SPEAKER 1: We are here at the Metropolitan Museum
SPEAKER 1: We are here at the Metropolitan Museum

of Art in New York, looking at a monumental sculpture
of Art in New York, looking at a monumental sculpture

of a Bodhisattva.
of a Bodhisattva.

So, Buddha is the main figure we often see.
So, Buddha is the main figure we often see.

And there are many Buddhas in Chinese Buddhist art.
And there are many Buddhas in Chinese Buddhist art.

There's the historical Buddha, but lots of other figures.
There's the historical Buddha, but lots of other figures.

And then there are also Bodhisattvas,
And then there are also Bodhisattvas,

and that's what we're looking at.
and that's what we're looking at.

And one of the main ways you can distinguish them
And one of the main ways you can distinguish them

is that the Bodhisattva's often heavily adorned,
is that the Bodhisattva's often heavily adorned,

like this figure is.
like this figure is.

SPEAKER 2: A Bodhisattva is an enlightened being
SPEAKER 2: A Bodhisattva is an enlightened being

that has chosen not to pursue nirvana,
that has chosen not to pursue nirvana,

but to remain with ties to the earthly realm
but to remain with ties to the earthly realm

and secure enlightenment, or release from Samsara, which
and secure enlightenment, or release from Samsara, which

is the cycle of rebirth for all sentient beings.
is the cycle of rebirth for all sentient beings.

So Bodhisattvas are seen as beings of compassion.
So Bodhisattvas are seen as beings of compassion.

SPEAKER 1: So they've decided to forgo nirvana and be here
SPEAKER 1: So they've decided to forgo nirvana and be here

for us, for a regular people, to help
for us, for a regular people, to help

us to achieve or own nirvana.
us to achieve or own nirvana.

SPEAKER 2: And they're shown to have these worldly ties
SPEAKER 2: And they're shown to have these worldly ties

through their princely garb.
through their princely garb.

The iconography of a Buddha is shown in monk's garb,
The iconography of a Buddha is shown in monk's garb,

having relinquished all ties to the earth, all ties
having relinquished all ties to the earth, all ties

to material things.
to material things.

So you see the Buddha with the elongated earlobes
So you see the Buddha with the elongated earlobes

and the jewels removed.
and the jewels removed.

Here we see a Bodhisattva in princely robes
Here we see a Bodhisattva in princely robes

and heavily adorned with valuable jewels,
and heavily adorned with valuable jewels,

showing their connection still to the earth.
showing their connection still to the earth.

SPEAKER 1: What's funny is that this
SPEAKER 1: What's funny is that this

is the Bodhisattva of compassion.
is the Bodhisattva of compassion.

And yet, I don't feel a lot of identification with it.
And yet, I don't feel a lot of identification with it.

It's very frontal, it's very symmetrical and severe
It's very frontal, it's very symmetrical and severe

and kind of abstracted.
and kind of abstracted.

And it feels very distant, in that way.
And it feels very distant, in that way.

SPEAKER 2: There is a solemness and a serenity,
SPEAKER 2: There is a solemness and a serenity,

but there's also a haughtiness to the facial expression
but there's also a haughtiness to the facial expression

of this image.
of this image.

SPEAKER 1: Exactly.
SPEAKER 1: Exactly.

He must be about 15 or 20 feet high.
He must be about 15 or 20 feet high.

And I imagine it stood in a temple complex.
And I imagine it stood in a temple complex.

SPEAKER 2: Yes, it's huge and frontal,
SPEAKER 2: Yes, it's huge and frontal,

so perhaps it was the main image for worship
so perhaps it was the main image for worship

in its original location.
in its original location.

SPEAKER 1: And often, these kinds of figures
SPEAKER 1: And often, these kinds of figures

would be shown in groups within a temple.
would be shown in groups within a temple.

And this one is so large that it 's likely
And this one is so large that it 's likely

that it was the main figure.
that it was the main figure.

SPEAKER 2: Often, Bodhisattvas are shown flanking Buddhas.
SPEAKER 2: Often, Bodhisattvas are shown flanking Buddhas.

And they'll have the weight on one foot,
And they'll have the weight on one foot,

turning towards the Buddha that they're flanking.
turning towards the Buddha that they're flanking.

And this image is presented frontally,
And this image is presented frontally,

and often this Bodhisattva is attributed
and often this Bodhisattva is attributed

to being Avalokiteshvara, Guanyin,
to being Avalokiteshvara, Guanyin,

the Bodhisattva of compassion.
the Bodhisattva of compassion.

The most popular Bodhisattva for worship in China
The most popular Bodhisattva for worship in China

under Mahayana type of Buddhism.
under Mahayana type of Buddhism.

SPEAKER 1: One of the ways we would normally
SPEAKER 1: One of the ways we would normally

identify a Bodhisattva figure, since there
identify a Bodhisattva figure, since there

are many Bodhisattvas representing different ideas,
are many Bodhisattvas representing different ideas,

is by what they're holding.
is by what they're holding.

But unfortunately, this sculpture,
But unfortunately, this sculpture,

being from the sixth century, has suffered a lot of damage
being from the sixth century, has suffered a lot of damage

and its hands are no longer with it.
and its hands are no longer with it.

And so we don't know what it held in its hands.
And so we don't know what it held in its hands.

SPEAKER 2: Right, we don't know what
SPEAKER 2: Right, we don't know what

the attributes may have been.
the attributes may have been.

And Avalokiteshvara, Guanyin in China,
And Avalokiteshvara, Guanyin in China,

often has the Buddha Amitabha in the crown.
often has the Buddha Amitabha in the crown.

And that's an attribute that distinguishes it and makes
And that's an attribute that distinguishes it and makes

it clear that the iconography is Avalokiteshvara.
it clear that the iconography is Avalokiteshvara.

But here, the Buddha image is not there.
But here, the Buddha image is not there.

It's more of a floral crown.
It's more of a floral crown.

So there is some uncertainty over which
So there is some uncertainty over which

Bodhisattva this actually is.
Bodhisattva this actually is.

SPEAKER 1: It's interesting how much we can tell about it,
SPEAKER 1: It's interesting how much we can tell about it,

but how much of it is still really in dispute by scholars.
but how much of it is still really in dispute by scholars.

And the styles of art that we see in art history
And the styles of art that we see in art history

are so often connected to the historical circumstances, often
are so often connected to the historical circumstances, often

politics, the government.
politics, the government.

And we know that the period just before this
And we know that the period just before this

was called the Northern Way, which
was called the Northern Way, which

had a really different style.
had a really different style.

SPEAKER 2: Yes, what happened is in the Northern Way, the style
SPEAKER 2: Yes, what happened is in the Northern Way, the style

that was predominant was weightless and very linear.
that was predominant was weightless and very linear.

Important examples can be found at the cave temple
Important examples can be found at the cave temple

complex of Yungang, where in cave six
complex of Yungang, where in cave six

you would see a Buddha or Bodhisattva image that
you would see a Buddha or Bodhisattva image that

shows no attention to the body form, but a lot of attention
shows no attention to the body form, but a lot of attention

to the folds and line of the drapery.
to the folds and line of the drapery.

And the shapes are weightless.
And the shapes are weightless.

SPEAKER 1: So that period known as the Northern
SPEAKER 1: So that period known as the Northern

Way is about 50 years before this,
Way is about 50 years before this,

and is a relatively stable time in parts of China--
and is a relatively stable time in parts of China--

SPEAKER 2: Particularly in the North, absolutely.
SPEAKER 2: Particularly in the North, absolutely.

SPEAKER 1: --and then a period of political upheaval follows.
SPEAKER 1: --and then a period of political upheaval follows.

SPEAKER 2: And the two strong dynasties
SPEAKER 2: And the two strong dynasties

that emerge in the north are the northern Chi in the east
that emerge in the north are the northern Chi in the east

and the northern Chou in the west.
and the northern Chou in the west.

And this is a very interesting Bodhisattva example,
And this is a very interesting Bodhisattva example,

when you're thinking about that time period.
when you're thinking about that time period.

There are some characteristics here
There are some characteristics here

that really indicate the northern Chi,
that really indicate the northern Chi,

but others that indicate the northern Chou.
but others that indicate the northern Chou.

And granted, there's a lot of overlap
And granted, there's a lot of overlap

between the styles of Buddhas and Bodhisattvas
between the styles of Buddhas and Bodhisattvas

that come out of these two dynasties.
that come out of these two dynasties.

One thing is this incredible opulence
One thing is this incredible opulence

in terms of the drapery and the jewelry details
in terms of the drapery and the jewelry details

that are often associated with the northern Chou.
that are often associated with the northern Chou.

The other aspect that is northern Chou
The other aspect that is northern Chou

is the really square shape to the face,
is the really square shape to the face,

the block-like features.
the block-like features.

Both the northern Chou and the northern Chi
Both the northern Chou and the northern Chi

broke in from this Northern Way aesthetic of weightlessness,
broke in from this Northern Way aesthetic of weightlessness,

and show the Bodhisattvas and Buddhas
and show the Bodhisattvas and Buddhas

with a lot of three-dimensional and geometric form.
with a lot of three-dimensional and geometric form.

SPEAKER 1: This figure is anything but weightless.
SPEAKER 1: This figure is anything but weightless.

SPEAKER 2: Absolutely, and you can
SPEAKER 2: Absolutely, and you can

see it's monumental and columnar.
see it's monumental and columnar.

But it has this weight and volume.
But it has this weight and volume.

We're looking at it the way that it
We're looking at it the way that it

would have been viewed in the temple.
would have been viewed in the temple.

We would be looking up at it.
We would be looking up at it.

And that's why the head is so oversized.
And that's why the head is so oversized.

SPEAKER 1: So the artist would have
SPEAKER 1: So the artist would have

wanted to make sure we could really see the head.
wanted to make sure we could really see the head.

SPEAKER 2: Yes.
SPEAKER 2: Yes.

SPEAKER 1: And from far below, one way
SPEAKER 1: And from far below, one way

to do that is to enlarge the head.
to do that is to enlarge the head.

SPEAKER 2: And looking at the facial features in particular,
SPEAKER 2: And looking at the facial features in particular,

there is a head at the Metropolitan Museum of Art
there is a head at the Metropolitan Museum of Art

that is from Xiangtangshan, a northern Chi site in China.
that is from Xiangtangshan, a northern Chi site in China.

And if you compare this head, you
And if you compare this head, you

can see that this is much more block-like.
can see that this is much more block-like.

But when you look at the lips and the eyes
But when you look at the lips and the eyes

and other aspects of the facial features,
and other aspects of the facial features,

there is a similarity.
there is a similarity.

SPEAKER 1: So we're really talking about dynasties,
SPEAKER 1: So we're really talking about dynasties,

different historical periods, and different regional styles
different historical periods, and different regional styles

emerging in different places.
emerging in different places.

And art historians really needing
And art historians really needing

to study each of those places and the art that emerges.
to study each of those places and the art that emerges.

And then comparing and contrasting to date
And then comparing and contrasting to date

and to locate a lot of these early figures.
and to locate a lot of these early figures.

SPEAKER 2: Buddhism had only come to China
SPEAKER 2: Buddhism had only come to China

a few years earlier from India, and in that a few years,
a few years earlier from India, and in that a few years,

the styles the developed for Buddhist art
the styles the developed for Buddhist art

are really dependent on those different regions
are really dependent on those different regions

and the different dynasties.
and the different dynasties.

And therefore, there's so much change going on.
And therefore, there's so much change going on.

And this is an interesting example
And this is an interesting example

of that because we see here, this very abrupt break
of that because we see here, this very abrupt break

with the weightless, linear aesthetic of the Northern Way
with the weightless, linear aesthetic of the Northern Way

to this much more volumetric, massive form
to this much more volumetric, massive form

that is associated with the northern Chi
that is associated with the northern Chi

and the northern Chou.
and the northern Chou.

The source for this change is often
The source for this change is often

identified as Gupta in India.
identified as Gupta in India.

Sensuous Gupta style.
Sensuous Gupta style.

SPEAKER 1: It's really a puzzle--
SPEAKER 1: It's really a puzzle--

SPEAKER 2: It is.
SPEAKER 2: It is.

SPEAKER 1: --in so many ways.
SPEAKER 1: --in so many ways.

So many questions.
So many questions.

One thing we know for sure, because we
One thing we know for sure, because we

can see the residue here, is that the sculpture was painted.
can see the residue here, is that the sculpture was painted.

And probably painted many times to keep
And probably painted many times to keep

the color vibrant over the years.
the color vibrant over the years.

SPEAKER 2: What we're looking at is probably
SPEAKER 2: What we're looking at is probably

remnants of Ming dynasty painting, maybe 16th century,
remnants of Ming dynasty painting, maybe 16th century,

but it would have been originally painted as well.
but it would have been originally painted as well.

SPEAKER 1: So it's important to imagine it
SPEAKER 1: So it's important to imagine it

in its original context, within a temple, sensuously painted.
in its original context, within a temple, sensuously painted.

And in that kind of religious spiritual context.
And in that kind of religious spiritual context.

SPEAKER 2: Yes, in a much darker environment, as well.
SPEAKER 2: Yes, in a much darker environment, as well.

And surrounded by other sculptures and paintings.
And surrounded by other sculptures and paintings.