A large volcanic andesite figure of Ganesa seated on a cushion (asana) of skulls, his feet pressed firmly on the floor, the chest crossed diagonally by a snake upavita  More »

A large volcanic andesite figure of Ganesa seated on a cushion (asana) of skulls, his feet pressed firmly on the floor, the chest crossed diagonally by a snake upavita thread, holding two bowls of sweetmeats, a conch-shell in his upper right hand and an axe in his upper left, wearing extensive jewellery including basubands, bracelets and belts, with matted hair and an intricate mukuta headdress surmounted by a further skull. In the back a large kala mask.Images of Ganesa in Indonesian art are characterised by many of the same attributes as those of his father Shiva. These include a crown of matted hair (mukuta), a skull (sometimes a crescent moon) and a sacred thread in the shape of a snake (upavita). Ganesa is known (by various names in different parts of India and on different occasions) as the Remover of Obstacles, the god of domestic harmony and of success. He is the most beloved and revered of all the Hindu gods, and is always invoked first in any Hindu ceremony or festival. One of the legends connected with the creation of Ganesa narrates that when Shiva was away fighting for the gods, the lady of the house, goddess Parvati was alone at home. On one occasion, she needed someone to guard the house when she was going for a bath. Unable to think of an alternative, she used her powers to create a son, Ganesa. She instructed Ganesa to keep strict vigil on the entrance to the house and not to allow anyone into the house. Ganesa agreed and stayed on the strictest of strict vigils. In the meantime Shiva returned happy after a glorious victory for the gods, only to be stopped at the entrance by Ganesa. Ganesa, acting on Parvati's orders, did not allow Shiva to enter the house. Shiva became enraged beyond control and in a fit of rage slashed the head of Ganesa. Parvati came out from her bath and was aghast at the scene. She was very angry at her consort for what had happened and explained him the situation. Shiva wanted to make it up to Parvati and agreed to put life back into Ganesa by putting the head of the first sleeping living creature that came in sight, which was sleeping with its head to the north. He sent his soldiers to go in search of the creature. The first creature, which came in sight was an elephant. So Shiva re-created his son with the head of the elephant. Parvati was still not totally happy so Shiva granted Ganesa a boon that before beginning of any undertaking or task people would worship Ganesa. Thus the reason for worship of Ganesa before start of any work. For related examples see E. Sedyawati: Ganesha Statuary of the Kadiri and Sinhasari periods, Leiden 1994: p.335, no. 5. - (X.0519)   « Less

An extremely rare depiction of the division of the Buddha’s relics at Kusinagara. This fragment would have belonged to a larger narrative cycle, almost certainly  More »

An extremely rare depiction of the division of the Buddha’s relics at Kusinagara. This fragment would have belonged to a larger narrative cycle, almost certainly including the death of the Buddha. The central bearded figure is the Brahmin Drona who arbitrated the dispute over the Buddha’s cremated remains. The eight other turbaned figures represent the princely claimants. The figures to the left are well- preserved, particularly the full-length prince facing inwards, wearing an elaborate dhoti and holding a cylindrical reliquary with his portion of the ashes. The half-length figures behind the table wear heavy earrings and beaded jewellery to indicate their princely status. The table has elaborate turned legs and is hung with a finely worked drapery. A large amphora with an upturned spout is carved in relief in the foreground. The division has clearly just taken place as the claimants are holding reliquaries in their hands. This was an incredibly significant event in the Buddhist narrative as it was believed that proximity to the Buddha’s remains would assist in the achievement of Enlightenment. By dividing them up, a greater number of his followers would be able to benefit from these sacred relics. (AM) Other surviving examples of this subject can be found in H. Ingholt, Gandharan Art in Pakistan, (New York, 1957), pp. 97, no. 152 and p. 102, no. 167. See also W. Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, (London, 1996), Vol. I, pp. 207-208 and Vol. II. no. 232. - (X.0522)   « Less

Ganesha (also spelled Ganesa or Ganesh) is one of the best-known and most worshipped deities in Hinduism. Although he is known by many other attributes, Ganesha's elephant  More »

Ganesha (also spelled Ganesa or Ganesh) is one of the best-known and most worshipped deities in Hinduism. Although he is known by many other attributes, Ganesha's elephant head makes him easy to identify. Several texts relate mythological anecdotes associated with his birth and exploits, and explain his distinct iconography. Ganesha is worshipped as the lord of beginnings and as the lord of obstacles (Vighnesha), patron of arts and sciences, and the god of intellect and wisdom. He is honoured with affection at the start of any ritual or ceremony and invoked as the "Patron of Letters" at the beginning of any writing. Ganesha appears as a distinct deity in clearly- recognizable form beginning in the fourth to fifth centuries, during the Gupta Period. His popularity rose quickly, and he was formally included as one of the five primary deities of Smartism (a Hindu denomination) in the ninth century. During this period, a sect of devotees (called Ganapatya) who identify Ganesha as the supreme deity was formed. The principal scriptures dedicated to his worship are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa. Ganesha is one of the most-worshipped divinities in India. Worship of Ganesha is considered complementary with the worship of other forms of the divine, and various Hindu sects worship him regardless of other affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India. - (X.0584)   « Less

Large humped terracotta zebu bull standing on the four legs, his head supporting between two solid up-bent horns what looks like a ceremonial basket, the whole surface  More »

Large humped terracotta zebu bull standing on the four legs, his head supporting between two solid up-bent horns what looks like a ceremonial basket, the whole surface painted in bright colourful geometric patterns. The snout carefully sculpted with a small mouth and nostrils and large sunken eyes.The Indus Civilization is still enigmatic: an ancient civilization with a yet-to be deciphered writing system, a mysterious monumental architecture, no monumental art, a puzzling decline, and little evidence of the identity of its direct descendants. In a civilization extending over an area so vast, one would expect to find monumental art and/or architectural symbols of power displaying the names of the powerful. Instead, the emphasis is placed on small, elegant art and sophisticated craft technology. Three-dimensional representations of living beings in the Harappan world are confined to a few stone and bronze statues and some small objects crafted in faience, stone, and other materials - with one important exception. Ranging variously in size, the anthropomorphic and animal terracotta figurines the Indus Civilization sites depict life as seen by the Harappan people in the Bronze Age. Terracotta figurines have long been considered toys, often without question. The earliest animal figurines from Harappa date back to the Early Harappan (Ravi Phase, Period 1 and Kot Diji Phase, Period 2) and represent zebu bulls. They are typically very small with joined legs and stylized humps. A few of these zebu figurines have holes through the humps that may have allowed them to be worn as amulets on a cord or a string. One Early Harappan zebu figurine was found with the remains of a copper alloy ring still in this hole. Other animal and sometimes anthropomorphic figurines are decorated with black stripes and other patterns, and features such as eyes are also sometimes rendered in pigment. Figurines of cattle with and without humps are found at Indus sites, possibly indicating that multiple breeds of cattle were in use. Water buffalo are often similar to figurines of humpless cattle, except that the water buffalo figurines usually have large (and sometimes incised) backswept horns. The large humped terracotta bull would in fact belong to a recently discovered typology datable to pre-Harappan times in the Merghahr phase, datable to the 3rd millennium BCE. The geometric patterns, slanting bands red or ochre painted still visible on the body are paralleled by Merghahr contemporary ceramics, of which several examples are exhibited in the Barakat Collections. This type of fired ceramic was only produced in Baluchistan. From here and other small centres, they were traded far and wide throughout Baluchistan, from the borders of the Indus Valley to south-eastern Iran. Examples of this pottery were also carried by merchants and nomads during their travels within the Indus Valley, and fragments have been found at the site of Harappa dating to 2800-2600 BCE and possibly even earlier. The motifs painted include both geometric and floral and stylised animals. Yet, this type of pottery was no more produced after the beginning of the mature Harappan period (i.e. 2600 BCE). Furthermore, the large size of these zoomorphic figurines together with their mysterious headgear would seem to indicate a ritualistic, rather than ludic, function, hence quite distinct from later Indus Valley pottery figurines. For comparable examples see: J.F.Jarrige ed., Les Cites Oubliees de l'Indus: Archeologie du Pakistan, 1988: pp.105-107. - (LO.625)   « Less

The ancient civilization of Gandhara thrived in the region encompassing modern northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading paths  More »

The ancient civilization of Gandhara thrived in the region encompassing modern northeastern Afghanistan and northwestern Pakistan. Situated at a confluence of trading paths along the Silk Route, the area was flooded in diverse cultural influences ranging from Greece to China. Gandhara flourished under the Kushan Dynasty and their great king, Kanishka, who is traditionally given credit for spreading the philosophies of Buddhism throughout central Asia and into China. This period is viewed as the most important era in the history of Buddhism. After the conquests of Alexander the Great, the creation of Greco-Bactrian kingdoms, and the general Hellenization of the subcontinent, Western aesthetics became prominent. Greek influence began permeating into Gandhara. Soon sculptors based the images of the Buddha on Greco-Roman models, depicting Him as a stocky and youthful Apollo, complete with stretched earlobes and loose monastic robes similar to a Roman toga. The extraordinary artistic creations of Gandhara reveal links between the different worlds of the East and West. Carved out of schist, this dish depicts a man riding on a fantastical marine creature. Similar dishes have been dated to the 1st century B.C. and represent some of the earliest surviving Gandharan sculpted artifacts. Mostly found in domestic contexts their exact purpose is unclear. One suggestion is that they were cosmetic palettes. More recently it has been argued that these shallow dishes were used for the ritual offering of wine, possibly to ensure a blissful afterlife for the dead. Many of the surviving examples, including this one, show a man or woman holding a wine cup and riding a hybrid mythological creature. This may be intended to suggest the idea of travel to a heavenly realm as a result of intoxication. This supports other evidence of the significance of Dionysian ritual in the area. Imported from the west, such practices were adapted to suit local circumstances. The lack of wear and tear supports the idea that the function of these bowls was ritualistic. The quality of the carving is remarkable. The scaly hide of the marine creature has been expertly rendered by the ancient Gandharan sculptor. The male figure has been finely modeled as well, particularly the form of his leg. In Greek mythology, Poseidon, the god of the sea, as well as other sea and river deities rode upon the backs of these creatures. It is possible that this figure represents such a god. The waves of the sea have been indicated by a series of engraved lines that curve progressively outwards in opposite directions from a central axis marked by a straight line. The lip of the rim has also been decorated with a rope pattern. The dish is in excellent condition and would make a wonderful addition to any collection. For examples of the same type with a similar motif, please see the catalogue to the exhibition: “Afghanistan: une histoire millenaire,” Editions de la Reunion des Musees Nationaux, (Paris, 2002), p. 107 and ‘The Art of Gandhara in the Metropolitan Museum of Art,’ (New York, 2007), p. 9, fig. 4. - (LO.623)   « Less

Around 2600 BCE, most sites in northern and central Balochistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory.  More »

Around 2600 BCE, most sites in northern and central Balochistan were abandoned, as a consequence of the expansion of the Indus Civilisation into their territory. Nevertheless, southern Baluchistan continued to be inhabited by a people labelled "Kulli."This cultural complex is named after a site in Kolwa which was discovered by Aurel Stein. Since then, several other sites became known from Makran to southern Kalat and Nindowari, to Nausharo in the Kachhi plain, and to the eastern foot of the Kirthar Range in southwestern Sindh. Some motifs and vessel shapes found in southeastern Iran and on the Arabian Peninsula, are sometimes also linked to the Kulli and seen as indications for long-distance contacts. The lay-out of some sites resemble the plan of Harappan sites: rows of houses are built along lanes and streets, which are sometimes paved. Sometimes, stairs provide access to upper terraces. Building materials were large ashlars or boulders, and the houses are often preserved to a considerable height. Many of these sites are located in strategic positions, on top of mountains or terrace hills, overlooking the valleys and controlling the plains and passes . Other sites are small hamlets built in the open plain. Although they have no defenses, they are of a very compact appearance. Most sites are associated with dams. Ceramic vessels from the Kulli phase have been unearthed at Nindowari, Nausharo and other small sites in Baluchistan. Their surface often painted with reddish-brown slip designs, one of the most common being the ensemble of vertical strokes depicted on the neck, as in the case of a small fragment unearthed at Bakkar Buthi, a small Harappan site located in the Kanrach Valley, a remote area bordered by the Mor and Pab Ranges , and as in the globular jar here illustrated. While this vessel would have been most probably used to carry water, it is also the creation of an artist with a trained eye. The form of the work, built up from coiled clay, is elegant and refined. The swollen belly of the vessel tappers into the neck, where it juts outwards into the short, flaring rim. The upper half of the vessel has been decorated with painted motifs, including a number of ibexes with long curving horns encircled in double rings. All these motifs would seem to indicate its appurtenance to the Kulli culture of southern Baluchistan, possibly dated to the late 3rd Millennium BCE. Comparable works are to be found in: G. Possehl, Kulli: An Exploration of an Ancient Civilization in South Asia, Durham, 1986. - (LO.600)   « Less

Gray schist relief fragment portraying a seated crowned figure with crossed legs and joint hands within an ornamented porch, below two figures slightly projecting forward  More »

Gray schist relief fragment portraying a seated crowned figure with crossed legs and joint hands within an ornamented porch, below two figures slightly projecting forward from a small balcony with railing and architrave; on the side another figure with his head placed upside down on a lotus plinth as if about to perform an acrobatic posture. The dominant figure inside the alcove could be interpreted either as a member of the upper class or as an early representation of a Bodhisattva, judging from his crown and jewels adorning his chest; he is looking aloofly at the acrobat. On the lower level, the other two human figures are engaged in conversation, facing each other and distractedly looking beyond the balcony over some external scene, forever lost. This mundane scene could have well belonged to a larger narrative frieze depicting some of the early jatakas. The architectural frame is recognizably Indian, featuring the curved arch and pillars of the chaitya windows found also in rock-cut shrine architecture from Central India. Yet the method of representing the story of the Buddha's legend in a series of separate panels is a definite borrowing from Roman art. This was accomplished in much the same way than the pictorial iconography of the Christian legends, based on the Roman methods: on portraying the careers of the Caesar's several distinct climatic events were shown on separate panels. The Gandhara region had long been a crossroads of cultural influences. Geographically it included roughly northwestern India between the Khyber Pass and the Indus River and the region of the Kabul Valley in Afghanistan. During the reign of the Indian emperor Ashoka around 3rd century B.C., the region became the scene of intensive Buddhist missionary activity; and, in the 1st century AD, rulers of the Kushan empire such as Kanishka (AD 129-160) maintained contacts with Rome and employed foreign artists from the eastern centres of the Roman Empire to realise many sculptural works. The many archaeological discoveries of Alexandrian and Syrian workmanship at Taxila in the Punjab and Begram in the Kabul valley testify to the cultural and diplomatic connections with the Graeco-Roman West. Many artifacts, in particular sculptures, have survived and are now dispersed in major museums throughout the world. In its interpretation of Buddhist legends, the Gandhara school thus incorporated many motifs and techniques from classical Roman art, including vine scrolls, cherubs bearing garlands, tritons, and centaurs, while retaining the fantastic monsters, sphinxes and griffins of the Indian school. Inevitably, given the overwhelming patronage of Buddhism, most of the Gandharan sculptures are indeed depicting Buddhas, Bodhisattvas and their retinue. As in the case of our fragment, all early Bodhisattvas are shown in wearing turbans, jewelry, and muslin skirts, a costume that was an adaptation of the actual dress of Kushan and Indian nobles, while the jewelry of these royal statues were a duplication of Hellenistic and Sarmatian gold, created by Western artisans. The earliest and most frequently used material by the Gandharan artists was a soft indigenous schist that varied in colour from light to dark gray, and often contained sparkling mica particles. Many of these statues were covered with gold leaf to give them a luster in dark interiors. The most popular media, however, later became an easy-to-work material terracotta and stucco. Because of the fragility of the material most statues were supported by attaching them to walls, giving them the appearance of a three-dimensional relief. Stucco sculptures were given a final coat of gesso, which was then painted. This interesting relief depicts a beautiful scene of popular amusement, possibly related to a specific event in the Buddha's jataka stories. It sympathetically portrays a mundane occasion that brings us back thousands of years to the time of the first Buddhist communities, but with a more lay accent. The composition is lively and not restrained by the codification of Buddhist iconography. This is where the artist would have expressed his sympathy and curiosity for the world around him, imbuing these marvellously sculpted figurines with the breath of life through time. - (LA.537)   « Less

The Gandhara region has always been a crossroads of cultural influences. Geographically, it includes much of north-western India between the Khyber Pass and the Indus River,  More »

The Gandhara region has always been a crossroads of cultural influences. Geographically, it includes much of north-western India between the Khyber Pass and the Indus River, and the Kabul Valley region in Afghanistan. During the reign of the Indian emperor Ashoka in the 3rd century B.C., the region became the scene of intensive Buddhist missionary activity. Four centuries later, the area became heavily Romanised through diplomatic contacts between rulers of the Kushan empire (such as Kanishka: AD 129-160), who employed foreign artists from the eastern fringe of the Roman Empire to create many sculptural works. This work is one of these. Bodhisattvas, which play a part in Buddhist art second only to that of Buddha himself, are future Buddhas who – despite having earned their right to enter Nirvana – have chosen to remain on earth in order to help their fellow creatures attain enlightenment. They were profoundly revered by Buddhists, who incorporated them into both religious and secular architecture as well as in the form of freestanding sculptures. Our high relief stele probably adorned the exterior of a small stupa or other religious buildings in a Buddhist monastery. The iconography of the Bodhisattva evolved out of the long-standing tradition of the Indic Yaksa godling figure, and as such its early elaborations almost always included imposing moustaches and a very masculine body, implicit in the fertility association of the Yaksa image and his apothropaic function. As was the custom in Gandhara, the bodhisattva is depicted dressed and bejewelled like a wealthy person of the region, and the pose and iconography seem to follow the Indian tradition. Yet there are various stylistic markers indicating that our bodhisattva is the result of cultural fusion between endemic artistic styling and Graeco-Roman influence, especially the manner in which the draped tunic has been carved. The figure stands 8.5” high and was – as stated above – originally an architectural feature. The large majority of Bodhisattvas are made of wood, making this early specimen rather unusual in being carved from schist. The figure is standing, with the drapery carefully carved into pantaloon trousers associated with long, flowing scarves and other drapery running from around the shoulders down to the waist and hips. It also wears a large necklace, earrings and an ornate headdress with a feather-like diadem design over the brows. The hair has been gathered up inside this turban-like headwear. The face is carved with high brows and solemn, hooded eyes. The mouth is pursed slightly, but is full and perfectly sculpted. The Bodhisattva stands upon a sconce of floral design, triangular in shape, and it has been mounted upon a plain pedestal base for ease of display. There is some damage to the right arm, which is missing beneath the shoulder. However the impact and the serenity of the carving are unaffected. A lovely example of top-level religious carving, with the additional historical interest of originating from the crossroads of two might empires at a dynamic stage of their early contact. Reference: Doshi, S. ed. India and Greece, Connections and Parallels, Marg Publications, Mumbay, 1985: p.8 fig 4. - (X.0726)   « Less

Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during  More »

Terracotta figurines such as these ones have been unearthed also at Mohenjo-daro and Harappa, suggesting a commonality of style and purpose throughout the Indus Valley during the mature Harappan period (ca. 2600-2450 BCE). Like many figurines datable to this period, the front and back legs are joined together. In one excavated example from Chanu-daro a hole was poked in the belly, indicating that it would have been attached to a stick for use as a puppet or a small standard of the kind carried in the processions depicted on some seals. In others, the hole was indeed placed on the back of the animal, thus suggesting an alternative function, perhaps linked to music.   « Less

Conical female figurine portrayed standing, her large squatted vest folded at the bottom in four creases, her bulging shoulders and bent arms close to the body. Both breasts  More »

Conical female figurine portrayed standing, her large squatted vest folded at the bottom in four creases, her bulging shoulders and bent arms close to the body. Both breasts and the necklace are applied on the body. The angular face with applied facial features comprising continuous lines in relief as eyebrows, sunken rounded eyes below, mouth and nose converging into a protruding beak. The hair combed backwards between two enlarged upturned earlobes. Her hands palms down and attached to the vest. Figurines with similarly applied facial features have been traditionally ascribed to the Bajaur Valley at the border between Pakistan and India, in the phere of influence of the early Harappan civilization during the so called Regionalisation Era (2800-2600 BC).Incredibly enough, the extraordinary blend of realism -imbued in the detailed torso and arms of this figurine, and surrealism -of her large facial traits- would not feel out of place in a contemporary setting, thus transcending the boundaries of time and space.For a discussion on Harappan figurines see: J.M. Kenoyer, Ancient Cities of the Indus Valley Civilization, 1998. - (LO.1172)   « Less