Coomaraswamy’s Influence on Buddhist Iconography and Art Acknowledged by Prof. Naman Ahuja
The Indira Gandhi National Centre for the Arts (IGNCA) recently hosted the Fourth Ananda Kentish Coomaraswamy Memorial Lecture, focusing on “The Origin of Another Buddha Image.” This event honored the legacy of Ananda Kentish Coomaraswamy, a pivotal figure in Indian art scholarship. The lecture was delivered by Professor Naman P. Ahuja from Jawaharlal Nehru University and was chaired by Dr. Kalyan Kumar Chakravarty, a respected art historian. The session aimed to explore the complexities of image worship in India and its philosophical underpinnings.
Insights from Ananda K. Coomaraswamy
During the lecture, Professor Ahuja emphasized Coomaraswamy’s significant contributions to the understanding of Indian art, particularly his insights into murti puja and the origins of image worship. He challenged the prevailing theory of Greek influence on Gandhara art, which was popularized by Alfred Foucher. Ahuja highlighted Coomaraswamy’s arguments in his essay “The Origin of the Buddha Image” and his monograph “Yakshas,” which assert that early Buddha images were deeply rooted in Indian traditions and philosophies. He pointed out that Coomaraswamy’s work transcended mere nationalism, situating the rise of image worship within a broader philosophical shift towards theism and devotion, as illustrated in the Bhagavad Gita. The canonical images from Mathura, Gandhara, and Amaravati, which emerged during the Kushan period, reflect this transformative period in Indian art.
Recent Discoveries and Their Implications
Professor Ahuja also discussed recent archaeological findings that shed light on early Buddhist imagery. He noted that not all early representations depicted the Buddha; many featured Bodhisattvas, showcasing a diverse range of divine attributes. The integration of deities like Surya, Lakshmi, Brahma, and Indra into Buddhist art by the first century CE indicates a rich tapestry of theistic worship in early South Asia. Ahuja presented new material from Chandraketu Garh in Bengal, which revealed a reliance on materials such as clay, terracotta, wood, and ivory, contrasting with the stone traditions prevalent in other regions. Among the notable discoveries were ivory relic caskets, carbon-dated between the second century BCE and second century CE, which depicted scenes from the Buddha’s life through a regional artistic lens. These findings suggest that Buddhist iconography was not monolithic but rather varied and adaptive across different locales.
The Evolution of Buddhist Imagery
Dr. K.K. Chakravarty, who chaired the session, remarked on the vast yet underexplored archaeological and artistic heritage of India. He noted that while the country boasts nearly 30,000 protected monuments, much of its numismatic and epigraphic wealth remains unstudied. Chakravarty praised the lecture for its timely integration of history, philosophy, religion, and material culture. He reflected on Coomaraswamy’s shift from Western classifications of Buddhist art to a more nuanced understanding of the north-south dialectic in Indian art, where northern linear forms evolved into the more voluminous styles of the south. He underscored the coexistence of iconic and aniconic traditions across South and Central Asia, highlighting the blending of styles and philosophies, such as the convergence of Shiva and Buddha at Tala.
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