Eastern Word Buddhist Art

Southeast Asia - Indonesia 201

Seated Transcendent Buddha
Vairochana

ca. late 9th century

This splendid Buddha is seated on
a large double-lotus pedestal in
the cross-legged yogic, adamantine
posture of vajraparyankasana, the
right leg over the left, with the soles
of both feet facing upward. His
robe is draped to leave the right
shoulder bare, and a portion of the
garment that covers the left wrist
falls behind the figure. The lower
hem of the robe comes all the way
down so that the undercloth or skirt
is completely covered.
The Buddha’s raised right hand
makes the teaching or expository
gesture (vitarkamudra) and his left
rests on his right foot, in a gesture
that approximates the dhyana-
mudra, or meditative gesture. This
combination is one assigned to
Vairochana, a transcendent Buddha
that plays an important role in early
Esoteric Buddhism and provides the
basis for the tentative identification
of this figure, which may have been
part of a larger three-dimensional
assemblage such as a mandala

Historical period(s) Collection Geography
Central Javanese period The Metropolitan Museum of Art Indonesia
Dimensions Classification(s) Provenance
H. 7 5/8 in. (19.4 cm) Sculpture-Alabaster Samuel Eilenberg , New York
(until 1987; donated to MMA)

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

Enthroned This ensemble, consisting of seven separately cast pieces, is one of the most
Buddha elaborate of known surviving Javanese bronzes. The central figure, his hands
Attended by the raised in teaching the dharma, can be identified either as Shakyamuni, the
Bodhisattvas hist­orical Buddha, or as Vairocana, his transcendent manifestation. The lion
Avalokiteshvara emerging from the center of the main base refers to the Buddha’s clan name.
and Vajrapani Seated on the left is Avalokiteshvara, supported by his vehicle the calf-bull
Nandin, and on the right is Vajrapani, accompanied by his mount, a makara
second half of the 10th century (mythical crocodile-elephant hybrid).

Historical period(s) Collection Geography
early Eastern Javanese period The Metropolitan Museum of Art Indonesia
Dimensions Classification(s) Provenance
H. 11 1/2 in. (29.2 cm); W. 8 5/8 in. Sculpture-Alabaster Genevieve Loanic , Forest Hills, CA
(21.9 cm); D. 5 in. (12.7 cm) (1988 until 2004, sold to Entwistle);

Southeast Asia - Indonesia 203

Head of Buddha

9th century CE

Buddhism in the Indonesian Archi- This Buddha oval-shaped head is The characteristic facial features of
pelago began around the beginning of carved from volcanic rock, has an the Javanese people are distinctly
the 5th century. Theravada Buddhism elongated face, tight snail-like curls, represented. The Buddha’s tender
was initially spread to the region in a uṣṇīṣa of gentle conical shape, and serene countenance, especially
the initial stage. The 7th to the 11th a broad forehead, wide-set facial his lifted outer corners of his mouth,
century was the golden period of features, slightly protruding brow conveys a sense of kindliness and
Indonesian Buddhism. Many royal ridges, a spiral-like ūrṇā between delight. This head is very similar in
houses including that of Śrīvjaya the eyebrows, gently articulated face style to the Buddha heads in the Bo-
state (7th-13th century) in Sumatra contour, downcast eyes with thin robudur Temple constructed in the
and the Śailendra dynasty (circa eyelids and shallow eye sockets, a mid-9th century. It is a fine example
750-929 CE) in Java were followers of broad nose with rounded tip and rich of 9th century Buddhist statuary
Mahāyāna Buddhism. powerful lips. during the Śailendra dynasty.

Historical period(s) Collection Geography
Śailendra dynasty The Metropolitan Museum of Art Indonesia
Dimensions Classification(s) Provenance
2 1/4 x 21 3/16 in. (5.7 x 53.8 cm) Volcanic rock Unknow

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

Seated Vairochana, the Vairochana is the presiding deity in the group of five
Transcendent Buddha Transcendent Buddhas of Esoteric Buddhism.
of the Center

ca. first half of the 10th century

Historical period(s) Collection Geography
Central or Eastern Javanese period The Metropolitan Museum of Art Indonesia
Dimensions Classification(s) Provenance
H. 6 1/4 in. (15.9 cm) Sculpture Samuel Eilenberg , New York
(until 1987; donated to MMA)

Southeast Asia - Indonesia 205

Posthumous
Portrait of a
Queen as Parvati

second half of the 10th century
Kings and queens were believed to
have a divine origin, being human
incarnations of gods on earth. In this
case, an as yet unidentified historical
queen is depicted as the Hindu god-
dess Parvati, the consort of Shiva.
She stands on Shiva’s vehicle, the
bull Nandi, and is flanked by her
two children. Standing in an unusual
yogic pose is Ganesha, the potbellied,
elephant-headed god who controls
obstacles; seated is Karttikeya, the
god of war and general of the army of
the gods.

Historical period(S)
early Eastern Javanese period
Dimension
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
Georaphy
Indonesia
Provenance
Samuel Eilenberg , New York
(until 1987; donated to MMA)

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

Krisna on
Garuda

second half of the 9th century

Garuda, the Hindu god who is part
man and part bird, symbolizes the
power of the sun and is known for
slaying evil serpents. In art he usually
appears as the mount or vehicle of
Vishnu. Here Garuda carries Krishna,
an avatar of Vishnu, who not only
has borrowed Vishnu’s mount but
also holds his war discus (chakra). He
stands energetically astride Garuda’s
head and shoulders, and with the
index finger of his open left hand
makes a warning gesture. Legend tells
us that on many occasions Krishna
rode out on the back of Garuda to
do battle. In a tale well known to the
Javanese, Garuda stole the elixir of
immortality from the gods, who had
thought it was well protected by two
poisonous serpents from the realm
of the gods. Here he holds the two
defunct serpents—the head of one is
missing—and balances the elixir in a
jar on his head. The folded position
of Garuda’s legs suggests that he is
rising in flight.

Historical period(S)
early Eastern Javanese period

Dimension
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-Alabaster
Georaphy
Indonesia
Provenance
Genevieve Loanic , Forest Hills, CA
(1988 until 2004, sold to Entwistle);

Southeast Asia - Indonesia 207

REFERENCES
(INFORMATION)

Freer Gallery of Art and Arthur M. Sackler Gallery
The Metropolitan Museum of Art

National Gallery of Australia, Canberra
Asia Society.

Lahore Museum
Seoul. National Museum of Korea.

Indian Museum, Kolkata
Los Angeles County Museum of Art
International Centre of the Roerichs
Queensland Art Gallery & Gallery of Modern Art (QAGOMA)

Rubin Museum of Art
Asian Art Museum

Birmingham Museum of Art
Art Gallery of New South Wales

Rubin Museum of Art.
China Modern Contemporary Art Document

National Taiwan Museum of Fine Arts
Buddhist Sculpture Gallery
Gyeongju National Museum
National Gallery of Victoria
Tokyo National Museum
The Art Institute of Chicago
Kyoto National Museum

Paris. Centre Culturel du Marais.
Nara National Museum
British Museum

San Antonio Museum of Art.
The walter art museum

REFERENCES
(IMAGE)

Wikipedia
The Metropolitan Museum of Art

Google Art and Culture
Commons Wikimedia

Alamy
Unsplash
Britannica
The Buddhist Cantre
Unhcr.org
Pbs.org
National Geographic
Getty Images
Nytimes

Pexels
Washionton.edu

Timesofindia
Oxfordbibliographies

Amazon

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