Detail from a twelfth-century Daoist scroll, showing the feats of the “Eight Immortals,” the most famous characters in Daoist folklore. The landscape evokes the ineffability and mystery of Dao, or “the way.”
Confucius
This Gandharan Statue represents Siddhartha Gautama before his enlightenment and achievement of Buddhahood, when he spent six years practicing ascetic austerities of extreme fasting and self-denial—an experience that he abandoned for what became his “Middle Path” teaching and practice. The Kushan dynasty (first to seventh century c.e.) of northwestern India and modern Pakistan and Afghanistan (see “Scythians and Kushans,” in Chapter 4) patronized art and architecture that seem to have had their formative patronage from the Buddhist Kushan king Kanishka in the early second century c.e. in the region of Gandhara (in present-day Pakistan). Gandharan art developed from the Kushana’s employment of foreign artisans trained in Roman styles, leading to an art that fused Greco-Roman with Indian and Central Asian styles to produce one of the great cross-cultural traditions of art history. In its heyday, down to roughly the early third century c.e., Gandhara produced some of the most remarkable Buddhist art ever, influencing not only Buddhist but also Indian art long after.
1. What might the various indications of Greco-Roman influence in this south-central Asian Buddhist sculpture suggest about the permeability of political and cultural boundaries from the Mediterranean to South and Central Asia in the early centuries c.e.?
2. The nimbus or halo of light behind the head here is widely attested in various forms across Asia as well as in the Mediterranean, in Hellenistic, Greek, Roman, Christian, Buddhist, and Hindu art. Why might this be so attractive, and what particular purposes would you think it serves in this or other figures in various traditions?
3. Most religious traditions have strands of piety within them that emphasize ascetic renunciation of worldly things, often including extreme renunciation involving fasting (even to death in a few cases), sexual and other kinds of abstinence, and refusal to have any “possessions.” In the Buddha’s teaching, why is extreme renunciation and asceticism rejected? Can you compare these ideas to those in another tradition with which you are familiar?
God the Sole Creator as painted by British poet and artist William Blake (1757–1827).
The Hebrews established a unified kingdom under the kings David and Solomon in the tenth century b.c.e. After Solomon, the kingdom was divided into Israel in the north and Judah, with its capital, Jerusalem, in the south. North of Israel were the great commercial cities of Phoenicia.
In 722 b.c.e. the northern part of Jewish Palestine, the kingdom of Israel, was conquered by the Assyrians. Its people were driven from their homeland and exiled all over the vast Assyrian Empire. This wall carving in low relief comes from the palace of the Assyrian king Sennacherib at Nineveh. It shows the Jews with their cattle and baggage going into exile.
In this painting, the great Italian Renaissance painter Raphael portrayed the ancient Greek philosopher Plato and his student Aristotle engaged in debate. Plato, who points to the heavens, believed in a set of ideal truths that exist in their own realm distinct from the earth. Aristotle urged that all philosophy must be in touch with lived reality and confirms this position by pointing to the earth.
The Hebrew word Beresheet, which means “in the beginning,” opens the Book of Genesis. The Jews are people of the Book, and foremost among their sacred writings is the Hebrew Bible.
This 1900 painting, After the Pogrom, by Polish painter Maurycy Minkowski, shows a group of women and children in the aftermath of a pogrom, an organized persecution of Jews. Pogroms, once common in eastern Europe and Russia, often became massacres. Encouraged by the Russian government, pogroms were particularly brutal in the late nineteenth and early twentieth centuries.