Throughout most of history the idea of a benevolent and almighty presence has dominated art. On a recent visit to New York's Metropolitan Museum of Art, I looked at two such depictions from very different times and places.

Contrary to my first impression, the seated figure in white marble is not a portrayal of Buddha, who is often representedThroughout most of history the idea of a benevolent and almighty presence has dominated art. On a recent visit to New York's Metropolitan Museum of Art, I looked at two such depictions from very different times and places.

Contrary to my first impression, the seated figure in white marble is not a portrayal of Buddha, who is often represented with similar features like the legs folded in the lotus position, extended earlobes, and crown of curly hair. This work is a seated Jain Tirthankara, who, like Buddha originates in India, but the Jain faith has some pretty significant differences from the teachings of Buddhism. For one, Jainism is based on a duality of mind and matter, in stark contrast to Buddhist teachings of mind/matter unity.

Jainism is one of the three most ancient religions prevalent in India today. Alongside Buddhism and Hinduism, it claims six million followers. At the heart of the Jain religion are teachings based on compassion, including five great vows of nonviolence, truthfulness, chastity, and non-attachment. The Jain practitioner believes that through adhering to its ideals, one can be liberated and rise to become a universal being. The founder of Jainism, Mahavira, was born in 599 B.C. and was an elder contemporary of Siddhartha Guatama (the Buddha), and in Buddhist scriptures he is referred as Nataputra.

A few centuries later and a world away, Auguste Rodin created his "Hand of God." Like the sitting Tirthankara, the "Hand of God" is also carved out of a piece of white marble, and represents a higher being too. Some crucial differences to note, however, include not only the style of portrayal, but the differing concepts behind them.

Auguste Rodin (1840-1917), The Hand of God, c. 1902-8. The Metropolitan Museum of Art, Gift of Edward D. Adams, 1908. (Metropolitan Museum of Art)

Rodin's background is that of a Westerner. Born in 1840, his realistic sculpture work has had a profound effect on the art of today. Such popular works as “The Thinker" and "The Gates of Hell" are world renowned. During his early life, Rodin entered a Catholic order, and many ideals of the Catholic faith can be seen in his artwork.

Rodin's "Hand of God" portrays God creating man and woman in his own likeness and image out of "mud," which Rodin cleverly represents by leaving many of the marble edges unfinished and protruding. The contrast of smooth lines with visible seams and chisel marks, which can be clearly seen at the base of the statue, is a common feature of his work. The genius of Rodin's "Hand" is that he is able to portray an entire Biblical story with one piece of stone using simple yet effective visual devices like chunky chisel marks contrasted with the smooth and comforting hand of the Almighty.

The purposes of the Jain Tirthankara and Rodin's "Hand of God" are significantly different, yet offer the viewer some commonalities like the usage of white marble. Unlike, Rodin's "Hand of God," the seated Jain sculpture is smooth and finished in its entirety. By looking at it one can gain a sense of completeness, fulfillment, even perfection. Rodin uses imperfection and incompleteness to depict the condition of man, while at the same time conveying the awesome power of the creator whose mighty hand is strong and smooth. While the Jain Tirthankara leaves little room for the viewer's imagination to wander, it does offer a visually pleasing form on which to meditate. Rodin's form provides a glimpse into the moment of creation, and it is up to the viewer to conceptualize the rest of the story. It takes quite a bit of imagination on the part of the viewer to make it "happen."

Although these two works seem to come from completely different worlds, they do have one thing in common: Both pieces of art convey Gods, albeit from very different traditions. The Jain deity is one of solemn peace and dignity, and in its presence the viewer can enjoy meditative self reflection. On the other end, the hand of Rodin's God is one that embraces its creation with tenderness and care. Each piece harkens back to an age when art was used to honor the divine.
with similar features like the legs folded in the lotus position, extended earlobes, and crown of curly hair. This work is a seated Jain Tirthankara, who, like Buddha originates in India, but the Jain faith has some pretty significant differences from the teachings of Buddhism. For one, Jainism is based on a duality of mind and matter, in stark contrast to Buddhist teachings of mind/matter unity.

Jainism is one of the three most ancient religions prevalent in India today. Alongside Buddhism and Hinduism, it claims six million followers. At the heart of the Jain religion are teachings based on compassion, including five great vows of nonviolence, truthfulness, chastity, and non-attachment. The Jain practitioner believes that through adhering to its ideals, one can be liberated and rise to become a universal being. The founder of Jainism, Mahavira, was born in 599 B.C. and was an elder contemporary of Siddhartha Guatama (the Buddha), and in Buddhist scriptures he is referred as Nataputra.

A few centuries later and a world away, Auguste Rodin created his "Hand of God." Like the sitting Tirthankara, the "Hand of God" is also carved out of a piece of white marble, and represents a higher being too. Some crucial differences to note, however, include not only the style of portrayal, but the differing concepts behind them.

Rodin's background is that of a Westerner. Born in 1840, his realistic sculpture work has had a profound effect on the art of today. Such popular works as “The Thinker" and "The Gates of Hell" are world renowned. During his early life, Rodin entered a Catholic order, and many ideals of the Catholic faith can be seen in his artwork.

Rodin's "Hand of God" portrays God creating man and woman in his own likeness and image out of "mud," which Rodin cleverly represents by leaving many of the marble edges unfinished and protruding. The contrast of smooth lines with visible seams and chisel marks, which can be clearly seen at the base of the statue, is a common feature of his work. The genius of Rodin's "Hand" is that he is able to portray an entire Biblical story with one piece of stone using simple yet effective visual devices like chunky chisel marks contrasted with the smooth and comforting hand of the Almighty.

The purposes of the Jain Tirthankara and Rodin's "Hand of God" are significantly different, yet offer the viewer some commonalities like the usage of white marble. Unlike, Rodin's "Hand of God," the seated Jain sculpture is smooth and finished in its entirety. By looking at it one can gain a sense of completeness, fulfillment, even perfection. Rodin uses imperfection and incompleteness to depict the condition of man, while at the same time conveying the awesome power of the creator whose mighty hand is strong and smooth. While the Jain Tirthankara leaves little room for the viewer's imagination to wander, it does offer a visually pleasing form on which to meditate. Rodin's form provides a glimpse into the moment of creation, and it is up to the viewer to conceptualize the rest of the story. It takes quite a bit of imagination on the part of the viewer to make it "happen."

Although these two works seem to come from completely different worlds, they do have one thing in common: Both pieces of art convey Gods, albeit from very different traditions. The Jain deity is one of solemn peace and dignity, and in its presence the viewer can enjoy meditative self reflection. On the other end, the hand of Rodin's God is one that embraces its creation with tenderness and care. Each piece harkens back to an age when art was used to honor the divine.