Ca. 400–500 AD. Gandharan. A grey chlorite-schist statue of the Bodhisattva Maitreya seated in the so-called “European pose” The face is well proportioned and has half closed eyes, straight nose in the Classical style, moustache and small mouth above a strong chin. To the forehead is a round recess for the insertion of a separate inlaid Urna. The hair is long and swept back, and the top of the head he wears a diadem. The long hair is tied in a bow shape to the top and falls to the sides.The body is strong, yet sensitively carved and has four necklaces, one running diagonally across the chest with a series of amulet cases, known as Kavacha. The robes hang over the left shoulder and fall about the waist and are tucked into the long loin cloth. The left hand holds a water vase, one of the distinguishing symbols of Maitreya, whilst the right hand was possibly held up in the position of abhaya mudra, and represents protection, peace, benevolence and the dispelling of fear. This is taken from the iconography of Hindu gods, most notably Shiva. The figure sits on a throne with lattice panels to the front, and on which is a cushion with draped border. Maitreya sits with his feet crossed at the ankles, his toes touching a foot rest which is similarly draped in cloth.The long hair tied in a bow shape to the top of the head, is believed to be derived from the styles worn by Brahmin priests at the time. Such characteristics helped define them from other members of society. The style is also reminiscent of Greek athletic youths, who are shown in the act of tying their hair before a competition. The style therefore well illustrates the fusion of eastern and western cultures. The crossed ankles of this type, known as the “European pose,” was similar to the so-called “Royal ease pose” figures, in that Maitreya is depicted as contemplating the suffering of the world prior to his birth from the Tushita heaven to help beings achieve enlightenment.The figure displays the poise and regal grandeur of aristocrats of the time, and this piece would have been commissioned by a wealthy member of society to adorn a shrine. By doing this the donor hoped that this would be a meritorious act that would help achieve a good rebirth. The construction of shrines was primarily for the veneration of relics of the Buddha, and decorative panels would have acted as visual markers for a largely illiterate society to contemplate the message of the Buddha, thus early sculptural pieces were not necessarily objects of veneration in their own right. As the practice of Buddhism in Gandharan regions shifted from the veneration of relics, to the contemplation of Bodhisattvas, these figures did become the object of veneration and achieved their own cult practices. The honouring of such images was a way for the devotee to hope for a good rebirth in the future, when Maitreya was believed to descend to earth for the benefit of all living creatures. This shift in belief coincides with a move from figurative panels to more monumental sculptures. The development of devotional sculpture in Gandhara is a complex one, but it seems to have been influenced by Mathura in Northern India.The majority of Gandharan devotional imagery has not been found in its original position, and so it is difficult to build up a picture of how these shrines functioned. However, the numerous image shrines that have been found can be dated broadly on the basis of archaeological and numismatic evidence. Image shrines were usually added one at a time to sacred areas by different donors. Most image shrines were built facing the main stupa, defining the area of the main public sacred area. Image shrines were also placed along passageways leading into the sacred area to create a dramatic effect for the worshipper approaching the main stupa. Over time, these smaller shrines were replaced with larger ones, and ultimately to massive chapels for the dedicated cults of the Bodhisattva.The identification of images as Maitreya is largely based on the flask, or vase, that he holds, generally in his left hand. The precise meaning of the flask is not known, but it may have something to do with one of the previous lives of the Buddha and acts as a portent of the birth of Maitreya in the future. An alternative theory is that the vase holds a healing elixir, which would tie this imagery closely to that of the Hindu god Dhanvantara, who arises from the churning of the cosmic ocean bearing a vase of healing herbs.The item was researched by Bret Gaunt. For a similar statue see the Hirayama ikuo Silk Road Museum, Tokyo. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:850mm / W:450mm ; 30k+g