When
the young prince Shakyamuni was born, astrological predictions were made that
he would either be a great king or an extraordinary spiritual being who would
renounce the world. His father, the king, hoping his son would inherit the kingdom,
named him Shakyamuni: “one who fulfills his father’s wishes”. But it was the path
of renunciation that was this young man’s destiny. When he became enlightened
Shakyamuni became a lucid and beautiful reminder that within each one of us is
a seed of boddhicitta, compassionate enlightenment waiting to flower into fullness.
This 19th century Qing dynasty white marble statue is a classical depiction of the
Shakyamuni after his enlightenment. There is an elegant simplicity in the lines,
a sumptuous roundness, a plumpness to the body that is characteristic of Ming
era depictions of deities whether Buddhist or Taoist. Such depictions show a demonstrated
fecundity and abundance that is the root of well being in the terrestrial realm.
The head of the statue is almost pear-like in shape with a subtle indication of
the ushnisha (stylistically Qing) in the elongated crown. The head slightly tilted
forward has the classically elongated ears. Signs of good fortune nobility and
spiritual providence that allows for deep full listening. The Buddha’s countenance
exudes a sweet beneficence and deep kindness. The robes are simply but evocatively
wrought, a series of folds provides depth and breadth. Shakyamuni holds a medicine
bowl which time and usage has shaped into an irregular cube. The figure sits on
a rectangular lotus base with well-defined petals. The statue exhibits the soft
lines of usage and would have probably been a central part of a family temple
where daily offerings of innocence and food were made.