Buddhism is the oldest religion in the world. As the faith continued to spread across various areas in Asia, it created a deep sense of spiritual consciousness that could be represented in art. One of the reasons why Buddhism developed into a worldwide religion was its ability to appeal to many people across the world. Art played a significant role in achieving this universal appeal. Of the many types of arts depicted by the Buddhist followers, one of the most discussed is that of the Seated Buddha. It primarily portrays the Buddha sitting on a throne and surrounded by worshippers on either side. The sculpture traces its roots back in the ancient Gandhara kingdom. The art is native to Pakistan, and it dated back to the Kushan period in the 3 rd century. Dietrich Seckel in his discussion provides a candid analysis of how the religion influenced art in Asian countries including Pakistan, India, Japan, and China. The unique iconography and style illustrated in the Seated Buddha is a classic depiction of religious art as discussed by Dietrich Seckel.
Style and Iconography
The image of the Buddha follows a representation of two different portraits divided by what is referred to as the Greek Corinthian –style column. Primarily, the Buddha is seated on a throne and either side flanked by a group of worshippers. In the words of Dietrich Seckel, the arts produced in the ancient Gandhara period depict high artistic value that was a function of massive cultural exchange from various Asian societies. The iconography and style of the Seated Buddha had unique characteristics that led to its popularity among the followers of this religion. First, the Buddha is depicted with a bun of hair that represents the "ushinisha." It is fundamentally vital to note that this particular Buddha represented enlightenment. As such, the bun or bump of hair on the head was meant to illustrate this important characteristic. The iconography shown in the bun of hair or protuberance was a style that was borrowed from the Indian art. However, in Pakistan, it was specifically treated as a bun of hair thus reflecting the ancient Greco-Roman artistic effect. According to the assessment provided by Seckel, art was generally an influence of various societies that came together in various Asian countries. As such, this explains the varied perceptions held in regards to the protuberance on the head of the Buddha. The significance of the style was to paint a picture of a supreme teacher enriched with extensive religious knowledge.
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Important to appreciate is the style used in the creation of the statue. Schist was a primary material used in carving statue during this time. As a result, the Seated Buddha was able to depict fine details including the fingernails. The schist is a medium-sized metamorphic rock that is enriched with minerals such as feldspar and quartz. Other than the Buddha himself, the worshippers surrounding him are essential in the overall portrayal of this deity. On his left-hand side, the two worshippers appear to be using their two hands to offer something to the Seated Buddha. They are facing him and seem to depict a sense of fear. It is also apparently clear that the worshippers no longer need the much-needed protection from the leaves. On the right-hand side, the worshippers appear to be facing the sky. As opposed to those found on the left side, these are not making any offering. Other than showing fear, they signify benevolence through their body demeanor that inspires kindness and a sense of well-meaning. In contrast to the worshippers on the left, the ones on the right have leaves embedded on their heads.
The Corinthian-style column used in the representation of the deity was heavily influenced by the Greco-Roman architecture. As a result, the column had both literal and symbolic meanings. The Corinthian-style was mainly a decorative art that was used in the decoration of buildings in the Greek and Roman architectural designs. In these two civilizations, pillars supporting structures and columns were made to resemble the acanthus or in some instance the lotus leaf. Some of the architectural areas that utilized this type of building include the temple roof, wall friezes, and columns. A similar kind of architectural design is seen in the creation of the statute involving the Seated Buddha and the worshippers on either side. As earlier mentioned, the two portraits are divided by the Corinthian-style column which would symbolically highlight the division between fear and benevolence. Most fundamentally, the column represents a form of reinforcement representing the support of religion through the blooming lotus.
As earlier intimated, the Seated Buddha was known for his wisdom and was also regarded as the greatest teacher ever in the religion. In representing emphasizing this, the posture and hand gestures played a significant role in painting a picture of a custodian of wisdom in the society. The simple spiritual robe that the deity wears is in line with the representation of his spiritual being. The sitting position can primarily be described as lotus. Although some quarters have intimated that the Buddha was meditating in this position, this cannot be regarded as valid because the hands were not on the lamp. On the contrary, the hands are slightly raised showing that he was in a teaching position. The halo behind his head contributes to his depiction as an extraordinary individual. Scholars have related this to the wheel of the Buddhist law which symbolizes the Buddha's teachings. The hand gesture in Buddhism is known as "Abhaya," and it depicts a sense of reassurance, protection, and fearlessness. On a keen look at the Seated Buddha, it remains apparent that the right hand is raised to the level of the chest with the palm facing forward. The left-hand rest on his thighs. The open palm shows an individual devoid of weapons thereby inspiring peace and friendship. It also resembles a "stop" sign, therefore, demonstrating a lack of fear.
Analysis through the Lenses of Dietrich Seckel
As earlier intimated, Buddhism was the first ever religion in the history of humankind. During the first millennium, Buddhism sprouted in many countries mostly in Asia leading to a new spiritual paradigm shift in communities and societies. The popularity of the religion was down to its use of universal tendencies that aimed at incorporating every person, regardless of the status into the religious bandwagon. Therefore, it is right to say that Buddhism not only broke the social boundaries but also promoted freedom that would take the specific cultures to new heights. Seckel intimated that Buddhism leveraged its position by incorporating the use of arts. He asserted that they found solutions to "the problem of rendering the sacred in a human form of universal validity and appeal” (Dietrich, 1964 pp. 21). It remains critical to note that the Seated Buddha was a deity held in high regard in the ancient Gandhara kingdom. He was an embodiment of wisdom and a great teacher in society. Other than the rich symbolic meaning that the statue portrayed, it was increasingly important to note that art was one way that the Buddhist artists used to attract people to the religion as a way of countering competition from Hinduism and Confucius systems that had begun taking root in the many Asian societies.
The Seated Buddha, as earlier noted was not only an inspiration of wisdom but also courage and fearlessness. With the company of the worshipers on either side, there is a sharp contrast between fear and benevolence. The style and iconography used, especially the use of the Corinthian-style columns represented a sense of strength in the religion. In the words of Seckel, the art was essentially the representation and depiction of the entire Buddha religion. From the art depicted in the Seated Buddha and the rest of the worshippers, it is easily agreeable that several principles regarding the religion can be derived from it. They include a sense of benevolence, courage, wisdom, offering, and worship among others. Dietrich in his text continues to account how the Buddhists represented their religious connotations in the sacred scriptures and literary elements such as poems. As the society was in its trail of advancement, the artists decided to produce more symbolic objects that could closely be identified to the deities represented. It is in this regard that Seckel notes that “this produced an iconographic repertoire that was tremendously rich” (Dietrich, 1964 pp. 23). However, this did not come without challenges as people required time to relate to and also find meaning in these objects. It would also be essential to agree with the author when he documents several reasons for the Buddhist art sought to achieve. Other than creating religious edifices for ritualistic functions, it also aimed at enhancing a monastic life.
However, I would also agree with the author noting that the art was used specifically for religious purposes including rituals. The worshippers on both sides of the Buddha have been represented praying and offering to the Buddha. The leaves on their heads could be regarded as an example of a ritual activity with meaningful connotations on the religion. Seckel continues by asserting that the artistic representation played a fundamental role in creating images that depicted the persona of the deity in their real definition. The Seated Buddha is in his position of dispensing wisdom, a character trait that has primarily been associated with him. He inspires knowledge, fearlessness, and peace among the people, some of the most important characteristics associated with gods. In his text, Seckel continues to emphasize that in the development of these arts, the artists ensured an "artistic treatment of a human body was in such a way that it conveyed the religious ideas” (Dietrich, 1964 pp. 24). With reference to the Seated Buddha and the surrounding worshippers, this is the exact truth of what the artists aimed at achieving. The body of the Buddha is covered by a simple robe to illustrate his spiritual role. The overall architect is encompassing the use of schist and the Corinthian-style column communicated religious ideas such as strength and the power of wisdom.
In conclusion, the Seated Buddha is regarded as one of the most iconic representations of the Buddha in the history of Buddhism. He was known as the custodian of wisdom and a great teacher. His portrayed followed the Greek-Corinthian style column that divides the entire sculpture into two. Worshippers are flanked in an offering and prayerful mode. The hand iconography and style ranging from the hand gesture, dressing, demeanor, and the architect build on his position as a deity that occupied a fundamental position in the religion. Dietrich Seckel aims at shooting on how art evolved in the Asian countries to mirror the religious perceptions and views of the people. Through his lenses, the readers are in a position to understand why artists provided a realist representation of the gods using unique iconography and style.
Reference
Dietrich Seckel, (1964). The Art of Buddhism: Introduction Oecumenical Unity of Buddhist Art. Routledge.
