Post Mauryan Sculpture – UPSC Notes – Art & Culture
Introduction to Post Mauryan
The era following the decline of the Mauryan Empire around the 2nd century BCE marked a notable transformation in the realm of ancient Indian sculpture. Post Mauryan art witnessed the rise of distinct regional schools, including the influential Shunga, Satavahana, and Kushan dynasties. These dynasties played a pivotal role in shaping the trajectory of Indian sculpture, steering it towards greater realism, intricate detailing, and a more emotive portrayal of both human and divine figures.
The fusion of indigenous Indian artistic traditions with Hellenistic and Indo-Greek influences resulted in the creation of unique sculptural forms. Materials like stone, terracotta, and ivory were employed, allowing artists to experiment with diverse textures and forms. Post-Mauryan sculptures became crucial repositories of religious and cultural narratives, offering invaluable insights into this dynamic period of Indian history and art.
The Shunga, Kushana, and Satavahana dynasties, dominant during the post-Mauryan phase, laid the foundation for diverse schools of sculpture, such as the Mathura School of Art and the Gandhara School, which later played a pivotal role in the evolution of temple architecture.
Several factors contributed to the flourishing of art and culture during this era:
- The geographical expanse of each kingdom influenced artistic styles and regional variations.
- The choice of artistic media was influenced by the availability of local materials.
- Unique characteristics were infused into artworks through local traditions of craftsmanship.
- Political requirements and royal preferences played a crucial role in shaping the produced art. Notably, Satavahana queens’ donations to Buddhist monks in the Western Ghats region led to the construction of caves like Karle and Kanheri.
While predominantly supporting Brahmanism, these dynasties continued to endorse Buddhism and Jainism on a smaller scale compared to the time of Ashoka. During this phase, state patronage persisted, though to a lesser degree, as local entities such as guilds and common citizens assumed more significant roles in the development of art and sculpture. Various motifs, particularly those featuring yakshas and yakshis, gained widespread popularity, with the “Shilabhanjika” motif, depicting a female figure gracefully grasping a tree, prominently featured during this period.
Post Mauryan Sculpture – Kushana Period
The era of Kushana rule witnessed an impressive surge in the advancement of art and sculpture, marking the onset of a Golden Age in Indian artistic expression.
The Kushana dynasty played a pivotal role in fostering dynamic cultural exchanges between India and Central and Eastern Asia, facilitating the exchange of ideas with advanced traditions from the ancient world, including Graeco-Roman influences.
During this period, the groundwork for various schools of art was established, and excellence flourished across multiple domains, including religion, philosophy, and literature. A significant turning point in the evolution of Buddhism unfolded during Kushana rule, as it underwent its first major schism, leading to the division of Buddhism into Hinayana and Mahayana branches.
Notably, Mahayana Buddhism had a profound impact on sculpture development, permitting the portrayal of the Buddha in human form.
Post Mauryan Sculpture – Mathura and Gandhara Schools of Art
Both the Mathura and Gandhara Schools of Art were situated within the domain of the Kushana rule. The Mathura School of Art holds the distinction of being the place where the first representation of the Buddha emerged, later influencing other regions, including Gandhara. These artistic traditions flourished under the political patronage of the Kushana dynasty. Over time, these two schools of art eventually converged and amalgamated their influences and styles.
Mathura School of Art
Origin: Located in the heartland of India. Initially had minimal foreign influence. Later, influenced by the Gandhara School of Art.
Material: Primarily used spotted red sandstone from Sikri mines.
Key Features: Early Mathura sculptures did not aim for anatomically accurate depictions of Buddha, resulting in somewhat disproportionate images. These images were characterized by the composition of 32 major and 80 minor Laksana (attributes). Expressions were often lacking, with Buddha typically shown sitting cross-legged. Emphasized boldness in expression, conveying power more than compassion. Hair was typically undressed. Drapery and clothing were portrayed in a simple manner. Most images featured the Abhaya Mudra (gesture of fearlessness).
Centers: Prominent centers of the Mathura School of Art included Mathura itself, Sarnath, and Kosambi.
Types of Images: The Mathura School of Art produced a variety of sculptures, including representations of Buddha, Jain Tirthankaras, Hindu gods and goddesses like Vishnu, Shiva, Parvati, Kuber, and images of emperors, with Kanishka being one of the most significant.
Patrons: This school of art developed under the patronage of the Kushana dynasty and reached its zenith during the Gupta period (325-600 AD).
Gandhara School of Art
Origin: Located in the Gandhara region in the northwestern part of the Indian subcontinent, intersected by the Silk Road, and situated on the border of the subcontinent. Exposed to ideas from various regions such as China, Greece, Rome, and Persia due to its strategic location. Resulted in the fusion of Indian ideas with those from other cultures, giving rise to a distinct art school. Strong influence from Greco-Roman norms, earning it the moniker “Greco-Buddhist School of Art.”
Material: Primarily employed black stone and stucco.
Key Features: Closely associated with Mahayana Buddhism. Exhibited a significant influence from the old Greek School of Art, incorporating Indian themes while using Greco-Roman materials and ideas. Primary theme centered on representations of Buddha and Bodhisattvas.
Image Features: Characterized by finer details and realistic representations. Depictions of Buddha in various mudras (hand gestures). Sculptures featured curly or wavy hair, anatomical accuracy, and a sense of spatial depth. Notable for the portrayal of wrinkles on the skin, expressions of compassion, and a muscular body frame. Transparent garments with natural-looking folds and flowing drapery. Images were highly expressive, emphasizing muscularity, drawing parallels with the depiction of Greek gods, notably resembling the Greek god Apollo.
Centers: Prominent centers of the Gandhara School of Art included Taxila, Begram, Bamiyan, and Peshawar, spanning across Afghanistan and northwestern India.
Patrons: Supported by the Shakas and Kushanas.
Post Mauryan Sculpture – Greek, Roman, and Indian Influence
Greek: The portrayal of Buddha as a ‘man-god’ in Gandhara sculpture found inspiration in Greek mythology. Greek sculpture, known for favoring mythological and idealized statues, stood in contrast to the realism favored in Roman sculpture. (Greek Sculptures = represent gods | Roman Sculptures are mainly used for depictions of Kings and Generals) The extensive use of stucco plaster in Gandharan artwork traced its roots back to Greek art. The inclusion of wavy hair in sculptures, a feature adopted by Romans, could also be linked to Greek influence. The depiction of masculinity in Gandharan sculptures was influenced by the muscular representation of Greek gods.
Roman: Roman sculpture, evolving from Greek sculpture, exhibited notable similarities, although discernible differences did exist. Drapery: The drapery of the robes adorning Buddha in Gandhara sculpture bore a striking resemblance to the drapery seen in Roman imperial statues.
Indian: Indian influence manifested in the jewelry featured in these sculptures. The core concept of Buddhism depicted in these artworks had its roots inherently in Indian origins.
Mathura vs. Gandhara School of Art
This type of comparison is often essential for state-level PCS examinations.
Mathura School
Origin: Indigenous development with minimal foreign influence. Later influenced by the Gandhara School.
Material Used: Spotted red sandstone.
Religions: Buddhism, Jainism, and Hinduism all represented.
Image Features: Minimal attention to detailed sculpting, Buddha is portrayed as stout.
Area: Prominent centers in Mathura and Kosambi.
Patronage: Supported by the Kushana dynasty and later the Guptas.
Gandhara School
Origin: Strong Greek-Roman influence, known as the Greco-Buddhist School of Art. Initially inspired by Hellenistic features.
Material Used: Stucco.
Religions: Mainly focused on Buddhism.
Image Features: Finer details, realistic representations, and Buddha depicted in various mudras (hand gestures).
Area: Prominent centers in Taxila, Bagram, and Bamiyan, among others.
Patronage: Supported by the Kushana dynasty and the Shakas.
Amravati School of Art
Location: Situated in the Guntur district of Andhra Pradesh, India. Also referred to as the Vengi School of Art, it developed in the lower valleys of the Krishna-Godavari region.
Patrons: Flourished during the time of the Satavahanas and Ikshvakus.
Material: Primarily employed white marble.
Place: Predominantly found in Andhra Pradesh, particularly in the Krishna-Godavari Valley.
Theme: Focused on depicting the life of Buddha and Jataka stories. Embraced both Mahayana and Hinayana Buddhism. Narratives from the life of Buddha and Bodhisattva, such as events related to his birth, miracles, and enlightenment, took center stage.
Features: Sculptures featured Buddha with curly hair, influenced by Greek artistic elements. Emphasized the portrayal of kings, princes, and palaces. Gateways adorned with images of lions. Amaravati sculptures were characterized by lean, beautiful, curvy, and mobile figures, akin to the style found in the Gandhara School of Art. Frequently incorporated floral and lotus motifs. Depicted various postures that conveyed the activities of each individual, often exuding joyfulness. Female figurines were represented in various postures, showcasing a better depiction of feminine beauty compared to the Mathura School of Art. The influence of the Amaravati School of Art extended to later period sculpture in South India, Sri Lanka, and Southeast Asia.
Sarnath School
Location: Sarnath is a place near Varanasi and is famous because it’s where Buddha gave his first sermon.
Development: The Sarnath School of Art came into being much later than the Gandhara and Mathura Schools. Some scholars believe that it was closely linked to the Gupta Period.
Themes: This school mainly focused on Buddha and also included depictions of Bodhisattvas.
Distinctive Features: Halos around the figures were well-developed. The hair of the sculptures was more detailed than in Mathura but not as intricate as in Gandhara. It had small, dot-like structures. The drapery was simple and lacked the natural cloth appearance seen in Gandhara. It was almost transparent. The art was primarily made using red sandstone. The sculptures conveyed a sense of calm and inner tranquility. The most common depiction in this school was Buddha preaching, often with the Dharmachakra Mudra.
Stupa Architecture: In Sarnath, the architecture of stupas was notably different from other places, like Sanchi. For instance, the Dhamekh Stupa and Chaukhandi Stupa, both belonging to this school, showcased unique designs.
Related Posts:
| Chapter 1 | Indus Civilization Sculpture |
| Chapter 2 | Buddhist Sculpture |
| Chapter 3 | Gupta Sculpture |
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FAQs on Post Mauryan Sculpture
- What characterized the main sculptural style in southern India during the post-Mauryan period?
- Answer: The Bharhut sculptures of this era are tall, resembling the images of Yaksha and Yakhshini from the Mauryan period. The sculptural volume is in low relief with an emphasis on linearity. Images adhere closely to the picture plane, and in narrative relief panels, a three-dimensional illusion is created through a tilted perspective.
- What were the major schools of sculptural art in the post-Mauryan period?
- Answer: During the post-Mauryan period, there was significant development in art and culture. Three major schools emerged: the Mathura School of Art, the Gandhara School of Art, and the Amravati School of Art.
- What were the distinctive features of the post-Mauryan period, and what was it known for?
- Answer: The post-Mauryan period is known for cultural interactions between India and foreign rulers, the spread of Mahayana Buddhism, and the development of three prominent schools of art and sculpture: Gandhara, Mathura, and Amravati.
- Which sculpture is considered the best example of Mauryan art?
- Answer: The Lion Capital, found at Sarnath, is the finest example of Mauryan sculptural tradition. This Mauryan pillar capital is also prominently featured as our national emblem.
