The Mauryan period marked the re-beginning of monumental stone sculpture and architecture in the Indian sub-continent after a gap of more than 1500 years.
Pillars
- Pillar Components: The pillars have four component parts in two pieces: the three sections of the capitals are made in a single piece, often of a different stone to that of the monolithic shaft to which they are attached by a large metal dowel.
- Shaft: A long shaft formed the base and was made up of a single piece of stone or monolith.
- Capital: On top of the shaft lay the capital, which was either lotus-shaped or bell-shaped.
- Abacus: Above the capital, there was a circular or rectangular base known as the abacus.
- Capital Figure: All the capital figures (usual animals like a bull, lion, elephant, etc.) are vigorous and carved standing on a square or circular abacus.
- Types: Spotted red and white sandstone from the region of Mathura.
- Material: The pillars of Ashoka are among the earliest known stone sculptural remains from India which used mostly the Chunar sandstone.
- Polished surface: The pillars have a lustrous polished surface, which is not visible in case of pillars which have had a tumultuous history like the Delhi-Meerut pillar.
- Edicts: On many of these pillars are inscribed the famous edicts of Ashoka propagating the Dhamma (Dharma or Laws of the Buddha) or the imperial sermons of Ashoka to his people.
- Crowning Animals: There is a crowning animal sculpture on the ground, which is usually the lion, bull, or elephant, represented singly on the early capitals and grouped on the later ones.
- Motifs associated: Floral designs of lotus and honeysuckle, and palmette designs are common decorations in Ashokan pillars.
- Foreign influence: Polished surface of Ashokan pillars and the animal capital clearly highlights some Persian and Greek influence.
Differences Between Mauryan and Achaemenian Pillars
| Parameters | Mauryan | Achaemenian |
|---|---|---|
| Pillar Structure | The shaft of the Mauryan pillar is monolithic or a single block of stone. | The Achaemenian shaft is built of separate segments of stone aggregated one above the other. |
| Architecture | Ashokan columns were independent freestanding monuments. | The Achaemenid pillars were generally part of some larger architectural complex. |
| Capital Figures | It was absent from the Mauryan pillars of the Kumhrar hall. | Pillars at Persepolis have elaborate capital figures. |
| Surface | Smooth surface | Ridged and rough-surfaced |
Stupas
- Components: It is a mound-like or hemispherical structure containing relics (such as sarira, typically the remains of Buddhist monks or nuns) that is used as a place of meditation. A related architectural term is a chaitya, which is a prayer hall or temple containing a stupa.
- Anda: Hemispherical mound symbolic of the mound of dirt used to cover Buddha’s remains (in many stupas, actual relics were used).
- Harmika: Square railing on top of the mound.
- Chhatra: Central pillar supporting a triple umbrella form.
- Crown: The stupa was crowned by an umbrella of a wooden fence enclosing a path for pradakshina.
- Pradakshina Path: The path of circumambulation runs around the stupa at the ground level within the railing.
- Torana: Toranas were ceremonial gateways around the stupas.
- Purpose: From the time Ashoka divided up the existing body relics of the Buddha and erected monuments to enshrine them, the stupas became objects of cult worship.
- Material: The core of the stupa was made of unburnt brick, and the outer face of burnt brick, covered with a thick layer of plaster.
- Chaityas: Chaityas were basically prayer halls, and most of them were built with stupas. Generally, the hall was rectangular with a semi-circular rear end. They had horse-shoe-shaped windows. They also had pillars separating the hall from the two aisles.
- Relation to Buddha: In the early periods, Buddha is represented through symbols like footprints, lotus thrones, chakras, stupas, etc. Later on, stories were portrayed on the railings and toranas of the stupas. These were mainly the Jataka tales.
- Significance: Stupa also symbolizes Buddha’s enlightened mind and his teachings. Few stupas were built to enshrine Buddhist scriptures. Furthermore, the architectural elements of a stupa are symbolic of the doctrine and may vary with tradition.
- Examples: Stupas at Sanchi, Sarnath, Bharhut, Amaravati, and Lumbini.
Cave Architecture
This period saw the emergence of rock-cut cave architectures.
- Viharas: During the Mauryan period, these caves were generally used as viharas by Jain and Buddhist monks. While the early caves were used by the Ajivika sect, later they became popular as Buddhist monasteries.
- Interior and gates: The caves during the Mauryan period were marked by a highly polished finish of the interior walls and decorative gateways.
- Purpose: The caves were built as resting places for monks. The inscription in the Sudama cave informs that the four caves on Barabar Hill were assigned by King Ashoka to Ajivika monks in 261 BC.
- Examples: Barabar and Nagarjuni caves in Bihar were formed during the time of Ashoka and his grandson Dasharatha and date back to the 3rd century BC. The caves located in Nagarjuni Hill are Gopi cave, Vadithi cave, and Vapiya cave.
Sculptures
- Yaksha Worship: Yaksha worship was prominent before and after Buddhism, assimilated into Buddhist and Jain art. Religious sculptures became significant during the Mauryan Empire.
- Style: Mauryan sculptures were polished to a bright, mirror-like finish and displayed a variety of creations, combining Court Art and Popular Art.
- Examples:
- Chamar Grahini Yakshini from Didarganj (near Patna).
- Manibadra Yaksha from Parkham near Mathura.
- Dhauli Elephant in Puri, Odisha.
Post-Mauryan Schools of Art
| School | Gandhara | Mathura | Amravati |
|---|---|---|---|
| Location | Northwest Pakistan and Eastern Afghanistan | Mathura and parts of UP, Gangetic Plains | Krishna-Godavari lower valley |
| Influence | Drew upon Roman traditions, representing the Buddha with a youthful, Apollo-like face | Developed indigenously, influenced other Central Asian sculptures | Developed indigenously |
| Religion | Buddhist art focused on Buddhist symbols | Buddhism, Hinduism (Buddha, Bodhisattvas, Vishnu, Shiva, etc.) | Indigenous style of mostly Buddhism |
| Materials Used | Bluish grey sandstone, later mud & stucco | Spotted red sandstone | White marble |
| Patron Kings | Kushans | Kushans | Satavahanas |
| Features of Buddha | Realistic human representation; Buddha in a Roman toga.
Greek influence: Protruding eyes, portrayed with a moustache, mechanical rigidy in expression and emphasis on depiction of physical beauty like those of Apollo, the Greek god of beauty. Buddha is shown in a spiritual state with half eyes closed in the yogi position |
Buddha in a delighted mood, in padmasana (lotus) position.
Seated in yogic posture (padrnasana posture) and involved in meditation. Emphasis on depicting inner beauty (calmness). Upper half of body half covered; yakshinis, Buddhas and Boddhisatvas portrayed. Striking use of symbolism in images E.g: Shiva is shown through linga and Mukhalinga. Buddha commonly shown in Abhaya Mudra. Buddha shown surrounded by Boddhisatvas. |
Narrative art with depictions from Jataka tales. More emphasis on use of dynamic images or narrative art and excessive use of Tribhanga posture. Focus on depiction of feminine beauty; female figurines made in various gestures and postures. Characterized by naturalistic and sensual appeal. |
Foreign Elements in Gandhara Art
Central Asian and Roman Influence:
- Halo: The disc-shaped halo behind Buddha’s head is influenced by solar deities in ancient Persian and Greek art.
- Artistic Representation: Buddha is sometimes depicted with Roman artistic motifs, such as Triton.
- Technique: Roman art techniques like vine scrolls were used in Gandhara’s representation of Buddha.
- Pointed Caps: Figures in Gandhara art are often shown with conical or pointed caps, resembling the Scythian style.
- Fire Worship: Fire worship in Gandhara art is likely derived from Iranian traditions.
- Dressing: The robe of Buddha in Gandhara resembles Roman garments, such as the kaya and antarvasa.
- Anthropomorphism Tradition: The depiction of Buddha in human form in Gandhara is influenced by Roman traditions.
Greco-Bactrian Elements in Gandhara Art:
- As the Protector: The Greek god Hercules is depicted as a protector in many images of Buddha in Gandhara art.
- Drapery: The drapery of Buddha statues is similar to Parthian (modern Iran) styles, reflecting Hellenistic cultural influences.
- Depiction of Hair: The curly hair of Buddha statues resembles the style commonly found in Parthian art.
- Protector of God: The figure of Vajrapani, found in the right hand of future Buddha, is transformed into the Greek symbol of Hercules, signifying protection for Buddha.
- Possible Collaborations: It is suggested that Bactrian Greeks or Hellenized Bactrians contributed to the creation of anthropomorphic images of Buddha.
- Halo: Gandharan art includes features derived from Iranian iconography, such as fire altars and the flame halo surrounding Buddha.
- Similar to Foreign Gods: Buddha is depicted with likenesses to Apollo, while other gods like Saksha and Kurvera are posed similarly to Phidian Zeus.
- Ornamentation: Clothes, hairstyles, and decorations in Gandhara art clearly show Greek influences.
- Intellectual Affinity: The halo and bun of the Gandhara Buddha reflect an intellectual influence from Greek art.
- Architectural Styles: Hellenistic decorative motifs, such as fruit garlands and scrolls, were used in Gandhara architecture.
- Dionysiac Scenes: Scenes in classical style, such as people drinking wine from amphoras and playing instruments, further indicate Greek influence.