COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1941.94
amicoid
CMA_.1941.94
AMICA ID
false
AMICA Library Year:
2000
aly
2000
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Indian Sub-Continent; Indian
crc
Asian; Indian Sub-Continent; Indian
Creator Nationality
false
Creator Name-CRT:
India, Mathura, Late Kushan Period
crt
India, Mathura, Late Kushan Period
Creator Name-CRT
false
Title:
Seated Buddha
otn
Seated Buddha
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
3rd century
oct
3rd century
Creation Date
false
Creation Start Date:
200
ocs
200
Creation Start Date
false
Creation End Date:
299
oce
299
Creation End Date
false
Materials and Techniques:
red mottled sandstone
omd
red mottled sandstone
Materials and Techniques
false
Classification Term:
Sculpture-stone
clt
Sculpture-stone
Classification Term
false
Classification Term:
Sculpture-stone
clt
Sculpture-stone
Classification Term
false
Style or Period:
India, Mathura, Late Kushan Period
std
India, Mathura, Late Kushan Period
Style or Period
false
Dimensions:
Overall: 63cm x 58.5cm
met
Overall: 63cm x 58.5cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1941.94
ooa
1941.94
ID Number
false
Credit Line:
Edward L. Whittemore Fund
ooc
Edward L. Whittemore Fund
Credit Line
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
The kapardin-type Buddha image that was prevalent during the first half-century of the first Kaniska era (c. 78-130) was replaced in the second half of that century by a Buddha image that evolved under strong Gandharan influence. This style has a direct bearing on the development of the Buddha images of the later Mathura school.This sculpture falls into the period that follows the Gandharan influence in the Mathrua school and it represents the style that flourished in Mathura in the second Kaniska era (from 177-3rd Century). The Buddha is seated in the dhyanasana position, on a plain base. His proper left arm supports the monastic robe, which cascades in a zigzag pattern. The right arm, now missing, almost certainly was in abhaya mudra. The head, unfortunately, is also missing.The body is clad in an opaque sanghati, worn over both shoulders and concealing all but the general outlines of the body. Its folds are arranged in symmetrical parabolic lines recalling those of the Buddha images made in Mathura during the period of Gandharan influence. The treatment of the folds is quite distinct, consisting of raised ridges with rounded edges, string-like in conception, rather than the groove-like articulation of drapery present in earlier sculpture. Other characteristics of the later period are the legs uncovered from just below the knees, the stylized array of pleats formed by the undergarment emerging from under the ankles and the mechanical zigzagging pattern of the drapery held in the left hand.These characteristics place this sculpture in the second Kaniska era, but not beyond the Kusana period. The garments in their convention are still Kusana, as are the heavy, massive proportions of the sculpture. Although certain formal qualities herald the evolved images of the Gupta period, this image still lacks the distinctive plasticity of Gupta sculpture. While transitional, the Kusana characteristics remain dominant over the emerging Gupta qualities.
cxd
The kapardin-type Buddha image that was prevalent during the first half-century of the first Kaniska era (c. 78-130) was replaced in the second half of that century by a Buddha image that evolved under strong Gandharan influence. This style has a direct bearing on the development of the Buddha images of the later Mathura school.This sculpture falls into the period that follows the Gandharan influence in the Mathrua school and it represents the style that flourished in Mathura in the second Kaniska era (from 177-3rd Century). The Buddha is seated in the dhyanasana position, on a plain base. His proper left arm supports the monastic robe, which cascades in a zigzag pattern. The right arm, now missing, almost certainly was in abhaya mudra. The head, unfortunately, is also missing.The body is clad in an opaque sanghati, worn over both shoulders and concealing all but the general outlines of the body. Its folds are arranged in symmetrical parabolic lines recalling those of the Buddha images made in Mathura during the period of Gandharan influence. The treatment of the folds is quite distinct, consisting of raised ridges with rounded edges, string-like in conception, rather than the groove-like articulation of drapery present in earlier sculpture. Other characteristics of the later period are the legs uncovered from just below the knees, the stylized array of pleats formed by the undergarment emerging from under the ankles and the mechanical zigzagging pattern of the drapery held in the left hand.These characteristics place this sculpture in the second Kaniska era, but not beyond the Kusana period. The garments in their convention are still Kusana, as are the heavy, massive proportions of the sculpture. Although certain formal qualities herald the evolved images of the Gupta period, this image still lacks the distinctive plasticity of Gupta sculpture. While transitional, the Kusana characteristics remain dominant over the emerging Gupta qualities.
Context
false
Related Image Identifier Link:
CMA_.1941.94.tif
ril
CMA_.1941.94.tif
Related Image Identifier Link
false