Possible Early Images of Avalokiteshvara
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Possible Early Images of Avalokiteshvara Shirley Khoirom1 1. 7/14 Kalkaji Extension, New Delhi – 110 019, India (Email: [email protected]) Received: 25 July 2018; Revised: 18 September 2018; Accepted: 27 October 2018 Heritage: Journal of Multidisciplinary Studies in Archaeology 6 (2018): 838‐853 Abstract: Avalokiteshvara, the Bodhisattva of compassion is one of the most popular deities of the Mahayana Buddhist pantheon. Over time the iconography of the deity became more and more complex with many additional attributes. Its origin, however, is traced to lotus bearing yaksha figures specially depicted on the stupas of Shunga or pre‐Kushana period. This paper attempts to trace back these figures and throw light upon certain figures of possibly later period that perhaps are a missing link between the lotus bearing yaksha figures and the Avalokiteshvara figures that we come to know of in the Kushana period. Certain images from Mathura in the state of Uttar Pradesh in India and Butkara in the Swat region of Pakistan have been brought to notice in this context. Keywords: Bodhisattva, Avalokiteshvara, Padmapani, Mathura, Gandhara, Butkara, Yaksha Introduction Avalokiteshvara, the Bodhisattva of compassion is one of the most popular deities of the Mahayana Buddhist pantheon. Lotus being the identifying attribute of Avalokiteshvara, the deity is also commonly known as Bodhisattva Padmapani. But before one accepts lotus as the identifying feature of the Bodhisattva, it is important to go back to images in ancient Indian art that might have been an inspiration for the iconography of the Bodhisattva of compassion. Coomaraswamy (2001) is of the opinion that the lotus holding yaksha figures depicted in early Indian art can be described from an iconographic point of view as Padmapani, meaning having a lotus or ‘padma’ in hand. While these figures may not already represent Bodhisattva Padmapani, Coomaraswamy asserts that when it became necessary to present this Bodhisattva, the type lay ready to hand. He also suggests the likelihood that the very conception of Bodhisattva Padmapani drew from the already existing Padmapani yaksha, like in the case of Vajrapani who Buddha’s faithful attendant was earlier and later evolved to the Bodhisattva Vajrapani of the Buddhist pantheon. The padma bearing yaksha has been represented a number of times in ancient Indian sculpture. For instance, Sanchi guardian yaksha at the base of a pillar, north toraṇa; and yaksha on a railing pillar from Mathura, holding lotuses in right hand (Agrawal 1984: 25). The pillar at the northern entranceway of Bharhut, now kept in the Indian Museum, Khoirom 2018: 838‐853 Figure 1: Yaksha Ajalaka (sandstone), Figure 2: Yaksha from Kaushambi Bharhut, Indian Museum, Kolkata (sandstone), Allahabad Museum (Photo Courtesy: AIIS) (Photo Courtesy: AIIS) Kolkata, features Ajalaka yaksha, as mentioned in the accompanying inscription (Figure 1) (Mishra 1981: 115). He is shown standing on a human figure, holding a half‐blossomed lotus in the right hand while the left‐hand displays katihasta pose. So what we have here is a yaksha with an identity, holding a lotus. He is depicted together with Kubera (guardian of the north) and Chandra yakshi. We also have a lotus bearing figure from Kaushambi (Figure 2). The figure is carved on a railing pillar fragment. Stylistically it seems to belong to Shunga period (Tripathi 2003: 56). The yaksha holds the lotus in his left hand which is lifted up. The lotus stands erect next to the face of the yaksha. The 839 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 right hand is held close to the chest in an unidentifiable mudra. The figure wears a dhoti below and a scarf above. The turban is very typical of those seen in Shunga period figures. Figure 3: Ahichchattra triad (red sandstone), National Museum, New Delhi (Photo Courtesy: AIIS) 840 Khoirom 2018: 838‐853 Figure 4: Figure holding lotus cluster (red sandstone), Government Museum (Photo Courtesy: AIIS) The lotus bearer is also seen depicted in many triads from Mathura region. Figure 3 is a triad from Ahichchattra dedicated in the year 32 of Huvishkaʹs reign (Mitra 1955: 63‐67). The central figure is that of Shakyamuni, while the figure to the left is that of Vajrapani. The figure on the right side holds lotus flowers in the right hand. The left hand clenches the left thigh. At this point, the figure can be called a padma bearing deity or padmapani yaksha. Though we may be inclined towards drawing comparisons with Gandhara Buddha triads that have Maitreya and Avalokiteshvara as attendants, however it is 841 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 uncertain if the lotus bearing figure in the Ahichchattra triad is Bodhisattva Avalokiteshvara. It could simply be an attendant with lotus flower offerings. But Coomaraswamy’s assertion that when it became necessary to present Bodhisattva Avalokiteshvara, ʹthe type lay ready to handʹ does seem to apply (Coomaraswamy 2001: 18). Figure 5: Figure holding lotus cluster from Butkara (Faccenna 1962) There is an interesting rail fragment from Mathura on which is depicted a bold figure holding, what appears to be, an erect cluster of lotuses in the right hand (Figure 4). With the left hand proudly held akimbo, the figure is no ordinary guardian or any kind of subsidiary figure. The big turban makes the dating of the fragment likely to be around Shunga period or maybe a little later. The figure wears a dhoti. A thin long scarf is held between the two elbows from behind the body. A V‐shaped neck ornament is worn by the figure who also has a slightly corpulent belly. The eyes bulge out a little and there is a hint of smile on the lips. Interestingly this figure is comparable to some figures from Butkara (figs.5 and 6) in Swat, Pakistan (Faccenna 1962). These figures too hold a cluster of lotus flowers in one hand while the other hand is held akimbo. Figure 7 too is from the same region. Here the deity holds a cluster of lotuses in one hand while the other hand is held up in abhaya mudra. Though slightly different, it seems to represent the same deity seen in figures 5 and 6. 842 Khoirom 2018: 838‐853 Figure 6: Figure holding lotus cluster Figure 7: Figure holding lotus cluster from from Butkara (Faccenna 1962) Butkara (Faccenna 1962) There is a striking similarity between these images from Butkara and figure 4 from Mathura. The stiff lotus buds and the arm held akimbo in both cases cannot be missed. While one cannot establish the period the images from Butkara belong to, stylistically they appear to be older than many of the images seen in Gandhara. Figure 8 is helpful in giving us an idea of the time period of these images. Now housed in the British Museum, it is again of unknown provenance. The fragment appears to be a portrayal of the worship of Buddha’s seat by Brahma and Indra. Or is it an aniconic representation of the Buddha whose lone halo here shines in all its glory? It is uncertain if this image belongs to the aniconic phase of Buddhist art. It is possible that in the period when this particular sculpture was carved, Buddha was depicted in both aniconic and iconic forms simultaneously. Perhaps not depicting the Buddha himself was a comfortable option compared to later times when aniconic representations of Buddha came to be rarely seen. Thus, one can place this piece in a period earlier than the many icons of Buddha and Bodhisattvas seen in Gandhara. The drapery style of the devas in this image shows some similarity with our lotus holding 843 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 deities above, specially figure 5, in the manner it is brought from the hip on side to the shoulder on the other side. The similarity of the manner in which ridges run on the drapery as well as dhoti, and the rough and chunky quality of carving in both cases cannot be missed. Also, their ornamentation is comparatively much less than seen in many of the images in Gandhara. Such characteristics point to an earlier period of making. Figure 8. Aniconic representation of Buddha? (Isao 2003) We may not be wrong in suggesting a connection between these figures from Butkara and figure 4 of Mathura. Though the latter seems to belong to an earlier period, they all seem to have a common origin. However, what we are unsure of is who they represent. Are they really Avalokiteshvara? or yaksha? The Butkara images seem to have acquired enough importance to be depicted as a deity in Buddhist art. It seems that, even if a 844 Khoirom 2018: 838‐853 prominent yaksha at one time, by now the lotus bearing figures that we see in Butkara have come to acquire the status of a Bodhisattva. The figures have a standard iconography. Dressed in a princely manner, one hand is held akimbo while the other hand holds a bunch of lotus buds. Figure 9: Figure holding flower bunch Figure 10: Figure holding flower (Faccenna 1962) bunch (Isao 2003) There are a few more figures that also seem to be of relevance in the present context. Figures 9 and 10 depict a princely figure delicately holding a bunch of flowers with both hands. That the figure is perhaps a deity is indicated by the halo around figure 10’s head and the pedestal below. Figure 9 is from Butkara, while figure 10 is of unknown provenance. Who indeed do these figures represent? Could it also be an early form of Avalokiteshvara? In Gandhara Avalokiteshvara is shown holding a lotus or a wreath or 845 ISSN 2347 – 5463 Heritage: Journal of Multidisciplinary Studies in Archaeology 6: 2018 sometimes both.