Padmapani--A+Gray+Schist+Torso+Fragment+of+a+Bodhisattva

Bodhisattva Padmapani Bodhisattva Padmapani [|http://www.dia.org/] Photo © 2004, Detroit Institute of Arts

Title: Bodhisattva Padmapani Artist: Unknown Date: 200-400 Period: Kushan Country of Origin: Gandhara (Modern day Northern Pakistan) Cultural/Ethnic Affiliation: Medium: Gray schist Dimensions: 20 3/4 x 16 1/2 x 8 in. Museum/Collection: Detroit Institute of Arts Accession number: 2006.109 Current Location and Manner of Display: Detroit Institute of Arts, the Bodhisattva Padmapani is displayed in the Asian art section of the Detroit Institute of Arts, it rests on top of a stone pedestal, which sits on top of a large rectangular display box. Provenance: French private collection, pre-1976 Sold Beurdeley et CIE, Paris, 1976 Private collection, South of France, 1976-1997 Sold Sotheby's The Indian Sale, London, May 8, 1997, lot 12 English private collection, 1997-2006
 * Artwork Identification**



Images from display at Detroit Institute of Arts

**Introduction** The Buddhist religion expanded and evolved during the Kushan Period (c. 100-300 CE). Several significant Buddhist monuments were built throughout the empire to help spread the faith. These monuments included stupas, monasteries, and sculptures depicting images related to Buddhism, thereby promoting the religion. The monuments were sponsored by Kushan rulers and other faithful followers of the Buddhist religion. The Bodhisattva was seen as something similar to a saint. A Bodhisattva is a compassionate being who postponed enlightened existence to help others achieve salvation, and became a popular deity with the spread of //Mahayana// Buddhism during the Kushan Period. Mahayana (literally "Great Vehicle") Buddhism is one of two main branches of the religion. The central belief in Mahayana Buddhism is that enlightenment is available to everyone, and that following the path of the Bodhisattvas aids in the quest to obtain Nirvana. //Hinayana// ("Lesser Vehicle") Buddhism differs in that enlightenment is a state believed to be reached only by a very few dedicated individuals.

Descriptive Analysis
The sculpture of the Buddhist god is made of gray schist. The dimensions are about 20 inches by 16 and a half inches by 8 inches. The figure has irregularities on both sides indicating this bust might have belonged to a larger sculpture. The several chips on the halo and elsewhere indicate that the figure is missing parts.

This sculpture originates from the Gandhara region of India, which was central to the so-called Northern style sculptures. Like other art from this region, it shows inspiration from the Mediterranean culture such as the Greeks and the Romans. The body has an athletic shape and a defined chest.

The face exhibits a calm, meditative expression, with downcast eyes. It is important to note that the figure's facial features are idealized, and his eyes and other facial structures do not resemble those of the native Indian people. The features are somewhat abstracted, with very thin stylized angular brows, between which is a raised bump called //urna//, a tuft of hair indicating spiritual and/or mental capacity. A large portion of the nose is chipped, making it difficult for one to discern a shape. The lips are curved, with a whisker-like mustache only on the sides. The face has a strong, angular jaw line and a cleft chin. The Bodhisattva's hair consists of carefully carved, stylized curls. The sculpture also has large deep-set ears adorned with over-sized earrings. The earlobes appear to be stretched due to the weight of the earrings, which display a feline form in the center, and beaded strings ending in tassels. Stretched earlobes are a traditional Buddhist indication of divinity or of an elevated status, as Sakyamuni Buddha's ears were elongated by the ornate, princely earrings he later discarded in his rejection of the material world. The left earring is chipped, rendering the image unidentifiable, although it appears that both earrings had the same design. Its head tilts at a slight angle towards the right. A plain round halo surrounds the deity’s head, with many chipped and worn areas, while the center portion of the halo appears rough.

The Bodhisattva depicted in the sculpture wears a crown adorned with beaded strings. The top center of the crown features a mask-like figure resembling a feline, framed by what looks like plumage and tassels. The plumage is chipped and worn with age. The chest area is bare, with heavy draped fabric over the left shoulder, indicating that the figure is indeed a god. Four necklaces encircle the neck. The first necklace is short and thick, with beaded patterns. The second is a long rope-like necklace clasped at the center. Two shoulder straps decorated with beads and charms drape across the body, however a missing right arm makes it difficult to distinguish its shape and possible adornments.

Schist, the material used to sculpt this Bodhisattva image, is extracted from shallow beds; because of the shallowness of the stone, many sculptures were carved in relief rather than in the round. The metamorphic rock is formed under intense heat and pressure, with its color ranging from intense dark to greenish gray. Its laminated nature makes it easy to split into slabs or layers; the word "schist" comes from the Greek word //σχίζειν,// which means "to split". The presence of mica in its composition often gives the surface a light shimmer, and the distinctive gray color helps identify the origin of the stone, as it is native to the Gandhara region.

Formal and Contextual Analysis
During the Kushan Period (c. 100-300 CE), India engaged in trade and commerce by sea and land via the Silk Road. The Orient traded silks and spices, while the Western civilizations exported gold and glass objects. The exchange of cultures influenced Indian art, as one can see in the sculptural style of northern India, a region known then as Gandhara.

Boundary of the Kushan Empire at its greatest extent, ca. 150 A.D.[|http://www.metmuseum.org/] Image © 2000, The Metropolitan Museum of Art

Gandhara occupied a strategic position within the trading routes; and therefore its art was influenced by styles from other civilizations. The style of sculpture from Gandhara (present-day Afghanistan and northern Pakistan) was heavily influenced by Greco-Roman art. Non-Western influenced Indian art represented deities with a fleshy, robust body. In contrast, Gandharan figures were depicted as athletic and muscular, with much more attention paid to realistic anatomy. While southern sculptures stood in a stiff stance, Gandhara style sculptures were shown in a //contrapposto// (weight shifting) pose directly inspired by Hellenistic art. The use of this technique made Gandharan sculpture come alive, as the figures appeared ready to step forward or to move at any moment. The use of contrapposto made the art of the region very distinct from the stiff, rather flat figures sculpted in other parts of India. Moreover, the naturalistic representation of the human figure, the heavy draped garments disguising the body, and the plain halos which are characteristics of Gandhara style, are also features of Western art.

Photo © 2000, The Metropolitan Museum of Art ||< Right: Standing Bodhisattva, Gandhara [|http://www.guimet.fr/] Photo © Musée National des Arts Asiatiques Guimet ||
 * ~ [[image:http://www.metmuseum.org/toah/images/h2/h2_1995.419.jpg width="282" height="469" align="center"]] ||~ [[image:http://www.guimet.fr/IMG/cache-gd2/f9f545eaef3e5540112510a57c79269f.jpg width="282" height="468" align="center"]] ||
 * < Left: Bodhisattva torso, Gandhara [|http://www.metmuseum.org/]

As an important deity in //Mahayana// Buddhism, the Bodhisattva is someone who has become enlightened but stays on earth to help others achieve salvation. There are several different representations of Bodhisattvas, each of them with their own set of characteristics. The Bodhisattva Padmapani (the Bodhisattva of infinite compassion) usually holds a lotus flower and bears a representation of the Buddha in his crown. Although the image in question does not have an image of Buddha in the crown, and we can't tell what the missing hand held, perhaps this image was identified as Padmapani because of the down turned head of the figure. Another name for Padmapani is Avalokitesvara (the lord who looks down on the world to see and help those who are suffering), and it is believed that he is able to see and hear all the cries of human beings in need. It is possible that the sculpture could actually be of another Bodhisattva, as there are many that are revered in the Buddhist religion. The Bodhisattva Maitreya (the Buddha of the Future) was the most commonly represented Bodhisattva in this era. It was believed by the faithful that Maitreya presided over the Western Paradise and would be Buddha's successor. Another Bodhisattva with a large following was Vajrapani (the Power of Buddha), who is usually depicted holding a thunderbolt sceptre.

Contrasting with traditional images of Buddha, which are dressed with a monastic robe and are devoid of adornments as an indication of detachment from the world of desire, the Bodhisattva is heavily decorated with a crown, earrings, necklaces and flowing, rich garments. Having chosen to stay on earth, his adornments are there to indicate his lingering involvement with the material world. However, both the Buddha and the Bodhisattva display a plain halo in Gandhara sculpture. This halo is directly influenced by the Persian solar disc, and it is used to identify the image as a deity. Another similarity between Buddha representations and Bodhisattva Padmapani is that they both present the dot between the eyebrows. This dot, called //urna//, represents a third eye, a window to the spiritual world. The feline form on both crown and earrings might be a reference to Buddha's words, which are said to be as strong as a lion's roar.

For a Kushan period image of Padmapani see: http://kaladarshan.arts.ohio-state.edu/studypages/internal/dl/SouthAsia/Buddhist/pgs/u5/DL0231m.htm


 * Bodhisattva Padmapani in a Painted Cave, Ajanta, India**

India has a rich history of painting, but because of the decomposable materials used, the majority of the paintings were worn away over time. Indian artists used a process similar to fresco. To paint the walls of caves such as Ajanta, they would combine clay and straw along with other materials in order to create the base layers, and the artist would then finish with a mixture of fine white lime plaster. Unlike fresco, this process requires the plaster to dry before painting, which decreases the longevity of the painting. Artists also used natural, water soluble paints, which perished over time. Many of the paintings done in this method have not survived, but the few that were recovered have been restored. The above image shows a painting of Bodhisattva Padmapani, located in Cave 1 of Ajanta. The Bodhisattva Padmapani is holding a blue lotus in his hand and he is beautifully attired; the artist has taken into consideration the delicate details of his jewelry and headdress. The "sacred cord" around his neck indicates his high caste. The Bodhisattva's expression is one of distant calm; the artist has deliberately depicted him as undistracted and unmoved by all the activity around him. The ability to resist //maya// (chaos, confusion, distraction) is one of the qualities that all followers of Buddhism try to develop, as it is necessary to achieve enlightenment. This lovely painting clearly depicts Padmapani's serenity and remoteness from the chaotic world around him.

I expected the carving to be bigger. When comparing a figure of the Buddha to the Bodhisattva Padmapani, the Buddha has been depicted with distinct yet simple, features. Bodhisattva Padmapani, while displaying a wide variety of adornments, seemed softer, and very small in scale. The figure maintains the face of a man, yet conveys a saintly compassion. I found myself questioning; could it be that the representation of the much viewed Buddha has become more commercial in a way, while the Bodhisattva Padmapani has remained quiet, humble and much less important, almost forgotten? Forgotten, maybe, but after personal viewing, I have a better understanding of the compassionate role associated with Padmapani.
 * Personal Interpretation**

The art work of this figure brings every written description to life. From the color variance in the aging stone to the detail of the adornments, the role Bodhisattva Padmapani plays in the history of India provides an historical link in time. It helps one to understand the importance that Padmapani played in the history of Asia.

4/4/11 As a later contributor to this article, I would like to add my own interpretation of the sculpture. This piece caught my attention particularly because not only is it in the United States, it is easily accessible at the Detroit Institute of Art. Unlike many of the wonderful Indian works that are on display in other countries, this one is an example I can see in person, which is very appealing. The beauty of this work for me is in the exquisite detail of the carving. The magnificent headdress is stunning in its complexity and quality of three-dimensionality. The careful layering of the other jewelry over the realistic chest and torso bring life to the sculpture, as well. I am continually fascinated by the skillful carving abilities of artists who were working with very limited tools and doing everything by hand, literally centuries ago. The patience, time, and skill needed to complete a sculpture like this one is difficult to comprehend. It is a shame the piece has so much damage, both for the loss artistically and the resulting inability to identify the Bodhisattva definitively.

Behrendt, Kurt. //The Buddhist Architecture of Gandhāra//. Leiden: BRILL, 2004.
 * Printed Sources:**

Bowker, John. //World Religions//. New York: DK Publishing, 2003.

Craven, Roy. //Indian Art//. London: Thames & Hudson, 1997.

Kleiner, Fred. //Gardner's Art Through The Ages: A Global History//. Cengage Learning EMEA, 2008.

O'Neill, Tom. "India's Ancient Art." //National Geographic,// no. 1 (2008): 122-139.

Penny, Nicholas. //The Materials of Sculpture//. New Haven: Yale University Press, 1993.

Willis, Roy. //World Mythology//. New York: Henry Holt and Company, 1993.

Online sources:
Brown, Kathryn. "Buddhism and the Trade Routes". Asia Society Museum, 2003. http://www.asiasocietymuseum.com/buddhist_trade/index.html (October 2008)

"Buddhism Glossary". OMF International. [] (April 2011)

Dehejia, Vidja. "Recognizing the Gods". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/hd/gods/hd_gods.htm (October 2008)

Department of Asian Art. "Kushan Empire (ca. 2nd century B.C.–3rd century A.D.)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/hd/kush/hd_kush.htm (October 2008)

Department of Asian Art. “Bodhisattva Padmapani”. The Detroit Institute of Arts, 2007. http://www.dia.org/the_collection/overview/viewobject.asp?objectid=96237 (October 2008)

"Gandhara Sculpture Section". Government Museum and Art Gallery, Chandigarh, India, 2005-2006. http://chdmuseum.nic.in/art_gallery/kushana_sculpture.html (October 2008)

"Schist". Geology.com. [] (April 2011)

"Standing Bodhisattva". Musée National des Arts Asiatiques Guimet. http://www.guimet.fr/Standing-Bodhisattva (October 2008)

"8 Bodhisattvas". Khandro Net. [] (April 2011)

Image sources:
"Bodhisattva Padmapani". The Detroit Institute of Arts, 2007. http://www.dia.org/the_collection/overview/viewobject.asp?objectid=96237 (October 2008)

"Boundary of the Kushan empire at its greatest extent, ca. 150 A.D". The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/hd/kush/hd_kush.htm (October 2008)

"Standing Bodhisattva". Musée National des Arts Asiatiques Guimet. http://www.guimet.fr/Standing-Bodhisattva (October 2008)

"Torso of a Buddhist Bodhisattva, Maitreya or Possibly Avalokiteshvara [Pakistan (ancient region of Gandhara, possibly Sahri-Bahlol)] (1995.419)". In Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/ho/05/ssa/ho_1995.419.htm (October 2008)


 * Art Lesson 1**
 * Title:** What symbolizes the people of honor in your community?
 * Grade Level:** High School
 * Time:** Four 50 minute class periods


 * Standards:**

This lesson meets the following [|National Standards for Arts Education]**:** NA-VA.9-12.1 All students will apply skills and knowledge to perform in the arts (4).

NA-VA.9-12.2 All students will apply skills and knowledge to create in the arts (3). NA-VA.9-12.4 All students will understand, analyze, and describe the arts in their historical, social, and cultural contexts (2).

This lesson meets the following [|National Educational Technology Standards for Students:] 1. Creativity and Innovation (a, b)

Symbol: something such as an object, picture, written word, sound, or particular mark that represents something else by association, resemblance, or convention. Symbolism: the applied use of symbols or iconic representations that carry particular meanings. For example, symbolism is often used in religious artwork to distinguish different Gods. The Bodhisattva Padmapani is usually distinguished by the lotus flower and his bowed head. The lotus flower the Bodhisattva Padamapani carries is also a symbol of Buddhism, while the Bodhisattva Padamapani is a symbol itself because it represents infinite compassion. Without symbolism in artwork it would be difficult to distinguish between different figures or signify importance.
 * Significant Key Concepts:**

Activity 1: Introduction to Symbolism (50min)
 * Teaching and Learning Activities:**
 * At the beginning of class the teacher will explain the history behind the Bodhisattva Padmapani using a PowerPoint presentation. (The above images and key information will be put together into a presentation for students to visually see the images and information) Students will analyze the image of the Bodhisattva Padmapani and discuss the different symbols that are used, and how symbolism was used in various ways to convey meaning and ideas without using words. The teacher will then ask the students how symbolism is used in art and society today to convey ideas without words. The teacher will then show another PowerPoint presentation with modern day symbols from popular culture, students will be asked to identify each symbol. The teacher will then introduce the next assignment.

Activity 2: Applying Knowledge of Symbolism (Three 50min periods)
 * Introduction: Each year there is an award ceremony to honor four people in your community that embody the core values of the people of your community. The winners of the award have a mural created in their honor to that embodies the value they represent. And each year the community hire an artist to create the mural. The students will be asked to pretend that they were elected as the official artists of their community.
 * As the official artist of your community your first task is to create a mural.
 * The mural must symbolize the core values of the people of your community.
 * The mural must not contain any hearts or peace signs!
 * Be creative! Remember symbols come in many categories, from body gestures to flowers.
 * After your mural is completed you will have to present it at the town hall meeting and post it on a community blog.


 * Procedure: The students will count off by numbers and form into groups of four or five, depending on class size. Each group will be given a honoree and value. A written profile of the honoree will be provided to the group.
 * Students will brainstorm with other group members.
 * Students will write down various ideas about what would represent the core values of the people of your community.
 * Students will use information from the written profile to help symbolize the personality of the honoree as well.
 * Students will work together to formulate a rough draft picture of what they think their mural should look like.
 * Rough draft must be looked over by teacher before continuing on to the final.
 * After a rough draft is approved the group will then move on to create one final painting or drawing, which will be 18x24 in.
 * After the painting or drawing is completed then the group must present their mural to the class.
 * Students must be able to clearly convey the core values of the people of your community.
 * They must be able to accurately defend and explain their piece and their specific design choices.
 * Students from other groups will ask questions at the end of the presentation.
 * Students will be asked to do a peer evaluation form for their fellow group members.

GROUP EVALUATION PEER EVALUATION
 * Assessment:**
 * Task || Requirements || Points Possible || Points Received ||
 * Brainstorming Notes || Students took detailed notes on the topic. || 5 ||  ||
 * Rough Draft || Rough draft was completed and reviewed by the teacher and group was approved to go on to final. || 10 ||  ||
 * Final Draft || Group members took into consideration criticism and created a thoughtful piece that conveyed the ideas of the people of Zinoko || 30 ||  ||
 * Presentation || Group was able to convey their ideas in a clear manner. The group could effectively defend their piece and answer questions. || 10 ||  ||
 * Task || Requirements || Points Possible || Points Recived ||
 * Time Management || Effectively used the time given while in group. Stayed on task. || 10 ||  ||
 * Participation in Group || Was helpful to other students. Had input in the design process. || 10 ||  ||
 * Respecting Others || Respected others opinions and personal space. Was not disrespectful or rude to other group members. || 10 ||  ||