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Seal with seated figure in "yoga posture," Mohenjo-daro, Pakistan, Steatite cooked with alkali and baked, ca. 2600-1900 BCE

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Seal with seated figure in "yoga posture," Mohenjo-daro, Pakistan, Steatite cooked with alkali and baked, ca. 2600-1900 BCE

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Around the years 2600 to 1900 BCE, there was a civilization around the Indus River that goes from Tibetan to the Arabian Sea, known as the Indus Valley Civilization. It has well-planned homes, and the Indus people were very good in managing natural resources. There was a complex writing system, and some of it can be seen on the stamp seals made then. They have been the proof that trading occurred. This specific seal has a seated figure in the center, looking like the seated meditation posture, the “lotus” position. The video, “Indus Valley River,” mentions “some scholars wonder if we are looking at the earliest representation of the Shiva.”

What first catches my attention was the details on, what seems, like a God on the center. The texture of the horns, the depth difference between the nose and eyes of the face. The lines and pattern that goes along the blouse or shirt, and the arms. Even with the smaller animals such as the rhino, or the tiger, they put as many lines as they can, so when it gets stamped on the clay, the details really get to shine. The writings on it are purposefully backwards, same goes with the direction of the animals. This will be laid on top of the clay, meaning anything that is on the seal will shift, and look correct once it is placed.

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One of the pillars of Ashoka, Polished Sandstone, 3rd century BCE

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One of the pillars of Ashoka, Polished Sandstone, 3rd century BCE

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Ashoka is known as the third ruler in the Maurya Dynasty. As the video “Ashoka” explains, “as he viewed the battlefield, at his victory, he saw a Buddhist monk walking through the battlefield. Calmly, radiating energy. It made him see the horrors of his destruction and renounced violence instantly.” It surprised me to know someone who has led a massacre, who killed thousands of people, has changed instantly, the second he saw a Buddhist monk.

I really see this change with the pillars that he has made, that has writings that established the Dharma. They are placed in several places in India and Pakistan. What really got my attention were the messages that were written on the pillars. From the article “The Edicts of Ashoka,” one of the lines were “The beloved gods honors both ascetics and the householders of all religions, and he honors them with gifts and honors of various kinds.” Not only has this surprised me and this was a sudden change of heart from a man who killed hundreds, but also he has acknowledged other religions aside from Buddhism. In Catholicism, I have been raised to only worship our God and no one else’s. Even then, I have witnessed people degrading others for believing in a different religion, or that what they believe in is the “wrong one.” It warms my heart that he doesn’t give them hate, or shame for not following the Dharma, but essentially wanting them to be treated as if they are any other person.

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One of the First Sculptures of Buddha, Gandhara, Pakistan, c. 100 CE-200 CE

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One of the First Sculptures of Buddha, Gandhara, Pakistan, c. 100 CE-200 CE

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Where Ashoka depicted Buddhism through a pillar, this has been one of the earliest figurative sculptures of the Buddha. Around the years 100-200 CE, South Asia was more engaged in trading. King Kanishka, from Northwest China, has stimulated the production of Buddhist figurative images. What makes it more interesting is that no one has seen the Buddha, the figures were made years after he lived, so they had to depend on how Buddha felt to others.

This specific sculpture is from Gandhara, which is different from the Mathura style. The video “Buddhist Figurative Sculpture” mentions that the defining feature of the Gandhara style, is the schist, which is the material being used.  Another would be the folds, or the ripple effect on the clothes, adopting features from the Greek and Roman sculptures. There are distinguishing symbols that are used to show Buddha. One of them is the Ushnisha, which is a bump on the head, or what seems to be a hair bun, that represents the enhanced mind. This figure also has extended earlobes, since he used to be a prince and would wear expensive jewelry that would be dangling on his ears. This Gandhara style has one elongated with wrinkles on the clothes, making it look like an elephant trunk. Between the eyebrows is an Urna, which is a mark that is a sacred mark on the body, showing how Buddha is the awakened one.

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The Great Stupa at Sanchi, Bricks and Mud, Founded c. 200; expanded 150-50 BCE

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The Great Stupa at Sanchi, Bricks and Mud, Founded c. 200; expanded 150-50 BCE

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This was begun by Ashoka, and it is where the ashes of Buddha were buried. The Stupa has been one of the earliest sacred places, creating a sacred experience. You enter the Stupa, and walk around it in a circumambulation, meditating and experiencing the ultimate truths. The round dome reminisces the mandala, which is a “diagram of the cosmos” that would appear in different artworks in South Asia. On top of it is a Triple, which is the shape of an umbrella. It represents the Tree of Life, and the Three Refugees of Jewels (The Buddha, the Dharma, and the Sangha). It has four gateways with stone sculptures that were a collective patronage of the working class.

This not only is a great way to meditate and reflect on yourself, but a way to feel closer to the dead. As you are closer to the ashes of Buddha and circumambulating the Stupa, you in this deep self-reflection. Not only are you alone with your thoughts, but also you are closer to Buddha, reminding yourself of his teachings. This, to me, is similar to the Stations of the Cross in church, where you go around and you come closer to the crucifix, which is normally in the center. The way how there were so many patrons of the working class that would help create this Stupa, is similar to how members of the Catholic church would offer money in order to improve its sacred place and to show their devotion to God.

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Queen Sembiyan Mahadevi as the Goddess Pervati, Bronze, 10th century

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Queen Sembiyan Mahadevi as the Goddess Pervati, Bronze, 10th century

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This sculpture has both depictions of a Goddess and a Queen. The Gods in India all have different forms, specifically the female figures would have slender bodies and is standing in a tribangha form or known as the “three-band pose.” Her clothes have ripples and wrinkles, and are latched closely to the body. She is wearing a lot of jewelry, and has a relaxed smile on her face. The “Queen or Goddess?” video references that during the time period this was made, there would be bronze images of deities that would depict the beauty standard for women at the time. Large hips, big chest, and the pose I mentioned earlier.

This statue would be carried and brought around to a community while she is dressed and ornamented with jewelry and silk. The purpose of processing her around is so that the people will receive the blessing of the divine. “It was incredibly important to see and be seen. In Hindu belief, the mutual exchange of gazes between the human and the divine is the way a blessing is confirmed,” says the video. We have a similar belief and procession in the Philippines. In my hometown, we have a day called “The Black Nazarene,” where for an entire day, a huge statue of Jesus, that is dressed in purple and gold, is brought from one church to another, which numerous people would go around and try to touch the statue. It is believed that when you touch it, you will be blessed.

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Cong, Serpentine, China, Sichuan province, c 2000-1000 BCE

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Cong, Serpentine, China, Sichuan province, c 2000-1000 BCE

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The Neolithic period was when the first Chinese civilization has emerged. Similar to the Indus Valley Civilization, although we couldn’t learn more about them through writing, they left traces behind since they lived in settled communities. One of the traces left behind were jade objects that were shaped like tubes, or cong. They were found around the deceased, and the reasoning behind it is still a mystery. An article that explains the Neolithic period suggests only the important and wealthy people were buried along with the cong.

They come in different sizes, some are short, and others are long. The shape of the center would be a circle, and the outer side would be a square. Carvings are seen on it, looking like a face which may refer to the spirits and deities. What is really important about these, and I think it has some contribution as to why only the wealthy had them, was that it was hard to carve on it. Jade is a very hard to work with, and you must use a hard abrasive sand. The reason I feel this might be a reason only certain people are buried with it is that it takes time to make it.

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Army of the First Emperor, Qin Dynasty, Lintong, China, Painted terracotta, c. 210 BCE

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Army of the First Emperor, Qin Dynasty, Lintong, China, Painted terracotta, c. 210 BCE

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The First Emperor ruled the Qin state thanks to military force. He brought China from being diverse, and having different political views, to being one single entity. When I first learned about the Tomb of the First Emperor, I was amazed by how many terracotta soldiers were made. With a huge amount of them, and a large area to cover, I assumed that there was a mold that they plaster clay on so it would be easier, but I was wrong. Each and every one of them is hand-made, each one having different features. However, they did use some mold to make the job a bit easier, lead pipes were used to make the arms and legs. Since the Emperor was precise and the soldiers needed to be perfect for his tomb, if mistakes were made, the sculptors would be buried along with him.

I find this similar to the Pillar of Ashoka. Both of its patrons were someone of power and had the money to do so, and the person was known to create a great massacre. However, the function and reason behind it are different. With the Pillar of Ashoka, he used it as a way to establish Buddhism, and to bring peace to his kingdom and the following generations. Although he started off as a horrible leader, he had a change of heart. With the Army of the First Emperor, he used them as protection into his next life, and he remained the same person throughout.

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Portrait of Lao Tzu or Laozi (The Old Wise Man), Tang Dynasty, ca. 900 CE

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Portrait of Lao Tzu or Laozi (The Old Wise Man), Tang Dynasty, ca. 900 CE

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From the horrors of the Qin Dynasty, Confucianism and Daoism have emerged and become the spiritual traditions that are still being carried out through China to this day. According to legend, Lao Tzu got tired of court life and left society, which led him to be awakened and discover the Dao. Already, I was caught with the fact that this story is similar to Siddhartha Gupta, or also known as Buddha. He also left society and isolated himself to meditate, and become awakened.

Lao Tzu here is depicted as old, mountain man. The long, bushy eyebrows and the length of his hair and nails tell us how many years he has been isolated. The thick lines that outlines his body, and the thinner lines that give the pattern of his robe, the tangled hairs on his beard, and the grass he is standing on. Similar to the depiction of Buddha figure, this artwork of Lao Tzu has been made years after the man lived. What I find interesting is the similar posture Lao Tzu has with the Buddha sculpture. Although one of the hands on the sculpture of Buddha is missing, one would be facing up, and the other is facing or pointing down. In the Lao Tzu portrait, he has one hand pointing up and the other down. The wrinkles on the clothes are similar as well. It makes me curious even more to know if there were some influences between Buddhism and Daoism.

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Nesting Coffins of Lady Dai (Xin Zhui), Tomb 1 at Mawangdui, Changsha, Hunan province, Wood, Lacquered exteriors and interiors, 2nd century BCE

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Nesting Coffins of Lady Dai (Xin Zhui), Tomb 1 at Mawangdui, Changsha, Hunan province, Wood, Lacquered exteriors and interiors, 2nd century BCE

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This type of tomb was common during the Eastern Zhou period. The burial structures are compartmentalized, with the tomb in the center, and different objects surrounding it. For Lady Dai’s tomb, she had five compartments and was buried in a series of four coffins. According to “The Search of Immortality: The Tomb of Lady Dai,” the outermost coffin was a plain box, while the other three were covered with laquer in black, red and white. This shows how wealthy Lady Dai is, as lacquer, substance from the lac tree, was more valuable than bronze. It is also hard to apply, as you have to wait for it to dry in order to put on another coat. At the time, it was believed that people have two souls, a hun and a po. The hun journeys through the afterlife, or world of immortals, and the po remains in the tomb and enjoy the offerings.

On the coffins, there are decorations that reference Lady Dai’s spirit traveling in the afterlife. The black lacquered coffin is the largest and has a certain style of brushstrokes. According to The Canon of Xie He, the painting needs to be seen as if it “breathes with life.” This can be seen with the flowing cloud formations, the mythical creatures that move along with the clouds.

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Funeral banner of Lady Dai (Xin Zhui), Silk, 2nd century BCE

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Funeral banner of Lady Dai (Xin Zhui), Silk, 2nd century BCE

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Along with the coffins, the Tomb of Lady Dai consists of other objects, one of them being her funeral banner. It is separated into parts, the Registers, the Heavenly realm, Lady Dai and her attendants, the body of Lady Dai with mourners, and the underworld.  The function of them is still in debate, but it is believed to either be used to identify the dead, or an aid that they can take with them to the afterlife.

The banner is on a T-shape, and has dragons that go down to the underworld. The center register depicts Lady Dai in the afterlife, enjoying the comforts of her tomb as she ascends into heaven. Below is the sacrificial funerary in the mourning hall. Vase-shaped vessels filled with food and wine are seen with rows of mourners. With this banner, you also get to understand how the artist used the space given and the depths of the objects and figures. The ones that would be in the background are the smallest, and as it comes to the foreground, it would be bigger.

I personally find some similarity with this and Queen Sembiyan as the Goddess Pervati. Both of these artworks were depicting wealthy women in a sort of holy way. Lady Dai is the center figure and is ascending into heaven, and Queen Sembiyan is depicted as a Goddess. The difference with them is the function of the artwork. With Queen Sembiyan, it was used to process around a community, giving blessings to the people. The funeral banner, although the function is unknown, could be an object that the dead could take along with them.