Buddhist Art of Nepal and Tibet
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Nepal and Tibet served as the centres of Buddhist religion and art after Buddhism became extinct in India.
It is believed that the structure of Nepalese stupas is very ancient----with Ashoka. The Bodhnath stupa at Bhatgaon comprises a square platform surmounted by a saucer like tumulus. On the top nof the anda is a square box like structure. On all four sides of this structure are a pair of eyes painted ivory. The harmika is topped by a steeped----. This is surmounted by the umbrella.
Besides the stupas, following the Master’s injunction of spending the rainy months in meditation and contemplation, huge rock-cut chaityas and viharas for the monks were being carved in the hills far away from civilization but close to the trade-routes. These chaityas were again beautifully embellished thanks to the generous endowments of the donors. The rock-cut chaityas were an imitation of structural buildings in wood. The earliest rock-cut chaityas continued to use wood in the beams even though it was not necessary.
The sculpture on the gateways of the stupas of Bharhut and Sanchi include the Jatakas which potrayes Buddha’s incarnation in his previous life as a kind, wise and self-sacrificing animal, scenes from Buddha’s life, his miraculous birth, exit from this world, enlightenment and preaching the Dharma, miracles performed by him, Ajatashatru visiting the Buddha, scenes from Ashoka’s life etc. In these sculptures Buddha is not depicted in an anthropomorphic form.
The art of Hinayana phase was faithful to the Buddhist precept that Buddha had achieved extinction of Karma and ego and could only be depicted through symbols. The symbols through which his presence is invoked are footprints, the throne, the Bodhi tree, the Chakra etc.
In the Mahayana phase sculpting of Buddha’s image began . The Mathura school of art established the tradition of transforming Buddhist symbols into human form. Buddha’s first image can be traced to Kanishka’s reign (about 78 A D). The earliest sculptures of Buddha were made keeping the Yaksha prototype in mind. The Yakshas and other spirits were worshipped before the Buddha. They were depicted as strongly built with the right hand raised in protection and the left hand on the waist. These figures can be seen in the museum of Mathura. The standing Buddha figures resemble the Yaksha figures. The seated figures are in the padmasana posture( Give pic.). The head had a nimbus or halo with a scalloped border (Give pic.). The top hair resembles a snail shell. The eyes are wide open and almond shaped. The soles of the feet soles are marked with the symbols of the Wheel, Triratna, etc.
In every region the Buddha image imbibed its peculiar characteristics. The Gandhara Buddha in north-west India is stocky. The drapery of the image resembles the robes of Roman sculptures. The facial features of Mathura image can be found in Gandhara Buddha like the Urna between the eyebrows.
Contemporary to the Gandharan images are the Buddha images of Amaravati and Nagarjunakonda. The standing image of Buddha indicates Kushan influence. The robe is represented in folds and is worn with the right shoulder bare. The head of Buddha is oval in shape. His hair is curly in the form of snail shells. There is an Urna( circular symbol) in between his eyebrows.
The Gupta peroid ( 4th –7th c AD) saw Sarnath emerging as a school par excellence in Buddhist art. Some of the most beautiful images of Buddha are products of this school. One of the best sculptures from Sarnath depicts Buddha giving his first sermon in the deer park. The Master is shown in repose. His closed eyes and divine smile reveal his serenity. The body frame of Buddha appears transparent. The drapery is sculpted as a sheath.
The image of the Buddhist pantheon include Indra, Surya, Yakshas,Yakshis, dwarapalas, Mithuna couples, winged horses and mythical animals in Hinayana stupas and viharas as at Sanchi, Bharhut, Bodhgaya, Bhaja, Karle, Bedsa, Pitalkhoda and others and the Bodhisattvas, the Buddha, Tara and others in the Mahayana monuments as at Ajanta, Ellora, Auragabad, Karle, Bedsa, Pitalkhoda, Kanheri etc.
The art of Buddhist painting has a long history in India. The earliest cave paintings can be dated to 2nd c B C. They have been found in Ajanta in cave No.10. The later paintings have appeared during the period of Vakatakas and can be witnessed in caves 1, 2, 16 and 17. The paintings are a treasure trove of life in all its splendour. They throw light on the beliefs, life style, and costumes of the times. Women are superbly modeled. Many of them have dusky complexions. They have been potrayed in all conceivable moods and poses. There is a profusion of plants, flowers, birds, animals, divine and semi-divine beings. The subject of paintings are the jatakas, the events from Buddha’s life. Some of the prominent jatakas depicted are Sibi, Mahajanaka jataka,Chaddanta jataka, Vessantara jataka etc.The huge paintings of Bodhisattvas are unparalled.
The Bagh caves, nine in number, contain paintings of the Mahayana phase which are not well preserved. Some of the paintings that have survived are of a royal procession that depicts a calvacade of elephants and horsemen as people watch from balconies. Another painting depicts two women sitting in an open pavilion. One woman consoles another woman who covers her face with her hand while she raises the other hand in despair. The costumes worn by men and women in Bagh are stripped. The jewelry is worn on upper arms, ear and neck. As at Ajanta, animals are depicted with great care and love.
Most of the paintings of Bodhisattvas and Buddha have been destroyed by the vagaries of the climate. Only the head with halo and feet are visible.
Other Mahayana paintings have been found in the caves of Ajanta, Ellora and Pitalkhoda.
The Buddhist paintings reveal the sensitivity of the artists to varied forms of beauty. They indicate that the artists mastered the technique of delineating beauty on the cave canvas.
An extension of cave paintings is manifested in the Tanghkas or painted banners of Tibet. The Tibetan painted banners perpetuated the extinct forms of Buddhist art in India.
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The earliest Thankas are dated from 10th c AD onwards till present times. The repertoire of paintings contains the life of Buddha, Dhyani Buddhas, Bodhisattvas, Tara etc. Since the Tibetan Buddhism is an outgrowth of Tantric Buddhism of the Mahayana period, the concept of Shakti or female energy of the Boddhisattvas in the form of Tara is of utmost importance. Tara is depicted on a lotus throne, clouds flowers and birds can be seen below the throne. The paintings of Boddhisattvas, Avalokiteshvaras show similarities with Pala Bodhisattvas. Some Tannghkas are an amalgamation of chinese school of art and the Buddhist art school of Bengal.