간다라 보살상 터번의 가루다-나가 모티프
The Motif of Garuḍa and Nāga/Nāgī in the Headdresses of Gandhāran Bodhisattvas
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The motif of a gigantic bird holding what appears to be a human figure (or, sometimes, figures) occasionally decorates the headdresses of bodhisattva images from Gandhāra. The bird is evidently a garuḍa, and the human figure is thought to be an anthropomorphic form of the female serpentine deity nāgī, or, more rarely, its male counterpart, nāga. The garuḍa’s enmity with the nāga/nāgī is well known in Indian literary and religious traditions, and various tales from Hindu and Buddhist sources document the garuḍa preying on the nāga. This theme is especially popular in Gandhāran art, and a number of examples are known. In format they are broadly divided into two types: (A) one is carved onto a medallion—sometimes detachable—in front of the turban of a bodhisattva; (B) the other is carved in a sculptural form with a base, which I tentatively call a stele. The former was centrally placed on bodhisattva statues and thus appears directly relevant to the Buddhist context. The latter must also have been placed inside Buddhist monasteries, though its exact function is less clear. This paper addresses what significance this peculiar and apparently non-Buddhist theme was intended to convey within these Buddhist contexts, and finds a parallel in the Tathāgatotpattisambhava-nirdeśa, which states the garuḍa devouring the nāga as a simile for the Buddha saving living beings. The motif was most likely a generic symbol for the Buddha as a savior, which signifies the ultimate goal of a bodhisattva, rather than a symbol specifying the bodhisattva as Avalokiteśvara as some scholars have suggested in previous scholarship.
Abstract
The motif of a gigantic bird holding what appears to be a human figure (or, sometimes, figures) occasionally decorates the headdresses of bodhisattva images from Gandhāra. The bird is evidently a garuḍa, and the human figure is thought to be an anthropomorphic form of the female serpentine deity nāgī, or, more rarely, its male counterpart, nāga. The garuḍa’s enmity with the nāga/nāgī is well known in Indian literary and religious traditions, and various tales from Hindu and Buddhist sources document the garuḍa preying on the nāga. This theme is especially popular in Gandhāran art, and a number of examples are known. In format they are broadly divided into two types: (A) one is carved onto a medallion—sometimes detachable—in front of the turban of a bodhisattva; (B) the other is carved in a sculptural form with a base, which I tentatively call a stele. The former was centrally placed on bodhisattva statues and thus appears directly relevant to the Buddhist context. The latter must also have been placed inside Buddhist monasteries, though its exact function is less clear. This paper addresses what significance this peculiar and apparently non-Buddhist theme was intended to convey within these Buddhist contexts, and finds a parallel in the Tathāgatotpattisambhava-nirdeśa, which states the garuḍa devouring the nāga as a simile for the Buddha saving living beings. The motif was most likely a generic symbol for the Buddha as a savior, which signifies the ultimate goal of a bodhisattva, rather than a symbol specifying the bodhisattva as Avalokiteśvara as some scholars have suggested in previous scholarship.
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