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Ancient Steatite Seal depicting what is thought to be an early predecessor of the Buddha. 

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Indus Valley (First Steatite Seal) South Asia, 2600-1900 BCE.

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Indus Valley (First Steatite Seal) South Asia, 2600-1900 BCE.

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1.)   For my first work I chose to discuss the first ancient steatite Seal depicting a human like figure meditating. The object’s bottom right corner is sadly lost to time, however what remains of the seal shows a variety of interesting imagery and detail. Scientists have speculated that the seal is dated around 2600-1900 BCE and made from steatite, otherwise known as “soap stone” due to its soft carvable nature many other artifacts have been discovered to be made from a similar material. The seal is about an inch in height and length with a hoop on the back possibly used to hang or carry the seal around. Leading Professors like Cortney Chaffin of University of Wisconsin Stevens Point to believe these seals were used in trade or as early form of profession and personal identification. Further supporting evidence found on the top of the seal shows mysterious pictographic writing some characters seem to look like fish while others resemble those of a stickman. Unfortunately, we still have no idea what exactly is written, however similar Mesopotamian seals have lead scientists to hypothesize that the seal shows the individual’s name and job. At the center of the seal there is a large three faced man wearing a bull horn crown. The man is positioned in a squatting position resembling a yoga exercise or as Professor Chaffin describes as a “yogi like pose”. He is surrounded by animals such as a tiger, rhino, goat, elephant and bull and wearing extravagant clothing. Scholars have suggested that this seal may have belonged to an ancient priest worshiping this depicted figure. Furthermore, many including Professor Chaffin suggest that this figure may have been an early predecessor to the modern Hindu god Shiva. Citing Similarities like having 3 faces, association with animals in particular the bull and how modern Hinduism was not yet in existence at this given time.

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A part of Budda's story told at the Great Stupa at Sanchi. This one is called The Great Departure because it shows the start of Sidhartha's journey to enlightenment.  

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The Great Departure at the Great Stupa at Sanchi, India, 1st Century BCE

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The Great Departure at the Great Stupa at Sanchi, India, 1st Century BCE

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For this week’s Padlet prompt I chose to do one of the Great Stupa called The Great Departure. But before I get into the story aspect of this ancient relic, I think it’s important to take a brief look at the Great Stupa at Sanchi. After Siddhartha or Budda died his followers split his remains amongst themselves. The Great Stupa at Sanchi is one of the few remaining temples where a relic of Budda is still housed today. The relic is said to be held at the top of the site around where the three umbrella like structures are. The three umbrellas are thought to represent Budda, Darma (a key concept in Buddhism), and Sanga (followers which were like monks or nuns of the Christian faith). The narratives etched into the temple's structures were used by emperor Ashoka of the Mauryan Dynasty to convert the people from the Vedic religion to Buddhism. At the Great Stupa Budda’s story is told through a series of didactic art to illustrate his story even to those who couldn’t read. Within these stories Budda himself is not represented but rather through symbols (anitartic art) like them wheel or umbrella. In one of the gates called The Great Departure it shows a story of Siddhartha leaving the royal palace and starting his journey to enlightenment. The continuous narrative is packed full of interesting imagery (thanks to the stacking technique) to entice curious onlookers. According to Professor Chaffin of the University of Wisconsin Stevens Point these people carrying a horse with an umbrella are thought to be various Vedic gods assisting Siddhartha’s escape. From the palace to the deer park where Budda gave his first sermon, we see powerful imagery of these gods assisting him and his new religion. Other instances where we see aniconic symbolism occurs is at the fruit tree were buddha sat while resisting temptations. The incorporation of various Vedic gods and technique used to illustrate the Buddhist religion (such as the stacking technique) continue to inspire people to this day. The beautiful temples not only preserved Budda’s story but also helped Ashoka convert his people to the teachings of Buddhism.

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Image of a Gandharan style Buddha called The Seated Buddha. This sculpture is made from a soft stone called schist and made during the Kushan dynasty.

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The Seated Buddha (Gandharan Style) Pakistan/Afghanistan, 2nd-3rd Century BCE

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The Seated Buddha (Gandharan Style) Pakistan/Afghanistan, 2nd-3rd Century BCE

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For my week 6 Padlet prompt I chose to do an Gandharan sculpture called the Seated Buddha. This sculpture was thought to be made during the Kushan dynasty during the 1st through 3rd century CE. It is made out of schist stone which is soft enough to show the intricate detail such as the wavy hair on top of his ushnisha and imagery shown on pedestal Budda is seated on. These kinds of human depictions of Buddha is particularly interesting as evidence of not only Kushan influence (humanoid form) but also aspects of Greek (wavy hair) and even Persian (halo) religious concepts.  In this particular sculpture of Buddha he is seated in a meditation pose called the Mudra and depicts Buddha in a more emotionless expression with his eyes closed a stark difference in other similar works like the Emaciated Siddhartha or the Mathura Buddha which were both from the Kushan dynasty but made in different workshops. Despite the many differences between works they all are in reference to various portions of the story of Buddha described in the sutras. The Greek or Greco roman style was partially resulting from the actions of Alexander the great which brought along with him Greek influences to the region especially to places like Bactria. We also see evidence of significant Kushan influences that went into the creation of the humanoid Buddha such as the ushnisha which is connected to the Kushan’s distinct culture of skull deformation. It is thought that a possible explanation for this is that the Kushans borrowed Chinese ideas of “the son of heaven” concept to justify Kushan rule over conquered territories so having Buddha look similar to them would be particularly beneficial in maintaining Kushan rule.

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Bronze wine set found in the tomb of the Marquis Yi of Zeng but was later owned by an elder relative. 

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Pan and Zun Bronze Wine Set from China, Warring States period 433BCE

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Pan and Zun Bronze Wine Set from China, Warring States period 433BCE

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For the object from the tomb of the Marquis Yi of Zeng I choose to do the Pan and Zun Bronze vessel. Before going into specific information regarding the bronze vessel it is important to recognize the historical context of this particular object. The Eastern Zhou period or the Warring States period was a time of warfare and conflict between the three major groups: Jin, Qin, Chu. The Bronze Vessel found in the tomb of the Marquis is a object belonging to Yi of the Zeng which behaved similarly to a vassal state to the Chu. The bronze object originally belonged to Yi however it appears to have been gifted to an elder male relative of Yi. The object is thought to be from around 433 BCE and functioned as a fancy wine set. Even at a glance the objects extravagant curls and finer details sets it apart from other objects we’ve done for our Padlet prompts. Rightfully so, in fact the wine set was made using 4 separate techniques. First it’s shape while particular is evenly circular with an upper portion and lower portion similar to that of a water fountain. The vessel has continuing textural indents of the coma pattern that was made using pattern blocks. Which stamped the coma pattern onto the section molds. The extravagant tightly held curls on the rim of each top and bottom portion were made using the lost wax technique. Finaly the mythical creatures and thicker swirls on the outside and supporting the top rim were connected via Joinery. Similar to soldering, the Zeng artisans connected the individual pieces together and used all four technologies to create this Wine set.

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Pots (middle and left) from Banpo China and the ancient Japanese Jōmon Earthenware (right).

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Compare and Contrast Neolithic Earthenware (Banpo Painted Pottery vs Japanese Jōmon  Earthenware) 300BCE

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Compare and Contrast Neolithic Earthenware (Banpo Painted Pottery vs Japanese Jōmon  Earthenware) 300BCE

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The Week 9 Padlet prompt involves comparing two neolithic pots, one is a bowl from China and the other is a pot from Japan. The bowl was classified as an ancient Banpo painted earthenware thought to date from around the 5th millennium BCE. The pot is an ancient Jōmon earthenware vessel that is thought to be dated from 10,500 --- 300 BCE. Despite the vast distance between where the two earthenware were found historians believe the artifacts held a similar ritualistic function to the people of their time. The top of the Jōmon vessel is adorned with detailed sculpted add-ons made from a similar additive technique to those found in the fertility goddess in the Indus Valley civilization. Wavy textured with hoops and other fragile looking sections, points to the theory that this was not used in everyday life but rather also had a ritualistic function. According to Professor Cortney Chaffin of the University of Wisconsin Stevens Point this vessel’s function may have been somehow related to the massive death rate that was found during this period. Unlike the Jōmon vessel whose answers remain primarily unanswered the Banpo bowl found in China has some more clues about the people and function of the bowl itself. Painted pottery was extremely rare with around 97% of all the pot found on the site lacking in any painted imagery. The other 3%, however, had geometric paintings like fish and what appears to be an andromorphic mask also painted in the same geometric style. Professor Chaffin explains that many people at this time period practiced a form of Shamanism. The Shaman used masks to protect their body while attempting to communicate with the dead. Due to the fact that all 3% of painted pottery were found as lids to bones for infants and their unusual burying spot historians believe that the there was some sort of massive infant mortality. The unusual spot where these graves were located and the special painted earthenware may point to the sheer shock these people experienced and their prayers to somehow connect with the world of the dead.

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Qin Shihuangdi's Tomb (China) 210BCE, Compare contrast with Nintoku's tomb (Japan) Late 4th to early 5th century CE

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Qin Shihuangdi's Tomb (China) 210BCE, Compare contrast with Nintoku's tomb (Japan) Late 4th to early 5th century CE

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Above is my compare and contrast Ven diagram of First Qin Emperor Qin Shihuangdi's tomb and Emperor Nintoku of Japan's tomb.

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Lady Dai's Tomb Story, Mawangdui China 168 BCE

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Lady Dai's Tomb Story, Mawangdui China 168 BCE

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The story has 5 main sections, underworld, human world, funeral scene, heaven and the final destination. Some important details include windows (windows to your soul reference) orbs, and darkness. in the story Emma's soul must pass each of the five main sections but she is driven to stay on her path through greed! (Ironic I know). Once Emma's soul reaches the celestial realm dotted with space themed elements and the final destination the journey has finally completed it's course.

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Distant view of the Bamiyan Buddhas before it's destruction by the Taliban in 2001.

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Bamiyan Buddhas, Afghanistan, Circa 600CE 

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Bamiyan Buddhas, Afghanistan, Circa 600CE 

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For my next Padlet prompt I will write my personal reaction of the destruction of the Bamiyan Buddhas. I am neither an art enthusiast nor a Buddhist, much less a religious person. When we watched the destruction of the Bamiyan Buddhas besides sympathy for the people that held the statues in great importance and the villagers that depended on said tourists, my mind was elsewhere. Despite this, I could understand the great symbolic importance the gigantic statue held in terms of history and culture. As unfortunate this loss has been I was not moved more so than the other destruction of great cultural sites in Hiroshima/Nagasaki, Rome, or Americas twin towers. It was a matter of when rather than by whom or what in my opinion. That’s why I think it’s important to recognize the historical lessons that Bamiyan teaches us. Personally, I think that it’s to value self-preservation before material or sentimental ideas or things. That’s why when we watched the video in class, I was relieved to know that no one fought the Taliban to protect the statues. I recognize that there will always be disagreement between groups of people within the village about what to do next. Especially because of the economic importance of the Buddha’s I think the empty mountain can also be a reminder to the people of the village that they survived a more life threating event than the destruction of the nearby mountain. If you ask me how the destruction of Buddha impacts the world? I would still think that besides a very specific group of risky tourists and maybe a group of not very avid Buddhist the destruction of the Bamiyan Buddhas don’t affect the world. As the years pass history will most likely treat its destruction as yet another piece of evidence of human-human conflict just like it’s forefathers such as the Lama Temple in China and those that followed it like the Temple of Bel in Syria. That’s why I think in the modern day even if another culturally significant artifact or statue is destroyed it would be foolish to risk one’s life to visit its ruins.