Representation of ParinirvaNa in Gandharan Diptychs

IntroductionThere is a huge corpus of Gandharan sculptures and reliefs translating textual versions of the life of Sakyamuni into stone. The corpus forms major part of collections of different museums all over the world. These objects have been comprehensively studied and documented in some major catalogues (Ackermann 1975; Behrendt 2007; Czuma 1985; Foucher 1914; Christian 2009-2010; Hallade1968; Ingholt1957; Jongeward 2003; Kurita 2003; Nadiem 2003; Rosenfield 1967 & Zwalf 1996). In these corpuses there are number of panles and reliefs illustrating death of the Buddha but we hardly find any example of diptych type objects. Diptychs from the collection of Metropolitan Museum of art have been listed and described on couple of times. (Behrandt 2007; Lerner & Kossak 1991). However on the whole these have been left far beyond the scope of any investigation. In the following pages part of collection of diptych type shrines are being discussed with special reference to the depiction of parinirva?a scene. There are many more fragments of Buddhist portable shrines which will be described at some later stage. Iconographical treatment of these shrines is worth seeing. It reflects remarkable workmanship of the artists and their religious understanding of the Buddhist doctrines.Examples from DiptychsLet us begin our study with one example of diptychs type shrines (Fig.1). Different authors listed this piece in their respective works ( (Behrendt 2007:82 ; Behrendt 2012:320; Haartel & Yaldiz 1982:61; Lerner & Kossak 1991:110 ; Sen-Gupta 2002:49 & Kurita 2003:290). This stone object meausres 8.7 cm and belongs to the collection of Metropolitan Museum of Art, New York. Unfortunatley we do not have any information about its provenance. Basically this obejct belongs to the category of diptychs type portable shrines with carving on both sides. Only one wing or section of the shrine has reached to us. Iconography of its exterior is very ambigious. It shows a Central Asian man carrying a baby on shoulders and basket at his back. He either has finished his journy or about to start the journy.The interior of this object is divided into two registers, set up vertically one above the other. The upper register depicts birth of Sakyamu?i while lower illustrates death of the Buddha. Both the scenes are very much Gandharan in character and execution. In parinirva?a scene the Buddha is shown laying to right. Upper part of his body is raised considerably and rests on a cushion. His whole body is coverd by heavy drappery except face and right hand. Above head of the Buddha, a tree is depicted. Two figures stand behind the Budda while five are in front of the bed.Second piece of the same category comes from the collection of Tokyo National Museum (Fig.2). It was published by Yoshihide (Yoshihide 2000:132). This is also made up of stone and measures 7.2 cm. Like the former, only one wing of diptych has survived. It shows similar shape and carving on both sides as we have already seen in Figure 2. The only difference in the depiction of man on exterior who looks like Indian and depicted without carrying baby. Pariniva?a scene is depicted in lower register in the interior, similar to figure 1.The Buddha, much larger than previous piece and surrounding figures, is depicted laying on right. His upper part of the body is less raised. Rest of the composition is similar to previous wing except addition of one more standing figure behind the Buddha.These both types of diptychs are referred to as "Basketman Type Diptychs". The male figure depicted on exterior of these two pieces carries a besket on his back. It is difficult to identify content inside the basket, however, the man perhaps belongs to some tarder community. There are some more such examples of basketmay type but these do not represent death scene of the Buddha.Now we move to another group of diptychs which illustrate parinirva?a. This group is called "Elephnat and rider type diptychs". …