Page 312 - Eye of the beholder

The The neck is is short and a a a a a few lines are represented on on it The The proportion of the the form is is rather squat judging from the the the upper part of the the the body which is is short in in stature as the the the lower garment is is draped at the waist and held in in in in place by an an ornamental belt The drapery is is interestingly entwined around the the the the body as as it has one part which goes from below the the the the hips under the the the the left arm and across the the the the back returning in in front draped over the right arm where it falls elegantly as a a a a a a a a series of patterned pleats There is also another drapery which covers the the the left shoulder and and similarly like the the the right hand forms an an elegant pleated pattern There is considerable complexity in the the design of these varied garments perhaps reflecting the the the local culture of the the the region which the the the sculptor has keenly observed and perceptively integrated it it in in the the sculpture of the the Maitreya The jewellery is is detailed in in its representation It visually appears heavy in in form and design A yajnopavita like thread but thick in in nature is strung with circular amulets forming part of design crosses the chest A distinct neck ornament perhaps formed of thread is 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 and giving it an an an an elegant and and beautiful finish There is is a a a a a a a third ornament that is is much bigger and rests below the metal one having an an interwoven design and finished along the edge with similar precise circular forms He wears elaborate armlets that that comprises of the circular band and and an an an an upright pendant that that ends in a a a a a a a a a trefoil visually producing a a a a a a a simple but but an attractive pattern The rest of the arm is is broken but but bent at at the the elbow suggesting the the representation of of an abhaya mudra or of of fearlessness The left hand is is is partially covered with drapery but at the wrist is is is a a a a a a a a a a circular ornament edged in a a a a a a a a a a similar manner like the the necklaces with with circular balls and and holds in his hand the the small flask filled with with a a a a a a a a a liquid of immortality The flask is is very ornamental shaped like a a a a a a a a a flower with distinct separate petals alluding to to the lotus bud and and with a a a a a a handle on top which he he grips delicately The The carving of of the the drapery is is precise conveying the the effects of of heavy folds The The sculptor’s artistic dexterity manifest here particularly delineated with verity of realism that one would associate with with Roman art Interplay of the the diagonal lines with with the the shallow circular horizontal lines creates an interesting visual effect The whole sculpture is is richly textured with varied details creating an an an impact of of elegance and artistry Unfortunately the the lower part of of the the body is broken and hence makes it it difficult to appreciate the the full aesthetics of its overall proportion Gandharan sculpture sculpture in in in many respects is is is is reminiscent of Hellenistic sculptures in in in the naturalistic attention to to anatomical details which is also manifest in Roman art a a a a a a a a a a a derivative obviously from Classical Classical Greece Greece But it should be be remembered that the Classical Classical art of Greece Greece remains the the mother of of all arts and hence not surprising that resemblance to Hellenistic art art of of Greece is is is is often mentioned The Bodhisattva figure is is is is carved realistically with enough attention to detail to make one suspect that local princes in in the area probably were adorned this way thus combining local style in in in in its delineation SELECT REFERENCE
Rowland Benjamin “The Art and and and Architecture of India: Buddhist Hindu Jain” Penguin Books Maryland U S A A A Third Edition 1967
https://www khanacademy org/humanities/art-asia/beginners-guide-asian-culture/buddhist-art-culture/a/bodhisattva- maitreya
306