Page 69 - Christies Alsdorf Collection Part 1 Sept 24 2020 NYC

A MAGNIFICENT

STONE HEAD OF THE BUDDHA

ROBERT D. MOWRY
Alan J. Dworsky Curator of Chinese Art Emeritus, Harvard Art Museums,
and Senior Consultant, Christie’s

A little larger than life-size and dating to the Sui This majestic head originally was part of a sculpture
dynasty (AD 518–618), this sensitively modeled marble of the Buddha, the head and body integrally carved
sculpture represents the head of a Buddha as evinced from a single block of marble. The sculpture might
by the ushnisha, or cranial protuberance atop the head have portrayed the Buddha seated but more likely
that symbolizes the expanded wisdom that the Buddha presented him standing, as witnessed by closely related
1
gained at his enlightenment. Although other deities sculptures in the British Museum, London, (Fig. 1) the
2
may have their hair arranged in a tall bun or coiffure, Royal Ontario Museum, Toronto, and the Nezu
only the Buddha possesses an ushnisha, so the distinctive Museum, Tokyo. 3
protuberance atop the head stands as the Buddha’s
Mahayana Buddhism, the tradition widely practiced in
definitive diagnostic iconographic feature.
China, posits the existence of countless Buddhas, all of
“Buddha” means “the Enlightened One” and refers whom are considered deities; the three principal ones
to an individual who has attained enlightenment and worshipped in China are Shakyamuni, the Historical
entered into nirvana. Presented in the guise of a monk, Buddha; Amitabha the Buddha of Infinite Light; and
the Buddha generally is depicted with a single head, two Bhaisajyaguru, the Medicine Buddha. Alas, because this
arms, and two legs; he may be shown standing or seated head is now dissociated from the sculpture of which
and always displays a benevolent countenance. He wears it originally was an integral part, identification of the
a monk’s robes and may be shown either barefoot or particular Buddha represented is uncertain, as specific
with sandals. Buddhas typically are portrayed without Buddhas typically are identified by their mudras, or hand
jewelry, though particular manifestations of the Buddha gestures. (A ritual hand gesture, a mudra symbolizes a
may wear crowns and other jewelry, particularly those particular action, power, or attitude of a deity.) Even
Buddhas associated with the mandala. His distended so, this Buddha likely represented Amitabha, as do the
earlobes, which resulted from the heavy earrings that previously mentioned sculptures in the Royal Ontario
he wore in his youth as a crown prince, symbolize his Museum and in the British Museum. The Pure Land
rejection of worldly life and his embrace of the religious Sect of Buddhism, of which Amitabha is the principal
life. He may be represented with a shaven pate or with Buddha, was popular in China in the sixth and seventh
short hair arranged either in small, snail-shell curls or in centuries, the period when this sculpture was carved,
wavy locks, as in the present sculpture. The sacred texts, lending credibility to the suggestion that the sculpture
or sutras, state that he bears the “Thirty-two Marks of possibly represented the Buddha Amitabha.
a Great Man”; among those marks, the ones typically
Buddhism was introduced into China during the first
portrayed are the urna, or circular mark at the center
century AD, early in the Eastern Han period (AD
of the forehead, the webbed fingers and toes, and the
25–220), and spread rapidly during the period of division
previously mentioned ushnisha.

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