{"id":4604,"date":"2026-04-18T20:38:56","date_gmt":"2026-04-18T18:38:56","guid":{"rendered":"https:\/\/www.daltonsomare.com\/opere\/sakyamuni-as-an-itinerant-monk-gandhara-art\/"},"modified":"2026-10-08T17:38:54","modified_gmt":"2026-10-08T15:38:54","slug":"sakyamuni-as-an-itinerant-monk-gandhara-art","status":"publish","type":"opera","link":"https:\/\/www.daltonsomare.com\/en\/work-of-art\/sakyamuni-as-an-itinerant-monk-gandhara-art\/","title":{"rendered":"Siddhartha Sakyamuni as an Itinerant Monk, Gandharan Art"},"content":{"rendered":"

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Period:<\/strong> Kushan dynasty, 2nd\u20133rd century AD
\nMaterials:<\/strong> Schist
\nDimensions:<\/strong> 72 cm<\/p>\n

Provenance<\/h2>\n

Private German collection<\/p>\n

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Description<\/h2>\n

Gandharan art represents a fundamental moment in the development of the Buddha\u2019s iconography. These images depict Siddhartha Sakyamuni after his renunciation of worldly power and the beginning of his spiritual journey toward Enlightenment. The first anthropomorphic representations of the Buddha appeared between the 1st and 2nd centuries AD in Gandhara and Mathura under the Kushan Empire, replacing earlier aniconic symbols such as footprints, the Dharma wheel and the empty throne.<\/p>\n

The Buddha is rendered in an idealized human form, defined by the thirty-two marks of his superhuman nature. The monastic robe falls in deep, rhythmic folds, while the elongated earlobes recall his princely past. The ushnisha<\/em> and urna<\/em> symbolize wisdom and spiritual insight.<\/p>\n

The influence of Hellenistic art is evident in the treatment of the face and the wavy hair, reflecting the encounter between Greco-Roman and Indian traditions. This synthesis makes Gandharan sculpture unique within Ancient Asian Art<\/strong><\/a>. The calm expression and frontal symmetry embody spiritual balance and meditative concentration. The left hand holds the robe, while the right hand, now missing, was likely raised in the abhaya mudra<\/em>, the gesture of reassurance and protection. A small cavity at the base of the neck suggests the presence of a relic, reinforcing the devotional purpose of the sculpture.<\/p>\n

Carved in schist during the Kushan dynasty, this work belongs to the great Gandharan sculptural tradition. Its refined execution and clear iconography make it an important example of devotional Buddhist sculpture.<\/p>\n

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Further reading<\/h3>\n

Schist, stucco and colour in Gandharan sculpture<\/a><\/p>\n

explore Asian art<\/a>
\nmonthly highlights<\/a>
\npublications<\/a>
\nDalton Somar\u00e9 Gallery<\/p>\n

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Related Sculptures<\/h3>\n