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BuddhistSculpture
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BuddhistSculpture

1.IndianArchitecture
IndusCivilization
BuddhistArchitecture
TempleArchitecture
IndoIslamicArchitecture
ModernArchitecture

2.IndianSculpture
IndusCivilization

BuddhistSculpture
GuptaSculpture
MedievalSchoolofSculpture
ModernIndianSculpture

3.IndianPainting
WallPainting

TheearliesthistoricalsculptureinIndiaisoftheMauryanageinthe4th3rdcenturiesB.C.
Itisaboldandmassivestylemarkedbyacertainrealismfreelyemployingforeignelements
from Achaemenid Persia. The great Buddhist Emperor Ashoka caused the erection of
monolithicpillarsofsandstone,30to40feethigh,crownedbyanimalfigureslikethebull,
lion and elephant, and had them inscribed with the Buddhist concepts of morality,
humanityandpiety,whichhewishedhispeopletofollow.FamousAshokanpillarsarefrom
LauriyaNandangarhinBihar,SanchiandSarnath.
The most remarkable of them all is the highly polished monolithic lioncapital found at
Sarnath,whichisnowtheEmblemoftheGovernmentofIndia.Itrepresentsfourroaring
lions back to back facing the four cardinal directions. The round abacus is decorated with
fourdharmachakrasor wheels of law, alternating with an elephant, a bull, a horse and a
lion,allcarvedwithmasterlyskill.Theabacusissupportedbyabellshapedbaseconsisting
ofalotuswithdharmachakra,whichperhapssymbolizedthevictoryofrighteousnessover
physical force. The superb modelling of the figures executed in a realistic manner with a
certainstylization,isinvestedwithagreatpoweranddignity,andrevealsthearistocratic
andinternationalnatureofMauryanart.

MiniaturePainting

Lioncapitalfrom
AshokaStambha,
Stone,Sarnath,Uttar
Pradesh

ModernPainting

To a distinguished student of art, a close look at the capital will be highly rewarding. The four lions on top are
highlyformalisticandstylised.Thiswillbeevidentfromlookingatthemaneofthelionswhichisrepresentedas
littleflameshapedbunchesofhair,notatallnaturallydone,butinastylisedmanner.Again,theupperlipofthe
lionshasbeenshownbythreeincisedlineswhichisformalisedandstylized.Wemustrememberthatitwasonly
Ashokawhostartedmakingextensiveuseofstoneforsculpturesandgreatmonumentswhereastheprevious
traditionconsistedofworkinginwoodandclay.
Acloselookattheanimalsontheabacuswillrevealthattheseanimalsarenotstaticorrigid.Theyhavebeen
verykeenlyandlovinglyobservedinnatureandareverynaturalisticallyrepresented,fulloflife.

ThebullcapitalofAshokafromRampurva,Bihar,alsobelongingtothethirdcenturyB.C.isaninterestingstudy
as it is a mixture of Persian and Indian elements. The lotus capital is entirely formalistic. The motifs on the
abacusarebeautifuldecorativeelementsliketherosette,palmetteandtheacanthusornaments,noneofthem
Indian.
BullCapital,
fromRampurva,Bihar

However, the crowning element of the bull capital, that is the bull proper, is a masterpiece of Indian
craftsmanship,showingahumpedbull,wellmodelled,withitssoftfleshbeautifullyrepresented,withitsstrong
legs,sensitivenostrilsandtheearscockedasifitwerelistening.

AtDhauli,inOrissa,thereisamasterlyrepresentationofanelephantdepictedasifemergingfromarockwhichhasbeenso
cut that it resembles the front part of an elephant including the head and trunk etc. Unfortunately, it is in a sad state of
preservation, nevertheless, it is interesting as almost the first attempt at carving a colossal animal figure out of a rock or a
boulder.Thisrepresentationofananimalisintheindigenoustraditionofthecountry.
Excellent specimens of the Mauryan craftsmanship in fashioning the human figure are provided by the colossal statues
ofYakshasandYakshis,thedeitiesoffertilityandabundance.TheYakshi.

fromPatnaMuseumisastrikingexampleof3rd2ndcenturyB.C.,fashionedbyagiftedsculptor.Thefigurewearingelaborate
jewelleryandaheavyundergarment,thoughmassiveandboldinitsexecution,portraysinagrandmanner,theIndianidealof
femininebeautyinherfullbreasts,slenderwaistandbroadhips.ThesculptorinIndiatookdelightinfashioninghisbeautiful
creations in poetic or visual metaphors in preference to direct observation. The surface of this lovely figure bears the typical
lustrouspolishoftheperiod.
AnotherstrikingexampleofMauryanartinthe3rdcenturyB.C.isthehandsometorsoofamalefigurefromLohanipur.The
modelling of the figure executed in a realistic manner, is invested with a wonderful vitality. It probably represents a Jain Chauribearer(Yakshi),Lime
TirthankaraoraSaviouroftheDigambarasect.
Stone,Didarganj,Bihar

AfterthedeclineoftheMauryanempire,theSungassucceededtopowerincirca185B.C.Theyruledthecentraland

easternpartsofNorthernIndia.Theirnativestyle,distinguishedbyitssimplicityandfolkappealisbestrepresentedin
monolithicfreestandingsculpturesofYakshasandYakshis,discoveredfromGwaliorandMathuraandthefragments
of the beautifully carved gate and railings of the Buddhist stupa at Bharhut, now preserved in the Indian Museum,
Calcutta.ThenarrativeartofBharhut,depictingJatakasofBuddha'spreviousbirthinsculptures,thedecorativeartof
SanchiandtheJainStupaofMathurabelongtothesametradition.Theyallhaveanechoofwoodconstructionand
thestyleofthesculpturesseemsrelatedtocarvinginwoodorivory,basicallytheexploitationandelaborationofaflat
surface,governedbythelawoffrontalityasdistinctfrom'perspective'presentation.Whetheritistherepresentationof
Buddhabyhislotusfeet,anemptythrone,apairofflywhisksorthetriratnasymbol,orthenativityofMayaDeviby
thetwoelephantselegantlygivinganAbhishekaorbathtothenewborn,pouringwaterfromthekalashaorjars,the
languageemployedbytheartististhatofsymbols.

WorshipoftheBodhiTree,Bharhut,
MadhyaPradesh

WhentheartistvisualisesaYakshi,thenaturespirit,orthefertilitysymbolSuraSundari,theCelestialbeauty,hereyebrowsarelikethearchofthebow,her
eyesacurvedfish,herlipsalotuspetal,herarmsanelegantcreeper,herlegstaperinglikethetrunkofanelephantoraplantaintree.Theallegianceofthe
artists is to what he considers reality in a dream or a poetic metaphor. And it is this visualised, idealised image that he hopes and strives to present most
faithfully, among the several deities of fertility and other scenes sculptured on the railing pillars of Bharhut. The figure of Chulakoka Devta is a notable
specimenofSungaartrepresentingitsindigenouscharacterandfolkquality.Shestandsgracefullyonanelephantwithherarmsandonelegentwinedaround
afloweringtree,assheisatreegoddess.Theprofusejewelleryandthemodeofwearingtheundergarmentandtheheaddressdemonstratethefeminine
fashionoftheperiod.ThefiguresuggestsacertainelegancewhichwefindwithgreaterexuberanceinthelaterKushansculpture.Theinscribedlabelather
rightside,givesusthenamesoftheYakshiandalsostatesthatthispillarwasthegiftofAryaPanthka.
ThereareseveralinterestingJatakastories,andBharhutformsatreasurehouseoffables,visuallyrepresented.InthismedallionthegiftoftheJetavanapark
byAnanthaPindika,bycoveringthegroundwithgoldencoinsbeforeitwaspresentedbythemerchantprince,ismostgraphicallyrepresented.

AnothergoodexampleofSungaartofthesecondcenturyB.C.isthejovialfigures,thedwarfishYakshafromthePithalkhoracavesinCentralIndia,carryinga
bowlofabundanceonhishead.Thecarefreebroadsmileonhisfaceandhisrotundbellyindicatethatheisfullysatisfiedinallrespects.Thetwoamulets
strungonhisnecklacewardoffevilspiritsfromhisdevotees.ThebackofhisrighthandbearsaninscriptiongivingthenameofthesculptorasKrishnadasa
whowasagoldsmithbyprofession.GenerallyspeakingIndianartisananonymousart,asthesculptorortheartistneversoughttoglorifyhimself.Healways
gaveofhisbestasahumbleofferingtoGodortohispatron,theking,whowasanimageofGod.
Though it may seem strange, Buddha is never represented in human form in Buddhist art before the Christian era, as his spirituality was considered too
abstractforthepurpose.TheadherentsoftheBuddhistfaithfollowedtheHinayanapathasameansofattainingsalvation.Buddha'spresenceinearlyIndian
artis,therefore,suggestedbysymbolsliketheBodhitreeunderwhichheattainedenlightenment,thewheeloflaw,hisfootprints,theroyalumbrella,the
stupaandanemptythrone,etc.
ThereliefmedallionfromthefragmentofarailingpillarofthestupaatBharhutdatabletothe2ndCenturyB.C.,showstheworshipoftheBodhitreebyfour
figures.BuddhahadattainedenlightenmentundertheBodhitreeatBodhGaya.HerethetreesymbolizesthepresenceofBuddha.

In the fragment of an architrave from the gateway of the stupa at Bharhut we can observe the great love,
understandingandaffectionthattheearlyIndianartisthadforanimalsandplantswhichhetookpainstostudyin
greatdetail.Oneithersideofthisarchitrave,aremenandelephantsinaction,skillfullyshown,payinghomageto
theBuddha,representedbytheBodhitreeshowninthecentre.
TheKishvakuscontinuedthegreatarttraditionsoftheSatavahanas.Theywereresponsibleforbuildingthestupas
atNagarjunikondaandtheirequallybeautifulcarvings.
ThepowerfulSatavahanaKingsofSouthIndiaweregreatbuildersandfromthe2ndcenturyB.C.to2ndcentury
A.D. they studded their empire with several splendid monuments which were richly embellished. They excavated
cave temples and monasteries along the Western Coast of India and erected several Buddhist stupas. The lavish
carvings on the Sanchi stupa gateway which were also executed during their reign, proclaim the high skill and
technicalproficiencyoftheSatavahanasculptors.Stupaworshipwasanancientformofhonouringthegreatdead.
StupaswerebuiltnotonlytoenshrinerelicsofBuddhaandBuddhistsaints,butalsotocommemorateeventsof
religioussignificance.TheoutstandingexampleofanearlyBuddhiststupabuiltduringthe3rdand1stcenturyB.C.
ispreservedatSanchiinCentralIndia.Itisasolidstructuraldomeraisedonaterraceandsurmountedbyarailed
SanchiStupaNo.1,detailofTorana,
pavilion from which rises the shaft of the crowning umbrella. The stupa was originally a mud funerary mound AnimalsWorshippingBodhiTree,Madhya
enshrininginitscorethesacredrelicsoftheBuddhaorhisdisciples,suchashair,bitsofbones,etc.Thepresent
Pradesh
stupa at Sanchi was originally constructed during Ashoka's reign but was considerably enlarged and the circum
ambulatoryenclosureaswellastheouterenclosureswasaddedinthe1stcenturyB.C.Thepassageisenclosedby
arailinghavingfourgatewaysfacingthefourdirections.TheBuddhistcarvingsonbothfacesofthearchitravesand
on all sides of the uprights of these gateways are remarkable for their crowded scenes, perspective and pictorial
effectinstone.

InapartoftheEasternGateoftheSanchistupathereisascenedepictingabracketfigureofaVrikshikaorwood
nymph.Inthiswecanseethatthesculptorhasadvancedagreatdealsincehehadcarvedthefrontal,thoughto
acertainextentrigid,humanfigures,inthe3rd2ndcenturyB.C.Thesculptorhassucceededintrulyportraying
herasatreegoddesshangingasitwerefromthebranchesofhertree,withnudityclearlyshownsuggestingthat
sheisafertilitygoddess.Hehasalsosucceededingivingitathreedimensionaleffect,i.e.length,breadth,and
depth by ridding himself of the backslab and by evolving a tribhanga posture (thriceflexed) to bring out the
contoursandthebeautyofthefemalefigure.
The Vessantara Jataka from Goli, belongs to the 1st century A.D., in his previous birth Buddha was Prince
Vessantara,whowasnevertiredofgivingawayeverythinghehadincharity.Anelephantthatassuredprosperity
tohisrealm,andwasconsidereditsmostpreciousobject,waspresentedbythePrincetothepeopleofKalinga
whosoughttomakeprosperoustheirlandwhichhadsufferedfromadrought.Theinfuriatedpeopleofhisown

SanchiStupaNo.1,Yakshi,
MadhyaPradesh

kingdominsistedontheKing,hisfather,banishingVessantaratotheforestwithhiswifeandchildren.Thestoryis
atouchingonerecountingthePrincebeingputtoseveretestsbuthasahappyending.

Of a later date, circa first century A.D. and more mature in skill, are the carvings from Karle. Noteworthy are the
Dampati and the Mithuna figures as also the pairs riding the magnificent elephant crowning the pillars forming
imposingcolonnades.Thefiguresaremorethanlifesizeandarerepresentedwithpowerfulandmuscularphysique.
AfamouscarvingdepictstheadorationofthefeetoftheBuddhabyfourwomenandbelongstothesecondcentury
A.D.fromAmravati.Herethecompositionandthedispositionofthelimbsdelineatingthebeautyofthecurvaturesin
form,themoodofintensedevotioncombinedwithbashfulnessandhumilitysonaturalinwomen,markitoutasa
greatmasterpiece.
A relief medallion from Amravati belonging to the second century A.D. is a masterly representation of a scene
showingthesubjugationortamingofNalagiri,amadelephantletlooseontheBuddhainthestreetsofRajagrihaby
his wicked cousin, Devadatta. The great commotion and anxiety caused by the rush of the mad elephant at the
Buddha is forcefully brought out and thereafter the furious animal is shown calm and kneeling at the feet of the
Master.

TamingofNalagiriElephant,Amaravati,
StateMuseum,Chennai,TamilNadu

ThereisarichlysculpturedslabfromtheBuddhiststupawhichonceexistedatAmravati.AnotherremarkableexampleoftheelegantstyleofAmravatiinthe
2ndcenturyA.D.isseeninthebeautifulrailingcrossbar.Thesubject,treatedhereisthepresentationofPrinceRahultohisfather,theBuddha,whenthe
latterpaidavisittohisfamilyinhisformerpalace.ThepresenceofBuddhaisheresymbolisedbytheemptythrone,hisfootprints,thewheelofthelawand
thetriratnasymbol.Ontherightarehisfollowerscladinrobesandontheleft,theinmatesofthepalace.Inthedistance,behindthecurtain,areseenan
elephant,ahorse,andattendants.ThecoynessoftheyoungPrincetryingtohidehisfacebehindthesideofthethroneandextendinghisfoldedhandsin
salutation,thedelicatedelineationofthedifficultposesofthekneelingfiguresworshippingtheBuddha,themagnificentexecutionofthecrowdedcomposition
inthreedimension,allspeakvolumesforthesculptorwhofashionedthismasterpiecewithawonderfulpictorialeffect.
he Ayaka or cornice beam with a sequence of subjects is a typical example of the art from Nagarjunikonda. The qualities already seen at Amravati, as for
examplementionedinthepreviouspara,aretobefoundinabundanceinthis.ThebeamhasbeendividedintorectanglesdisplayingscenesfromtheJataka
talesinterspersedwithlovingcoupleswithinsmallcompartmentsmadebythespacingpillars.Thereisamultitudeofhumanityrepresented,palacewarand
lovingscenesrepresentingbothmaleandfemalefiguresinavarietyofanimatedpostures.Theartistnowdisplayscompletemasteryoverthehumanformthat
hehasachievedgraduallyoverthecenturies.Thefiguresarefulloflifeandmovementexecutedwithconsummateskillbasedonobservinglifeinreality.

AfterAlexander'sinvasionofIndiain326B.C.,theIndoGreek,IndoScythianandKushankingsruledoveritsnorthwestern
territoriesandundertheirpatronageemergedadistinctstyleofsculpture,popularlyknownastheGrecoRoman,Buddhistor
Gandhara art. It was a product of the combination of Hellenistic, West Asiatic and native elements. Greek and Roman
techniques, modified according to Indian requirements, were employed in fashioning the Gandhara sculpture which truly
representsIndiancultureinaWesterngarb.ThesubjectmattertreatedispredominantlyBuddhist.Itsareaextendedfrom
TakshilainIndiatotheSwatValleyinPakistanandnorth
wardstoareasinAfghanistan.
ThefirstcenturyoftheChristianera'srevolutionarychange,hadfarreachingeffects,notonlyontheartofIndia,butalsoon
theartisticdevelopmentofBuddhistcountriesofAsia.Buddhawhowashithertodesignatedonlybyasymbol,wasconceived
inhumanform.Hispersonwasgivensomeofthe32suspiciousbodilysignsassociatedwiththeMahapurushalakshana,such
astheprotuberanceoftheskull,thehairknot,bindibetweentheeyebrowsandelongatedears.Thischangecameaboutasa
resultofthenewchangesthathadcreptintothereligiousoutlookofBuddhismduetotheinfluenceoftheDevotionalSchool
of Hindu Philosophy, requiring the worship of personal gods. It must have exercised profound influence on the religious
approach of the masses towards Buddhism. The image becomes henceforth the main element of sculpture and worship.
Possibly,theemergenceoftheimageofBuddhainGandharaandinMathurawasaparalleldevelopment.Ineachcase,itwas
producedbythelocalartistcraftsmenworkinginthelocaltradition.AtMathuraitclearlyemergesfromtheYakshatradition.
HeadofBuddha,Gandhara
TheGandharaimagemightseemtoresembleApolloinsomeextraneousformsanddoeslookcharacteristicallyGrecoRoman
in drapery, but even there most of the images represent Buddha as seated in the typically Indian Yogic posture, a feature period,2ndcenturyA.D.,Uttar
Pradesh
completelyunknowntotheHellenistictraditionofart.

ThereliefpanelshowingBuddha'sGreatDepartureisafineexampleofGandharaartofthe2ndcenturyA.D.Forsakinghiswife,childandfuturekingdomin
thequestofeternalbliss,princeSiddharthaisshownridingawayonhighfavouritehorse,Kanthaka,whosehoofsareliftedbytwoYakshasto prevent the
soundbeingheardbyhisfamily.HisgroomChhandala,holdstheroyalumbrellaoverhishead.Mara,theEvilone,alongwithacoupleofhissoldiersandthe
city
goddessareurgingthePrincetoabandonhispiousintention.Thisincident,whichwasaturningpointinthelifeofGautama,iseffectivelyportrayed.

AnothertypicalexampleofGandharaartof3rdcenturyA.D.isthefigureofastandingBodhisattava.Hisrighthandisshowninthegestureofprotection.Heis
wearingarichturban,astringofamuletsacrosshisbody,andstrappedsandalsonhisfeet.ThepedestalcontainsapairofCorinthianpillars.Theathleticfigure
wearingamoustache,theheavydraperyfoldsofthegarmentsandthestrappedsandalallrevealtheGrecoRomaninfluence.

TheKushans,whocamefromCentralAsia,ruledovervastterritoriesofthenorthfromthe1sttothe3rdcenturyA.D.
Duringtheirregime,Mathura,just80milesawayfromDelhi,wasthrobbingwithgreatartisticactivity,anditsworkshops
evencateredtotheoutsidedemandsforsculpture.NowiconsofBrahmanicalgodsandgoddessesandBuddhistandJain
divinities, which characterized the subsequent evolution of Indian art were produced experimentally. Some magnificent
portraitstudiesoftheKushanemperors,togetherwithseveralnoblemenandwomenwereexecutedduringtheperiodin
thecharacteristicredandredspeckledsandstoneofMathura.
TheBuddhistreligiongreatlyflourishedunderthepatronageofKushanemperors,andseveralimagesoftheBuddhaand

 BodhisattavaswereproducedaftertheearlierYakshatypes.Here,wemaypointoutthedifferencebetweenaBuddhaand
Bodhisattava.Buddhaisonewhohasattainedtheenlightenmentofsupremeknowledge,whiletheBodhisattavaisstilla
candidateforit.AtypicalexampleoftheimageofBuddha,asitwasevolvedbytheKushansculptorinthe2ndcentury
A.D.showshimseatedcrossleggedonalionthrone,undertheBodhitree,withhisrighthandinthegestureofassuring
protection,whiletheleftisplacedonthethigh.Theeyesarewideopenandtheprotuberanceontheskullisindicatedbya
single curl coiled to the left. The hands and feet are marked with auspicious symbols. Two flywhisk bearing celestials,
standing on either side, are shown above. This type of image of the Buddha reached perfection in the Gupta age, three
centurieslater.

SeatedBuddha,Stone,Mathura,
UttarPradesh

Fairmaidens,ingracefullyflexedposturesengagedinmakingtheirtoiletorindanceandmusic,oringardensportsandotherpastimes,createdbythemaster
craftsmenofMathura,areaglowingtributetotheirhighartisticskillandingenuityintheportrayaloffemininebeautyinallitssensuouscharm.Amongthe
severalbeautifullycarvedrailingpillars,whichonceadornedastupaatMathura,thesethreearethemostfamousones.Theoneontherightshowsalovely
damselholdingabirdcageinherrighthand,fromwhichshehasletlooseaparrotwhohasperchedonhershoulder.Theparrotisnarratingtoherthesweet
andlovingwords,whichherloverspokethenightbefore,andlisteningtothem,sheisfeelingamused.Inthecenterisacharminglady,standinggracefully

withherleftlegcrossedinfront,settlingherheavynecklacewithherrighthand.Theladyontheleftholdsabunchofgrapesinherlefthand.Shehasplucked
agrapeandisholdingitinherrighthand,luringtheparrot,perchesonherrightshouldertorepeattoherthewordsofherlover.Inthebalconiesabove,from
theleftitcanbeseen,aloverofferingacupofwinetohisladylove,thesecondisofferingaflowerandtheoneontherightholdingthetoilettrayisassisting
his beloved in her makeup. These figures, though appearing nude, are draped in diaphanous lower garments. They stand on crouching dwarfs, probably
symbolisingthemiseriesoftheworld,whicharestampedoutbythecharmofafairmaiden.

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