Mauryan Architec

Mauryan architecture is the art created between the 4th and 2nd Century BC under the Mauryan Empire. This empire was the first to control much of the Indian subcontinent. The architecture from this period is a shift from using wood to using stone. It was a special kind of art supported by Mauryan rulers, especially Ashoka.

The Great Mauryan ruler, Ashoka, embraced Buddhism, and the spread of Buddhism during his rule led to the development of Mauryan sculptural and architectural styles.

Religions like Jainism and Buddhism emerged around the 6th century BCE. King Ashoka supported these religions in the third century BCE. The term “shraman tradition” refers to various Indian religious movements separate from the historical Vedic religion. It includes Jainism, Buddhism, and others like Ajivikas and Carvakas. During this time, there were various religious practices, but Buddhism became the most popular.

Background of Mauryan Architecture

In 321 BC, Chandragupta Maurya, with the guidance of Chanakya (the author of Arthashastra), established the Mauryan dynasty by overthrowing the Nanda Dynasty.
Monumental stone sculpture and architecture became prominent in the Mauryan period after the Harappan civilization.
The Mauryan dynasty lasted from 322 BCE to 185 BCE.
A new phase of cultural history emerged during Mauryan rule, marked by significant developments in monumental stone sculpture and architecture.
The Mauryan Empire’s Art and Architecture included pillars, sculptures, and structures like stupas, caverns, viharas, and chaityas. These creations were known for their aesthetic quality and brilliant design and execution.
Pillars, made of sandstone, were a signature feature of Mauryan Art and architecture, serving as memorials with inscriptions of Emperor Ashoka’s edicts.
Caves were used for meditation and worship, featuring intricate carvings and sculptures in their interiors.
Stupas were large dome-shaped structures used as Buddhist shrines or religious buildings.
Viharas were residential buildings for Buddhist monks.
Mauryan art mainly expressed itself through sculpture, emphasizing the development of the art of stone carving.
The period is notable for the emergence of stone carving as an art form.
Palaces were grand structures serving as the residence for the king and the royal family, often featuring gardens and courtyards.

Classification of Mauryan Architecture

Mauryan architecture can be divided into Court Art and Popular Art.

Mauryan Court Art

Mauryan Court Art encompasses architectural creations such as pillars, stupas, and palaces.

Palaces: Mauryan period palaces were adorned with gilded pillars featuring golden vines and silver birds. The palaces were surrounded by high walls with battlements, water ditches, and lotus and plant adornments.

The Greek historian Megasthenes described Mauryan palaces as among the greatest creations of mankind, while the Chinese traveler Fa Hien referred to them as god-gifted monuments.
Persian Influence: Mauryan palaces drew heavy inspiration from Persian architecture, particularly the Achaemenid palaces in Persepolis.
Chandragupta Maurya’s palace, for instance, was influenced by the Achaemenid palaces in Iran.
Material Used: Wood was the primary building material during the Mauryan Empire.
Examples: Notable instances include the Mauryan capital at Pataliputra, Ashoka’s palace at Kumrahar, and Chandragupta Maurya’s palace.

Mauryan Coins

The Mauryans predominantly minted silver coins and a limited number of copper coins, presenting various shapes, sizes, and weights, each bearing one or more symbols stamped on them.
The most commonly used emblems included the elephant, the tree within a fence sign, and the mountain.
The standard method for producing these coins involved cutting the metal first, followed by punching the device onto them.

Mauryan Pillars

Ashokan pillars, typically crafted from Chunar sandstone, held great significance as symbols of the state throughout the Mauryan Empire.

Objective: The primary purpose was to spread Buddhist ideology and royal decrees across the entire Mauryan empire.
Language: While most Ashoka pillar inscriptions were in Pali and Prakrit, some were also written in Greek or Aramaic.
Architecture: Mauryan pillars consisted of four main parts:
- Shaft: The long base, often a single piece of stone or monolith.
- Capital: Positioned atop the shaft, the capital took the form of either a lotus or bell shape.
- Abacus: Above the capital, there was a circular or rectangular base known as the abacus.
- Capital Figure: Figures in the capital, usually depicting animals like bulls, lions, or elephants, were robust and carved standing on a square or circular abacus.
Examples of pillars with capital figures include Sarnath, Basarah-Bakhira, Rampurva, Sankisa, and Lauriya-Nandangarh. The Lion Capital at Sarnath is the most renowned example.

Mauryan Pillar Edicts and Inscriptions

Ashoka, a Mauryan emperor, left a lasting legacy in the form of Pillar Edicts and Inscriptions. These historical records illuminate his principles and policies, offering valuable insights into ancient India. The Pillar Edicts and Inscriptions are crucial sources that reveal the social, cultural, and religious ethos of the time, contributing significantly to our understanding of history.

Ashoka’s Seven Pillar Edicts, discovered at locations like Topra (Delhi), Meerut, Kausambhi, Rampurva, Champaran, and Mehrauli, cover various aspects:

Pillar Edict I: Focuses on Ashoka’s principle of protecting the people.
Pillar Edict II: Defines Dhamma as minimizing sins and emphasizes virtues like compassion, liberality, truthfulness, and purity.
Pillar Edict III: Abolishes sins of harshness, cruelty, anger, pride, etc.
Pillar Edict IV: Addresses the duties of Rajukas.
Pillar Edict V: Lists animals and birds that should not be killed on certain days and another list of animals that should not be killed at all.
Pillar Edict VI: Discusses the Dhamma policy.
Pillar Edict VII: Highlights the works done by Ashoka for the Dhamma policy.

Additionally, there are Minor Pillar Inscriptions like the Rummindei Pillar Inscription, which notes Ashoka’s visit to Lumbini and the exemption of Lumbini from tax, and the Nigalisagar Pillar Inscription in Nepal, mentioning Ashoka’s increase in the height of the stupa of Buddha Konakamana.

Major Pillar Inscriptions include the Sarnath Lion Capital, built by Ashoka near Varanasi to commemorate Dhammachakrapravartana or the first sermon of Buddha, as well as pillars in locations like Vaishali (Bihar), Sankissa (Uttar Pradesh), Lauriya-Nandangarth (Champaran, Bihar), Lauriya-Araraj (Champaran, Bihar), and Allahabad (Uttar Pradesh).

Ashoka’s Pillar Edicts and Inscriptions serve as essential sources, offering valuable information about his reign, policies, and shedding light on ancient Indian history. They are crucial for studying that period.

Stupas, Chaityas, and Viharas

Stupa

Stupas, burial mounds dating back to the Vedic period, were integral to the Buddhist and Jaina monastic traditions, with a predominant association with Buddhism.
Some sculptures within stupas represented Brahmanical gods.
Stupas were constructed over the relics of the Buddha and consisted of a cylindrical drum, circular anda, harmika, and a chhatra at the top.
The architectural elements included circumambulatory pathways and gateways, with later additions in many cases.
- Structural Components:
  - Anda: Hemispherical mound symbolizing the dirt used to cover Buddha’s remains.
  - Harmika: Square railing atop the mound.
  - Chhatra: Central pillar supporting a triple umbrella form.
Construction Material: The core of the stupa was made of unburnt brick, covered with burnt bricks, plaster, medhi, and adorned with wooden sculptures on the toran.
Examples:
- Sanchi Stupa in Madhya Pradesh is the most renowned Ashokan stupa.
- Piprahwa Stupa in Uttar Pradesh is the oldest known stupa.
- Stupas built after Buddha’s death: Rajagriha, Vaishali, Kapilavastu, Allakappa, Ramagrama, Vethapida, Pava, Kushinagar, and Pippalivana.
- Stupa at Bairat, Rajasthan: Grand stupa with a circular mound and a circumambulatory path.

Chaityas

Chaityas, prayer halls often associated with stupas, typically had a rectangular shape with a semi-circular rear end.
The halls featured horse-shoe-shaped windows and pillars separating the main hall from two aisles.

Viharas

Viharas served as residences for monks and were initially constructed from wood, later transitioning to stone-cut structures.

Depiction of the Buddha at Stupas

Symbols: In the initial phases, representations of Buddha were conveyed through symbols depicting various events in his life. These symbols included footprints, lotus thrones, chakras, stupas, and more.

Jataka Stories: Subsequently, the railings and torans of stupas began to feature Jataka stories, narratives about the previous births of Buddha. Notable Jataka stories frequently depicted include Chhadanta Jataka, Sibi Jataka, Ruru Jataka, Vessantara Jataka, Vidur Jataka, and Shama Jataka.

Chief Events: Artistic representations often highlight key events from Buddha’s life. These include his birth, renunciation, enlightenment, the first sermon (dharmachakrapravartana), and mahaparinirvana (death).

Mauryan Art

Mauryan Art encompassed cave architecture, sculpture, and poetry, all of which were manifestations of individual artistic endeavors.

Cave Architecture in the Mauryan period primarily served as viharas, or living quarters, for Jain and Buddhist monks. Notable features included a highly polished interior wall finish and ornate gateways.

As an example, Emperor Ashoka of the Mauryan dynasty commissioned the creation of seven caves (Satgarva) in the Makhdumpur region of Jehanabad district, Bihar, for the Ajivika Sect:

Barabar Caves (4 caves):
- Karna Chaupar
- Sudama Cave
- Lamarshi (Lomas Rishi) Cave
- Vishwamitra (Vishva Zopri) Cave

Nagaragunja Caves (3 caves) in Bihar, formed during the time of Dasharath (grandson of Ashoka):
- Gopi Cave
- Bahayak Cave
- Vedantika Cave

Ajivika Sect

Established by Goshala Maskariputra, a companion of Mahavira, the 24th Tirthankara of Jainism.
It existed concurrently with Jainism and Buddhism.
The philosophy of the Ajivika sect revolves around the belief that the entire universe operates under the influence of a cosmic force known as niyati (Sanskrit: “rule” or “destiny”). This force governs all events, including the fate of individuals.

Mauryan Sculptures

Among the renowned artistic creations from the Mauryan period, the sculptures of Yaksha and Yakshi stand out prominently.

The Yakshini, worshipped as a religious symbol by the Mauryans, held significance across all three major religions of the time – Jainism, Hinduism, and Buddhism.
Noteworthy mentions include the earliest reference to yakshi found in Silappadikaram, a Tamil text.
Notable sculptures from the Mauryan period include the torso of a nude male figure discovered at Lohanipur in Patna and the Didargunj Yakshi found in the village of Didargunj, Patna.
These sculptures serve as testaments to the extraordinary artistry and skill of Mauryan sculptors, showcasing their ability to craft awe-inspiring and meaningful works of art.

Mauryan Rock-Cut Architecture

Rock-cut architecture thrived under the significant patronage of Ashoka during his reign, particularly in the creation of sculptures for the Mauryan Age, with a focus on catering to Buddhists and Jain monks. This architectural style involved carving sculptures directly out of rock, resulting in distinctive features and characteristics.

Key points and features of Ashoka’s rock-cut architecture:

Polished Interior Walls: The caves dedicated to rock-cut architecture had interior walls that were meticulously polished, enhancing the overall aesthetic appeal.
Rectangular Interior with Circular Chamber: The design of the caves followed a rectangular layout, often featuring a circular chamber at the back, contributing to a unique and purposeful architectural arrangement.
Remarkable Decorative Gateways: The entrances to these rock-cut caves were adorned with remarkable decorative gateways, adding artistic and intricate elements to the overall design.

An example of Ashoka’s patronage of rock-cut architecture is the Lomas Rishi Cave located at the Barabar hills near Gaya. This cave exhibits a semicircular Chaitya arc on its frontage, with a high-relief carving of an elephant. The interior hall of the cave maintains a rectangular shape and includes a circular chamber at the back, showcasing the careful planning and execution of the architectural elements. Ashoka specifically supported this cave for the Ajivika sect.

Mauryan Pottery

Pottery from the Mauryan era is commonly known as Northern Black Polished Ware (NBPW) and has predominantly been unearthed in northern India.

Distinctive Characteristics: Mauryan pottery featured a distinct black paint and a highly lustrous finish, often serving as luxury items indicative of the craftsmanship of the time.
Prominent Centers: The significant centers for the production of NBPW pottery were Kosambi and Patliputra, highlighting their importance in shaping the material culture of the Mauryan period.
Widespread Usage: NBPW pottery was widely used during the Mauryan period, finding applications in various aspects of daily life.
Versatile Functions: This type of pottery served multiple purposes, including storage, cooking, and serving, showcasing its versatility in fulfilling the diverse needs of the people.
Insights into Daily Life: The examination of Mauryan pottery provides valuable insights into the daily life and customs of the people from that historical period, offering a glimpse into their practices and preferences.

Another noteworthy example is the rock-cut elephant at Dhauli, Odisha, which demonstrates modeling in the round with a linear rhythm. This site also features an Ashokan edict, further emphasizing the historical and cultural significance of Ashoka’s influence on rock-cut architecture.

Mauryan Terracottas

Terracotta art thrived during the Mauryan period, with a plethora of terracotta figures and sculptures being unearthed from various excavation sites. Key locations for these discoveries include Bulandibagh, Patliputra, and Taxila.

Bulandibagh: Noteworthy findings from this site include a sculpture of a dancing woman, showcasing the diversity of Mauryan terracotta art.
Patliputra and Taxila: These sites also contributed significantly to the collection of Mauryan terracotta representations, further enriching our understanding of this ancient art form.

The style of Mauryan terracotta art is notable for its evident influence on Greek culture. The art form proudly exhibits Greek-inspired features and techniques, reflecting a fusion of artistic traditions.

In Mauryan terracotta art, a variety of subjects found popularity. Terracotta decorations, toys, and structures emerged as common themes, demonstrating the versatility and widespread appeal of this artistic expression during the Mauryan era.

Mauryan Paintings

According to Megasthenes, the Mauryans were known to possess some fine paintings. Unfortunately, no examples of these paintings have survived over time.
The Ajanta Caves house some of the earliest notable examples of Indian art. These paintings reveal the existence of a well-developed tradition that could possibly trace its roots back to the Mauryan period, several years later.

The information about Mauryan paintings is somewhat elusive, with only indirect references and the Ajanta Caves providing insights into the artistic traditions that may have evolved during the Mauryan era.

Evolution of Terracotta Art and Mauryan Artistic Achievements

During the central phase of the Northern Black Polished Ware around 300 BC, the central Gangetic plains emerged as a focal point for terracotta art, experiencing significant development during the Mauryan era.

Mauryan pottery, produced on a large scale, served as a testament to the prosperity and power of the Mauryan Empire.
Mauryan Art and Architecture, characterized by a fusion of Indian, Persian, and Greek influences, showcased remarkable innovation, demonstrating a high degree of skill and craftsmanship.
The Gupta period, particularly influenced by Mauryan art and architecture, drew inspiration from its predecessors.
Mauryan achievements in rock-cut architecture, exemplified by the Great Stupa at Sanchi, marked a significant milestone, with this form spreading to western and southern India in later periods.
Mauryan art and architecture played a pivotal role in the propagation of Buddhism, leading to the construction of religious structures such as stupas and viharas. These sites served as crucial centers for religious practices, hosting ceremonies, teachings, and meditation.
Beyond artistic expression, Mauryan art and architecture significantly improved the lives of the people through the construction of public works, including irrigation systems, roads, and infrastructure. These projects, commissioned by Mauryan rulers for administrative and economic purposes, contributed to shaping the cultural landscape of India.

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