During the Kushan period, guilds and groups of skilled craftsmen primarily produced sculpted works in the empire. These guilds would work on the pieces as a unit, so most works were anonymous. To create these pieces, guilds were patronized by various people (typically royalty). By commissioning such works, the patrons hoped to gain good karma to help them in their cycle of rebirth. Typically, the patron’s name would be inscribed into the work. However, since this piece is damaged, the patron’s name is missing. 

The Shakyamuni Buddha image was produced during the Kushan Empire, approximately under the rule of Kanishka the Great (127 -150 CE). Kanishka was the first of the Kushan rulers to convert to Buddhism and, thus, supported the rise of Buddhism in the Empire. Kanishka assisted in the recreation of the Buddhist council (named the 4th Buddhist Council) to help address doctrinal disputes, preserve the teachings of the Buddha, and promote the religion. Additionally, he constructed numerous Buddhist monuments and buildings and contributed funds to support Buddhist monks.

The human depiction of the Buddha emerged during this period and may be related to the growth of Mahayana Buddhism. Mahayana Buddhists viewed the historical Buddha Shakyamuni as one among many Buddhas to be worshiped as a deity. Due to this view, Mahayana Buddhist devotees emphasized the image of the Buddha in human form. The creation of Buddha images in human form occurred in two regions of the Kushan Empire simultaneously. The Kushan Empire extended into what is today Afghanistan and Pakistan, positioning them at the center of a vast network of trade routes often referred to as the Silk Road. The two main capitals were Mathura in northern India and Purushapura (Peshawar) in Gandhara, each of which developed its distinct style of Buddhist art. This piece was produced in Mathura, reflecting the indigenous style of the Indian subcontinent. 

Kelsey Crutchfield Archila, Class of 2025, College of the Holy Cross