Central Asia, Pakistan, India, and Afghanistan, Gandharan, ca. 2nd to 3rd century CE. A hand-carved miniature grey schist Buddha head, depicted nearly in the round, with a wavy coiffure, a generous ushnisha (topknot) as well as a mesmerizing face that is skillfully modeled with elegant features including almond-shaped, downcast eyes, an arched browline leading to an aquiline nose, and full, closed lips. The drama of this visage with its stylized wavy tresses and meditative expression does not discount its naturalism. Notice how skillfully the sculptor rendered the philtrum (vertical groove in midline above the upper lip), the Cupid's bow of the upper lip, the tear troughs between the eyes and nose, the nasal bridge and nostrils, and the contours of the chin. A wonderful example. Size: 1.6" W x 2.4" H (4.1 cm x 6.1 cm); 4" H (10.2 cm) on included custom stand.

Alexander the Great conquered Gandhara in 330 BCE and with the help of the Indo-Greek kings introduced classical traditions that would influence Gandharan art for the following seven centuries. The stylized curly Mediterranean hair and top knot derive from classical sculptures such as the Apollo Belvedere (330 BCE), and the sensitive modeling of the expressive visage demonstrates a classical influence as well. A rare example of Greco-Buddhist art that demonstrates a strong syncretism between eastern and western traditions.

The head of the Buddha is perhaps the most significant element of the deity as it represents the immense body of knowledge and wisdom of Buddha along with the tranquil nature that emanates from his expression. What's more, in this example the sculptor's adept modeling technique allows for a moving spiritual interpretation as opposed to other comparatively colder, stiffer renderings. A peaceful countenance with a rounded ushnisha symbolizing the wisdom and knowledge acquired after attaining enlightenment, and elongated ears, a physical feature symbolic of the Buddha's time as a prince when he wore elaborate ear ornaments to demonstrate wealth and prosperity. Of course, the prince stopped wearing them when he left the palace to become an ascetic; however, his earlobes remained stretched signifying a conscious decision to reject the material world in exchange for spiritual enlightenment and simultaneously suggest that the Buddha can hear all that is asked for and needed in the earthly world. Those half-closed eyes indicate a meditative state - at once looking both outward and inward. Furthermore, the curled hair of the Buddha signifies the nobility of Buddha. Beyond the multi-layered meaning embodied in the iconography of this piece, the sculptor's artistry and technique is exceptional.

Provenance: private J.H. collection, Beaverton, Oregon, USA

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#154804

The head is a fragment from a larger sculpture and thus the back of the head and the neck are rough and uncarved. Otherwise in good condition with wear commensurate with age and nice preservation of details. Great deposits on surface.