Art in Japan>Asian Art 100B.C.E.-1930>The Art of Mathura, India/The Art of Gandhara, Pakistan

Original articles on art, artists, architecture, exhibitions, galleries, museums and cultural institutions around Tokyo, Japan.

The Art of Mathura, India/The Art of Gandhara, Pakistan

by John McGee

Don't blame Buddha. He didn't ask for idol worship. But there he is, painted on palace walls, seated on giant lotus blossoms, covered in gold, and sold as plastic baubles. 

Standing Buddha, 2nd century, 
Mathura, sandstone, 84x42x16cm,
Mathura Museum (Photos courtesy
Tokyo National Museum)

This wasn't always the case. For about 500 years after the Buddha's death, followers restricted themselves to “aniconic” images, those that didn't show the Buddha's body directly but alluded to his presence through sacred trees and diagrammatic footprints. 

Now, the Tokyo National Museum (TNM) brings you the birth of an icon. This pair of exhibitions presents some of the earliest known forms of iconic Buddhist objects and related artifacts through nearly 100 carved stone Buddhas, bodhisattvas, Hindu gods, reliefs illustrating Buddhist stories and other sculpture dating from the first century BC through the sixth century AD. 

No one knows for sure exactly where, when or why the first images of the Buddha appeared, but those from the ancient city of Mathura in north India (near New Delhi) and in the region of Gandhara in northwest Pakistan (about 800km away from Mathura, also associated with Kandahar in Afghanistan) are among the first. This exhibition marks the 50th anniversary of Japan's establishment of diplomatic ties with both countries and the organizers of this show have sought balance between the neighbors. This parity offers insightful, side-by-side art historical comparisons. 

Iconic Buddhist sculpture appears to have evolved independently and roughly simultaneously in Mathura and Gandhara around the first through second centuries. (At the time, both regions were under the control of the Kushan dynasty (ca. 50-320 AD).) But the styles differ in color, form, focus and influence. Mathura sculptures are carved from sensuous, reddish sandstone flecked with yellow, Gandharan from cold, blue-gray schist. Mathura figures were influenced by the robust, round bodies of indigenous Indian deities yaksha and yakshi, examples of which are included in the show. Big eyes protrude from round heads and thin membranes of fabric cling to heavy, powerful bodies like wet T-shirts. Gandharan figures, on the other hand, drew from Greco-Roman models and have more refined, naturalistic features. Gandharan Buddhas have “Apollo-like” faces with long, curly hair and mustaches, and bodies covered in thick folds of draped fabric. 

Preaching Buddha, 3rd-4th century,
Mohhamed Nari, Gandhara, schist,
120x98x26cm, Lahore Museum

A variety of Hindu, Jain, Roman and folk sculpture and reliefs (including aniconic examples) contextualize the Buddha images. In the Mathura section, a surprisingly life-like portrait of a devotee—a flat nose and broad prominent forehead under a turban—provides a counterpoint to the stylized faces of the Buddhas. Fifth-century standing sculptures of Hindu gods Shiva and Parvati bring a different kind of physicality—Shiva has his arm around his consort and is clearly excited to see her. 

On the Gandharan side, the influence of Rome is evident in a seated Atlas and relief of Eros. Also on display is part of the cache of objects that TNM-sponsored archeological digs in Zar Dheri, Pakistan have yielded since 1995. Cut from sparkling stone, some of the vertical reliefs resemble film strips—one shows a series of lovers, musicians and dancers, another looks like a snippet from a Buddha screen test. 

Whether the Buddha would be pleased or not, world art is richer for his image. This show helps explain its cross-cultural origins. To see what Buddhist figures looked like when they arrived in seventh century Japan, visit the Gallery of Horyu-ji Treasures next door.

The Art of Mathura, India/The Art of Gandhara, Pakistan exhibition was held Nov-Dec, 2002 at the Tokyo National Museum in Ueno Park, Tokyo, Japan.

©2006 John McGee

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