother Maya's right side or armpit when she
was holding on to a limb of a tree at Lumbini. There are
various representations of the scene wreathed in angels,
just as there are in this painting. However, the scenery has
an illusory European flavor due to the use of perspective
and the beautiful garden environment. The artist worked
in Sri Lanka throughout the first part of the twentieth
century as a graphic designer, sculptor, and painter. He
painted Buddhist paintings at Colombo’s Maligakanda
temple in the 1910s. Later, Sri Lankan merchant William
Pedris turned these photographs into lithograph prints
in Germany, which disseminated throughout the
country. He also worked as an advertisement designer
for newspapers and magazines, and his work, coupled
with the establishment of a commercial art school, had a
considerable impact not only on the popularization of Sri
Lankan contemporary art, but also on its growth.

Historical period(s)
Mid 20th century
Dimensions
w52.9 x h37.1 cm
Collection
Fukuoka Asian Art Museum
Classification(s)
lithograph on paper
Geography
Sri Lanka
Provenance
Unknown

46 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

South Asia - Sri Lanka 47

NEPAL

Buddhist missionaries from India and Tibet began spreading Buddhism
in Nepal during the reign of Ashoka. The Kiratas were the first to accept
Gautama Buddha’s teachings in Nepal, followed by the Licchavis and Newars.
At the Shakya Kingdom, Buddha was born in Lumbini. Lumbini is said to be
located in Nepal’s Lumbini zone, in the present-day Rupandehi District. In
Nepal, Buddhism is the second most popular religion. According to the 2001
census, 10.74 percent of Nepal’s population professed Buddhism, with the
Newar ethnicity speaking Tibeto-Burman. Buddhists, on the other hand, make
up only 9% of the country’s population according to the 2011 census.

Artwork 02

Artwork 04

Artwork 03
Artwork 01

48 Eastern World Buddhist Art - A brief introduction to Buddhist artworks

01 02 03 04 05 06
Seated Jambhala Seated Jambhala Pair of Chakrasamvara Akshobhya, the Armlet for an
10th century 10th century Manuscript and Vajravarahi Buddha of the Image with
page 50 page 52 Covers with 1575–1600 Eastern Crossed Vajras
Buddhist Deities page 54 Pure Land 17th–19th
11th–12th 17th–19th century
century century page 57
page 53 page 56

07 08
Vajracharya The Birth of the
Priest’s Crown Buddha
16th–17th 18th-19th
century century
page 58 page 60

Artwork 05

Artwork 08

Artwork 06 Artwork 07

South Asia - Nepal 49

Seated Jambhala

10th century
Jambhala, a god of wealth, has his
roots in the early yaksha tradition
of north India. He can be readily
identified from his corpulent form
and from the mongoose spitting gems
that he holds in his left hand. He is
understood to be an emanation of
the Buddha Ratnasambhava, and
his consort is the goddess Vasudha-
ra, who also is a personification of
wealth and abundance.

Historical period(s)
early Eastern Javanese period
Dimensions
H. 11 1/2 in. (29.2 cm); W. 8 5/8 in.
(21.9 cm); D. 5 in. (12.7 cm)
Collection
The Metropolitan Museum of Art
Classification(s)
Sculpture
Geography
Nepal
Provenance
Samuel Eilenberg , New York
(until 1987; donated to MMA)