Cultural Contributions Mauryan Kushan empire period

The study of the Cultural Contributions would enable to understand the development
under the Mauryan Kushan empire period. The Cultural, Social, Political, Artistic and
Economic History would give an in- depth knowledge of the Society then.
Significance of Mauryan Kushan Administration:

By the understanding of Chandragupta Mauryas Empire we get a glimpse into

the kind of administration that was prevalent.
The Empire was divided into 3 provinces, each under a Viceroy, usually under the
Royal family.

The provincial capitals were at Taxilla, Ujjain and Tosali. He visited law courts and
Hall of Audience (Diwan- i- Aam. Diwan- i- Khaas).

Hunting was his favorite sport and his army consisted of elephants, chariots and
cavalry.
According to Megastheness observation

All land belonged to the state. There was no private ownership in the state, famines
were unknownand Irrigation received special interest. There was overall prosperity.
The ruler was assisted in his duties by his ministers who took charge of various
portfolios.
There was significant importance given to trade.

The second board took care of the

Foreign office and consulate, medical
facilities, stamped with their
passports, etc.
The third board took care of
registrations of Births and Deaths in
the state and maintained the census
for taxation purposes.

There were boards in charge of

commerce, regulated sales, stamped
weights and measures, collectionof tax, etc.
Civil and criminal courts existed
separately.
Cases were heard by three judges.

The main articles in which the

merchants dealt were muslins, finer
clothes, cutlery, armor, brocades,
embroideries and drugs. Ivory, gold
and jewellery too were some of the other articles.

The society and economic

activity reveals that there was
centralized bureaucracy or the control
of the state over economy was
predominant.

Early pastoral economy had changed to a village

economy based on agriculture.

According to the account of Megasthenes

the Indian Society was divided into 7
asses of philosophers, farmers, soldiers,
erdsmen, artisans, magistrates and
Councilors.

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Arthashastra describes the buildings within

the city that sheds more lights on social
status of various professions.
Wages were determined according to the
quality of the work and the quantity
produced.

For example consider the wages of a weaver

for instance, it was dependent on whether
the threads were spun fine, coarse or of middle
quality and in proportion of the quantity.
In a place like Taxila, the Indian craftsmen would
also be in contact with the Iranian craftsman who
already was familiar with the medium of stone.

The Trade and sale of the merchandise was strictly

supervised by the state.

As far as Taxes are concerned there is no mention

of the capital punishment for such a crime.

The punishment was usually confiscation of the goods or the payment of fine.

In the inscriptions, the ruler is called Devaputra suggesting the divine origin
of the king.

Dandanayaku and Mahadandanayaka were given the Military, Judiciary and Police
functions.

Gramika and Padrapala built the feudal hierarchy.

Mendicants, Herdsmen, Artisans, Military officials, Inspectors in the Police, etc. too
found employment with the administration.
Emperor Ashoka fulfilled Platos ideal of the state in which Kings are
Philosophers and Vice versa.
Megasthenes has listed 3 classes in the society: Soldiers, Administrative officers and
Councilors.

Characteristic features of the Cultural Contributions:

Asokan Pillars are boldly designed,

exquisitely modeled and finely balanced
possessing a lustrous polish.

Elaborate vegetation motifs are seen.

They are essentially the
fertility symbols.

The Purna- Kalasha shows a plant that is abundant and is flowing out
of the pot of plenty

The Yakshis are shown with emphasized breasts as Vrikshikaor

the lady plucking the branch of the tree. She has the capacity
to bring to life even a dead tree out of season. The dress and
ornaments acquaint us to the economic conditions in the
society.

The sculptures are depicted with naturalistic linear qualities.

Animated Royal Processions, domestic scenes, dancers and musicians, bullocks, animals,
monkeys and elephants are shown
in p
rocession or as an individual medallion. There is
rhythm added to the sculptures by the artistic
hand.

The sculptor had been successful in projecting movement in the composition which comes
with expertise and experience to the hand of the artist.
Evidence related to singing, drawing, music and other items of entertainment like
dramatic performances and magical shows providing amusement to many.
The inscriptions recording donations or dedications by pious people for their
respective religious order have been found. The broader aspect of life aimed at a
harmonious balancing of dharma, artha and kama spiritually economic pursuit and
marital happiness.

The family life constituted of smaller unit in the social organization.

The joint family consisted of father, Mother, (grandfather) pitamaha, vadhu (daughterin- law), and even the senior members of the family.
Several types of attendants were known to cater to the comforts of the master and the
mistress of the house- hold.
Maid servants attended on the ladies preparing cosmetics
(vilepana) arranging for the toilet and weaving sweet smelling garlands.
Lalitavistaraa text too prescribes the rules and conducts of the bride.
Marriage generally took place between the members of the same caste.
Dress and ornaments, Sculptures and Literature are rich sources of knowing the
status, taste and prosperity of the people.

In the Gandhara region the dress of the people consisted of a loin cloth (dhoti)tied with a
girdle at the waist and reaching to the ankles. Scarf and turban too were very much the
part of the
dress.
The woman on the other hand wore a long tunic with an ornate girdle on her pelvis. The
ornamentation consisted of a necklace for both men and women.
Men wore a single bangle but for women the bangles were numerous.

From the sculptures available it seems soft and transparent clothing was worn during
summers and perhaps plain cotton (tunda pati)was worn during the winter.
The toilet and the treatment of the hair is elaborately seen in the art works found.
Asvaghosha mentions about toilet scene where a woman is seen holding up a mirror to her
face.
Ointment, perfume, clothes and sweet smelling flowers have been mentioned.
Chandana paste too was used for the body.
According to Milindapanha shampooing (dhovana), followed by tying a ribbon
(bandhana),combing (kocca)and then the hair dressing (kappaha) and a mirror (adarsa
mandala)have been known.
Religious Conditions of the Kushan Empire:

The Religious Conditions reveal that the Kushana rulers were very tolerant and
liberal rulers.
The monks were conscious of the unity of all religions.
Different schools of Buddhism were Sarvastivadinis, Dharamaguptikas
and Mahasanghikas.

The Brahmanical hierarchy was recognized and practiced.

The popular cult of snake worship is noticed in several records.

Brahmanism was a living force with the performance of the sacrifices.

The Jains were fairly active with their Ganas, Kulasand Sakhas.

On a whole the religious conditions were one of understanding, toleration and broadmindedness.

Literature of Kushan Empire:

Literature too was known to occupy an important place in the society.

Texts like Mahavastu, the Lalitavistara, the Kavyas of Asvaghosa: The BuddhaCarita and the Sundrananda were known.

Asvaghosa had studied the psychology of women, their character and methods of
approach where Sundariis shown to tempt Anandaas a deterrent on the path to
Moksha.

In the Saddharmapundarika there are references to neat and lovely gardens serving
as places of recreations.

Children seem to be happy playing with the sand (sikta) and toys (kridanakam.)

There is a reference to juvenile enjoying games and exercising. Playing on musical

instruments, dancing and singing are seen.

The musical instruments included drums (bheri), conch(dhundhhubi), sweet

lute (vina),tabor (mridanga),drum (kin kina)and other minor instruments like cymbal,
tunava, vallaki and mukunda were also played.

Magic display and festivals were uniformly enjoyed.

Yaksha from Parkham, Yakshi from Didarganj, Colossol columns, Columns at

Lauriya Nandangarh, Sanskasia Lion Capital, Rampurva Bull Capital, Vesantara Jataka,
etc. all are
replete examples of how far the value to art and architecture was provided a place in the
day-to- day life.
The work rendered under the Mauryas was not with entire patronage
from the state.
Rich merchants, land owners, travelers, high officials, common artisans
too were giving liberal donations for the excellence.
The Gandhara sculptures show cymbals, drums, harp, lute, mandolin,
pan- pipe sand tambourine shown in various sculptures.
The Mathura sculptures show tabor, flute, conch, drum and a big pipe.
Besides items of entertainment, magic and magicians (sobhika) too were
very popular.
The Kaumusi- Maha utsavais also noticed in the Divyavadana.
It will be of interest to know that women from all walks of life were drawn to Buddhism.
The Narratives at Sanchi speak of the ivory workers from Vidisa.

The Salabhanjikas depicted here too speak of the fecundity cult.

The adoration of the woman as Mother and a fertility symbol

was lived through her conglomerate forms of the woman with the tree.
Monks and nuns were shown shunning away the worldly pleasures and living on the
generosity of the laity. Ashok too became renowned as the patron of the Buddhist
intellectual Asvaghosa.
Conclusion:
Both Art and Culture are inseparable and the Cultural background seems to be
indispensable for a better understanding of the basic features of artistic, sculptural and
architectural forms.
By taking the above view of the Cultural understanding, an inter- relation of the society and
the influences on the mind of the artist is understood.