Page 78 - Maitri CollectionAsian Art Bonhams

“He dispels delusion. Where else is there such a saint?
Where else is there such a friend? Where else is there such merit?”

(Bodhicaryavatara, by Santideva (8th century), ch.1, v.30, translated by Wallace &
Wallace)

3223
A SCHIST FRIEZE OF BUDDHA
ANCIENT REGION OF GANDHARA, 2ND/3RD CENTURY
Himalayan Art Resources item no.61530
12 5/8 x 11 3/8 in. (32 x 29 cm)

$50,000 - 70,000

犍陀羅 二/三世紀 片巖佛陀碑

Of the finest quality in carving, and finished with an alluring polish, this frieze is among the
most distinctive Gandharan panels for its restrained use of negative space, focusing our
attention on its single, complete subject: Buddha meditating under the Bodhi tree.

His figure exhibits the classic Gandharan style, wearing a monastic robe covering both
shoulders that drapes naturalistically across his torso and ankles, and pulls taut around
the knees. His handsome face has slightly upturned lips and dimples that exude the hint
of smile under his calm, meditative expression. His hair pulled over the domed ushnisha
is carved with exquisite wavy lives, redolent of the sun’s brilliant rays.

A double nimbus in low relief frames him, emphasizing his enlightened status. According
to Dr. Pal, this feature is extremely rare in Gandharan art appearing in only one other
instance to his knowledge (Pal, Asian Art at the Norton Simon Museum, vol.1, 2003,
p.57, no.25). However, the double nimbus certainly proliferates throughout Central Asia
and China among images that Gandharan art comes to inform, such as a c.700 printed
handscroll of repeated Preaching Buddha images found in Cave 17 at Dunhuang held in
The British Museum (acc.#1919,0101,0.254).

Regarding the panel’s original architectural context within the ancient region of
Gandhara’s stupas and monasteries, the composition is framed by two lintels with
a trapezoidal gap above the seated Buddha which probably served as a hinge
device attaching this panel to another element above it. Compare with another
architectural tile featuring the same dovetailed notch in the Metropolitan Museum of Art
(acc.#1980.527.4).

Lastly, the treatment of the lotus pedestal is another intriguing feature of this refined work.
The unadorned petals are divided by a deeply carved line, giving an abstract quality
to a composition that is otherwise informed by a high figural sensibility. This style of
lotus petals is also present in other works in the British Museum (acc.#1886,0618.14 &
1902,1002.47).

Published
Simon Ray Ltd, Indian & Islamic Art, London, 2014, no.3.

Provenance
Collection of Dr. Ernst A. Lomnitz, acquired 1930s
Thence by descent to Georgina Lomnitz in 1985
Simon Ray Ltd, London, 10 September 2014

76 | BONHAMS