Abstract

The Makara, a potent hybrid guardian figure from Indian architectural sculpture, poses a question for the study of artistic exchange: how did this complex motif travel across Asia and transform into a simplified painted emblem on Chinese export ceramics? We address this question by analyzing a corpus of textual sources, sculptural reliefs, and ceramic assemblages, with a focused case study on ninth-century Changsha kiln production and the pivotal evidence from the Belitung shipwreck. The analysis reveals a profound morphological and functional shift. In stone, the Makara appears as a powerful, three-dimensional guardian in complex crocodilian or elephantine forms. In contrast, on mass-produced Changsha bowls, it is abbreviated to a stylized, two-dimensional head, often paired with a pearl. We argue that this transformation was not a simple degradation but a sophisticated act of modular translation. The shift in medium from stone carving to swift underglaze painting and the demands of a global market forced a functional reinvention: the static, architectural guardian became a portable, commercial emblem. Ultimately, the analysis frames the Changsha artisan as an active cultural translator and the Makara bowls as an early, successful example of customized export design for a global audience.

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