Face of ancient Buddha images, in different arts across Asia :
In Buddhist art, image of historical Buddha is often labeled Shakyamuni (sage of Shakya clan). This distinguishes image of historical Buddha, Buddha who lived on earth during this present period, from past, future, or cosmic buddhas, bodhisattvas, or other divine beings. There is a significant debate concerning the development of the Buddha image, where it first occurred, why, and when. Broadly speaking, image of Buddha emerged during first few Centuries CE, in two major centers of Indian art during Kushana period. One center of artistic production was ancient region of Gandhara, an area that includes northwestern India as well as parts of present-day Pakistan and Afghanistan. Gandharan images have a style that is reminiscent of Hellenistic sculpture and artists in region were certainly influenced by presence of Hellenistic colonies, and large-scale trade and exchange that occurred in this cultural crossroads.
A second area of artistic production is associated with Mathura, India. Here, artists developed a style that can be characterized as more indigenous, less concerned with naturalistic realism in human form and more with symbolic qualities of spiritual figure. Mathura artists created other kinds of religious imagery as well. It is probable that Buddhist imagery was influenced by the development of Hindu and Jain figures and that various communities were developing images of devotional figures simultaneously.
A very significant gap of several centuries exists between lifetime of historical Buddha and creation of first surviving images of Buddha in stone or any other medium. First surviving Buddhist art in stone was actually created prior to images of Buddha himself. During Maurya period, in reign of Emperor Ashoka (272–231 BC), significant monuments and other artworks in stone were commissioned, apparently for first time. Although stone sculpture, such as large columns surmounted by images of lions and wheels, expressed Buddhist symbolism and motifs, there are no Buddha images from this period. Many scholars have speculated that an aniconic (without idols) period existed in Buddhist art, where there was a prohibition against depicting actual Buddha and various symbols substituted for an explicit anthropomorphic representation. Some scholars have interpreted narrative reliefs at early Buddhist monuments to illustrate early Buddhist processions or festivals, where aniconic symbols, rather than anthropomorphic symbols, represented Buddha.
More than 300 years later, in Kushana era, a strong imperial ruler bringing various outside artistic and stylistic influences to realm, seems to have contributed to further artistic developments and a hitherto unseen profusion of sculpture created in stone. Scholars still not entirely sure how all Buddhist figures were used in ritual and worship. Buddhist images and sculptures originally adorned complexes of stupas as well as monastic structures. Early Buddhist sites also incorporated indigenous imagery such as loving couples and fertility figures. Caves were hewn from rock in parts of India, creating spaces for worship rituals and community meetings, as well as monastic dwelling quarters. These rock-cut cave complexes became increasingly elaborate in terms of imagery and iconography, which was created in painting as well as carved from stone in situ. Votive images also developed for private use, and as souvenirs for pilgrims to sacred sites. Figure of Buddha and attendant bodhisattvas and other divine and semi-divine beings, became objects of devotion themselves. As these divine personages expanded in number and complexity, they required larger stupa and temple structures to house them. Over time, proliferation of great numbers of Buddhist images, in some cases explicitly created through mass production techniques, reflected beliefs in meritorious repetition of various names and phrases.
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