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The Buddha Revisited

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Vincent-Paul TOCCOLI THE BUDDHA REVISITED Bodhisattva Maitreya & Standing Bouddha Afghanistan, 1er & 2ème sicècles or THE GENESIS OF A FICTION an essay on art and spirituality Translated from French by Philip Pierce ??? "Stories do not belong to eternity "They belong to time "And out of time they grow... "It is in time "That stories, relived and redreamed "Become timeless... "Nations and people are largely the stories they feed themselves "If they tell themselves stories that are lies, "They will suffer the future consequences of those lies. "If they tell themselves stories that free their own truths "They will free their histories forfuture flowerings. (Ben OKRI, Birds of heaven, 25, 15) "Dans leur prétention à la sagesse, "Ils sont devenus fous, "Et ils ont changé la gloire du dieu incorruptible "Contre une représentation, "Simple image d`homme corruptible. (St Paul, to the Romans, 1, 22-23) C O N T E N T S INTRODUCTION FIRST PART: THE MAKING-SENSE TRANSGRESSIONS 1st SECTION: ON THE GANGES SIDE, 5th-1st cent. BC. Chap.1: The Buddhism of the Buddha Chap.2: The state of Buddhism under the last Mauryas 2nd SECTION: ON THE INDUS SIDE, 4th-1st cent. BC. Chap.3: The permanence of Philhellenism, from the Graeco-bactrians to the Scytho-Parthans Chap.4: An approach to the graeco-hellenistic influence SECOND PART: THE ARTIFICIAL FECUNDATIONS 3rd SECTION: THE SYMBOLIC IMAGINARY AND THE REPRESENTATION OF THE SACRED Chap.5: The figurative vision of Buddhism Chap.6: The aesthetic tradition of Greek sculpture 4th SECTION: THE PRECIPITATE IN SPACE AND TIME Chap.7: The early Gandhara school of art Chap.8: The offer and the demand THIRD PART: T H E C A T A L Y S E D P A R T H E N O G E N E S I S 5th SECTION: THE IDIOSYNCRATIC MOMENT Chap.9: The archetype APOLLO Chap1O: The archetype BUDDHA 6th SECTION: THE ICONOGRAPHIC MOMENT Chap.11: The Statue Chap.12: The Fiction CONCLUSION Bibliography Complementary bibliography Glossary I N T R O D U C T I O N We need a great aesthetic history of Hellenism, which precisely would start at the very time, when the historians of Antiquity put an end to it: that would have happened, the day Augustus entered Alexandria of Egypt (3O BC). This history notwithstanding is very far to have been closed, on the contrary (WOODSTOCK 1996: 182 sq), especially for the traveler who raises his eyes upward to the vertical architectures of Pudong in Shanghai, of Wanchai in Hong Kong or Miniato-ku in Tokyo. And what to say in Beijing...The (uncompleted) periple of Alexander has disseminated as far as the Tigris river first, and beyond the vast Persian-Iranian desert, up to the Indus and the Amu-Darya (the famous Oxus of the Greeks) a "certain something" that surpassed him - however great he was -, of which he actually promoted himself as the ambassador - more or less consciously-, as the sewer and finally as the promoter and the propagandist. That something is a daimon, - the daimon of Hellenism, which certainly consists of "kaloskagatos" (The Beautiful and the Good together), the "enthousiamos" (The God in Oneself) and the "ananké" (The Fate). The author does not identify himself with the "best critic" of WW.TARN, - whom his marvelous book " The Greeks in Bactria and India" is dedicated to, - but it may have been allowed a touch of scientific haughtiness to leak out, when, just by the last lines of his introduction (XXII-XXIII), he considers the "artistic material" of the Gandhara Art: those phenomena " are native arts which borrowed, and sometimes misapplied a certain modicum of Greek form and ornamentation. They furnish a subject of very great interest in it, but they have little to do with...the Greek spirit". And as if that peremptory prejudice of his was not enough, the Cambridge Professor feels the need of claiming assistance from Professor HERZFELD, who writes as an outmatch: " Only the most superficial features of Greek art are taken over; the essential ones are missed;... it neither really understands nor assimilates the spirit of Hellenism" (Archaeological History of Iran, 1934: 5O and 75, quoted by TARN 1951: XXIII). Beyond that condescension, and maybe thanks to it, the Professors both let appear with more strength those "great spirit" and «spirit of Hellenism " which are my quest indeed. TARN and HERZFELD will have more eulogistical commentaries for the productions of that Hellenistic art, which is the Gandhara Art, when it reached from the 1st century AD on the centers of Herat, Hadda and Fondukistan in Iran, or further above those of Ai Kanoum on the Amu Darya river, and of Tumcuk in the Tarim Basin. That what is based upon historical facts is the following: at the very time of the fall of the last rulers of the Ptolemaic dynasty of Egypt, - whose Alexandria had been elevated to the symbolic flagship, - hardly thirty years after the fall of Athens and the defeat of the Lagids by Pompeius, it happened that , at the ultimate border of the ex-empire of Alexander, the last illegitimate graeco-bactrian descendants of the Seleucid dynasty were pushed off by the Barbars, shifting down from the oases of the Taklamakan desert. No more Greek rule : the roman rule takes the place, and uninterested in spreading out beyond Mesopotamia, will conquer westward as far as the ocean border, from the fjords of Cambria down to the sands strands of Mauritania. Sure, the adventures of Alexander with his generals Lagos, Ptolemaeos and Seleucos comes to an end; but that what surpasses them, and will go on and in a very special manner ,both unexpected and mysterious, is the story the author wants tell you in the following: an episode, heavy and rich of consequences, of the Hellenistic experience, which will survive its presumed fathers, because of its inextinguishable genius, brought to light one day on the Mediterranean rock of Crete and making any aesthetics feel itself as la fille de Minos et de Pasiphaé (Racine) the daughter of Minos and Pasiphaé. This essay was induced by three inspired meetings. The following is personal enough that the author may be permitted to speak in the first person... I was totally innocent in Gandhara matters, in Greek (-Iranian- Roman-) Buddhist art and in the FOUCHER and MARSHALL hypothesis, when I landed in Asia seven years ago. It was in Taipei (Taiwan ), some time later, that I saw a tiny little stucco head ( 5cm ) : at an art dealer ( a horrible word, but no deal, no art!), who smuggled now and then ( who never smuggled in that profession ?), gave me the hospitality as I was learning mandarin in town. He told me that it was a "Gandhara"of Afghanistan: "From Hadda!" he added. He saw me so much troubled and virgin that he exclaimed: «Just keep it! ». The tiny Hadda head is right now looking at me writing those lines in my study room at the Lumbini International Research Institute, where I took refuge in order to compose this essay. Two years later, I spent All Saints in Beijing. I took the advantage of devoting some ten hours to the Buddhist grottoes of Yungang and traveled to Datong by the night train. Rain was waiting for me. With wet feet and quite alone, I was filing past the first caves, colored, charged, full with Indian reminiscences or too much sinisided: nothing attracted me particularly. Above all, I was trying to protect me from the cold rain and my "Guide Bleu" too, which was already in a bad state. I had been walking through the site for already two hours; I had "seen" the main things, and I was on the point of turning back. Just a last glimpse to the guide warned me not to miss, - at any price! - the big beheaded Buddha in cave number... I forgot! Well!...He was outlined against the deep grey sky: tall, standing, without head, his arm raised ( as if on the Agora or Forum squares) and the drapé of his himation or toga in a perfect fall. He looked as much Greek or roman as his face, thanks to its absence, imposed not any physiognomy. I was no more tired or annoyed: gone with the wind! From that moment on nothing counted any more: only me, the CAMUSian Mediterranean boy, contemplating a statue of Greek descendance, in the 6th century BC Buddhist caves of Yungang, at the Mongolian border! Which kind of emotion was mine, if not the fact that I belong to that cultural basin, which from the Pontus and Cyprus up to the Columns of Hercules, conceived and brought into the world and educated the "enfance de l'Art". And from there I could "see" Mycens, Athens and Delphi; Paestum, Segest and Agrigente; Ephesus, Palmyra and Dura-Europos... But I couldn't see yet all that what the following summers jealously kept for me, on all the Silk Roads, and their tributaries of the Chinese Turkistan and Central Asia... The last meeting dates from last year. I was driving all over the Kinki peninsula, in South Japan, from the Zen Gardens of Kyoto, through the big temples of Nara, up to the Koya-san, where I spent three days and nights in one of the Shingun monasteries. This episode takes place some hours before the departure of my train Nara-Osaka-Koyasan. I was near to give up: my visits, - when I visit, - always are systematic: and I let me lead by my "esprit de système". Although exhausted by eight fulfilled days, I processed to that last discovering, the Shin Yakushi-ji, in the surrounding countryside of Nara.
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