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Left and middle: the Banpo bowl Right: the Jōmon vessel

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Two Neolithic Vessels - Compared and Contrasted: Bowl, Painted earthenware, Banpo, Painted Pottery Neolithic, China, 5th Century BCE + Vessel, Earthenware, Jōmon, Japan, 10,500-300 BCE

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Two Neolithic Vessels - Compared and Contrasted: Bowl, Painted earthenware, Banpo, Painted Pottery Neolithic, China, 5th Century BCE + Vessel, Earthenware, Jōmon, Japan, 10,500-300 BCE

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These two vessels were created in different time periods, in different regions, and likely for different purposes, but they share some commonalities, nonetheless.

The older of the two pieces is the bowl. This bowl, which is painted with what is thought to be a shaman’s mask, as well as fish, served as a lid of an urn that contained the skeletal remains of an infant. It was produced in the Banpo region of what is now modern-day northeastern China during the 5th century BCE. The fish represent offerings of food for the baby’s spirit, and the shaman’s mask represents the spirit's ability to convene with the living world. Painted pottery made up the minority of pottery artifacts found from this area, and feature of paint is characteristic of the ceremonial use of this piece.

The other decorative vessel was created in the region that is modern day Japan during the middle Jōmon period, around the time of 2500-1500 BCE. The protruding decoration it features around its top suggests it was used for a ceremonial purpose of some kind, and not for everyday use - a similarity that is shared with the Banpo bowl. Could its use have been related to death like the Banpo bowl?

Other shared features of the pieces are their material types and techniques used in their creation. Both pieces are made of clay and use the coil-technique of sculpting, while a different technique was used for the upper part of the Jōmon vessel. A final similarity that these pieces share is that while these pieces were created thousands of years apart from each other, they were both made during the neolithic periods of their respective societies.

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Dancing Girl, Bronze, Indus Valley Civilization, South Asia, 2600-1900 BCE

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Dancing Girl, Bronze, Indus Valley Civilization, South Asia, 2600-1900 BCE

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This bronze figurine of a dancing girl was created from the lost wax technique of bronze casting in the Indus Valley Civilization, which existed between 2600-1900 BCE on the land that is now present day India and Pakistan. The Dancing Girl is a female figure with a thin build, appearing nude, besides a triangle shape that covers her pubic area - similar to the front of modern day bikini-bottoms. A combination of organic and formal styling, her legs and arms are elongated and her eyes are enlarged and appear closed. She holds her chin at a slight upward angle and her long, bundled hair drapes across her neck. She stands in “tribhanga”- her right hand sits on a jutted out hip, the opposite leg bent out in front of her, and her left hand rests upon her left leg. She wears bracelets on the length of her left arm, and just two on her right, as well as a necklace with three large beads.

Appearing serene, youthful, and slim, it seems appropriate that she’s called a Dancing Girl and not a Dancing Woman - there is little about the figure to suggest its purpose to be a fertility figurine, or to suggest she’s been pregnant. In fact, I personally speculate that the covering of her pubic area despite her nudity could possibly be a symbol of virginity. The choice of bronze for a material suggests the figurine was made by or for someone of means, and she could be representative of someone special - this could be a portrait of sorts.

Before she was bronze, the dancing girl began as a wax model created on top of a core (likely made of clay), as required for the lost wax technique. Wax rods and a wax drainage cup were added before clay or plaster was packed around the model. Next, the covered model would have been placed into a kiln, resulting in the wax melting out and for a hollow space the shape of the model to remain. Into this space, molten bronze would then be poured, filling the space between the outer packed plaster or clay and the original clay core. After hardening, the outer mold could be chipped away and the figurine polished and further refined.

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The full set of bells found in the tomb of the Marquis Yi of Zeng.

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Bells, Bronze, The Tomb of the Marquis Yi of Zeng, Warring States, China, 433 BCE

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Bells, Bronze, The Tomb of the Marquis Yi of Zeng, Warring States, China, 433 BCE

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This set of bronze bells, found within the tomb of the Marquis Yi of Zeng, is a one-of-a-kind masterpiece. The Marquis enjoyed music and festivities during his lifetime, and these were found within the chamber of his tomb dedicated to these pleasures so that he may continue to enjoy them in the afterlife.

Composed of 65 bells hung on lacquered wood with bronze fittings, this piece contains a total of 2.5 metric tons of bronze. There are 3 rows of bells, which decrease in size, with the largest on the bottom and the smallest, used to tune an orchestra, on the top.  Each bell is tuned to play 2 notes - one when the front of the bell is struck, and a second from striking either side. All together, the set plays 12 different notes in 3 octaves and traditionally, it would have been played by five musicians.The bells were seemingly cast perfectly, meaning they played the correct notes upon their creation without further manipulation. Notably, how this was achieved remains a mystery, with re-creations requiring filing of the bells post-casting to achieve proper tuning.

At each end of the L-shaped stand are bronze figures who appear to hold up the above level. Bronze tigers on the lowest row hold some of the largest bells. Both the bells and stand are rich in texture and the stand is painted with red, yellow, and black lacquer. The bells have gold inscriptions that state “Marquis Yi of Zeng made this. Cherish it.”

In the center of the lowest row is a bell that doesn’t match the others. It was a gift from the King of Chu, who ruled over a neighboring state, and who brought this bell as a funerary gift, as indicated by the inscription included on the surface of the bell. It’s possible that the original bell was then taken by the King of Chu, but the truth remains unknown.

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My funerary guideway inspired by Lady Di's

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Funerary banner from the Tomb of Lady Dai, Color on silk, Western Han Dynasty, China, 168 BCE

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Funerary banner from the Tomb of Lady Dai, Color on silk, Western Han Dynasty, China, 168 BCE

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My drawing depicts my physical remains placed into a shallow grave in a rural environment, perhaps on what was my own property. The small number of people who attend my funeral are adding material to my grave to help build the compost pile which will ultimately consume my body. Piled on me could be dead leaves, food waste, or even manure! Not only would all of these things help to create an environment fit for my decomposition, but this last act is a way to share the ideals of sustainability and regeneration I embraced in life with the people who cared about me.

In the scene I drew, the rainbow coloring represents my spirit moving on, becoming part of the natural world in many different ways. I become part of the soil, the plants, and the clouds, and my memory lives in my family's hearts and minds. Ultimately, I am not going far. My soul may dissipate into many pieces or remain one; either way, it will continue on in the form of new life on Earth.

While it may have been Lady Di’s belief that her soul may become distracted or harmed on it’s journey into the afterlife, I don’t hold the same belief. As living itself has already been weighed down with heartache and struggle, I can only imagine death to be a release from this. In our modern world, it’s impossible to live as one with nature, and it’s a daily pain to live in opposition to it, especially when that is what your heart and mind desires. As my soul leaves my body, I believe it will not struggle to return to find it’s way to where it belongs.Instead, it will find peace in reuniting with the earthly elements it has yearned to be in communion with. This guideway is to serve as comfort to myself when facing the anxiety of death, but my soul itself knows the way.

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The Enlightenment scene as depicted at the Great Stupa of Sanchi

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The Enlightenment, Stone, Great Stupa of Sanchi, Andra Period, South Asia, 1st Century BCE

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The Enlightenment, Stone, Great Stupa of Sanchi, Andra Period, South Asia, 1st Century BCE

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On his path to enlightenment, Buddha was tempted by Mara, described as a celestial king or demon, alongside his army and imagery of beautiful women in an attempt to distract Buddha from his goal. This scene was carved into stone at the Great Stupa at Sanchi around the 1st century BCE as a conflated narrative. In this style of storytelling, the main character is depicted multiple times in the same scene to convey the progressing timeline of the tale. In this case, the scene is shown on a long rectangular piece of stone, which perhaps serves as an arch on the larger structure. Also utilized in the scene’s design is the stacking technique, in which different elements or characters are layered in the foreground, midground, and background, adding visual depth to the piece.

At the center of the image is the royal palace, topped with an umbrella. The umbrella is an aniconic representation of the Buddha. To the left of the image, men in headdresses look to the palace with smiles on their faces and their hands held in prayer. This side of the scene appears orderly, and the characters from the foreground to the background are clear to the viewer. They represent the Devas - Gods of the Vedic religion. This is an appeal to the Vedic people within this Buddhist art.

To the right of the palace, it’s quite a different scene. Nearest to the palace, the figures are goblin-like, and they appear to be in the process of attacking and infiltrating the palace. To the immediate right of the attacking goblins, though, are goblins facing away from the palace who appear to be trying to run, with a couple of them in the process of being trampled. Humans on horses, elephants, and a chariot also try to make their escape.

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Prince Siddhartha as Bodhisattva - Schist - Kushan Dynasty

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Prince Siddhartha as Bodhisattva, Schist, Kushan Empire, Central Asia, 1st-3rd Century CE

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Prince Siddhartha as Bodhisattva, Schist, Kushan Empire, Central Asia, 1st-3rd Century CE

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This work is a representation of Prince Siddhartha as a Bodhisattva. He is dressed in a flowing robe that crosses over his left shoulder and upper arm, revealing his toned chest and abdomen. His earrings, necklace, headband, and even his sandals are large and decorative - this is representative of his royal and privileged background. His headdress includes a large halo behind his head, which is mirrored by a smaller circular piece that is seemingly attached to the front of his headband. The prince holds his right, webbed hand in the abhaya mudra and his left hand upon his hip. He stands upon a pedestal, on which it appears people are kneeling in prayer or perhaps making an offering. His eyes appear closed or nearly closed.

This statue was created during the time of the Kushan dynasty. It was carved from a grey schist at their Gandaran sculpture workshop. The Greco-Roman influence, a result of Alexander the Great’s previous conquering of the area, is prevalent in this work. Prince Siddharta’s symmetrical face, toned body, flowing robes, and youthful appearance are all representative of this influence.

This statue was produced for placement in a temple along the Silk Road in what is present day Afghanistan. The purpose was to encourage donations from traveling merchants to the Buddhist temples. This representation of Buddhism would have been relatable to them as an example of someone who both reached enlightenment, but also represented material wealth - a combination that is not encouraged by all branches of Buddhism.

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A venn diagram comparing the tombs of two historical emperors

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A comparison of two tombs: Tomb of the First Emperor, Qin Dynasty, China,  221-206 CE, + Tomb of Emperor Nintoku, Earthen mound, Kofun, Japan,  4th century CE

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A comparison of two tombs: Tomb of the First Emperor, Qin Dynasty, China,  221-206 CE, + Tomb of Emperor Nintoku, Earthen mound, Kofun, Japan,  4th century CE

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Left: The Big Bamian Buddha prior to its destruction Right: The niche that once held the Big Bamian Buddha

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Big Buddha, Sandstone covered with stucco, Gupta, Bamiyan, 5th Century CE

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Big Buddha, Sandstone covered with stucco, Gupta, Bamiyan, 5th Century CE

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I found the footage of the destruction of the Bamiyan Buddhas to be heart-wrenching. While the Buddha’s were truly amazing works of art, the invasive and shocking attack reflects the level of violence experienced by the people of Bamiyan and throughout Afghanistan. By destroying the Buddha’s, the Taliban flexed not only their power, but sent a message to the world about their willingness to shatter boundaries -not even these wonders of human creation and treasures of cultural heritage would be safe from their wrath.

It’s important to reflect on these acts of violence for several reasons. Remembering the depths of human suffering that people go through on a daily basis can help to deepen one’s compassion and sympathy for others. The lengths that people will go to commit violence on one another is a sobering reminder as well. Finally, though the destruction of the Buddha’s was a fairly recent historical event, I knew nothing about it before taking this class. Just like the importance to “never forget” 9/11, this was another event that shook the world that is worth knowing about, and remembering, too.

The story of the Bamiyan Buddhas and the now empty niches that remain are still important historical landmarks. For one, the niches themselves represent an amazing feat in human design - though personally I can’t imagine traveling to Bamiyan for this reason alone. I imagine the emptiness conjures mixed feelings from the locals - many who likely lived through the destruction. While it’s understandable to want to replace the empty space, just like the Bamiyan Buddhas, the vast majority of the world’s artifacts are eventually lost to time one way or another. At the end of the day, life will march on - colossal Buddhas or not.