UNIT

BUDDHIST, JAIN & HINDU ART

GENERAL INTRODUCTION OF ART
DURING MAURYAN, SHUNGA,
KUSHANA &GUPTA PERIOD
THEMAURYAS
periodis an important period in the history of Indian art and
The Mauryan
architecture. The foundations for Indian art were laid, which later reached their
heightduringthe golden age ofof the Guptas. Ashoka, a mighty king who ruled
3rd century B.C., was the grandson of Emperor Chandragupta, the
duringthe that covered a vast territory from Afghanistan in
founder of Maurya dynasty
to South India. During his reign, the Mauryan Empire reached
the North West
atispeak.
Ashokaexperienced aa change of heart after the dreadful battle of Kalinga,
where thousands lost lives and were taken into slavery. After seeing the senseless
and decided to
hiogdshed, he adopted the' Buddhist path of righteous livingwide.
snread Buddha's teachings of peace and non-violence far and
Some of the finest examples of Mauryan art are the famous Ashoka pillars
that he got built across the country. These columns are marvels of art, architecture
as wellas engineering. The pillar was made out of asingle stone which was cut,
shaped and polished. This required great engineering mastery that included
carrying of large and heavy blocks of stone from quarries that were hundreds
of miles away. In some cases they even had to transport the stone to the hilltops.
There are close to twenty Ashokan pillars discovered so far. According to
the noted art historian Vidya Dehejia, "These finely polished pillars, were carved
f. ten-coloured sandstone from a single quarry at Chunar near the Mauryan
capial of Pataliputra", now known as Pana, the capital of Bihar The pillars
Here decorated on the. top by a capital carved out of single piece of stone.
captal consisted of an inverted bell-shaped form finely carved like a lotus
on which rested a thick disc called an (elaborate base) over which perched a
Mhagnificent animal like the Sarnath Lions.
The pillar shafts were also made of a single piece of stone-measuring somne
ine
meetres/thirty feet in height. They had asmooth polished surface and were
poihe nted gradually towards the top. Pillars carry Asoka's message of unity to
hurmBuddhi
anity andst Ashokan
xFamous monks. They were inscribed with the Buddhist concepts of morality,
dedicatiopillars
n, whiarech from
he wiLauriya
shed his people to follow.
Nandangarh in Bihar, Sanchì and
Sarmath,
|51
NAME : LION CAPITAL FROM SARNATH
MEDIUM : POLISHED SANDSTONE
PERIOD CIRCA 3rd CENTURY B.C.
DYNASTY MAURYAS-ASHOKA
COLLECTION : SARNATH ARCHAEOLOGICAL MUSEUM, UF
THEME /SUBJECT MATTER: A sculpture of four lions standit
back to back, on an elaborate base/abacus that includes other aninta
It was adopted as the official Emblem of India in 1950.
piece or
DESCRIPTION : The Sarnath lion capital, the crowning
monolithic Ashokan Pillar was built in the 3rd century B.C. a t
had pr
Park in Sarnath, the outskirts of Varanasi. Here Buddhawheel oflaw
his first sermon afer gaining enlightenment and set the
motion-Dharma Chakra Pravartana.
The capital, made of polished sandstone is more than
 i nheight. It comprises of four roaring lions placed back to back
7t ) round slab called abacus. The abacus is supported by a bell
shaped-inverted-lotus
ona
base. On the side of the abacus are carved four
-lion, elephant, bull and horse moving in a clockwise manner.
animals-
animals carved with great skill alternate with four smaller
These wheels of law.
dharmacchakas or
believed that the capital was originally crowned by a bigger
I is Dharma'-dharmachakra, with 24 spokes the broken pieces
Hheel of found at the original site.
'which were
four lions on top are highly symbolic and stylized with very
The naturalness. This is clear in the hair carved along the neck
of
itiehint
shaped bunches and the upper lip of themthe lions shown by
litle flame
slit/cut lines. The magnificent modeling gives a great power
three compared to the majesty of the líons, the
Surprisingly,
and dignity.the round bare (abacus) are done with great naturalistic
animals on
energyand are defined
carefully. Petals of the lotus have rhythmically
contours. The surface of these pillars has a
mirror
curves and
Cut/slit and international nature of
ie' fnish., It also reveals the aristocratic
the Mauryan art.
warning as a ruler in Brahmi
The pillar bears the edict of Ashoka's
order of monks". The broken
script No one shall cause division in the at Sarnath.
Museum
pieces of the Pillar are now in the
virtues along with
The great symbolism of the greatest Buddhist deserved to be
the great masterly skill of sculpting of this piece of art
anational identity of the great nation.
Symbolism: There are various interpretations regarding the symbolism. Two of them
are as follows
ese tour lions are the various forms of Buddha or Sakyasimha symbolizing power.
age, pride, and confidence. They are joined back to back facing the east, west,
horth and south signifying Ashoka's victory in all four directions. The smaller wheels
v the abacus stand for his victory in the intermediate regions reigning him supreme
Stand i Whole world. The four animals are believed to symbolize different aspects o
w
whule Buddha"'
elephant senters
life. The Elephant
her womb. The stands for the dream
Bull represents desire of Queen
during Mayaof inthewhich
the life Buddhaa
prince. The Horse represents Buddha's departure from royal life. The Lion represents
lhe achievement of enlightenment/nirvana. It also stands for his royal lineage as he
beionged
Wurk for
to the sakya clan. The dharmachakra spreads the continuous motivation to
hD
e 24 hourS and stand for the victory of righteousness over physical force.
s} irequently used as a symbol of the Buddha and the capital thus probably
nbulzes the
sy wbulzR
spread of Dharma. The group of four lions and bell jointly
Buddha's
preaching of 'the Four Noble Truths' of Buddhism to all. The symbolPath'.U'
Thie Middle Path The Middle
placed symmetrically inside the lotus symbolizes
Tle bul is the fundamental
lhe horse, the philosophy of Buddhism, the Buddhist Dharma.
the Lion and the Elephant in the moving position could symbolize
Chakras-the wheel of law.
53
 DIDAR GANI
CHAURI BEARER FROM
. POLISHED SANDSTONE
NAME

MEDIUM CENTURY B.C.

. 3RD
PERIOD
: MAURYAS
DYNASTY BIHAR
PATNA MUSEUM,
COLLECTION:
Yakshi
MATTER: Alife-size sculpture of a
SUBJECT
THEME :/
holdinga Chauri.
deities of
statues of Yakshas and Yakshis, the
DESCRIPTION: The specimens of the Mauryan
abundance are excellent Yakshi from Patna
fertility and fashioning the human figure. The
crafismanship in created by a gifted
striking example of 3rd century B.C.,
Museumis a
excavated
sculptor.
Chauri-bearer is named so because it was
The Didarganj beautiful
Patna in Bihar. It is a
locality of
from Didarganj, an ancient 64"(5 ft 4
single piece of stone standing
female figure carved out a sculpture was carvedin the five grained
of
buffctall. ThËs çlassic, life size
inches) fo
sand sione,delicately polished to a mirror
ne like shine. Though
is a grand portrayal of the Indian
massive and bold in its execution, thisattention to detail is visible in the
ideal of feminine beauty. The careful
creases on lower abdomen,
notable breasts, broad hips,narrow waist and the
elaborate
fomed due to the weight of her breasts. The figure is wearing
jewellery in the neck, ears and a beaded matha-patti with a big round
piece in the centre of hair partition at the forehead. There is a heavy
garment below her waist draped elegantly with folds and pleats gathered
in front. The pleats are neatly held in place by a beautiful and delicate
Jewel-oddiyanam. She holds a fly whisk (the chauri) in her left hand
Whose length falls till her foot from behind.
Ihe most remarkable feature of the sculpture apart from the shiny
polish is the peaceful and calm expression on her face. Her composure
creates a
Didarganj powerfül impact of rare and royal dignity. This beautiful
Chauri-bearer is a proud symbol of Indian artistic genius. It is
consi dered
smile on herthe Mona Lisa of Indian Art because of "the mysterious half
lips.

55
 KUSHAN PERIOD:Gandhara and Mathura School
The Kushan dvnasty reigned over the region covering
Afghanistan, north-west Pakistan and north-western India.
growth of the Kushans as a political power lasted from \st
the 3rd century AD. Kanishka l, the third ruler offthe
pcenturersyeinstedADaandy
The
developed the empire to its fullest extent. He was a greatKushan
received patrondynofasty he
Buddhist religion and under hin Buddhist art production a
motivation. Mathura and Gandhara were the two main
the time of the Kushans.
centers noteworurihngy
of art

1. Expanse : The Gandhara School of Art often called as the

Roman-Buddhist school flourished in the 2nd century A.D.
region consisted of roughly northwestern India between the , Gandhara, Grabraeocoad-
and the Indus River around Peshawar and the region of Kabul Pas Khyber
Afghanistan. Works of Persian and Hellenistic (ancient Greek) in Valley
were produced here.
Mathura region was mainly northern India where works in
influence
style were produced. the Indian
2. Buddha in Human Form : The Gandhara and Mathura
Schonl
created the first representation of the Buddha in human form.
to Hinay ana Buddhism, the making of Buddha idol in human form W ertern
prohibited. Therefore, he was represented using symbols like; the Chhatra
According
bodhi tree, Charan-Paduka (footgears), etc to propagate his religion and
his way of life. When Mahayana Buddhism came up during Kanishka's rule
the image of Lord Buddha in human form was created for the first timetcS.
These statues were mostly prepared at Peshawar, Rawalpindi and Taxila ak vas
There was a definite effect of Greek art on these statues. This whole area uteN S
was known as Gandhara, hence this period and its art got this
name.
Buddha of Mathura drew inspiration from Yaksha figures of Bharhut i
and Sanchi of earlier centuries. Other Hindu and Jain deities also
began to pernatu
be shown in human form in Mathura school.
3. Subject Matter: Gandhara school was also called as the Eclectic
school because it had wide ranging influences of
Greco-Roman-hellenistic
techniques. The subject matter of Gandhara art was completely Buddhist
depicting the image of the Buddha and the legends associated with his lte
cálled Jataka tales. Though the subject matter of these statues is lnaau
but the style of making sculptures is Greek (hellenistic), Even the garmens
and ornaments are also not Indian.
Mathura school was also called the indigenous school because itevore
at its own native place as a redirectedcontinuation of the old
Indan a
Bharhut and Sanchi. The Mathura School drew inspiration from loca
deities and themes from day to day life. Unlike Gandhara where subjects
|56
res
 Buddhist, In Mathura
we see
RthisnStandingand seated poses works on three
Thirthankaras and 3.
of
Buddha and religions :

Hinduism-Brahmanical BodhiYakshas
itisandgodKubera. Many Portrajt statues of KushanaDeities.
Maihuraart had very little influence of
satyas,
Kings are also

iIndMaterial: There are two phases in the Greco-Roman

Pnent techniques.
of Gandbee.
the
&hol
first in stone and the second in The most frequently
pNdmaterialby Gandhara artists was soft local schist stone in light or
darhgraywithsmall sparkling mica particles. Many of these statues were
loCoNCred with gold leaf to give them a luster in dark interiors. In the
aNerpart.the sculptors from Gandhara used stucco (a mixture of lime and

Thematerial for making sculptures in Mathura is

Spotted Redsandstone
RIhwhiteand yellow veins from the quarries of Sikri.
ueno 5. Portrayal of Buddha Main features :
Buddha in Gandhara is
India nrtrayedwiththe head of a Greek Apollo wearing a
gument). Alearly Bodhisattvas here are shown
Roman Toga (lo0se
wearing turbans, jewellery,
Bchoo admuslin skirts, a costume that was an
adaptation
ring the Kushan and Indian nobles. Also, more stres_ is givenofonthe
theactual
bodilydress of
features
mtemal beauty. The human head usually appears with a
ahatr.i andregular features. Eyes are almond-shaped and perfect oval
nand cantdle arching eyebrows, a straight slightly bulging with
Srule s. The lips are cut nose; wavy hair, large forehead and
beautifully
time reatness. Unlike the monks who keep
with a slight smile suggesting spiritual
their heads shaven, Buddha as a
Caxilaonk was shown in a unique Ornamental hair style. He also had moustaches
e area Ina few sculptures. The
Buddha
cyes: seated in a Yogi Position.represents calm meditation with half-closed
The postures are in pure Indian style of
narhu|Teaching in Dhyan Mudra and Abhay
an to Sipenatural powers--the large ears, Mudra etc. The signs of his
aid Ushnisha-the bulge on his head in Urng-the third eye on his forehead,
lectic Ma rol of hair wrapped on
the form of the "chignon a knot
-nisti:
Buddha's
Sall, sees all and knows all, head. This knot indicates that he
The stretched ears indicate the heavy,
dhist. nJewellery the Buddha wore as
The a prince.
is lift
ndian Yaksha I Buddha
mages. Heimage Mathura is modelled on the lines of the earlier
is
at
nents
S
surroundedmotifs.
decoraledto witheth geometrical by Bodhisattvas; Halo around the Buddha
I0aCu rding
We see a delighted Buddha sculpted
lakshanas. He has a shaven face and is generally seated
mUsPaÇuldmar asandana energetic body
olved
arto
with right hand in Abhay mudra and left on thigh. He has a
in the clinging drapery. The typical Urna and
foll
depict his
ject given to theenlightenment. Buddha here commands respect. More
156 Otures. inner beautyand facial emotions rather than bodily

|57
 Kushan sculpture height 274inch (69 cms.)
: Thismound at Mathlrd.
Kata
inthe Crowned Bodhisatva attendants on both sides.
Rudilha
has (wo padam- Lotus and Vajrapani holding a Vajra-
Phlampani
holdinga were thought to be Indra and Brahma). He is
(earherthcy transparent mUslin garment-Sangheti that
Indian, in a
shoulderand cathered insmall stringed folds
along the
one feature of gathercd, transparent textile. also seen
arm. This distinctive characteristic of Mathura.
left
Bodhisattvatiguresisa
B
IuO
padmasana-cross legged pose with
the
scated as a yogi in
on
Buddhais lion throne under the Bodhi tree. The face
urned upwards, on a like all other Mathura Buddhas. The
wsmiling
s friendly expression
decorated halo carved on the edges and
hasa backed by a large
is
Buddha simple motifs. He is attended
by heavenly beings called
with halo bearing fly whisks. The
placed diagonally above the
deorated
gndharvas hand and the other angled arm, resting on his
mudra of the right
bhay air ofmovement. There are no wavy impressions of
knee.gIVesan the later buddhas, only a snail shell like
ket head like most of
ushnisha. Other lakshanas like Urna on the forehead
the
hauron
the head
the feet are
knoton
betweenthe
eyebrows, the wheel on the palm and soles of
clearlyrepresented.
Mathura sculptures
from this period have light volume but afleshy
in the flexibility of delicately carved curves and contours
body.The.beauty is round with fleshy cheeks and
them an earthy
look. The face
gives
shoulders are broad. The
swell of the belly is sculpted with the quality
of prana or
inner breath in the figure.
sculpture.
NAME . SEATED BUDDHA FROM KATRA TILA The flying gandharvas give a spiritual importance to the facing
(MOUNT) The lion throne has three lions carved in relief, the one in centre
the front, and the two on sides facing away from each other. The details
MEDIUM : RED SPOTTED SANDSTONE (SIKRI are minimal but the liveliness in this figure makes it unique. This sculpture
PERIOD :3rd CENTURY A.D. is an excellent early example of an entirely Indian Buddha.
The earliest style at Mathura-Kushan ultimately led to the development
DYNASTY KUSHAN PERIOD - MATHURA STYLE of the supreme Buddha icon in the Gupta period.
COLLECTION: GOVT. MUSEUM (U.P.)

THEME / SUBJECT MATTER: Buddha seated in padmasana wí

bodhisattvas on both sides.
61
 GUPTAART (C. 350-650 AD)
The Golden age of Gupta began with the the founder
founder Sri
dynasty controlled the whole Ganges
growth
valley
in from Uj jain Gupta.
to The (
developed as a result of slow
Gandhara and later rules of Satvahanas and
Indianstyle of
and Andhras. Mathura
at aDiinfled)eerdent TNatifrot
achieved
of art. e.g.. sculpture. painting and terracotta
and naturalness of expression that have remained (unexcel
Very few remains have survived after destruction caused my
artistic
rulers but statues at the main centre of activity in Musti
Sarnath showthe glory of Gupta art.
and continue to stay at the top.
The immortal
Ajanta murals M Mathura
The sculptures include standing and seated figures of
and Hindu religion. The Gupta sculptural style grew out of the K. Buddhist, n
style that survived at Mathura. The garment Sanghati",
wearing, has Gandharan influence but it has rythmic parallel lines in
Buddha
like folds rather than a solid mass of Gandhara. At places it clings lig string
a wet material showing only in hem lines at the ends. The features aN
body are completely Indian and Buddha images at Sarnath reflect dipni
calmness and contentment. Gupta images have delicate modelling, fne
ita
proportions with calm and thoughtful expression on the face. He THE
true monk with lowered eyelids and an aura of peacefulness. The gupl
sculptures stand for the superiority of spiritual powers over materialistic ES
Halo in concenti:
life. All statues of Gupta Buddhas have delicately carved
bands which are outstanding. The body is given a slight bend, bhanga.
Tithe

making it look more real, natural and comfortable. Maha

Hinduism and Math
This practice of carving images was picked up by sculptures dh
Jainism also. There are Jain Tirthankaras and Brahmanical
name a few tha im
of Vishnu, Dasavtar, Gandharva and Apsara reliefs to
had Gupta art at its best.
t.
 TIRATHANKARA
MIDUA STONE
CIRCASI
(ENTURY A.D,

DINAST) GUPTA
0URTESY:STATIE MUSEUM, LUCKNOW (U.P)
THEME /SUBJECT MATTICR: The faous Jain deity seated in
palnasana.
DENCRIPTION : T'he main Jain deities consist of twenty-four
rthankaras (or saviours), the lirst being Rishabhanatha and the last
Mahavita. This Image of Swami Mahavir, the 24th Tirthankar found in
nduisn Mathura is sealed on a squaure pedestal in a meditative mood. This Statuc
sculp of Jain Tirathankar in Dhyan Mudra with one hand at the top and other
afew I made in the Buddhist and Jain style of the Kushana period.
As taught by Lord Mahavir, Tri-ratna, the three gems of action which
ate laith, righteous action and truthful words free a man from the circle
of lie and death. The artist has rightly expressed this in a life-sized,
NeIsitively modelled sculpture with a gentle, peaceful expression bencath
bow-shaped brows. The eyes with an intense spiritual gaze, the hair
ufTanged in snail shell curls rising to a lotus ushnisha complete this
hCulpture.

63