Figure 1

  The Fasting Sakyamuni Buddha, Kushana dynasty, Grey Schist, ca. 1st century BCE- 3rd century CE.
by Jenny Tai and Kevin Teas.

History dictates that the Buddha lived from 563 to 483 BCE. After being born, he was given the name of Siddhartha. Also, he was presented to an astrologer, who predicted he would either become a mighty king or a prominent religious leader. His father favored a life as a king for his son. As a result, he intended to keep Siddhartha away from the real world or any influence that might lead him to take the religious life. Therefore, Siddhartha grew not knowing the cruelties or realities that contaminate the world. Nonetheless, later at age 29, he engaged in 4 trips, in which he realized the cruelty of the world. Siddhartha also realized he wanted to pursue an ascetic lifestyle, away from all the luxuries he had grown up with. Aware that his father would not agree with him, Siddhartha left his palace home without telling his parents (Heilbrunn Timeline of Art History).

Subsequently, Siddhartha left behind all known luxuries and lived as an ascetic for six long years. The work of art being observed today celebrates this chapter of the Buddha’s journey to find enlightenment. To gain control over his desire for human influences, Siddhartha engaged in major meditation and fasting. However, his strict fasting almost led him to his own death. He was slowly consumed to the point where only his bones were visible. Siddhartha  was offered and accepted a bowl of rice from a girl. Soon, he realized that extreme measures, such as his fasting, were not the correct path towards enlightenment. Therefore, one is able to reflect on the importance of the sculpture of the Fasting Buddha (Figure 1), as this was a crucial moment that led him one step closer to finding enlightenment (Metropolitan Museum of Art). The Kushans surely were aware of its importance as they engaged in the detailed portraying of the Fasting Buddha. 

After finding enlightenment, the Buddha continued meditating and teaching others about the “Middle Way”, which consisted in having a balanced, rather than an extremist, lifestyle. He did so until age 80, when he died. The remains of the historic Buddha were cremated and distributed among his closest followers (Metropolitan Museum of Art).

Figure 2

The sculpture of the Fasting Sakyamuni Buddha was created within the Kushana dynasty (Figure 2) approximately between the 1st. century BCE and 3rd. century CE. The Kushans were among the most powerful dynasties of the Gandhara region and they were descendants of central Asian nomads. They ruled modern day northern India, southern Afghanistan, northern Pakistan, and Kashmir. One of its most prominent rulers was Kanishka I, as society underwent major progress during his ruling in the 1st. century CE (Cavendish, 317). In addition, prosperity and riches were brought to the kingdom due to formal trade with the Roman Empire as well as China. Interactions also led to cultural exchanges among the Kushans and other groups (Katariya, 73).

The remarkable work of art was first located within the Gandhara region, modern day Peshaway Valley, Burner, Swart, Bajaur, parts of western Punjab, and eastern Afghanistan. The region became known for its Mahayana Buddhist religious sculptures. In fact, Gandhara art first initiated the portrayal of the Buddha and influenced overall Buddhist religious art in Central Asia, China, Korea, and Japan (Lahore Museum Website).

Specifically, the Fasting Buddha sculpture was housed in a Devakula Sanskrit, or family temple in the Kushan empire. This sort of temples only served royal families as a place to worship deities. Therefore, the main audience of the work of art was the royal Kushan family itself (Katariya, 74).

Many religions were practiced within the Kushan state but none had been declared official state religion (Katariya, 31). Nonetheless, it is clear that Buddhism stood if not as the most favored one, then among the most favored religions (Katariya, 31). In fact, Buddhist art received the most patronage from Kushan rulers and many newly developed religious monasteries were named after Kushan rulers, such as “Kanishka’s Monastery” (Katariya, 31).

In fact, one is able to observe through the religious expression of the time that, as Buddhism developed, Buddhist religious art progressed as well. Historians have gone as far as claiming that Buddhism and Buddhist art lived their Golden Age within the Kushan era, especially under the ruling of Kanishka I (Katariya, 30). Importantly, the earliest portrayals of the Buddha in sculptural form occurred within the Gandhara region (Katariya, 30). Observing these early portrayals, one is able to note that Gandhara artists favored the depiction of the Buddha in a realistic and detailed manner (Katariya, 30). Even in his decaying state, the Fasting Buddha depicts a peaceful, fearless expression, while his pose and gestures depict meditation (Figure 3).

The sculpture of the Fasting Sakyamuni Buddha truly reveals a different chapter of the Buddha’s life (Katariya, 30). Overall, the increasing depictions of the Buddha in religious art reveals the prominence of Buddhism among the Kushans.

Figure 3

       In hopes of achieving enlightenment at Bodhgaya, “Shakyamuni meditated and fasted for forty-nine days. Thus, showing him as an emaciated renouncer relates to his enlightenment and his status as a yogic ascetic who has ultimate control over his body” (The Metropolitan Museum of Art website). It is not functional, however it could be used to make a statement about Shakyamuni and what he went through to find enlightenment. The title does help interpret what is being seen, it goes as far as describing what is being seen. The statue shows a man slimmed down to his bones. The title “Fasting Buddha Shakyamuni” says that the man is actually Shakyamuni and that he starved himself until his bones were visibly shown.

There are many details incorporated into the sculpture that can be drawn into a formal analysis. “Formal analysis includes those methods and questions that mostly concern the visual and physical aspects of the work of art. In formal analysis, you seek the answers to your questions in the work of art itself usually without referring extensively to outside sources”(Alleva, 23). Line is employed through Shakyamuni’s robe and his bone structure, which seem to be of importance in this piece. As we know, line work on a Buddha’s robe was influenced by the work of the Greeks. The lines depict the drapery of the robe over the Buddha’s arms and are not sharp or agitated, but flow throughout the piece as it adds balance and implies directional movement. The shape is a 3-dimensional piece where the dominant shapes seems to be squares and rectangles. Generic squares and rectangles are the general shapes that are used to structure the body, for example, the torso and arms. The artist uses light and shading to bring depth of the sculpture’s ribs and clothing to make it life like and 3-dimensional. The darker parts of the sculpture are the ones that implies directional movement and flow throughout the piece. The dominant colors are different shades of grey because of the material that was used to sculpt it, schist. 

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Figure 4

The piece has a smooth texture throughout his whole body besides the hair and beard which looks to have a bumpy texture when touched. Since the piece is 3-dimensional, it already has a sense of depth, but the shadows of certain areas bring out the intended life like parts (Figure 4).

The artist emphasizes the Buddha’s thin body by making the Buddha so thin that he is practically bones. Lines play a big part in the structure, especially the ribs, and catches the attention of the audience. The thin body brings out the emotion of the piece as it tells the story of Shakyamuni and the journey he went through to achieve enlightenment. The viewpoint would be the front of the sculpture as the bones are more prominent. The directional movement of the lines from the cloth and the ribs lead the audience to say focused on the center. There is also a “halo” at the back of the sculpture, making the back less viewable. The work is displayed from the front as the sculpture is placed in front of a wall. It does not take away from the viewing as most of the details is at the front and the story of the “Fasting Buddha Shakyamuni” can be clearly implied.

The first portrayals of the Buddha begun under the Kushan dynasty, specifically within the Gandhara region. Because of its desirable location, with direct access to the silk routes and ports on the Arabian Sea, the Kushan dynasty was able to engage in trade with the Roman Empire and China (Katariya, 70). Subsequently, trade brought large wealth to the Kushans. Additionally, trade allowed for cultural exchange, as foreign ideas influenced the Kushan empire. The true height of the Kushan dynasty occurred under Kanishka's rule, between the late 1st CE and early 2nd century CE, as he was able to bring large territories under his control (The Metropolitan Museum of Art website). Due to its large wealth and influx of foreign ideas, the Kushans were able to engage in the visual arts. Lastly, as Buddhism was the dominant religion and art was becoming popular, one is able to understand why Buddhist imagery was first depicted under the Kushan dynasty.

Total word count: 1503

Works Cited

Brown, Kathryn Selig. "Life of the Buddha". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. http://www.metmuseum.org/toah/hd/buda/hd_buda.htm (October 2003).

Cavendish, Marshall. World and Its Peoples. Vol. 1, Marshall Cavendish, 2007.

Katariya, Adesh. The Glorious History of Kushana Empire: Kushana Gurjar History. Adesh Katariya, 2012.

Lahore Museum website. Gandhara. https://lahoremuseum.punjab.gov.pk/node/130.

The Metropolitan Museum of Art website. Fasting Buddha Shakyamuni 3rd-5th century, Pakistan (Ancient region of Gandhara). New York: the Metropolitan Museum of Art. https://www.metmuseum.org/toah/works-of-art/1987.218.5/.
D'Alleva, Anne. Look!: the Fundamentals of Art History. Prentice Hall, 2010.