UNIT
BUDDHIST, JAIN & HINDU ART
GENERAL INTRODUCTION OF ART
DURING MAURYAN, SHUNGA,
KUSHANA & GUPTA PERIOD
THE MAURYAS
period is an important period in the history of Indian art and
(rhe Mauryan
The foundations for Indian art were laid, which later reached their
architecture.
during the golden age of the Guptas. Ashoka, a mighty king who ruled
height
the 3rd century B.C., was the grandson of Emperor Chandragupta, the
during
of Maurya dynasty covered a vast territory from Afghanistan
that in
founder
North West to South India. During his reign, the Mauryan Empire reached
aits peak.)
(Ashoka experienced a change of heart after the dreadful battle of Kalinga,
After seeing the senseless
whehe thousands lost lives and were taken into slavery.
living and decided to
bloodshed, he adopted the Buddhist path of righteous
sDread Buddha's teachings of
peace and non-violencefar and wide.)
Ashoka pillars
Some of the finest examples of Mauryan art are the famous
These columns are marvels of art, architecture
that he got built across the country.
as well as engineering.
The pillar was made out of a single stone which was cut,
shaped and polished.)This required
great engineering mastery that included
from quarries that were hundreds
carrying of large and heavy blocks of stone
they even had to transport the stone
to the hilltops.
of miles away. In some cases
to
pillars discovered so far. According
(There are close to twenty Ashokan
were carved
the hroted art historian Vidya
Dehejia, "These finely polished pillars,
near the Mauyan
0 coloured sandstone from
a single quarry atChunar
The
known asPatna, the capital of Bihar
pillars
Captal of Pataliputra';now
of single piece of stone.)
Mere decoratedon the
top by a capital carved out
a lotus
an inverted bell-shaped fom finely carved
like
1ne capital consisted of over which
base)
rested a thick disc
called an abacus (elaborate
O Which
a magnificent animal like the Sarnath Lions". some
Perched
of stone-measuring
a single piece o
made were
surface and
(The pillar shafts of
were also
had a smooth polished
metres/thirty feet in height. They of unity to
nine
message
carry Asoka's
pointed
gradually towards the top, Pillars
of morality,
the Buddhist concepts
the
Buddhist monks. They wereinscribed with
people to follow.
)
humanity and dedication, which he wished his Bíhar, Sanchi and
in
Nandangarh
Famous Ashokan pillars are from Lauriya
Sarnath.)
49
KAME LION FROM SARNATH
CAPITAL
EDIUM POLISHED SANDSTONE
PERIOD CIRCA 3rd CENTURY B.C.
DYNASTY MAURYAS-ASHOKA
COLLECTION: SARNATH ARCHAEOLOGICAL MUSEUM, U.P.
THEME/SUBJECT MATTER {A sculpture of four lions
back to back, on an elaborate base/abacus standing
that includes other animals.
Itwas adopted as the official
Emblem of India in 1950.
DESCRIPTION : (The Sarnath lion capital, the
crowning piece of a
monolithic Ashokan Pillar was built in the 3rd
century B.C. at the Deer
Park in Sarnath, the outskirts of
Varanasi. Here Buddha had preached
his first sermon after gaining
enlightenment and set the wheel of law in
motion-Dharma Chakra Pravartana.
(The capital, made of polished
sandstone is more than two meters
50
7 ft) in height. It
comprises of
four roaring lions placed back to back
on a Tound slab called abacus.
The abacus is
shaped-inverted-lotus base. On the supported by a bell
side of the abacus are carved four
animalsion, elephant, bull and horse moving
in a clockwise manner.
These animals carved
with great skill alternate
with four smaller
iharmachakras or wheels of law.)
It is believed that
the capital wasoriginally crowned
Wheel of Dharma'-dharmachakra, by a bigger
with 24 spokes the
of which were found at the broken pieces
original site.
The four lionson top are highly symbolic
and stylized with very
Iittle hint of naturalness. This is clear in the hair
carved along
the neck
as little flame shaped bunches and the upper lip
of the lions shown by
three slit/cut lines,) The
magnificent modeling gives them a
great power
and dignity. Surprisingly, compared
to the majesty of the lions, the
animals on the round bare
(abacus) are done with great naturalistic
energy and are defined carefully.Petals of
the lotus have rhythmically
cut/slit curves and contours. The
surface)of these pillars has a mirror
like finish It also reveals
the aristocratic and international nature of
the Mauryan art.
(The bears the edict of Ashoka's warning as a
pillar
ruler in Brahmi
script No
one shall cause divísion in the order of monks". The
broken
pieces of the Pillar are now in the
Museum at Sarnath.)
(The great symbolism of the greatest Buddhist virtues
along with
the great masterly skill of sculpting of
this piece of art deserved to be
a national identity of the great nation.
are
Symbolism
as follows :
: There are various interpretations regarding the symbolism. Two of them
1. These four lions are the various forms of
Buddha or Sakyasimhasymbolizing power,
courage, pride, and confidence. They are joined back to back
facing the east, west.
north and south signifying Ashoka's victory in all four directions. The smaller
wheels
on the abacus stand for his victory in the
intermediate regions reigning him supreme
in the whole world. The
four animals are believed to symbolizedifferent aspects
of
Lord Buddha's life. The Elephant stands for the
dream of Queen Maya in which a
white elephant enters her womb. The Bull represents desire during the life of the Buddha
as a prince. The Horse represents Buddha's departure
from royal life. The Lion represents
the achievement of enlightenment/nirvana. It also stands for his
royal lineage as he
belonged to the sakya clan. The dharmachakra spreads the continuous motivation to
work for 24 hours and stand for the victory of
righteousness over physical force.
2. The lion is frequently used as a symbol
of the Buddha and the capital thus probably
symbolizes the Buddha's spread of Dharma. The group of
four lions and bell iointly
symbolize preaching of "the Four Noble Truths' of
Buddhism to all. The svmbol
with a vertical line placed symmetrically inside the
lotus symbolizes The Middle Path
The Middle Path is the fundamental philosophy of
Buddhism, the Buddhist Dharma
The bull. the horse, the Lion and the Elephant
in the moving position
could symbolize
as rolling the Chakras-the wheel of law.
31
KUHAN PERIOD: Gandhara and Mathura School
(The Kushan dynasty reigned over the region covering
Afghanistan. north-west Pakistan and north-western India present-
The
growth of the Kushans as a political power lasted from lst nse
to the 3rd century A.D. (Kanishka ) the third ruler of the century
Kushan
déveloped the empire to its futtest extent. He was a great dynag,
patron
Buddhist religion and under him Buddhist art production received
a
motivation. Mathura and Gandhara were thetwo main centers of
notewor
art
the timeof the Kushans.) dutng,
1, Expanse :(Che Gandhara School of Art often called as the
Roman-Buddhist school flourished the 2nd century A.DJGandhara, a Grea,
in
bn
region consisted of roughly northwestern India
between the Khyber
and the Indus River around Peshawar and
the region of Kabul Valley
Afghanistan. Works of Persian and Hellenistic
(ancient Greek) infuee
were produced here.
Mathura region was mainly northern India
where works in the Indi
style were produced.
(2.
created the
Buddha in
first
Human Form : The Gandhara and Mathura
representationof the Buddha in human form.
Schol
Accordiny
to Hinayana Buddhism,
the making of Buddha idol in
human form wa
prohibited.Therefore, he was represented
using symbols like; the Chhatr
Bodhi Tree, Charan-Paduka
(footgears), etc. to propagate
his way of life. When his religion and
Mahayana Buddhism came up during
the image of Lord Buddha in Kanishka'srul,
human form was created for the first
timt.
These statues were mostly prepared at
Peshawar, Rawalpindi and Taxila
There was a definite effect of
Greek art on these statues. This
was known as Gandhara, hence whole area
this period and its art
got this name.
Buddha of Mathura drew inspiration
from Yaksha figures of Bharhu
and Sanchi of earlier centuries.
Other Hindu and Jain deities
be shown in human form also began t0
in Mathura school.
3.Subject Matter :Gandhara school was also called as the
school because Eclectk
had wide ranging influences of
it
Greco-Roman-hellenist
techniques.(The subject matter of
Gandhara art was completely Buddhis.
depicting the image of the Buddha
and the legends associated with his
called Jataka tales.
Though the subject matter of
but the style of making these statues 1s
sculpturesis Greek (hellenistic).
and ornaments are also not Indian,) Even the garme
n
school was also called the
Mathura
indigenous because itevolved
at own native placg as a redirected continuationschool
its
of the old Indian art
Bharhut and Sanchi iThe
Mathura School drew folk
inspiration from local
deities and themes from day to day
life. Unlike Gandhara where subje
religions
we see works on three
mainly Buddhist, In Mathura
are Buddha and Bodhisatvas,
Buddhism-Stánding and seated poses of
1. Deities, Yakshas
and 3. Hinduism-Brahmanical
2. Jainism-Tirthankaras of Kushana Kings are algo
Portrait statues
and god Kubera. Many
Yakshis Greco-Roman techniques.
very little influence of
found. Mathura art had
4. Material
school: the first
:
There aretwo phases in the
in stone and the second
development of
GandHara
stucco.(The most
in
frequently
in light Or
local schìst stone
by Gandhara artists was soft
used material were
Many of these statues
dark gray with small sparkling
mica particles) In the
uster in dark interiors.
leaf to give them
a
with gold of lime and
also covered
from Gandhara used stucco (a mixture
later part,{he sculptors
clay). sandstone
Mathura is Spotted Red
The materialfor making sculpturesin
from the quarries of Sikri.
with white and yellow veins
in Gandhara is
5Portrayal of Buddha -Main features Buddha
a Roman Toga (loose
with the head of a Greek Apollo wearing
portrayed turbans, jewellery,
here are shown wearing
garment). Allearly Bodhisattvas of the actual dress of
costume that was an adaptation
and muslin skirts,
given on the bodily features
nobles. Also, more stress is
the Kushan and Indian a perfect oval
beauty.(The human head usually appears with
and external
slightly bulging with
Eyes are almond-shaped and
face and egular features. forehead and
arching eyebrows, a straight nose; wavy hair, large
gentle suggesting spiritual
with a slight smile
ears\The lips are cut beautifully as a
the monks who keep their heads shaven, Buddha
greaness(Unlike moustaches
hair style. He also had
monk was shown in a unique Ornamental with half-closed
in a few sculptures.
The Buddha representscalm meditation
style of
The postures are in pure Indian
eyes; seated in a Yogi Position.
The signs of his
preaching in(Dhyan Mudra and(Abhay Mudraletc.
eye on his forehead!
large ears, Ürna the thrd
supernatural powersthe a knot
) in the form of the chignon"
and Ushnisha the bulge on his head that he
head. This knot indicates
or a roll of háir wrapped on Buddha's
The stretched ears indicate the heavy,
hears all, sees all and knows all.
wore as a prince.
rich jewellery the Buddha
is modelled on the lines of
the earlier
(The Buddha image at Mathura
Buddha
by Bodhisattvas; Halo around the
Yaksha images. He is surrounded
We see a delighted Buddha sculpted
is decorated with geometrical motifs.
face and is generally seated
according to the lakshanas. He has a shaven
in Abhay mudra and left on thigh.
He has a
in Padmasana with right hand
drapery. The typical Urna and
muscular and energetic body in the clinging
respect. More
Ushnisha depict his enlightenment Buddha here commands
emotions rather than bodily
stress is given to the inner beauty and facial
gestures.
35
NAME/ :SEATED BUDDHA FROM KATRA MOUND
MEDIUM :RED SPOTTED SANDSTONE
PERIOD : CIRCA 3rd CENTURY A.D.
DYNASTY : KUSHAN PERIOD - MATHURA STYLE
COLLECTION : GOVT. MUSEUM,MATHURA, U.P.
VÍHEME /SUBJECT MATTER : Buddha seated in padmasana win
bodhisatvas on both sides.
56
:(This1Kushan
SCRIPTION
in the Katra
Buddha
has
mound at Mathura.
two crowned
)
sculpture height
Bodhisatva
27/% inch (69cm)
was
attendants on
holding a padam-Lotus
adamapani and Vajrapani
(earlier they holding a Vajra-
were thoughtto be
hunderbolt Indra and Brahma). He is
as a true Indian, in a
ressed transparent muslin
garment-Sangheti that
only one shoulder and gathered in
COvers small stringed folds along
arm. This feature of the
left
pper gathered, transparent textile, also seen
the two
Bodhisatva figures is a distinctive
on characteristic of Mathura.
ABuddha is seated as a yogi in
jpadmasana-cross legged pose with
turned upwards, on a lion throne under the
soles Bodhi tree. The face
Ms asmiling friendly expression like all other Mathura Buddhas. The
Doddha is backed by a large decorated halo carved on the edges
and
iorated with simple motifs. He is attended by heavenly beings called
1dharvas placed diagonally above the halo bearing fly whisks. The
bhay mudra of the right hand and the other angled arm, resting on his
left knee, gives an air of movement. There are no wavy impressions of
hair on the head like most of the later Buddhas, only a snail shell like
knot on the head ushnisha. Other lakshanas like Uma on the forehead
between the eyebrows, the wheel on the palm and soles of the feet are
clearly represented.
Mathura sculptures from this period have light volume but a fleshy
body| The beauty in the flexibility of delicately carved curves and contours
gives them an earthy look) The face is round with fleshy cheeks and
shoulders are broad The swell of the belly is sculpted with the quality
of prana or inner breath in the figure.
Theflying gandharvas give a spiritual importance go the sculpture
The lion throne has three lions carved in relief, the one incentre facing
the front,and the two on sides facing away from each other. The details
are minimal but the liveliness in this figure makes it unique. This sculpture
IS an excellent earlyexample of an entirely Indian Buddha.
The earliest style at Mathura-Kushan ultimately led to the development
the supreme Buddha icon in the Gupta period.
57
GUPTA ART (C. 350-650 A.D.)
The Golden age of Gupta began with the founder Sri Gupta. The
Gupta dynasty controlled the whole Ganges valley from Ujjain to Odisha
It developed as a result of slow growth in Indian style of Mathura and
Gandhara and later rules of Satvahanas and Andhras. Different forms
of art, e.g. sculpture, painting and terracotta achieved (attained)maturity
and naturaln€ss of expression that have remained unexcelled till date
Very few remains have survived after destrüction caused my Muslim
rulers but statues at the main centre of artistic activity in Mathura and
Sarnath show the glory of Gupta artTheimmortal Ajanta murals stayed
and continue to stay at the top.
The sculptures include standing and seated figures of Buddhist, Jain
and Hindu religion. The Gupta sculpturalstyle grew out of the Kushan
style that survived at Mathura) The garment Sanghati',Buddha is
wearing, has Gandharan influencebut it has rythmic parallel lines in string
likefolds rather than a solid mass of Gandhara. At plces it clings like
a wet material showing only in hem lines at the ends.(The features and
body are completely Indian and Buddha images at Sarnath reflect dignity,
calmness and contentment. Gupta images have delicate modelling, finer
proportions with caim and thoughtful expression on the face. He is a
true monk with lowered eyelids and an aura of peacefulness) The gupta
sculptures stand for the superiorityof spiritual powers over materialistic
life. All statues of Gupta Buddhas have
delicately carved Halo in concentric
bands which are outstanding. The body is given a slight bend, bhanga,
making it look more real, natural and comfortable.
(This practice of carving images was picked up by Hinduism and
Jainism also. There are Jain Tirthankaras and Brahmanical sculptures
of Vishnu, Dasavtar, Gandharva and Apsara reliefs to name a few that
had Gupta art at its best.)
58
NAME
:JAIN
MEDIUM TIRATHANKARA
PERIOD STONE
CIRCA STH
DYNASTY CENTURY A.D
COLLECTION :GUPTA
STATE
MUSEUM,
LUCKNOw, U.P.
THEME /
SUBJECT
padmasana.) MATTER:The famous Jain
deity
seated in
DESCRIPTION :The
Tirthankaras (or main Jain
deities
saviours), the consist of
Mahavira. This first
being twenty -four
Image of Swami Rishabhanatha and the
Mathura is seated Mahavir, the 24h last
on a square Tirthankar found
of Jain pedestal in a in
Tirathankar in Dhy an meditative mood.
is made in Mudra with one This Statue
the Buddhist hand at the top
and Jain style
Kushana period. nd other
of the
(Astaught by Lord
are faith, Mahavir, Tri-ratna, the
righteous action and three gems of
action which
of life and truthful words,
free a man
death.The artist from the circle
has rightly
sensitively modelled expressed this in a
sculpture with a gentle, life-sized
bow-shaped brows. The eyes with peaçefulexpression
an intense spiritual beneah
arranged in snail shell gaze, the haif
curls rising to an
ushnisha which complete
this
sculpture.)
59
