Buddha Shakyamuni thumbnail 1
Image of Gallery in South Kensington
On display at V&A South Kensington
South Asian Sculpture, Room 47b

Buddha Shakyamuni

Figure
Early 12th century (made)
Artist/Maker
Place of origin

There are few large-scale images of the Buddha in eastern India and this example is among the finest to have been preserved. It shows the Buddha seated in meditation on a lotus throne (‘padmasana’) with a ‘vajra’ (thunderbolt). These features identify it specifically as a ‘diamond throne’ (‘vajrasana’).

The gesture of the lowered hand position (‘bhumisparsa-mudra’) is significant. It confirms that Shakyamuni is calling the earth to witness his resistance of the temptations of the demonic goddess Mara and the forces of worldly attachments. The combination of the ‘diamond throne’ and the mudra confirm that this image is intended to depict the historical Buddha at Bodhgaya, immediately prior to his Enlightenment.

This posture became a classic attitude in later Buddhist sculpture and was widely emulated elsewhere in the art of Buddhist Asia. Few monumental images of the Buddha survive from eastern India. Buddhism, weakened by the arrival of popular Hinduism and by Muslim invasions, was nearing collapse in the region at this time. Later, medieval Hinduism re-absorbed the Buddha as a divine incarnation (‘avatara’) of Vishnu, and many Buddha images of the Pala period (about 760-1142) appear to have been worshipped in this form.


Object details

Categories
Object type
TitleBuddha Shakyamuni (generic title)
Materials and techniques
Carved black basalt
Brief description
Seated Buddha Shakyamuni, basalt, Patna, eastern India, early 12th century
Physical description
Seated figure of the Buddha Shakyamuni in bhumisparsa-mudra. This sculpture depicts the Buddha seated in the 'lotus' meditating position on a mat edged with pearls above a single lotus throne. A large part of the right arm of the figure is missing from below the shoulder to the wrist, his left hand with palm turned upwards resting in his lap is also damaged. A part of the ushnisha is missing and the face has lost its nose and shows other marks of abrasion.

The Buddha has lowered eyes under the narrow incised curving lines of his eyebrows. His hair is shown in rows of tight 'snail-shell' curls. His clinging robe is thrown over his left shoulder in a sinuous curve, with one end terminating in a gently curving row of tight folds just above his left breast. The edge of the robe is shown as a line dipping under his right breast with the opposite edge snaking down his torso. It is further seen in two encircling ridges above his ankles above the tightly folded fan-shaped hems of the front and back parts of the robe upon which he sits.

His right hand which is shown touching the earth, although damaged, still bears remnants of webbing between the fingers. The soles of his feet are marked with two small symbols of the dharma-chakra.
Dimensions
  • Height: 119.3cm (Note: Dimensions checked and amended 12/06/2023)
  • Width: 98.5cm (Note: Dimensions checked and amended 12/06/2023)
  • Depth: 58.5cm (Note: Dimensions checked and amended 12/06/2023)
Style
Gallery label
Buddha Shakyamuni About 1100–50 Pala period The historical Buddha was called Shakyamuni (‘Sage of the Shakya clan’). He abandoned his princely life to seek a way to escape the cycle of death and rebirth. Here he is shown just before his enlightenment. Seated in meditation, he calls the earth to witness his successful resistance to the temptations of the evil god Mara. After achieving enlightenment and teaching his new way, he entered nirvana. Basalt Eastern India (Patna District, Bihar) Given by the Architectural Association Museum no. IM.112-1916(06/06/2011)
Credit line
Given by the Architectural Association, Royal Architectural Museum, 37 Great Smith Street, Westminster, S.W
Object history
Given by the Architectural Association
Historical context
The Buddha seated in meditation called the earth to witness his resistance to the temptations of the evil goddess Mara. This posture (bhumisparsa-mudra) became a classic attitude in later Buddhist sculpture and was widely emulated elsewhere in the art of Buddhist Asia. Few monumental images of the Buddha survive from Eastern India where Buddhism, weakened by the arrival of popular Hinduism and by Muslim invasions, was nearing collapse. The Buddha was absorbed into later Hinduism as a divine incarnation (avatar) of Vishnu and many Pala Buddha images appear to have been worshipped in this form.
Production
Patna district, Bihar, eastern India
Subject depicted
Summary
There are few large-scale images of the Buddha in eastern India and this example is among the finest to have been preserved. It shows the Buddha seated in meditation on a lotus throne (‘padmasana’) with a ‘vajra’ (thunderbolt). These features identify it specifically as a ‘diamond throne’ (‘vajrasana’).

The gesture of the lowered hand position (‘bhumisparsa-mudra’) is significant. It confirms that Shakyamuni is calling the earth to witness his resistance of the temptations of the demonic goddess Mara and the forces of worldly attachments. The combination of the ‘diamond throne’ and the mudra confirm that this image is intended to depict the historical Buddha at Bodhgaya, immediately prior to his Enlightenment.

This posture became a classic attitude in later Buddhist sculpture and was widely emulated elsewhere in the art of Buddhist Asia. Few monumental images of the Buddha survive from eastern India. Buddhism, weakened by the arrival of popular Hinduism and by Muslim invasions, was nearing collapse in the region at this time. Later, medieval Hinduism re-absorbed the Buddha as a divine incarnation (‘avatara’) of Vishnu, and many Buddha images of the Pala period (about 760-1142) appear to have been worshipped in this form.
Bibliographic references
  • Guy, John: 'Indian Temple Sculpture', London, V & A Publication, 2007, p.129, pl.145. ISBN 9781851775095.
  • Arts of Bengal : the heritage of Bangladesh and eastern India : an exhibition organized by the Whitechapel Art Gallery in collaboration with the Victoria and Albert Museum : 9 November-30 December 1979, Whitechapel Art Gallery ..., 12 January-17 February 1980, Manchester City Art Gallery ... . [London]: Whitechapel Art Gallery, [1979] Number: 085488047X (pbk.) : p.25
  • L'escultura en el temples indis : l'art de la devoció : exposició organitzada per la Fundació "La Caixa" i el Victoria & Albert Museum, Londres. [Barcelona: Obra social, Fundació "la Caixa", c2007 Number: 9788476649466 p.81, Cat.40
Collection
Accession number
IM.112-1916

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Record createdFebruary 13, 2000
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