The Haḍḍa School of Art: Iconographic Markers

The Buddha

54 works

The database records describe the Buddha through his bodily marks: the cranial topknot (uṣṇīṣa) rising from wave-patterned hair, the distended earlobes (a trace of the heavy jewellery of his princely youth) and, where it survives, the ūrṇā between the eyebrows, sometimes merely painted. The face is idealised, often Hellenistic in inspiration; the body, where preserved, is wrapped in the monastic cloak (saṃghāṭi).

The distinguishing marks

Each mark points to real records that describe it.

Cranial topknot (uṣṇīṣa) within wave-patterned hair
See in the database: HADB 1, HADB 2, HADB 3
Distended earlobes
See in the database: HADB 1, HADB 2, HADB 4
ūrṇā between the eyebrows, often lost, perhaps painted
See in the database: HADB 1, HADB 4
Monastic cloak (saṃghāṭi) on full-length figures
See in the database: HADB 470

Three works to learn to look

HADB 2

佛头像

灰泥 · 位置不详

这尊佛像具有希腊化风格的侧面轮廓，头顶有肉髻（uṣnīṣa），卷发与前额平行排列。未见白毫（ūrṇā）的痕迹。双眼半闭，鼻子略呈鹰钩状；下巴圆润而前突，可见轻微的双下巴，耳垂拉长变形。

HADB 470

行走佛

灰泥 · 位置不详

这尊行走的佛陀身披僧伽梨，做出一个在哈达常见的手势。右肘裹在披风中，右手从胸前伸出，钩住衣服的翻边，用拇指握住，而左手在膝盖处托住衣褶。面部特征带有西方影响：平直的眉弓、狭窄略突的眼睛、半闭的眼睑、鹰钩鼻和轮廓分明的嘴唇。头发，无论是在头颅还是肉髻上，都以细密平行的沟纹呈现。人物的制作精细：扭曲的姿态、身体重心放在右腿上而左腿弯曲的姿势、握住衣服的双手、精细表现的流畅贴身的衣褶，都经过精心处理。