This work is aimed at comparing two ancient works of art, belonging to Christian and Buddhist religious tradition, in terms of peculiarities of their execution and the message they communicate to a viewer. Christian tradition is represented by the sculpture Justinian as World Conqueror, dated 550; it is compared to the statue of Buddha found in Afghanistan, dated 2nd-3rd century.
Justinian I was an ambitious politician who pursued an aggressive policy of conquering new territories for the Empire. During his reign, the territory of the Byzantine Empire expanded significantly, having become the largest during the whole history of the Byzantine Empire; it is possible to say that the cult of Justinian existed in the Byzantine society for centuries.
The sculpture Justinian as World Conqueror is devoted to the emperor’s military success. It depicts Justinian riding a rearing horse; the figures of Victory and Earth accompany him; the emperor is blessed by God looking at him from above. The composition of this work seems rather audacious: the figure of the emperor is the largest element of the sculpture, its size exceeds even that of God. To explain this compositional approach, it is necessary to refer to the Roman cultural tradition.
The early Byzantine culture inherited some elements of the Roman spirit (Kleiner 323). Later the works of Byzantine art became modest and less pompous, having absorbed the resigned spirit of Christianity; but this work balances on the border of Roman past and Christian present. Roman governors admired glorifying themselves employing architecture and sculpture (it is enough to remember Nero with his huge statue in the Golden House or the inscription in honour of Marcus Agrippa on the Pantheon). The sculpture depicting Justinian is also aimed at glorifying the Byzantine emperor and his power, exalting him comparing to any other human. The relief is carved on ivory panels. This material is very noble and valuable; it highlights the loftiness and nobility of Justinian.
At the bottom of the plaque, the sculptor depicted the figures of the barbarians, whose lands were conquered by Justinian, interlaced with those of exotic African and Asian animals: a lion, an elephant, and a tiger. Interestingly, the relief does not depict Justinian’s army; however, the sculptor might omit to introduce the figures of soldiers intentionally, wishing to highlight the divine origin of Justinian’s power: the earthly strength of the army is transient, but God’s blessing is eternal.
The poses of Justinian and his horse are dynamic: it seems like the emperor does not limit himself by his former success; instead, he is ready to continue his conquest, and the protective expression of God’s face promises that the emperor will succeed. The name of the sculpture also claims Justinian’s inexhaustible military power. Thus, the combination of the work’s composition and material expresses the author’s idea; no doubt, in the 6th century, this depiction was able to impress the viewer, saturating his soul with deep respect and admiration of the emperor, as well as with belief into his divine power.
It is rather interesting to compare this sculpture to the Afghan statue of Buddha, dated 2nd-3rd century. The compositional organization of this work is somewhat similar to that of Justinian as World Conqueror: The sculpture carved of dark grey schist also consists of a huge Budda’s figure and the smaller figures at the bottom. However, the difference between the messages which these two works send to a viewer is significant. The dominance of Buddah’s figure does not seem bellicose: it embodies the all-embracing universal order, which is the pillar of everything existing in the World. Buddha’s pose is appeased; he seems to have understood the higher truth and to have concentrated on inner contemplation.
Buddha’s eyes are closed, and not accidentally: in Buddhism, the term “buddha” means “enlighted”, abstracted away from earthly insignificant vanity. Closed eyes is one of the Buddha’s statues’ traditional markings; the sculpture discussed in this work also has other markings, which are the long lobes of his ears, symbolizing Buddha’s superb perception, and the protuberance on the head, which tells about his superb mind (Pemberton 16). The carriage of the figure translates the message of Buddha’s appeasement and patronage.
The people at the bottom of the whole composition are minor, but not suppressed, like in the case of Justinian’s sculpture. They are not doomed to nothingness; instead, they are depicted while attending the smaller seated buddhas, seeking wisdom and truth, while the bigger Buddha rests above them and inspires them to grow and cognize the universal truth. Unlike Justinian as World Conqueror, the sculpture has an inspiring message, saying that every minor creature can develop his mind and become enlightened. The appearance of this work impresses the viewer very strongly, setting him to appeasement and contemplation.
Thus, these two sculptures have carried the centuries-old message of the cultures which gave birth to them. Such works of art are the gifts of history to modern society. Afghanistan is famous for its Buddha sculptures and monasteries; however, two huge statues of Buddhas of Bamyan created 1500-1800 years ago have been destroyed, which shocked the World community (Behnke 54). The numerous works of Byzantine art are also lost. The ancient works of art tell a viewer about history, culture, and society of the past epochs; moreover, they transfer their spirit. That is why these works are so interesting to a modern viewer.
Bibliography
Behnke, Alison. Afghanistan in Pictures. Minneapolis, Minn.: Lerner Publications, 2003. Print.
Kleiner, Fred S. Gardner’s Art Through the Ages: A Global History. USA: Gardners Books, 2008. Print.
Pemberton, Delia. Buddha. Chicago: Art Media Resources, 2002. Print.