Buddhist Sculpture – UPSC Indian Heritage and Culture Notes

Starting from the second century BCE, several rulers established their dominion over the extensive Mauryan Empire. In the northern and central regions of India, control was asserted by the Shungas, Kanvas, Kushanas, and Guptas, while in the southern and western parts, it was the Satavahanas, Ikshavaku, Abhiras, and Vakatakas who held sway. Interestingly, this era also witnessed the ascent of prominent Brahmanical sects like the Vaishnavas and the Saivas.

Remarkable examples of exquisite sculpture can be discovered in various locations. Vidisha, Bharhut (Madhya Pradesh), Bodhgaya (Bihar), Jaggayyapeta (Andhra Pradesh), Mathura (Uttar Pradesh), and Khandagiri-Udaigiri (Odisha) stand out as some of the notable sites.

Bharhut Sculptures

The sculptures here are tall like the images of Yaksha and Yakshini in the Mauryan period. In the relief panels portraying narratives, the artists employ a tilted perspective to create an illusion of three-dimensionality. Initially, at Bharhut, the narrative panels feature fewer characters. However, as time progresses, additional figures besides the main character start appearing in the picture space.

The sculptors make the most of the available space. In the narratives, folded hands and the single figures of the Yakhshas and Yakshinis are depicted as flat, closely adhering to the chest. The body and arms often exhibit a certain stiffness. Over time, however, the visual appearance undergoes modifications, with images showcasing deeper carvings, pronounced volume, and a highly naturalistic representation of human and animal bodies. Excellent examples of such sculptures can be found at Bharhut, Bodhgaya, Sanchi Stupa-2, and Jagayyapetta.

The narrative reliefs at Bharhut demonstrate how artisans effectively utilize the pictorial language to communicate stories. For instance, in one narrative depicting Queen Mayadevi’s (the mother of Siddhartha Gautama) dream, a descending elephant is portrayed. Another notable characteristic observed in the male images of Bharhut sculptures from the first and second centuries BCE is the presence of a knotted headgear.

Sanchi Sculptures

• A notable advancement in stylistic progression can be observed in the next phase of sculptural development at Sanchi Stupa-1, Mathura, and Vengi in Andhra Pradesh (Guntur District).
• One remarkable feature is the presence of four beautifully decorated toranas, showcasing various events from the life of the Buddha and the Jataka tales. Additionally, sculptures depicting everyday life are also represented in these locations.
• The figure compositions are depicted in high relief, occupying the entire space. The depiction of postures becomes more naturalistic, eliminating any stiffness in the body. The heads exhibit considerable projection within the picture space, while the contours become less rigid, conveying a sense of movement.
• Carving techniques appear more advanced compared to those seen at Bharhut. Symbols continue to be used to represent the Buddha and the Manushi Buddhas (past Buddhas).
• Furthermore, historical narratives such as the siege of Kushinara, Buddha’s visit to Kapilavastu, and Ashoka’s visit to the Ramgrama Stupa are meticulously carved with significant attention to detail.

Gandhara School of Sculpture

The sculptural tradition of Gandhara drew influence from the artistic traditions of Bactria, Parthia, and the local region. It reached its peak during the Kushan dynasty in the North-West frontier of the country. Grey and bluish grey sandstone was predominantly utilized in the creation of these sculptures. Many of these artworks found their inspiration in Buddhism.

Features

• Spiritual Buddha: Depiction of Buddha exudes a sense of calmness
• Minimalistic ornaments on Buddha
• Wavy hair portrayal of Buddha
• Large forehead and closed eyes
• Seated Buddha shown in traditional cross-legged position
• Resemblance of Buddha and Bodhisattva figures to Greek God Apollo, with broad shoulders and halo
• Intricate detailing of physical features such as muscles, nails, and hair.

Mathura School of Sculpture

• Sculptures in the Mathura school predominantly used spotted sandstone.
• The Mathura school of sculptures was influenced by external traditions, particularly the Mathura school of sculptures.
• Mathura style sculptures depicted all three religions: Jainism, Buddhism, and Hinduism.
• The Kushana rulers were patrons of the Mathura school.
• The local sculptural tradition in Mathura became so influential that it extended to other regions of northern India.

Features

• The Buddha sculptures in Mathura are influenced by earlier Yaksha images, while those in Gandhara exhibit Hellenistic features.
• Vishnu and Shiva are represented in their images by their respective weapons, known as ayudhas.
• Carvings of large images show boldness, with the volume projected outward from the picture plane.
• The faces of the sculptures are round and smiling, and there is a reduction in the heaviness of sculptural volume, giving a more relaxed appearance.
• The garments worn by the figures are clearly visible, covering the left shoulder.
• Sculptures include depictions of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities, as well as portrait statues.
• In the second century CE, Mathura sculptures become more sensual, with an increase in rotundity and fleshiness.
• By the third century CE, there is a change in the treatment of sculptural volume, with a reduction in extreme fleshiness and the portrayal of movement through leg position and body posture.
• The surface texture continues to display refinement and softness.
• The Buddha images in Mathura exhibit a transparent quality in the robes, and halos around the head are intricately decorated.

Amaravati School of Sculpture

• Indologists discovered a Buddhist relic exhibiting characteristics of the Amaravati school of Art on the banks of River Gundlakamma in Andhra Pradesh.
• The Amaravati school of art originated in the region of Amaravati, Andhra Pradesh.
• It received patronage from the Satavahanas initially and later from the Ikshavaku dynasty.
• Significant locations where this artistic style flourished include Amravati, Nagarjunikonda, Goli, Ghantasala, and Vengi.

Features

• The preferred material in Amaravati art is “White marble.”
• Sculptures were crafted in a naturalistic manner, as seen in examples like the depiction of the Buddha taming an elephant.
• The art style incorporates narrative themes based on the life of the Buddha and Jataka stories.
• The Buddha is portrayed in both human and animal forms.
• The artistic style includes both religious and secular images.
• The Amaravati style is known for its elegance and sophistication.
• Sculptured panels of Amaravati art are characterized by delicate forms and graceful lines.
• The reliefs often feature scenes of dance and music, showcasing the celebration and joy of life.

For Daily Current Affairs Click Here

Join our Official Telegram Channel HERE
Subscribe to our YouTube Channel HERE
Follow our Instagram ID HERE