LaurieAnnie's photos

Title: Dome panel with scene of transporting Prince Siddartha's headdress to heaven Period: Ikshvaku Date: late 3rd century CE Culture: India, Nagarjunakonda, attributed to Stupa Site 3, Nalgonda district, Andhra Pradesh Medium: Limestone Dimensions: H. 24 in. (61 cm); W. 37 in. (94 cm); D. 5 7/8 in. (15 cm) Classification: Sculpture Credit Line: Lent by National Museum, New Delhi Object Number: TS.135 The celebration of the hair-turban relic, marking the moment Prince Siddhartha renounced worldly possessions, was a favored subject in Andhra Buddhist art. The scene mirrors the description in Ashvaghosa's second-century CE Sanskrit biography, Buddhacarita (Life of the Buddha, translated by Patrick Olivelle): “Unsheathing his sword, dark as a lotus petal, he cut his ornate headdress along with his hair, and threw it in the air, the cloth trailing behind—it seemed he was throwing a swan into a lake. As it was thrown up, heavenly beings caught it out of reverence so they may worship it; throngs of gods in heaven paid it homage.” Text from: www.metmuseum.org/art/collection/search/761964

Title: Dome panel with scene of transporting Prince Siddartha's headdress to heaven Period: Ikshvaku Date: late 3rd century CE Culture: India, Nagarjunakonda, attributed to Stupa Site 3, Nalgonda district, Andhra Pradesh Medium: Limestone Dimensions: H. 24 in. (61 cm); W. 37 in. (94 cm); D. 5 7/8 in. (15 cm) Classification: Sculpture Credit Line: Lent by National Museum, New Delhi Object Number: TS.135 The celebration of the hair-turban relic, marking the moment Prince Siddhartha renounced worldly possessions, was a favored subject in Andhra Buddhist art. The scene mirrors the description in Ashvaghosa's second-century CE Sanskrit biography, Buddhacarita (Life of the Buddha, translated by Patrick Olivelle): “Unsheathing his sword, dark as a lotus petal, he cut his ornate headdress along with his hair, and threw it in the air, the cloth trailing behind—it seemed he was throwing a swan into a lake. As it was thrown up, heavenly beings caught it out of reverence so they may worship it; throngs of gods in heaven paid it homage.” Text from: www.metmuseum.org/art/collection/search/761964

Title: Dome panel with scene of transporting Prince Siddartha's headdress to heaven Period: Ikshvaku Date: late 3rd century CE Culture: India, Nagarjunakonda, attributed to Stupa Site 3, Nalgonda district, Andhra Pradesh Medium: Limestone Dimensions: H. 24 in. (61 cm); W. 37 in. (94 cm); D. 5 7/8 in. (15 cm) Classification: Sculpture Credit Line: Lent by National Museum, New Delhi Object Number: TS.135 The celebration of the hair-turban relic, marking the moment Prince Siddhartha renounced worldly possessions, was a favored subject in Andhra Buddhist art. The scene mirrors the description in Ashvaghosa's second-century CE Sanskrit biography, Buddhacarita (Life of the Buddha, translated by Patrick Olivelle): “Unsheathing his sword, dark as a lotus petal, he cut his ornate headdress along with his hair, and threw it in the air, the cloth trailing behind—it seemed he was throwing a swan into a lake. As it was thrown up, heavenly beings caught it out of reverence so they may worship it; throngs of gods in heaven paid it homage.” Text from: www.metmuseum.org/art/collection/search/761964

Title: Fragment of a railing coping with an unidentified jataka Period: Shunga Date: ca. 150–100 BCE Culture: India, Bharhut Great Stupa, Satna district, Madhya Pradesh Medium: Sandstone Dimensions: H. 20 1/2 in. (52 cm); W. 36 5/8 in. (93 cm); Est. D. 7 7/8 in. (20 cm) Classification: Sculpture Credit Line: Lent by Allahabad Museum, Prayagraj, Uttar Pradesh Object Number: TS.111 This section of a railing coping from the Bharhut Great Stupa shows narrative scenes separated by an undulating lotus-vine creeper. Such reliefs were positioned on the inner face of the coping so they could be read by visitors as they progressed around the circumambulatory passageway. Open lotus blooms serve as veritable cornucopias, yielding rich textiles and precious jewels, including a four-strand necklace, plain and granulated earrings, and a tripartite crown. These, in combination with presently unidentified narrative scenes, indicate the artist has endeavored to both educate and entice worshippers. Text from: www.metmuseum.org/art/collection/search/761717

Title: Fragment of a railing coping with an unidentified jataka Period: Shunga Date: ca. 150–100 BCE Culture: India, Bharhut Great Stupa, Satna district, Madhya Pradesh Medium: Sandstone Dimensions: H. 20 1/2 in. (52 cm); W. 36 5/8 in. (93 cm); Est. D. 7 7/8 in. (20 cm) Classification: Sculpture Credit Line: Lent by Allahabad Museum, Prayagraj, Uttar Pradesh Object Number: TS.111 This section of a railing coping from the Bharhut Great Stupa shows narrative scenes separated by an undulating lotus-vine creeper. Such reliefs were positioned on the inner face of the coping so they could be read by visitors as they progressed around the circumambulatory passageway. Open lotus blooms serve as veritable cornucopias, yielding rich textiles and precious jewels, including a four-strand necklace, plain and granulated earrings, and a tripartite crown. These, in combination with presently unidentified narrative scenes, indicate the artist has endeavored to both educate and entice worshippers. Text from: www.metmuseum.org/art/collection/search/761717

Title: Female figurine Period: Maurya Date: 3rd–2nd century BCE Culture: India, Patna, Bihar Medium: Clay Dimensions: Overall (with mount): H. 4 1/2 in. (11.4 cm); W. 3 1/4 in. (8.3 cm); D. 1 3/4 in. (4.4 cm) Classification: Sculpture Credit Line: Lent by Bihar Museum, Patna Object Number: TS.376b These clay figures emerge during a moment when northern India was reveling in its cosmopolitanism, built on trade, diplomacy, and marriage alliances under Mauryan rule. The refined and unparalleled style of these figurines and their localized discovery point to them as objects of beauty for the enjoyment of an urban elite centered at the Mauryan capital of Pataliputra. Text from: www.metmuseum.org/art/collection/search/819125 and Title: Female figurine Period: Maurya Date: 3rd–2nd century BCE Culture: India, Patna, Bihar Medium: Clay Dimensions: Overall (with mount): H. 7 in. (17.8 cm); W. 4 1/2 in. (11.4 cm); D. 1 1/2 in. (3.8 cm) Classification: Sculpture Credit Line: Lent by Bihar Museum, Patna Object Number: TS.376a These clay figures emerge during a moment when northern India was reveling in its cosmopolitanism, built on trade, diplomacy, and marriage alliances under Mauryan rule. The refined and unparalleled style of these figurines and their localized discovery point to them as objects of beauty for the enjoyment of an urban elite centered at the Mauryan capital of Pataliputra. Text from: www.metmuseum.org/art/collection/search/819128

Title: Female figurine Period: Maurya Date: 3rd–2nd century BCE Culture: India, Patna, Bihar Medium: Clay Dimensions: Overall (with mount): H. 4 1/2 in. (11.4 cm); W. 3 1/4 in. (8.3 cm); D. 1 3/4 in. (4.4 cm) Classification: Sculpture Credit Line: Lent by Bihar Museum, Patna Object Number: TS.376b These clay figures emerge during a moment when northern India was reveling in its cosmopolitanism, built on trade, diplomacy, and marriage alliances under Mauryan rule. The refined and unparalleled style of these figurines and their localized discovery point to them as objects of beauty for the enjoyment of an urban elite centered at the Mauryan capital of Pataliputra. Text from: www.metmuseum.org/art/collection/search/819125 and Title: Female figurine Period: Maurya Date: 3rd–2nd century BCE Culture: India, Patna, Bihar Medium: Clay Dimensions: Overall (with mount): H. 7 in. (17.8 cm); W. 4 1/2 in. (11.4 cm); D. 1 1/2 in. (3.8 cm) Classification: Sculpture Credit Line: Lent by Bihar Museum, Patna Object Number: TS.376a These clay figures emerge during a moment when northern India was reveling in its cosmopolitanism, built on trade, diplomacy, and marriage alliances under Mauryan rule. The refined and unparalleled style of these figurines and their localized discovery point to them as objects of beauty for the enjoyment of an urban elite centered at the Mauryan capital of Pataliputra. Text from: www.metmuseum.org/art/collection/search/819128

Title: Enthroned Buddha Period: Ikshvaku Date: late 3rd century CE Culture: India, probably Goli stupa, Guntur district, Andhra Pradesh Medium: Limestone Dimensions: H. 16 3/4 in. (42.5 cm); W. 15 in. (38.1 cm); D. 4 1/8 in. (10.5 cm) Classification: Sculpture Credit Line: Lent by Brooklyn Museum, New York, Gift of the Ernest Erickson Foundation, Inc. Object Number: TS.179 Rights and Reproduction: Brooklyn Museum This Buddha sits on a throne-seat supported by lions that gaze at two long-horned ibex or deer—a reference to the Buddha’s first sermon at Sarnath. The Andhra style of Buddha imagery is a result of cultural exchange across the Indian subcontinent: Sculptural images of the Buddha in the round appeared in the south in the third century CE, at least a century after versions in the north. The Buddhist art of the Deccan was also impacted by pre-Buddhist as well as non-Indian art, both the long-established sculptural tradition of the yaksha, or nature deity, and Roman aesthetic influences stimulated by an upsurge in Indo-Roman sea trade. Text from: www.metmuseum.org/art/collection/search/762008

Title: Enthroned Buddha Period: Ikshvaku Date: late 3rd century CE Culture: India, probably Goli stupa, Guntur district, Andhra Pradesh Medium: Limestone Dimensions: H. 16 3/4 in. (42.5 cm); W. 15 in. (38.1 cm); D. 4 1/8 in. (10.5 cm) Classification: Sculpture Credit Line: Lent by Brooklyn Museum, New York, Gift of the Ernest Erickson Foundation, Inc. Object Number: TS.179 Rights and Reproduction: Brooklyn Museum This Buddha sits on a throne-seat supported by lions that gaze at two long-horned ibex or deer—a reference to the Buddha’s first sermon at Sarnath. The Andhra style of Buddha imagery is a result of cultural exchange across the Indian subcontinent: Sculptural images of the Buddha in the round appeared in the south in the third century CE, at least a century after versions in the north. The Buddhist art of the Deccan was also impacted by pre-Buddhist as well as non-Indian art, both the long-established sculptural tradition of the yaksha, or nature deity, and Roman aesthetic influences stimulated by an upsurge in Indo-Roman sea trade. Text from: www.metmuseum.org/art/collection/search/762008

Title: Enthroned Buddha Period: Ikshvaku Date: late 3rd century CE Culture: India, probably Goli stupa, Guntur district, Andhra Pradesh Medium: Limestone Dimensions: H. 16 3/4 in. (42.5 cm); W. 15 in. (38.1 cm); D. 4 1/8 in. (10.5 cm) Classification: Sculpture Credit Line: Lent by Brooklyn Museum, New York, Gift of the Ernest Erickson Foundation, Inc. Object Number: TS.179 Rights and Reproduction: Brooklyn Museum This Buddha sits on a throne-seat supported by lions that gaze at two long-horned ibex or deer—a reference to the Buddha’s first sermon at Sarnath. The Andhra style of Buddha imagery is a result of cultural exchange across the Indian subcontinent: Sculptural images of the Buddha in the round appeared in the south in the third century CE, at least a century after versions in the north. The Buddhist art of the Deccan was also impacted by pre-Buddhist as well as non-Indian art, both the long-established sculptural tradition of the yaksha, or nature deity, and Roman aesthetic influences stimulated by an upsurge in Indo-Roman sea trade. Text from: www.metmuseum.org/art/collection/search/762008