Buddha
late 6th century - early 7th century (made)
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This sculpture is an exceptionally rare and early metal image of the Buddha, also known as 'The Radiant Buddha'. It is probably the product of monastic workshops in Bihar, north eastern India, and represents the culmination of the development of early Buddhist imagery. The Gupta period marked a watershed in the evolution of the stylistic development of the Buddha-type and in the spread of Indian Buddhist influence. The Gupta period is credited with creating this quintessential Buddha-type, which was subsequently disseminated and emulated throughout the Buddhist world.
This figure was cast in the late phase of the Gupta era, which produced some of the most emblematic images of the Buddha. Shakyamuni, the historical Buddha (literally, the wise member of the Shakya clan), is represented with his hand raised in abhayamudra, the gesture of allaying fear, underscoring his role as a spiritual protector. This gesture is shared by images of all early faiths in India. The downward cast of the eyes and head are a reminder that the image of the Buddha, no matter what the scale, should be viewed from a lower position – this Buddha image would have served as a processional icon during the regular cycle of worship performed within a monastery or temple.
The standing figure is clad in pleated robes drawn over both shoulders in the ‘northern style’, with his raised right hand with outward palm, the left hand lowered and holding the end of his robe. The hair curls, skull protuberance and webbed fingers are part of the 32 auspicious marks (laksanas) symbolic of his attainment of Buddhahood. The treatment of the body and its translucent form-defining quality has created a figure that embodies both spirituality and sensuality.
This figure was cast in the late phase of the Gupta era, which produced some of the most emblematic images of the Buddha. Shakyamuni, the historical Buddha (literally, the wise member of the Shakya clan), is represented with his hand raised in abhayamudra, the gesture of allaying fear, underscoring his role as a spiritual protector. This gesture is shared by images of all early faiths in India. The downward cast of the eyes and head are a reminder that the image of the Buddha, no matter what the scale, should be viewed from a lower position – this Buddha image would have served as a processional icon during the regular cycle of worship performed within a monastery or temple.
The standing figure is clad in pleated robes drawn over both shoulders in the ‘northern style’, with his raised right hand with outward palm, the left hand lowered and holding the end of his robe. The hair curls, skull protuberance and webbed fingers are part of the 32 auspicious marks (laksanas) symbolic of his attainment of Buddhahood. The treatment of the body and its translucent form-defining quality has created a figure that embodies both spirituality and sensuality.
Object details
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| Object type | |
| Materials and techniques | Copper alloy lost-wax casting |
| Brief description | Standing figure of the Buddha Shakyamuni, clad in pleated monk's robes, with one hand raised in the gesture of protective reassurance, the other holding the end of his robes. From north eastern India, probably Bihar, late 6th -early 7th century. Cast copper alloy over a clay core. Index finger missing, some metal loss to back, and evidence of repairs. |
| Physical description | Standing figure of the Buddha Shakyamuni, 'The Radiant Buddha' clad in pleated robes, raising right hand with outward palm, the other hand lowered and holding the end of his robe. Right hand index finger missing, and areas of metal loss on back, exposing clay core material. |
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| Credit line | Purchased jointly by the Victoria and Albert Museum and the British Museum with the assistance of the National Lottery Heritage Fund, Art Fund, the British Museum Brooke Sewell Fund, the Friends of the V&A and private donors |
| Object history | Acquired by George Plouvier in 1968, thence to Baron F. Rollin 1968, J. Soref 1982, private collection 1999. Historical significance: An exceptionally rare and early metal image of the Buddha, probably the product of monastic workshops in Bihar, eastern India. |
| Subject depicted | |
| Summary | This sculpture is an exceptionally rare and early metal image of the Buddha, also known as 'The Radiant Buddha'. It is probably the product of monastic workshops in Bihar, north eastern India, and represents the culmination of the development of early Buddhist imagery. The Gupta period marked a watershed in the evolution of the stylistic development of the Buddha-type and in the spread of Indian Buddhist influence. The Gupta period is credited with creating this quintessential Buddha-type, which was subsequently disseminated and emulated throughout the Buddhist world. This figure was cast in the late phase of the Gupta era, which produced some of the most emblematic images of the Buddha. Shakyamuni, the historical Buddha (literally, the wise member of the Shakya clan), is represented with his hand raised in abhayamudra, the gesture of allaying fear, underscoring his role as a spiritual protector. This gesture is shared by images of all early faiths in India. The downward cast of the eyes and head are a reminder that the image of the Buddha, no matter what the scale, should be viewed from a lower position – this Buddha image would have served as a processional icon during the regular cycle of worship performed within a monastery or temple. The standing figure is clad in pleated robes drawn over both shoulders in the ‘northern style’, with his raised right hand with outward palm, the left hand lowered and holding the end of his robe. The hair curls, skull protuberance and webbed fingers are part of the 32 auspicious marks (laksanas) symbolic of his attainment of Buddhahood. The treatment of the body and its translucent form-defining quality has created a figure that embodies both spirituality and sensuality. |
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| Other number | Asia 2004,0401.1 - British Museum number |
| Collection | |
| Accession number | IS.3-2004 |
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| Record created | April 22, 2004 |
| Record URL |
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