迦諾迦伐蹉 Seated Nahan Ganakgabeolcha (Sanskrit: Kanakavatsa), unknown maker from Korea

This sculpture depicts one of the original disciples of the historic Buddha who are called nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. This nahan is dressed in tenth century–style monk robes known as kasa, and the delicately painted patterns on his clothes date to the early 16th century. Pages from sacred texts that were placed inside a small cavity in the sculpture’s head are still intact.

Originally, this nahan would have been part of a large sculptural assemblage most likely consisting of 16 nahan. The number two 二 carved on the base of the sculpture indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Kanakavatsa is often referred to as the “happy arhat,” demonstrated by his smiling face.

This sculpture depicts one of the original disciples of the historic Buddha known as nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. Dressed in tenth-century-style monk robes known as kasa, the delicate painting of the patterns on his clothes date to the early 16th century and are well-preserved. Pages from sacred texts or sutras that were placed inside a small cavity in the head as part of the sculpture’s use in rituals are still intact.

Originally, this nahan would have been part of a large sculptural assemblage most likely consisting of 16 nahan. This group would have been enshrined in a Nahanjeon or “Hall of Arhats” as part of a larger temple complex. Together, the 16 statues would have flanked a central triad composed of the historic Buddha Śākyamuni, the future Buddha Maitreya, and the past Buddha Dīpankara. An inscription on the base of this sculpture (右一 woo li) indicates that it was positioned as the first sculpture to the immediate left of the central triad. The number two 二 carved on the base of the sculpture indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Believed to dwell in Kashmir, Kanakavatsa is often referred to as the “happy arhat,” demonstrated by his smiling face.

This sculpture depicts one of the original disciples of the historic Buddha known as nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. Dressed in tenth-century-style monk robes known as kasa, the delicate painting of the patterns on his clothes date to the early 16th century and are well-preserved. Pages from sacred texts or sutras that were placed inside a small cavity in the head as part of the sculpture’s use in rituals are still intact.

Originally, this nahan would have been part of a large sculptural assemblage most likely consisting of 16 nahan. This group would have been enshrined in a Nahanjeon or “Hall of Arhats” as part of a larger temple complex. Together, the 16 statues would have flanked a central triad composed of the historic Buddha Śākyamuni, the future Buddha Maitreya, and the past Buddha Dīpankara. An inscription on the base of this sculpture (右一 woo li) indicates that it was positioned as the first sculpture to the immediate left of the central triad. The number two 二 carved on the base of the sculpture indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Believed to dwell in Kashmir, Kanakavatsa is often referred to as the “happy arhat,” demonstrated by his smiling face.

This polychrome wooden sculpture depicts an arhat, known as nahan in Korean. Nahan were holy men of Buddhism who attained freedom from ignorance and suffering. The number “two” 二 carved on the rocky base indicates that this sculpture depicts the nahan known as Ganakgabeolcha, called Kanakavatsa in Sanskrit. Believed to dwell in Kashmir, Kanakavatsa is often referred to as the “happy arhat,” evidenced by his smiling countenance.

Originally, this nahan would have been part of a large sculptural assemblage most likely comprised of sixteen nahan. This group would have been enshrined in a Nahanjeon or “Hall of Arhats” as part of a larger temple complex. Together, the sixteen statues would have flanked a central triad composed of the historic Buddha Śākyamuni, the future Buddha Maitreya, and the past Buddha Dīpankara. An inscription on the base of this sculpture (右一 woo li) indicates that this particular sculpture was positioned as the first sculpture to the immediate left of the central triad. Dressed in Goreyo-style monk robes known as kasa, the original, delicate painting dating to the early 16th century is largely intact. Pages from sacred texts or sutras that were placed inside a small cavity in the head as part of the sculpture’s original ritual activation are still intact.