Essay Sample on Sculpture and Human Anatomy

Introduction

From the sculpture, it can be observed that the intention of the artist was to depict the Buddha as a yogic ascetic. He also focused on showing the meditation pose, but the focus was on the skinny, and skeleton framework of the Buddha who had fasted for 49 days. At the base of the sculpture, some disciples of the Buddha were praying for him as he continued with his enlightenment journey. The artists placed clavicles in an almost horizontal manner. The articulation is done correctly and occurs in the middle while extending towards the median axis of the Buddha's body. The manubrium sternum is close to the clavicles and it is lateral to the coracoid process, which extends on the Buddha's shoulder joints.

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The artist sculptured 12 pairs of ribs. Seven ribs are positioned in the free anteriorly while the rest of them are positioned with the sternum directly. In the midline of the Buddha's body, the sternum can be observed. It has three major features, the main body, the manubrium and the xiphoid. The whole body of the Buddha has many different segments. The sculpture also indicates the pectoralis major muscle and the artist ensures that the details all the insertions as well (Murthy 186). The deltoid muscle can also be observed as well. It has a roughness to it and has an insertion as well. The shoulder contour is smooth, and a bit round and this indicates or shows bony features of the Buddha. The posterior axillary and the anterior folds are shown in skeleton form, and since the Buddha is thin, the folds are separated. A careful analysis of the sculpture also shows the armpit, which can be seen between the axillary folds.

In the forehead of the Buddha, superficial veins can be observed as well. His thoracic wall, his upper limb and the abdominal walls of the body can be seen as well. The iliac crest and the iliac fossa can be observed as well. Moreover, one can also observe the superior iliac spine as well. A careful analysis of the neck shows the external jugular vein of the Buddha. Additionally, one can observe the two heads of the sternocleidomastoid muscle and the supraclavicular fossa that is situated in the mastoid muscle.

The posterior angle shows the brachial plexus of the body. The sculpture also shows the extensor muscles of the arm and the flexors of the forearm as well. When one is keen enough, he or she may observe the tendons present in the forearm. It is also easy to observe the cephalic vein that is in the deltopectoral groove. In the umbilical area, there are several skin folds and an anterior abdominal wall that is compressed because of the emancipated body. A trachea can also be observed in the midline of the neck. The trachea shows many tracheal rings. An analysis of the midline also shows the umbilicus and about three to five transverse skin folds that show how the Buddha's body is emancipated.

In the thoracic area, the abdominal wall is sucked in, and this clearly shows the thin framework of the body. The anterior abdominal wall is highly compressed. Moreover, it is sucked in anteroposteriorly. It is important to note that there is not much detail on the musculoskeletal characteristics of the limbs (they cannot be observed). It is also important to note that the sternum is positioned in the midline of the Buddha's body and is depicted akin to two snakes coiling around a caduceus. This has also been a symbol of the Hermes.

Although the sternum and clavicles are articulately positioned, the lateral positioning is a bit inaccurate. From the sculpture, one can see many blood vessels that are coming from the intercostal spaces. These are directed towards the anterolateral thoracic walls. Another observation is that of the lower limbs and the upper limbs, they are thickened and have little to no musculoskeletal properties.

The artist had a thorough knowledge of the human anatomy as can be observed in the sculpture. The thoracic cage of the Buddha is in the form of a barrel, and it is expanded anteriorly. This is one of the main features of all human beings. Additionally, the sternum is positioned in the middle and has three main components; these are the xiphoid, the body, and the manubrium. Nonetheless, the artist ensures that the sternum has many small segments. This is also a feature of human beings. The ribs in the body are positioned horizontally, and there is no angulation. The author ensures that the number of ribs is correct and their anatomical orientation is accurately depicted. This clearly shows that the artist knew the three components present in the thoracic skeleton and their positioning in the body. However, he did not know how the human sternum is and the correct orientation of the sternum. It is possible that most sculptures of the ancient periods used animal skeletons and used that knowledge while creating human sculptures.

Conclusion

We can conclude that the artist had basic knowledge regarding the anatomy of the body (both surface anatomy and musculoskeletal properties). He knew the position of muscles, bones, and joints as well as their insertion points. The artist also knew the physiological changes that a person goes through when starving; this can be seen in the skeletal framework and the emaciated features of Buddha.

Works Cited

Murthy CK (1973) Sculpture of fasting Buddha; artist's knowledge of anatomy in ancient India.

Bull Inst History Med Hyderabad, 3: 186-188.

Rengel M (2004) Pakistan: A primary source cultural guide. Rosen Publishing Group, p 68.