Post Mauryan Art and Architecture

With the decline of the Mauryan Empire several small dynasties rose to power.

 Northern Central Ruled by → Shungas, Kanvas, and Guptas

 Western Southern Ruled by → Satavahanas, Ikshavakus, Abhiras,
Vakataks
 Marked the Re-emergence of main Bramhanical sects such as the
Vaishnavas and the Shaivas

The architecture in the form of rock-cut caves and stupas continued, with
each dynasty introducing some unique features of their own.

o Similarly, different schools of sculpture emerged and the art of sculpture

reached its climax in the post-Mauryan period.

Caves
Rock-cut Caves: The construction of rock caves continued as in the Mauryan period.
However, this period saw the development of two types of rock caves -Chaitya
and Viharas.

Chaitya → a rectangular prayer hall for monks

 In all the chaitya caves a stupa at the back is common
Viharas → Residence / Resting place of monks
 Viharas consists of a veranda, a hall and cells around the walls of the
halls.
 EXAMPLE  Udayagiri and Khandagiri Caves in Bhubaneshwar, Odisha
known for the Hathigumpha inscription (in Brahmi script).

Stupas

 Post Mauryan period stupas became larger and more decorative and wood
and brickwork were replaced by stone
Torans: In the post-Mauryan period, the Shunga dynasty introduced the idea of
torans (Torans reflect the Hellenisti influence meaning "imitating the Greeks) which were
beautifully decorated gateways to the stupas.

> All the four gateways were now carved with beautiful sculptures.
> Carving technique appeared more advanced
> Symbols continued to be used representing the Buddha
 Sculptures (100 CE)
The apex of the sculpture making is said to be found in this period
Imporatant centers – Gandhara (now in Pakistan), Mathura in U.P and
Amaravati in Andhra Pradesh

1.) Gandhar School of Art (50 BC – 500 AD)

 North-western part of the Indian sub-continent.

 Mainly Greco Roman style
 First sculptural representation of Buddha in human form
 Greek invaders brought with them the traditions of the Greek and Roman
sculptors which was further merged with the regional or local art of the
time.
 Buddha images resembled the portrayal of God Apollo


 Carved Spiritual Buddha → represents calmness, Bearded, Moustache, wearing
ornaments, Wavy hair (Greek), large forehead (Greek) → Bodhisattavas position
 Buddha seated in position of yogi, having large ears (Greek), Eyes half closed swelling
on his head (signifies that Buddha knows all)
 Early School used bluish grey sandstone & later school used Mud and Stucco (lime
plaster) however marble was not used.
 Initial Development: Gandhara school was developed in the western frontiers
of Punjab.
 Patronage: This school was patronized by both Shaka and Kushan rulers.

 Major centers of Gandhara school of art were Jalalabad (Eastern Afghanistan),

Hadda (ancient region of Gandhara),Begram (Parwan province of Afghanistan) &
Taxila (Pakistan).
 Key Features: Buddha was depicted in Gandhara Art, through four types of hand
gestures called Mudras:

 Abhayamudra : Don’t fear

 Dhyanamudra : meditation

 Dharmachakramudra: a preaching mudra / Means turning the wheel of law.

 

 Bhumisparshamudra: Touching the earth with right hand and calling it to

witness truth

Depiction of Budhha in Sitting & Standing position with great attention

to body details
 Seated Buddha is always shown cross-legged in the traditional Indian
way. Buddha is seated on a lotus thron

Mathura School of Art (50 BC – 600 AD)

. The sculptures of the Mathura school were influenced by all the three
religions Buddhism, Hinduism, and Jainism.

 Initial Development: Developed in and around Mathura.

 Patronage: This school was patronized by Kushan rulers.
 Major Centres: Mathura, Sonkh and Kankalitila.

 Flourished on banks of Krishna river (Andhra Pradesh)

 Main patrons – Satavahanas & Ikshvakus

 White Marble (limestone) was used in this art

 Key Feature: Symbolism in the images was one of the key features of the Mathura
school of art like Shiva was represented using linga and mukhalinga

 Both sitting and standing posture of Buddha in delighted state, not spiritual
 1st to depict smile on the face of Buddha but less expressive than
Gandhar school

Buddha shown seated in Padmasana, Right hand in AbhayMudra (Indicate

reassurance) raised above shoulder, Left hand on left thigh (reflect
muscularity), Protuberance on head.
Buddha is seated on lion thron.

 Sitting Buddha

 Halo (circle of light shown around or above the head of a saint or holy person to
represent their holiness) around the head of Buddha was decorated geometrical patterns
and Buddha is shown to be surrounded by two Bodhisattavas Padmapani (holding a
lotus) and Vajrapani (holding a thunderbolt).

Famous for headless statue of Kanishka

 Material used was red sandstone mainly with a little use of terracotta
 Amaravati School of Art (200 BC -200AD)

Amaravati: Unlike Gandhara and Mathura schools which focused on single images,
Amaravati school laid more emphasis on the use of dynamic images or narrative art (like
jataka tales).
 Initial Development: Amaravati school was developed on the banks of the Krishna river.
 Major Centres: Amaravati and Nagarjunakonda.
 Patronage: This school was patronized by Satvahana rulers.
 Key Feature: Tribhanga posture, i.e. the body with three bends was used excessively by
Amaravati school in its sculptures.

 Flourished on banks of Krishna river (Andhra Pradesh)

 White Marble (limestone) was used in this art

 Themes were Buddha’s life and Jatakas tales → Mainly Buddhist

 Curly hairs of Buddha → A feature that is influenced by the Greeks.
 Sculptural composition is more complex and characterized by intense emotions, bodies are
shown with three bents (i.e. tribhanga)
 In this school, statues of Kings, Princes, and Palaces got prominence.