Art, Architecture and Sculpture

2020-04-27 11:49:51

Art, Architecture and Sculpture

Art during Mauryan Empire

==shift toward using non-perishable material i.e. stone==as a medium of creative expression
unique feature is ==polished,smooth, glassy surface== not in any other period.
Animals and carvings on pillars show mature art forms
Yakshini from Didarganj is another imp figure ![[Pasted image 20210716131608.png |300 x 600]]
Large number of terracotta figurines.
Art mostly related to religions practised
Buddha images now showed ==a departure from earlier representations of him== in the form of Bodhi tree, Stupa, foot prints etc
construction of Stupas, Chaityas and Viharas became popular
art forms and all of their symbolic representations were not exclusive to any particular religion. Stupas also represent along w/ Brahmanical figures such as yakshas, Nagas, Yakshinis etc
carving of many scenes which were observed in nature along with religious ideas in stupas.
==Non-Indian art elements== were inculcated.

Influence of Persian and Greek on Mauryan Art

==Inscription of proclamations on pillars== was prevalent in the west Achaemenid empire
Polished surface of pillars and animal capitals
Use of Aramaic script

Difference

Persian pillars stand on ==bases like rectangular block or bell shaped while Mauryan pillar have inverted lotus on top== of pillar
Motifs of Ashokan pillar have rich and variety
Persian pillars have fluted surface while Mauryan have smooth
Pataliputra capital :
- strong Greek stylistic influence,
- including volute, bead and reel, meander or honeysuckle designs. Image unavailable in web version: Pataliputra capital, Bihar Museum, Patna, 3rd century BCE.jpg | 400x400

Architecure

Divided into 2 categories :

Residential

Milindpanha is source
Archaeological sources and Literary sources describe cities with moats, ramparts, gate houses, towers etc.

Religious

Earliest known temples from this period are :
- Temple at Jhandial (Taxila)
- Sankarshana temple at Nagari (Rajasthan)
- temple at Besnagar (Madhya Pradesh)
- apsidal temple at Nagarjunakonda

Stupa

The worship of Stupas led to their ornamentation and a specific type of architecture developed for their construction
Harmika :
- translates to the abode of the Gods
- was the flat top portion
- here the burial remains were kept in a gold or silver casket
A wooden rod Yashti was placed in its middle and the bottom of the rod was fixed on the top of the Stupa
Stupas were burialmounds prevalent in India from the Vedic period
In this relics and ashes of the dead were kept
The core of the stupa was made of unburnt brick outer part was made of burnt
The medhi and the torana were decorated by wooden sculptures
Piprahwa stupa in Uttar Pradesh is the oldest one

Image unavailable in web version: Medhi Sopana Vedika Torona Torarła --- Anda eââiiiMiiK Chhatravali Yasthi Vedika Ushnisha Stambha Suchi Pradakshina-patha Suchi ---Stambha FlQRE8.5 PLAN OF SANCHI SIITANO. 1 (AFTER-MITRĂ, 1971 )

Various Stupas Built during This Period Are

Bodha Gaya (Bihar)

Asoka got a ‘Bodhi-Manda’ constructed
only remains from Sunga period are found

Sanchi Stupa, MP

has three Stupas all with gateways around them
most imp one is the Great Stupa built by Ashoka in 250 BC
was doubled during the Sunga period by adding stones instead of bricks and a Vedika. One of the gates was donated by Satkarni
Northern gate has stories from Jataka, buddhas life, birds and animals, lotus and wishing vines, unique representation of forest animals. ![[144110142Sanchi_The_Great_Stupa_Main.jpg]]

Bharhut Stupa, MP

toranas which are imitations in stone of wooden gateways
Railings spreading out from the gateways
have carvings of Yakshas, Yakshis and other divinities

![[Bharhut_stupa_original_layout.jpg]]

![[East_Gateway_and_Railings_Bharhut_Stupa 5.jpg]]

Amaravati, AP

built with white marble
was large 42 m in diameter and 29 meters in height
Jataka and Buddha’s life were carved
torana of the Stupa depicts four lions on the Vedika, lotuses have been carved

Model Of the Stupa ![[1024px-Amaravati_stupa._Model._Amaravati.jpg]]

Nagarjunakonda, AP

two circular walls, one at the hub and the other at the outer end, were joined by spoke like wall
intervenneing space was filled with mud or small stones or pieces of brick
top of the drum was decorated with lime and mortar work
It shows gods praying to Boddhisatvas to take rebirth on earth, Buddha’s entry into the womb, Birth of Buddha

Taxila

Marshall excavated the Chira-Tope Stupa
Stupa at Shah ji Ki dheri near Peshavar was also found made by Kanishka referred to by Fa Hien
Jhandial Stupa was found to be built in Scytha Parthian style

Rock Cut Cave Architecture

Maurya period saw the emergence of rock cut cave architecture
They were generally used as Viharas.
Early Caves were used by Ajivikas
The caves during Mauryan period were marked by a highly polished finish of the interior walls and decorative gateways

The General Features of Chaityas Are

long rectangular hall ending in a semi-circle at the rear end
long hall is internally divided into a nave, an apse and two side aisles
aisles are separated from the nave by two rows of pillars
hall has a barrel-vaulted ceiling
doorway is usually placed facing the votive Stupa
facade has a horse-shoe shaped window called the chaitya window

![[4162e241e5341f37c225b9d738dfeca4.jpg]]

General Features of Viharas Are

have a square or oblong hall in the centre
hall is preceded in front by a pillared veranda
number of small square cells are provided
Cells and halls are usually provided with raised benches for the use of monks

![[Plan_cave_19_Nasik.jpg]]

Sculpture

Pillars during Ashoka’s time Were Built as a

symbol of the state
to commemorate battle victories
propagate imperial sermons

Its features were :

average 40ft in height made up of Chunar sandstone.
A long Shaft formed the base and made up of a single piece of stone or monolith.
On top of it lay the capital, which was either lotus or bellshaped.
Above the capital, there was a circular or rectangular base known as the abacus on which an animal figure was placed.

Image unavailable in web version: |400

National Emblem

In the abacus of the Sarnath pillar, four animals are shown representing four directions
a galloping horse (west) → horse Kanthaka which Buddha used to go away from Princely life
a bull (east) → zodiac of taurus, month in which Buddha was born
an elephant (south) → represents dream of Maya
a lion (north) → Enlightenment

Sohgaura Copper/Bronze Plate

Mauryan record that mentions famine relief efforts
Sohgaura is a place currently located in Gorakhpur district.
The plate has 4 holes in the corner meant that it was attached to a wall.
It has 4 lines in Prakrit language and Brahmi script and 7 symbols arranged at the top.
It recorded an order issues from Manavasiti by a mahamatra of Shravasti.
It stated that in the outbreak of drough the contents of storehouses Triveni, Mathura, Chanchu, Modama and Bhadra were to be distributed and not withheld.
it was earlier connected to Mauryan King Chandragupta and Jaina great famine by historian KP Jayswal but thies was very speculative.

![[index.jpg|500]]

PYQs

Write a short essay on: “Mauryan court art as an alien grafting” [1988, 20m]

The Maurya Empire, which was ruled by Emperor Ashoka and his descendants, was one of the largest and most powerful empires in ancient India. One of the key policies of the Maurya Empire was the regulation and control of economic activities. The Mauryan state was characterized by a highly centralized administration and a well-developed system of taxation and revenue collection.

One of the key components of the Mauryan policy of regulating and controlling economic activities was the implementation of a tax system. The Mauryans levied taxes on various sources of income, such as land, trade, and commerce. The taxes were collected by state officials and used to finance the administration, the army, and public works projects. In addition to taxes, the Mauryans also regulated trade and commerce, by setting tariffs and standards for goods, and by controlling the production and distribution of certain goods.

Another important aspect of the Mauryan policy of regulating and controlling economic activities was the promotion of agriculture. The Mauryans encouraged the cultivation of crops and the expansion of irrigation systems, which helped to increase agricultural productivity and provide food for the growing population. In addition to promoting agriculture, the Mauryans also encouraged the growth of trade and commerce, by building roads, ports, and other infrastructure that facilitated the movement of goods and people.

One of the most innovative aspects of the Mauryan policy of regulating and controlling economic activities was the creation of a standardized system of weights and measures. This system was used to regulate trade and commerce, and to prevent fraud and cheating in the marketplace. The Mauryans also established mints to produce standardized coins, which were used as a medium of exchange throughout the empire.

The Mauryan policy of regulating and controlling economic activities also had a significant impact on the development of the artisan and manufacturing industries. The Mauryans encouraged the growth of these industries, by providing subsidies and tax incentives, and by setting standards for the quality of goods produced. This helped to increase the production of goods, and to create jobs for the growing population.

One of the most prominent historians to view Mauryan court art as an “alien grafting” was Ernst Waldschmidt, who argued that Mauryan art was heavily influenced by Hellenistic and Persian styles. He pointed to the use of Greek-style motifs and techniques, such as the depiction of animals and foliage in a naturalistic style, as evidence of this influence.

Another historian who views Mauryan court art as an “alien grafting” is Ananda K. Coomaraswamy, who argued that Mauryan art was heavily influenced by Hellenistic and Persian styles. He pointed to the use of Greek-style motifs and techniques, such as the depiction of animals and foliage in a naturalistic style, as evidence of this influence.

However, there are also scholars who do not view Mauryan court art as an “alien grafting.” These scholars argue that Mauryan art was a unique fusion of different styles and techniques, reflecting the diversity of the Mauryan Empire. They point to the use of indigenous motifs and techniques, such as the depiction of Hindu gods and goddesses, as evidence of this fusion.

One of the most prominent historians to argue against the “alien grafting” theory is Romila Thapar, who has argued that Mauryan art was not a foreign import, but was instead a reflection of the indigenous art traditions of India. She points to the use of indigenous motifs and techniques, such as the depiction of Hindu gods and goddesses, as evidence of this indigenous influence.

Write a brief essay on: “Similarities and differences between the Maurya columns and Achaemenian pillars.” [1993, 20m]

[Influence of Persian and Greek on Mauryan art](onenote: [[Art]],%20Architecture%20and%20Sculpture&section-id={C0CC9BD8-A1E3-4D8E-BE38-44EB6ABF19EE}&page-id={6D5D6F10-CF67-4176-A889-938F6FB81AFA}&object-id={4734F935-F7B6-4FE3-A634-F04F331EF79A}&1B&base-path= https://d.docs.live.net/bbc8be5bd337910c/Documents/History%20Optional/Ancient%20History/Part%20II/Mauryan%20Empire.one )

Similarities between the Maurya columns and Achaemenian pillars:

Material: Both the Maurya columns and Achaemenian pillars were made of stone, usually sandstone or marble.
Columnar shape: Both the Maurya and Achaemenian pillars are characterized by a tall, cylindrical shape, with a fluted surface and a capital at the top.
Capital design: Both the Maurya and Achaemenian pillars feature capitals that are elaborately carved and decorated.
Use of motifs: Both the Maurya and Achaemenian pillars feature a variety of motifs, including animals, foliage, and abstract designs.
Use of inscriptions: Both the Maurya and Achaemenian pillars were frequently inscribed with religious or political messages, usually in the form of inscriptions or reliefs.
Symbolism: Both the Maurya and Achaemenian pillars were used as symbols of power and authority, reflecting the strength and stability of the ruling dynasties.
Regional diversity: Both the Maurya and Achaemenian pillars show regional diversity, reflecting the varied cultural and artistic traditions of the different regions within the empires.

Differences between the Maurya columns and Achaemenian pillars:

Historical context: The Maurya columns were created in the Maurya Empire of ancient India, while the Achaemenian pillars were created in the Achaemenian Empire of ancient Persia.
Iconography: The Maurya columns feature Hindu and Buddhist iconography, while the Achaemenian pillars feature Persian and Zoroastrian iconography.
Style: The Maurya columns tend to be more elaborate and ornate, with more intricate carving and decoration, while the Achaemenian pillars tend to be more simple and austere, with more emphasis on form and structure.
Reliefs: The Maurya columns feature more elaborate reliefs, depicting a variety of scenes and subjects, while the Achaemenian pillars feature simpler reliefs, often depicting scenes of battle or hunting.
Size: The Maurya columns tend to be smaller and more slender than the Achaemenian pillars, which are often massive and imposing.
Use of materials: The Maurya columns are often made of softer, more easily carved stone, such as sandstone or marble, while the Achaemenian pillars are made of harder, more durable stone, such as granite or basalt.
Decorative elements: The Maurya columns are often decorated with more elaborate and ornate decorative elements, such as figurative sculptures and intricate carvings, while the Achaemenian pillars are decorated with simpler, more abstract elements, such as floral or geometric patterns.

Write a short essay on: “The architectural and artistic features of the great stupa at Sanchi” [1997, 20m]

[Sanchi Stupa :](onenote: [[Art]],%20Architecture%20and%20Sculpture&section-id={C0CC9BD8-A1E3-4D8E-BE38-44EB6ABF19EE}&page-id={6D5D6F10-CF67-4176-A889-938F6FB81AFA}&object-id={DD5A9616-09A2-4531-9BF4-D0A95EFAACCE}&A0&base-path= < https://d.docs.live.net/bbc8be5bd337910c/Documents/History%20Optional/Ancient%20History/Part%20II/Mauryan%20Empire.one )

The Great Stupa at Sanchi is one of the most important and well-preserved examples of Buddhist architecture and art from ancient India. Here are ten key architectural and artistic features of the Great Stupa at Sanchi:

The Hemispherical Shape: The Great Stupa is a large, hemispherical dome-like structure, symbolizing the Buddhist concept of the universe.
The circular base: The stupa is built on a circular base, which symbolizes the cycle of birth and death in Buddhist teachings.
The Harmika: The harmika, a square or rectangular structure located at the center of the stupa, symbolizes the axis of the universe and the path to enlightenment.
The Umbrellas: The stupa is topped by a series of graduated umbrellas, symbolizing the Buddhist teachings and the progress of the soul towards enlightenment.
The Railings: The stupa is surrounded by a series of stone railings, which are adorned with intricate carvings depicting scenes from the life of the Buddha and Buddhist legends.
The Gateways: The stupa has four elaborately decorated gateways, each facing a different direction and symbolizing the four cardinal directions and the universality of Buddhism.
- The Toranas: The gateways are topped by large arch-like structures known as toranas, which are richly decorated with sculptures and carvings.
The Relief Sculptures: The stupa is adorned with a wealth of relief sculptures, depicting scenes from the life of the Buddha, Buddhist legends, and various aspects of Buddhist teachings.
The Narrative Panels: The stupa is surrounded by a series of narrative panels, which depict the story of the Buddha’s life and teachings in a series of scenes.
The Stylistic Diversity: The Great Stupa at Sanchi reflects the diverse stylistic traditions of ancient India, combining elements of local, regional, and pan-Indian styles. The relief sculptures and other decorative elements are characterized by a rich and sophisticated use of form, line, and color, as well as a highly developed sense of composition and spatial organization.