Iker Rodriguez Fernandez

Universiteit Leiden, Asian Studies, Graduate Student

Universidad del País Vasco UPV/EHU, Historia, Alumnus

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I am a graduate student whith a special interest in the history of the early dissemination of Buddhist art in China.

I graduated from a Bachelor degree in History at the University of the Basque Country (Spain) and a Research Master in Asian Studies at Leiden University (The Netherlands).

I am am currently looking for PhD program that will allow me to conduct a research related to my academic interests. My goal is to examine the Buddhist art and iconography found in the oasis-towns and important sites of the Silk Road to see how motifs and patterns that originated in India travelled all the way through Central Asia as they were transformed until they reached China. I have been studying both Russian and Chinese to gain access to relevant sources related to this fascinating topic.

I am also a staff member of the Humanistic Buddhism Monastic Life Program (HBMLP) organised by Woodenfish Foundation
Supervisors: Ellen Raven
Phone: +34608965036
Address: Herrikosoro 114, 20800 Zarautz, Gipuzkoa (Spain)

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Sonya R H I E Mace

Cleveland Museum Of Art

Lisa N Owen

University of North Texas

Michael Skinner

University of Washington

Santiago Javier Escribano Testaut

Chandreyi Basu

St Lawrence University

Vinay Kumar Gupta

Archaeological Survey of India

Monika Zin

Leipzig University (Universität Leipzig)

Jason Neelis

Wilfrid Laurier University

Klemens Karlsson

Chiang Mai University

Naman P Ahuja

Jawaharlal Nehru University

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Why the Jinas were different: The canonization of Jina iconography in Kuṣāṇa Mathurā (ResMA Thesis)

Chapter 1 Introduction 3 1.1 Research questions and structure of the thesis 5 1.2 Research method... more Chapter 1 Introduction 3 1.1 Research questions and structure of the thesis 5 1.2 Research methodology 6 Chapter 2 The archaeological profile of Mathurā 9 2.1 Timeline of excavations and research 10 2.2 Archaeological characterization of Mathurā: an early Historic Indian pattern 12 2.3 Archaeological landscape and settlement patterns 17 2.4 Kaṅkālī Ṭīlā: a source of Jaina art 19 Chapter 3 Defining the core Jina iconography 21 3.1 Defining the canon: seated and standing Jina images from Mathurā 22 3.1.1 Seated Jina images 22 3.1.2 Standing Jina images 26 3.2 Timeline of teacher image production in Mathurā 28 3.2.1 The first anthropomorphic Jinas: Ṛṣabha and Parśvanātha (c. 100-50 BCE) 29 3.2.2 Seated Jinas in āyāgapaṭas (c. 50 BCE-50 CE) 31 3.2.3 Kapardin Buddhas: the first seated sculptures of a teacher (c. 50-100 CE) 31 3.2.4 Standing kapardin Buddhas and standing Jinas (c. 100-150 CE) 32 3.2.5 The three stages of Gandhāran influence in Buddha sculptures from Mathurā (c. 100-200 CE) 33 3.2.6 The production of seated Jina sculptures on lion-thrones and standing Jinas (c. 150-230 CE) 34 3.2.7 Later sculptural forms: Sarvatobhadrikā sculptures (c. 230 CE onwards) 35 3.3 The canonization of Jina iconography 36 Chapter 4 Selecting symbols for the Jina 37 4.1 Shared iconography 39 4.1.1 Lakṣaṇas 39 4.1.2 The Halo 43 Why the Jinas were different: The canonization of Jina iconography in Kuṣāṇa Mathurā 2 4.1.3 The nandipāda 46 4.1.4 Following the norm 49 4.2 Royal iconography 49 4.2.1 Lions 50 4.2.2 The flywhisk 52 4.2.3 The umbrella 55 4.2.4 The wheel 57 4.2.5 Yakṣas and nāgas 61 4.2.6 Making the Jina royal 67 4.3 Ascetic iconography 67 4.3.1 Dhyānamudrā and kayotsarga 68 4.3.2 The seat of the teacher 70 4.3.3 Monks and nuns 72 4.3.4 The emphasis on asceticism 74 4.4 The Jina iconography: identity and continuity 75 Chapter 5 Mathurā Jaina art and foreign influences 79 5.1 Traces of foreign influences in Jina sculptures 80 5.1.1 Jaina devotees wearing foreign clothes 81 5.1.2 The lion throne: the seated Jinas and Vima Takto 86 5.2 Pre-Kuṣāṇa elements in the Jaina art from Mathurā 89 5.3 Jaina conservatism or a matter of historical development? 90 Chapter 6 Concluding remarks 93 6.1 The archaeological constraints of Mathurā 93 6.2 The birth of the Jina iconography and its timeline 94 6.3 Jaina selection of symbols: a balance between continuity and identity 95 6.4 Restricted foreign influences as a consequence of historical circumstances 97 Chapter 7 References 101 Chapter 8 List of figures 111

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Heraklesek Buda ezagutu zuenean. Grekobudismoa Alejandro Handia eta Kanishkaren artean (K.a. IV-K.o. II)

32 p. : il. -- Bibliogr.: p. 24-25[ES] Gradu Amaierako Lan honen helburua Grekobudismoa, hots, ku... more 32 p. : il. -- Bibliogr.: p. 24-25[ES] Gradu Amaierako Lan honen helburua Grekobudismoa, hots, kultura helenistiko eta erlijio budistaren arteko sinkretismoa, baldintzatu zituzten faktoreak eta honen garapena aztertzea izango da. Alejandro Handiaren kanpaina militarren ostean Baktria eta India Ipar-Mendebaldean greziarren komunitateak ezarriko ziren, zeintzuk kultura, tradizio eta sineskera helenoak hurrengo mendeetan zehar mantenduko zituzten. Era berean, Mauriar Inperioko Asoka erregeak budismoa zabaltzeko monje misiolariak bidaliko zituen India inguruko lurraldeetara, greziar komunitate hauek konbertsio kanpaina hauen helmugetako bat izanik. Nahiz eta Budismoarekin sinpatizatu izan zezaketen sujetu greziarren kasuak existitu, Pirron Elisekoa bezala, komunitate budistaren babesa lortzeko budismoaren aldeko politika bat bultzatu zutenak errege Indo-Greziarrak izango ziren, zeintzuk sinbolo budistak erabiliko zituzten haiek jaulkitutako txanponetan. Halaber, agintari greziar batzuk,...

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Why the Jinas were different: The canonization of Jina iconography in Kuṣāṇa Mathurā (ResMA Thesis)

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Heraklesek Buda ezagutu zuenean. Grekobudismoa Alejandro Handia eta Kanishkaren artean (K.a. IV-K.o. II)

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Iker Rodriguez Fernandez

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