Chapter Notes

Arts of the Mauryan Period

The sixth century BCE was a time of major religious and social change in the Gangetic valley. New movements like Buddhism and Jainism, part of the shraman tradition, gained popularity. A key reason for their appeal was their opposition to the rigid varna and jati systems of the Hindu religion.

During this period, the kingdom of Magadha grew powerful, and by the fourth century BCE, the Mauryas had established control over a large part of India. The most powerful Mauryan king was Ashoka, who ruled in the third century BCE and was a major patron of Buddhism.

However, religion at the time was diverse. Along with Buddhism, the worship of Yakshas (nature spirits) and mother-goddesses was also very common. This practice of Yaksha worship existed before Buddhism and was later integrated into both Buddhist and Jaina art and beliefs.

Pillars, Sculptures and Rock-cut Architecture

The Mauryan period is known for its remarkable contributions to art and architecture, much of which was inspired by Buddhism.

Mauryan Pillars

The tradition of erecting pillars was not new and was also seen in the Achamenian empire (in modern-day Iran). However, Mauryan pillars were distinct in their construction and style.

• Construction: Mauryan pillars are rock-cut, meaning they were carved from a single piece of stone. This demonstrated the immense skill of the carvers. In contrast, Achamenian pillars were constructed in pieces by masons.
• Purpose: King Ashoka erected these stone pillars across the northern part of his empire. They often had his inscriptions engraved on them, spreading his messages.
• Design: The top of each pillar, known as the capital, was carved with animal figures like the bull, lion, or elephant. These figures are vigorous and stand on a square or circular base called an abacus, which was often decorated with stylized lotuses.
• Locations: Pillars with these capital figures have been found at sites like Basarah-Bakhira, Lauriya-Nandangarh, and Rampurva in Bihar, and Sankisa and Sarnath in Uttar Pradesh.

Monumental Sculptures

Large, monumental sculptures of Yaksha (male nature spirits) and Yakhinis (female nature spirits) were created during this period and have been found in places like Patna, Vidisha, and Mathura.

• Characteristics: These statues are usually in a standing position and are distinguished by their highly polished surface, a hallmark of Mauryan art. The faces are carved in the full round with detailed features and pronounced cheeks.
• Didarganj Yakshi: One of the finest examples is the life-size Yakshi figure from Didarganj, Patna. It is a tall, well-built statue that shows a great sensitivity in depicting the human form and features the characteristic polished surface.
• Rock-cut Elephant at Dhauli: In Dhauli, Odisha, a monumental elephant is carved out of a rock. This sculpture is notable for its round, modelled form and also has an Ashokan rock-edict nearby.

Rock-cut Architecture

The Mauryans were also pioneers in carving caves from solid rock.

• Lomus Rishi Cave: Located in the Barabar hills near Gaya in Bihar, this is a famous example of Mauryan rock-cut architecture.
  • The entrance is decorated with a semicircular chaitya arch.
  • An elephant frieze is carved in high relief on the arch, showing a sense of movement.
  • The interior consists of a rectangular hall with a circular chamber at the back.
  • King Ashoka donated this cave to the Ajivika sect.

Stupas and Viharas

With the growing popularity of Buddhism and Jainism, the construction of stupas (mound-like structures containing relics) and viharas (monasteries) became widespread.

• Purpose of Stupas: Stupas were built over the relics of the Buddha. Early stupas were constructed in places like Rajagraha, Vaishali, Kapilavastu, and Kushinagar.
• Early Examples: An early stupa from the third century BCE is found at Bairat in Rajasthan. The great stupa at Sanchi was originally built with bricks during Ashoka's time and was later covered with stone and expanded.
• Patronage: While kings like Ashoka initiated some constructions, patronage for these religious monuments was often a collective effort. Inscriptions from the second century BCE onwards show that donations came from a wide range of people, including lay devotees, gahapatis (householders/merchants), and guilds. Royal patronage was actually quite rare.

Lion Capital, Sarnath

The Lion Capital found at Sarnath, near Varanasi, is considered the finest example of Mauryan sculpture.

• Purpose: King Ashoka built this pillar capital to commemorate the Dhammachakrapravartana—the Buddha's first sermon, which he delivered at Sarnath.
• Original Components: The capital originally had five parts:
  1. The shaft (now broken).
  2. A lotus bell base.
  3. A drum (the abacus) on top of the bell base.
  4. Four majestic addorsed lions (seated back-to-back).
  5. A crowning element, the Dharamchakra (a large wheel), which is now broken and displayed in the Sarnath museum.

Artistic Features

• The Lions: The four lions are massive and impressive. Their facial muscles are strong, their manes have sharp, conventional lines, and they appear to be holding their breath. The stretched muscles of their feet firmly show the weight of their bodies. The entire sculpture has the typical Mauryan polished surface.
• The Abacus: The circular abacus features carvings of four animals between four wheels (chakras). A horse, a bull, an elephant, and a lion are shown in vigorous movement, carved with great precision.
• Symbolism: The chakra is a significant symbol in Buddhist art, representing the Dhammachakra or the "Wheel of Law."
• Craftsmanship: The artists showed incredible skill in depicting movement in a limited space. The inverted lotus below the abacus is also carved with great detail, with each petal showing a sense of density. The pillar was designed to be viewed from all sides.

Didargunj Yakshini

This life-size, free-standing sculpture of a Yakshini (a female nature spirit) holding a chauri (flywhisk) is another masterpiece of the Mauryan period. It was found in Didargunj near Patna and is now in the Patna Museum.

• Material and Form: It is made of sandstone and has the characteristic polished surface of Mauryan art. The sculpture is carved "in the round," meaning it is fully three-dimensional and not attached to a background.
• Physical Depiction: The sculptor showed great sensitivity in rendering the round, muscular body.
  • The face has round, fleshy cheeks with sharp eyes, nose, and lips.
  • The garment on the lower body is carved with protruding lines that cling to the legs, creating a transparent effect.
  • The torso is depicted with heavy breasts, and the tightening of the garment creates a bulging belly effect, showing a realistic understanding of the human physique.
• Details and Ornaments: The necklace beads hang realistically down to the belly, and thick bell-ornaments adorn her feet. The back of the sculpture is equally detailed, with hair tied in a knot and drapery covering both legs.

Later Buddhist Narrative Art

In the centuries following the Mauryan period, stupa architecture became more elaborate. Railings and gateways were added around the main stupa, providing more space for sculptural decoration. This led to the development of narrative art.

• Symbolic Representation: In the early phase of Buddhism, the Buddha was depicted symbolically, not in human form. Common symbols included:
  • Footprints
  • Stupas
  • Lotus throne
  • Chakra (wheel)
• Narrative Art: Gradually, art began to tell stories. The railings and torans (gateways) of stupas were covered with depictions of:
  • Events from the Buddha's life: The most frequently depicted events were his birth, renunciation, enlightenment, dhammachakrapravartana (first sermon), and mahaparinibbana (death and liberation).
  • Jataka Stories: These are tales of the Buddha's previous lives. Popularly depicted Jatakas include the Chhadanta Jataka, Ruru Jataka, and Vessantara Jataka.