Buddhism originated in India around the 5th or 6th century BCE. Initially popular in India, it spread along the so-called “Silk Road,” where a web of trade routes allowed cultural exchanges between East and West. As Buddhism reached China during the Han Dynasty, it struggled to gain a foothold due to the dominance of Confucianism and indigenous beliefs. However, as the Han Dynasty began to collapse, significant social and cultural upheaval occurred, allowing Buddhism to emerge as a significant influence. Outside factors increasingly shaped new ideas and institutions, merging with traditional Chinese values. The Northern Wei Dynasty’s adoption of Buddhism as the state religion played a pivotal role in spreading Buddhism in China. The administrative class consisted of Chinese and non-Chinese officials, and the teachings of Buddhism from India began to penetrate Chinese society. This period also witnessed changes in Buddhist iconography and artistic styles, reflecting the broader cultural transformation.

The front of the sculpture, featuring the historical Buddha seated in meditation, directly connects to the spread of Mahayana Buddhism into China. The Buddha sits cross-legged with his right hand in the bhumisparsha mudra, symbolizing the "calling the earth to witness" moment during his enlightenment. His left hand holds his robe, and the urna, a symbol of wisdom, is prominently featured on his forehead. The Buddha’s elongated form and the attention to linear patterning of his robe reflect Chinese artistic preferences during this period. Flanked by two bodhisattvas, the three figures form a triad, a common feature in Mahayana Buddhist art. The weightless figures of the bodhisattvas are depicted standing on pedestals and wearing heavy garments. On the right is Guanyin, the bodhisattva of mercy, and on the left is Maitreya, the future Buddha. These two bodhisattvas are frequently associated with the historical Buddha in such triadic compositions, emphasizing enlightenment.

On the reverse of the stele, the Buddha's life and past lives are depicted. Similar to the front, the Buddha is at the center, but this time, he is standing, and his right hand is raised in the abhaya mudra, symbolizing "no fear." Above him, two apsaras and three small Buddhas symbolize the Buddhas of the past, highlighting the continuous evolution that culminates in the historical Buddha. To the far left, we see Sujata, the daughter of a village lord, offering food to the Buddha. Most notably, the birth of the Buddha is depicted in the Lumbini Garden. In this scene, the infant Buddha emerges from the sleeve of his mother, Maya, who grasps a tree branch with her right hand. The wide, hanging sleeve that covers the Buddha's birth is a distinctively Chinese adaptation of this story.

Iconography is crucial in this sculpture, with the various mudras (hand gestures) representing the Buddha’s teachings. The bhumisparsha mudra on the front and the abhaya mudra on the reverse convey to the viewer specific messages of enlightenment and fearlessness. These hand gestures are central to Buddhist iconographic tradition, emphasizing the spiritual journey of the Buddha. Chinese-specific stylistic choices enrich the sculpture. The Buddha’s facial expression and features, the elongated figural forms, and attention to linear patterning on the garments reflect Chinese aesthetic preferences. These stylistic adaptations allowed Buddhist art to resonate with a Chinese audience, integrating Indian religious ideas with local artistic traditions. 

Henry Sheehan, Class of 2025, College of the Holy Cross