Gupta Sculpture – UPSC Indian Heritage and Culture Notes

The Gupta period stands out as a pinnacle of artistic excellence, often referred to as the “Golden Age of Indian Art.” It achieved a level of perfection that had never been seen before and has rarely been matched since. The art of the Gupta era embodies a remarkable sense of balance and harmony, evident in its style and iconography.

Gupta sculpture, in particular, occupies a realm of its own. The Gupta artists seemed to strive for a higher ideal, transcending mere craftsmanship. A notable shift in their approach to art can be observed, as they aimed to establish a profound connection between art and philosophy, bridging the gap between external forms and the inner intellectual and spiritual concepts cherished by the people.

Features

• Gupta sculpture revolves around the human form, using it as the central focus. It gives rise to a new standard of beauty, leading to the emergence of a fresh aesthetic ideal. This ideal is founded on a deep appreciation of the human body’s inherent softness and flexibility.
• The Gupta sculptures feature bodies that are smooth and supple, enabling graceful and unrestricted movement. Elaborate draperies and intricate jewelry are prominent features of Gupta art. During this era, the fashion trend involved wet or transparent clinging draperies. However, a conscious moral sense restrained the sensual effect of these garments, particularly in the case of female figures. Nudity was generally avoided in Gupta sculpture.
• One exceptional example of Gupta craftsmanship is the magnificent red sandstone image of the Buddha from Mathura, which can be dated back to the 5th century A.D. The sculpture portrays the great Master in a sublime manner, standing with his right hand in the Abhayamudra, symbolizing protection, while his left hand holds the garment’s hem.
• The Buddha’s face displays a serene smile with eyes cast downwards, emanating a sense of spiritual ecstasy. The robe, skillfully depicted with delicately rendered schematic folds, covers both shoulders and clings to the body. The head is adorned with spiral curls arranged in a central protuberance, and the elaborate halo is embellished with concentric bands of graceful ornamentation.

• When countries such as Siam, Cambodia, Burma, Java, Central Asia, China, and Japan embraced the Buddhist religion, they adopted and adapted the image of Buddha, incorporating their own local modifications. The image of the standing Buddha from Sarnath exemplifies the mature Gupta art style. In contrast to the intricately carved drapery folds seen in the Mathura Buddha, only the fringed edge of the translucent robe is suggested here. The flawless execution of the figure, combined with its serene and spiritual expression, truly befits the sublime nature of the Buddha.
• Sarnath not only brings forth a delicacy and refinement of form but also introduces a relaxed posture, subtly bending the body on its own axis in the case of the standing figure. This imparts a sense of litheness and movement, in contrast to the more rigid column-like quality found in similar works from Mathura.
• The stone carvings from the temples at Deogarh, as well as those from the temples of Udayagiri and Ajanta, serve as excellent examples of figure sculpture within their decorative contexts. One magnificent specimen is the large panel depicting Sheshashayi Vishnu from the Deogarh temple. This panel portrays the Supreme Being in a state of wakeful slumber on the serpent Ananta, symbolizing eternity, during the interval between the dissolution of the universe and its subsequent creation.

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