The Buddha of the East Artwork Analysis - Research Paper Example

Analysis of Artwork: Buddha Akshobhya (The Buddha of the East) Introduction This essay will document the research done about an artwork made during the period between the 11th and the 12th century, at the Metropolitan Museum of Art. The research report is based on first-hand observations of the artwork, the review of the information documented by the museum and the documentaries or the reports done about it in the past. The artwork under study is the Buddha Akshobhya (the Buddha of the East), which is based on the Tibetan culture. The artwork was created during the period between the 11th and the 12th century. The artwork is in the form of a sculpture done from gilt copper. The sculpture stands at a height of 57.8 centimeters, which is the equivalent of 22.75 inches. The robust body sculpture showing an early Tibetan Buddha appears to derive its nature and theme from the art works of the post-Gupta North Indian period from the seventh to eighth century1. However, its physiognomy appears to draw its making from the prototypes of Central Asia from the same ancient times. It is one of the few artworks from the time, which have survived, and it is among those surviving ones. Many of the artworks of this culture and time appear to be eclectic blends of a variety of elements from the artistic culture and the artworks of India, Central Asia, China and Nepal.2 The identification of the person represented through the artwork is difficult, but the earth-touching gesture made using the right hand is related to Shakyamuni who is a Buddha from the past. The sculpture indicates the conquest of the historic Buddha over Mara, and evil demon – who was arguably trying to shake his enlightenment by disturbing his meditation. The same gesture shown in the sculpture is linked with Akshobhya, who is one of the five legendary Buddha icons that are core to the iconography of Buddhism in the Tibetan region.3 The position of the Buddha’s second hand, where the thumb and the middle finger are clasped has not been linked to the historic Buddha (Shakyamuni), thus has been viewed to be a major indicator that the sculpture is a depiction of Akshobhya. Through the study of this artwork, the writer will demonstrate that art has been used to depict the long-lasting exchange between the religious practices and beliefs of the Indian and the Chinese traditional cultures. Formal analysis of artwork The religion of Buddhism began with Siddhartha Gautama, an iconic figure in the Buddhist religion. Gautama died around 400 BCE, and has since been respected and revered as the centrally-placed Buddha Shakyamuni.4 Gautama’s roots are traced to Northeastern India, around Nepal, from a time when there was a lot of social, economic and cultural disorder. According to the perspective commonly assumed during those years, he was believed to have lived through a variety of lives, some in the form of an animal and others in the form of a human being. According to Buddhist beliefs, he had acquired loads of wisdom during the many lives that he had led, and that allowed him to be reborn as a human being, so that he could be enlightened into a Buddha, which would allow him to share his wisdom gained through the different lives, with other people in the world. Firstly, the Buddha is seated in a meditative posture, and the right hand is facing upwards, making a gesture of reassurance. The stature’s posture relays a message of serenity and composure reminiscent of the name given to Akshobhya; the imperturbable.5 The stature shows the Buddha Akshobhya sitting quietly and calmly with an expressionless face.6 This image shows deep wisdom and confidence in times of difficulty and unrest in Nepal when Akshobhya was Buddha, it sends a lesson to the beholder that with calm and a clear mind one can go through a storm and come out unscathed. Apart from this sculpture portraying calmness, as a work of art it interacts with the mind of anyone looking at it in a very unique way. After going through the history of the Buddhas and learning about their life and work, the symbolism of their expressions and how they were depicted in ancient Asia, one can look at the stature from a completely different perspective. Its keen observation can evoke imaginations of the Buddha in his true real-life form appearing in splendor and seated on his vast loftus throne supported by big elephants. This kind of mental image sends a message of power, peace and serenity. Closer examination of the sculpture also reveals that there is a slight smile on the face of the Buddha; this whole expression shows a kind of all-understanding wisdom that is capable of transforming ignorance into knowledge. Careful examination of the sculpture also shows that the Buddha is holding a golden varja in his left palm; on the other hand his right palm reaches down while facing inward. This gesture symbolizes the earth-touching mudra. This posture illustrates the interaction between ancient Chinese and Indian religious practice in a clear way, while Chinese ancient religious practice emphasized perseverance and calmness in the face of adversity; Indian beliefs were characterized by presence of evil forces and witches aiming to derail people from their right way. The gesture of touching the ground represents an incident in which Akshobya, meaning the unshakeable, was confronted by Mara (Death) while on his meditation. The intention of Mara was to keep the Buddha bound to his earthly existence by all means including attacks with arrows and seduction using her beautiful daughter. The earth-touching symbol represents the moment when Akshobhya touched the ground to summon the Mother Goddess Vasudhara to witness about the Buddha’s perfections when he was challenged by Mara about his uprightness.7 The diamong vajra which Akshobhya is holding in his left palm also has a deep meaning which is portrayed through this sculpture. The vajra is a symbol of the sacred thunderbolt. Research reveals that the sacred thunderbolt is a sign of sovereignty. While holding it in his palm symbolizes the leadership and authority of the Bhudda, the fact that it is a diamond symbolizes strength or irresistible force. This can be interpreted to mean that the Buddha had power and legitimacy to lead the people in his time and that the people could listen to him and trust his authority. Taken in the context of the situation at the time and the fact that the Buddha’s appearance is also serene, this implies that the Buddha provides a source of power and leadership during times of difficulty through his wisdom and natural authority. The diamond is also a symbol of reality because of its ability to cut through anything and transform that thing into the right state desirable to society. In extension it may imply that the Buddha was a gift to the society from the divine to come and create order and calmness in times of disturbance. The top of the head of Buddha Akshobhya’s sculpture reveals that his hair has been depicted almost as carefully arranged stones or pebbles with the blue color of water flowing between them. This is also symbolic; Akshobhya is associated with the element of water. Research reveals that with respect to the Buddha, water represented a mirror. This is because still, calm water acts as a mirror. This symbol depicts the wisdom of the Buddha which was perceived as a mirror that which reflected things as they were without altering perceptions and judgments. This symbol may imply that the Buddha was a very fair and transparent individual who reflected society as it was then by being very honest about it. The mirror is assumed to stand imperturbable irrespective of whether the circumstances are favorable or unfavorable to the people, this clearly depicts the description of the Buddha and his personality. This kind of belief and teaching are reminiscent of ancient Chinese teachings of that era.8 Viewed from another perspective, the mirror represented by the water also portrayed the message sent by the Buddha. The message would be that the people could also stand with confidence and clarity of mind that reflected their true experiences. Literature indicates that the underlying message in this symbolist is that clarity in thinking enables an individual gain freedom from wrong views.9 Conclusion The observation of this sculpture of Buddha Akshobhya from ancient Asia in Metropolitan Museum of Art gives the viewer great insights into the beliefs and religious practices of the Himalayas in the old days. It is evident that even in the modern times the same culture and religious practices prevail in Nepal, China, India and all the other countries which originated them. The art portrayed through this sculpture represents a culture that seeks peace, quiet and serenity and one that is based on deep reflection and search of the absolute truth. The Buddhas in this part of the world were viewed and continue to be considered sources of teaching about wisdom, good virtue, perseverance, and pursuit of righteousness and purity. Examination of this piece of art reflects all these characteristics and the peace of heart and calm that they can bring to a person. The art also portrays a culture in which people believe in evil forces that are set to challenge one from the right path in life, study of the sculpture and its symbolism reveals that it shows that such forces exist and can be overcome through righteousness the way Akshobhya overcame Mara. Finally, the sculpture also reveals beauty, majesty, and grandeur through its design and material. The Buddha holds a symbolic diamond, and the stature itself is made from gilted copper representing the level to which the culture of its origin values its divine leaders. Bibliography Dehejia, Vidya. Indian Art. London: Phaidon, 1997. Dehejia, Virdya. “Burddhism and Buddhist Art”. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Encyclopaedia Britannica. General reference encyclopedia. Chicago: Encyclopaedia Britannica, Inc., 2002. Kossak, Steven. “The Arts of South and Southeast Asia.” The Metropolitan Museum of Art Bulletin, v. 51, no.4, 1994. Mitter, Partha. Indian Art. Oxford: Oxford University Press, 2001. Read More