Explore the art of the Mauryan period, focusing on the narrative sculptures and stupa architecture under early Buddhist influence, and their historical significance.

• Religious and Social Movements in the 6th Century BCE
  • The 6th century BCE marks the beginning of new religious and social movements in the Gangetic valley, including Buddhism and Jainism.
  • Both religions were part of the shraman tradition and opposed the varna and jati systems of the Hindu religion.
• Magadha Kingdom and Mauryan Empire
  • Magadha emerged as a powerful kingdom and consolidated its control over other regions.
  • By the 4th century BCE, the Mauryas established their power, and by the 3rd century BCE, a large part of India was under Mauryan control.
  • Ashoka, the most powerful king of the Mauryan dynasty, patronized the Buddhist shraman tradition in the 3rd century BCE.
• Religious Practices
  • Religious practices during this time had many dimensions and were not confined to just one particular mode of worship.
  • Worship of Yakshas and mother-goddesses was prevalent and formed an important part of religious life.
  • Multiple forms of worship coexisted during this period.
• Buddhism and Yaksha Worship
  • Buddhism became the most popular social and religious movement during this period.
  • Yaksha worship, which was popular before and after the advent of Buddhism, was assimilated into both Buddhism and Jainism.

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Pillars, Sculptures & Rock-cut architecture

• Pillars, Sculptures, and Rock-cut Architecture
  • The construction of stupas and viharas became part of the Buddhist tradition as monastic establishments.
  • In addition to stupas and viharas, stone pillars, rock-cut caves, and monumental sculptures were carved during this period.
• Mauryan Pillars vs. Achamenian Pillars
  • The tradition of constructing pillars is ancient, with the practice prevalent in the Achaemenian Empire as well.
  • However, Mauryan pillars differ from Achaemenian pillars, as the former are rock-cut and demonstrate the carver’s skill, while the latter are constructed in pieces by a mason.
  • The Mauryan pillars, erected by Ashoka, have been found in the northern Indian part of the Mauryan Empire with inscriptions engraved on them.
  • The tops of these pillars were carved with capital figures such as a bull, lion, elephant, etc., all depicted in a vigorous style.
• Notable Pillars and Inscriptions
  • Pillars with capital figures were found at Basarah-Bakhira, Lauriya-Nandangarh, Rampurva in Bihar, Sankisa, and Sarnath in Uttar Pradesh.
  • The Lion Capital at Sarnath is the finest example of Mauryan sculptural tradition and is the national emblem of India.
  • This pillar capital symbolizes Dhammachakrapravartana (the first sermon by the Buddha) and is carved with a roaring lion standing on a circular abacus with figures of a horse, bull, lion, and elephant in vigorous movement.

    

• Yaksha and Yakshini Sculptures
  • Large statues of Yakshas and Yakhinis were found in places like Patna, Vidisha, and Mathura, typically depicted in a standing position.
  • These monumental images are distinguished by their polished surfaces, with detailed physiognomy, including pronounced cheeks.
  • One of the finest examples is the Yakshi figure from Didarganj, Patna, which shows sensitivity to the human physique.
• Terracotta Figurines and Rock-Cut Sculptures
  • Terracotta figurines differ in body delineation from the sculptures and often show simpler forms.
  • A monumental rock-cut elephant at Dhauli in Odisha shows linear rhythm and round modelling, along with Ashokan rock-edicts.

    

  • The Barabar Hills' Lomus Rishi cave, donated by Ashoka to the Ajivika sect, is an example of rock-cut architecture from this period.

    

  • The cave features a semicircular chaitya arch and an elephant frieze in high relief, demonstrating considerable movement.
• Stupas and Viharas
  • Due to the popularity of Buddhism and Jainism, stupas and viharas were constructed on a large scale.
  • Stupas were constructed over the relics of the Buddha at various places like Rajagraha, Vaishali, and Kushinagar in India, and Kapilavastu and Pava in Nepal.
  • The stupa at Bairat in Rajasthan is an example of the stupa structure from the third century BCE, and the great stupa at Sanchi, built during Ashoka's time, was later covered with stone and modified with new additions.

    

• Patronage and Inscriptions
  • From the second century BCE onwards, many inscriptions mentioning donors and their professions have been found.
  • Patrons of these monuments ranged from lay devotees to kings and guilds, with a collective pattern of patronage.
  • Inscriptions mention artisans like Kanha at Pitalkhora and his disciple Balaka at Kondane caves, along with categories of artisans such as stone carvers, goldsmiths, and carpenters.

Lion Capital of Sarnath

• The Lion Capital at Sarnath
  • Discovered more than a hundred years ago at Sarnath, near Varanasi, the Lion Capital is one of the finest examples of sculpture from the Mauryan period.
  • Built by Ashoka, it commemorates the historical event of the Buddha's first sermon or Dhammachakrapravartana at Sarnath.
• Components of the Lion Capital

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  • The capital originally consisted of five component parts:
    • The shaft (now broken in many parts)
    • A lotus bell base
    • A drum on the bell base with four animals proceeding clockwise
    • Figures of four majestic addorsed lions
    • The crowning element: Dharamchakra (wheel), which is now broken and displayed in the site museum at Sarnath

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• Design and Symbolism
  • The capital, now kept in the archaeological museum at Sarnath, features four lions firmly seated back to back on a circular abacus.
  • The lions appear impressive and massive, with a monumental presence. The musculature and facial features of the lions are strong and naturalistic.
  • The lions' expressions show a significant observation of the sculptor's attention to detail, particularly the inversed lines of the lips and their subsequent projection.
  • The sharp lines of the lions' manes and their curled volume reflect the conventions of the period.
• The Abacus and Symbolism
  • The abacus beneath the lions depicts a chakra (wheel) with 24 spokes in all four directions. Between every chakra is a finely carved figure of a bull, a horse, an elephant, and a lion.
  • The motif of the chakra is significant, representing the Dhammachakra in Buddhist art. Despite limited space, the animal figures create a sense of movement.
  • The circular abacus is supported by an inverted lotus capital, with each petal meticulously sculpted, adding to the overall aesthetic of the pillar.
• Architectural Design and Viewpoint
  • The pillar was designed to be viewed from all sides, without fixed viewpoints, allowing its details to be appreciated from different angles.
  • The weight of the lions' bodies is depicted by the tension in their feet muscles, showing the sculptor's mastery over form.
• Other Lion Capitals
  • A lion capital has also been found at Sanchi, though in a dilapidated condition.
  • The motif of the lion-capital-pillar continued to be used in subsequent periods, showcasing its lasting significance in Indian art.

Didargunj Yakshini

• The Yakshini Image from Didargunj
  • The life-size standing image of a Yakshini holding a chauri (flywhisk) from Didargunj, near modern Patna, is a notable example of the Mauryan Period sculptural tradition.

    

  • It is currently kept in the Patna Museum and is made of sandstone with a polished surface, standing tall and free-standing in the round.
• Design and Details of the Yakshini Image
  • The chauri is held in the right hand, while the left hand is broken.
  • The sculpture shows sophistication in the treatment of form and medium. The sculptor's attention to the muscular body is evident.
  • The face features round, fleshy cheeks, with a relatively small neck, sharp eyes, nose, and lips.
  • Folds of muscles are well rendered, and the necklace beads are depicted in full round, hanging to the belly.
• Garments and Ornamentation
  • The garment around the belly is tightly fastened, creating the effect of a bulging belly.
  • The lower garment is carefully rendered, with every fold of the fabric shown as protruding lines clinging to the legs, creating a transparent effect.
  • The middle band of the garment falls to the feet, and thick bell-ornaments adorn the feet.
  • The image stands firmly on its legs, with heaviness in the torso depicted by the prominent breasts.
• Back and Hair
  • The back of the image is equally impressive, with the hair tied in a knot at the back and the back remaining bare.
  • The drapery at the back covers both legs, and the flywhisk in the right hand is shown with incised lines that continue on the back of the image.
• Collective Nature of Art during the Mauryan Period
  • The method of working in the Mauryan period was collective in nature. Specific portions of a monument were sometimes patronized by particular patrons.
  • Traders also recorded their donations, along with their places of origin.
• Stupa Architecture and Sculptural Decoration
  • In the subsequent century, stupas were elaborately built, with additions such as enclosing the circumambulatory path with railings and sculptural decoration.
  • The stupa consisted of a cylindrical drum, a circular anda, harmika, and chhatra on top, which remained consistent with minor variations in shape and size.
  • Gateways were also added, allowing ample space for architects and sculptors to plan further elaborations and create detailed sculptures.
• Depiction of Buddha in Early Buddhism
  • During the early phase of Buddhism, Buddha was symbolically depicted through footprints, stupas, lotus thrones, chakras, etc., representing simple worship or respect.
  • Gradually, narrative elements became part of the Buddhist tradition, with events from the life of Buddha and Jataka stories being depicted on the railings and torans of stupas.
• Types of Narrative in Buddhist Art
  • Synoptic, continuous, and episodic narrative styles were used in the pictorial tradition of Buddhist art.
  • Key events from Buddha's life, such as birth, renunciation, enlightenment, dhammachakra-pravartana, and mahaparinibbana (liberation from the cycle of birth), were commonly depicted.
• Jataka Stories Depicted in Buddhist Art
  • The Jataka stories, including Chhadanta Jataka, Vidurpundita Jataka, Ruru Jataka, Sibi Jataka, Vessantara Jataka, and Shama Jataka, were frequently depicted for sculptural decoration.

Important Questions & Answers

• 1. Do you think that the art of making sculptures in India began during the Mauryan period?
  • While the Mauryan period marked significant advancements in the art of sculpture, it was not the beginning of sculpture in India.
  • Before the Mauryan period, there were rudimentary sculptures and carvings, such as those in the Indus Valley Civilization.
  • However, the Mauryan period saw a more sophisticated approach to sculpture, particularly in the portrayal of figures like the Yakshini, with attention to form, material, and detailing.
• 2. What was the significance of the stupa and how did stupa architecture develop?
  • The stupa was a significant architectural form in early Buddhist culture, serving as a relic monument and a place of meditation and veneration.
  • Stupa architecture developed over time, with additions like enclosing the circumambulatory path with railings and adding sculptural decorations in the second century BCE.
  • The stupa typically consisted of a cylindrical drum, a circular anda, a harmika, and a chhatra on top. These elements remained consistent with minor variations in shape and size.
  • As the stupa evolved, gateways were added to enhance both its functional and decorative aspects.
• 3. Which were the four events in the life of the Buddha which have been depicted in different forms of Buddhist art? What did these events symbolise?
  • The four significant events in the life of Buddha depicted in Buddhist art are:
    • Birth: Symbolized the beginning of Buddha's life and his entry into the world as a spiritual figure.
    • Renunciation: Represented Buddha's departure from royal life to seek enlightenment, symbolizing the pursuit of spiritual truth over worldly attachments.
    • Enlightenment: Marked Buddha’s attainment of wisdom and understanding, symbolizing the realization of ultimate truth and liberation from suffering.
    • Mahaparinibbana (Liberation from the Cycle of Birth): Represented Buddha’s final liberation from the cycle of life and death, symbolizing the ultimate goal of nirvana in Buddhism.
• 4. What are the Jatakas? How do the Jatakas relate to Buddhism? Find out.
  • The Jatakas are stories of the Buddha's previous lives, illustrating his virtues, moral lessons, and the path toward enlightenment.
  • The Jataka tales are an important aspect of Buddhist art and teachings, often depicted on the railings and torans of stupas, providing moral guidance and inspiring followers of Buddhism.
  • The Jatakas relate to Buddhism by reinforcing the principles of compassion, wisdom, and self-sacrifice, which are central to the Buddhist path.