Page 312 - Eye of the beholder

The neck is short and a few lines are represented on it. The proportion of the form is rather squat, judging from the upper part of the body which is short in stature, as the lower garment is draped at the waist, and held in place by an ornamental belt. The drapery is interestingly entwined around the body, as it has one part which goes from below the hips, under the left arm and across the back, returning in front draped over the right arm, where it falls elegantly as a series of patterned pleats. There is also another drapery which covers the left shoulder and similarly like the right hand forms an elegant pleated pattern. There is considerable complexity in the design of these varied garments, perhaps reflecting the local culture of the region, which the sculptor has keenly observed and perceptively integrated it in the sculpture of the Maitreya.
The jewellery is detailed in its representation. It visually appears heavy in form and design. A yajnopavita like thread, but thick in nature is strung with circular amulets forming part of design crosses the chest. A distinct neck ornament perhaps formed of thread is also strung with three circular amulets forming its centre. In addition there is another piece of jewellery which, rests flat around his neck, made of metal; and richly carved in geometric pattern with circular precise balls forming the edging and giving it an elegant and beautiful finish. There is a third ornament that is much bigger and rests below the metal one, having an interwoven design; and finished along the edge with similar precise circular forms. He wears elaborate armlets that comprises of the circular band and an upright pendant that ends in a trefoil, visually producing a simple but an attractive pattern. The rest of the arm is broken, but bent at the elbow, suggesting the representation of an abhaya mudra or of fearlessness. The left hand is partially covered with drapery, but at the wrist is a circular ornament edged in a similar manner like the necklaces with circular balls, and holds in his hand the small flask, filled with a liquid of immortality. The flask is very ornamental shaped like a flower with distinct separate petals, alluding to the lotus bud, and with a handle on top, which he grips delicately.
The carving of the drapery is precise conveying the effects of heavy folds. The sculptor’s artistic dexterity manifest here particularly, delineated with verity of realism that one would associate with Roman art. Interplay of the diagonal lines with the shallow circular horizontal lines creates an interesting visual effect. The whole sculpture is richly textured with varied details, creating an impact of elegance and artistry. Unfortunately the lower part of the body is broken and hence makes it difficult to appreciate the full aesthetics of its overall proportion.
Gandharan sculpture in many respects is reminiscent of Hellenistic sculptures in the naturalistic attention to anatomical details, which is also manifest in Roman art a derivative obviously from Classical Greece. But it should be remembered that the Classical art of Greece remains the mother of all arts, and hence not surprising that resemblance to Hellenistic art of Greece is often mentioned. The Bodhisattva figure is carved realistically, with enough attention to detail to make one suspect that local princes in the area probably were adorned this way thus combining local style in its delineation.
SELECT REFERENCE
Rowland, Benjamin, “The Art and Architecture of India: Buddhist, Hindu, Jain”, Penguin Books, Maryland, U.S.A. Third Edition 1967
https://www.khanacademy.org/humanities/art-asia/beginners-guide-asian-culture/buddhist-art-culture/a/bodhisattva- maitreya
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