On Modes of Visual Narration in Early Buddhist Art Author(s): Vidya Dehejia Source: The Art Bulletin, Vol. 72, No. 3 (Sep., 1990), pp. 374-392 Published by: College Art Association Stable URL: http://www.jstor.org/stable/3045747 . Accessed: 12/07/2013 01:29 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. College Art Association is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin. http://www.jstor.org This content downloaded from 128.59.62.83 on Fri, 12 Jul 2013 01:29:56 AM All use subject to JSTOR Terms and Conditions On Modes of Visual Narration in Early BuddhistArt Vidya Dehejia From the start of the century before Christ, Indian monuments display a wide range of sculptured and painted narratives portraying the legend of the Buddha. This article addresses the technique of presentation of these stories, and analyzes the structure of visual narratives as opposed to their content. Seven distinct modes of narration are identified, and it is suggested that the artists might have considered them to be equally acceptable alternatives since they frequently occur together on the same monument. In conclusion, the article considers the manner in which the viewer-cum-worshipper might have responded to these works of art. Stories revolve around actions, human or otherwise, that artist into a series of episodes, prime among them being occur in space and unfold in time; for the artist, the pro- the donation of the auspicious state elephant to a brahmin, tagonists of a story, together with the elements of space the banishment of Vessantara and his family, his donation and time, are the three major components of narrative. The of chariot, horses, children, and wife, and the final happy artist has to decide how to portray his actors, how to rep- reunion in the palace. Each episode - and this is funda- resent the space or spaces in which his story occurs, and mental to the meaning of the term - is composed of several how to shape the time during which the story unfolds. The parts or events, which may be described artistically as artist may also arrange his story in a series of more or less "scenes." Thus the episode of the donation of the children discrete episodes; if so, he must decide the manner in which may be broken down into three (or more) parts: the evil he wishes to compose these episodes within the visual field. brahmin demands the children, Vessantara grants his The sculptor or painter can also adopt a variety of modes wish, and the brahmin departs with the children, wielding to present the same or similar narratives to his viewers. his cane. This essay analyzes the distinctive ways in which the In- The artist desirous of portraying this, or any other leg- dian artist first presented Buddhist legends to his audience end, had a number of options available. He could, for in- of monks and lay worshippers. Soon after the death of the stance, decide in favor of brevity and use the monoscenic Buddha around the year 483 B.C., a vast body of literature mode of narration to tell the tale, utilizing a space as little known as the Tipitakas, or "Three Baskets," began to be as twelve inches square (Fig. 1). In this mode, a single, composed. It was written in the language of the people, easily identifiable scene, excerpted from one of the episodes prakrit, as distinct from the courtly refined language, san- of the narrative, is presented to stimulate the viewer's rec- skrit. From this Buddhist canon, several times the size of ognition of the story. A Bharhut artist portrayed the single the Old and New Testaments put together, the artist con- scene of Vessantara's gift of the white state elephant, a do- centrated on presenting two sets of legends. One was the nation that caused his father, the king, to banish him. The life of Prince Siddhartha, who renounced the world and viewer is presented with just three figures, albeit unmis- - achieved supreme wisdom, being known thenceforward as takable ones the elephant, the brahmin who receives the Buddha or "EnlightenedOne." The second was the 550 prior gift, and Prince Vessantara pouring water to ratify the gift. lives (jatakas) of the Buddha, in which he came into being Having given enough information to identify the tale, the in a variety of forms, animal and human, until he was born artist leaves the viewer to narrate the story himself, and to finally as Prince Siddhartha, and achieved enlightenment, recall that most important of the ten Buddhist virtues or which put an end to his cycle of rebirth. paramitas, charity. We are, of course, quite aware of the wide range of modes On the other hand, the artist could choose the expanded within the field of literary narrative, and the major differ- mode of continuous narration, presenting his viewer with ences between, for instance, a short story and a novel, an the entire series of episodes listed earlier, leading up to the epic and a drama, all of which may be used with equal climax of the tale. To do this, a Sanchi artist spread out effect as alternate modes to narrate a story. A comparable his narrative across two faces of a gateway architrave so range of variation exists in visual narration, and an analysis that the Vessantara story occupies a space some twenty- of these modes forms the body of this paper. An idea of two feet long and two feet wide (Fig. 12). Each episode the narrative modes available to the artist may be gained consists of more than one scene, and in each scene the figure from a study of two depictions of the Buddha's prior life of the protagonist is repeated. There are, however, no as Prince Vessantara, a prince whose extraordinary acts of framing devices to demarcate one scene from another, or generosity made his name a legend in Buddhist circles. one episode from the next, and the story flows "continu- the The story of this prince is generally broken down by the ously" across the available space. To decipher pre- This content downloaded from 128.59.62.83 on Fri, 12 Jul 2013 01:29:56 AM All use subject to JSTOR Terms and Conditions ON MODESOF VISUALNARRATION IN EARLYBUDDHIST ART 375 :,:,: :: All, :::: :: ::::::: . ... ... 04ollooo " o". .......... 1 Monoscenic narrative, Vessantara jataka. Bharhut coping, ca. 100-80 B.C. (photo: author) sentation, we must be aware that the repetition of the figure opted for the monoscenic mode, representing just a single of the protagonist indicates that we are seeing him in dif- scene from a story to suggest the entire narrative. In two ferent spaces at successive moments of time. of the three architraves that depict the Buddha's prior birth The gulf that exists between these two modes of narra- as the elephant Chaddanta, the artist selected the mono- tion in the field of Western art has been remarked by schol- scenic mode of narration, extending his single scene to oc- ars, who see a major distinction between the isolating, cupy the entire space available (Fig. 4), while the third ar- monoscenic mode of narration and the expanded method chitrave presents the viewer with three scenes strung of continuous narration.1 Others consider the excerpted together to form a continuous narrative. Did the artist as method of monoscenic narrative as a degeneration of prior well as the viewer regard these modes of narration as narrative cycles.2 In the Indian context, however, these two equally viable alternatives? For answers, we need to probe modes of narration exist side by side, frequently on the further into the function and position of the reliefs, the same monument. The restrictions of space may have been role of the patron, and other related questions. A popular partly responsible for the choice of narrative mode, but it tale, such as that of Prince Vessantara or the elephant does not seem to have been the deciding factor. At Sanchi, Chaddanta, can be presented to the viewer in several of for instance, the architraves of the gateways offer a span the modes of visual narration discussed below. eight feet across, which would seem ideal for the method It is traditionally accepted that a narrative has two as- of continuous narration. Some Sanchi artists chose to use pects - a story or content that generally consists of a se- this method, capitalizing on the available space, but others quence of events, and the form or expression, the means This paper evolved out of a course on "Buddhist Visual Narrative," taught 1 K. Weitzmann, "Narration in Early Christendom," Narration in Ancient first at Columbia University and then at the University of Chicago. I am Art, special issue of the American Journal of Archaeology, LXI,1957, 91. much indebted to the students in these classes: they contributed ideas, 2 R. Brilliant, Visual Narratives: Storytelling in Roman and Etruscan criticized models, and I would also like to Art, presented suggestions. express Ithaca, 1984, 52. my gratitude to my colleague Richard Brilliant for the stimulating com- ments he made on reading a draft of this paper.