Post-Mauryan Art & Architecture in ancient India saw a diverse evolution. From the iconic Great Stupa at Sanchi to the rock-cut marvels of Udayagiri, it embraced Buddhism, Jainism, and regional influences. Pillars, caves, and sculptures reflected a rich tapestry of cultural expressions, marking a dynamic era.

Padmapani Bodhisattva Ajanta Cave No. 1

Time Period: This painting on the back wall of the interior hall before the shrine-antechamber in Cave No. 1 at Ajanta dates back to the late fifth century CE. 

• Features: The Bodhisattva is holding a padma (lotus), has large shoulders, and has three bents in the body creating a movement in the picture space. 
  • The modeling is soft. 
  • Outlines are merged with the body volume creating the effect of three dimensionality. 
• Facial Features: The head is slightly bent to the left. 
  • The eyes are half-closed and are slightly elongated. 
  • The nose is sharp and straight.
• 3-D Visual: Light colour all over the projected planes of the face is aimed at creating an effect of three-dimensionality. 
  • The beaded necklace too has similar features. 
• Heavy Body: Broad and expanded shoulders create heaviness in the body. The torso is relatively round. 
  • Lines are delicate, and rhythmic, and define the contours of the body. 
  • The right hand is holding a lotus and the left hand is extended in space. 
• Surrounding Figures: The Bodhisattva is surrounded by small figures. 

• • The foreshortened right hand of the Bodhisattva makes the image more solid, and effectively dense. 
  • Each and every part of the body is given equal attention.
• Vajrapani Bodhisattva: On the other side of the image, Vajrapani Bodhisattva has been painted. 
  • He holds a vajra in his right hand and wears a crown. 
  • This image also bears the same pictorial qualities as the Padmapani. 

• Cave No. 1: It has many interesting paintings of Buddhist themes such as Mahajanak Jataka, Umag Jataka, etc. 
  • The Mahajanak Jataka is painted on the entire wall side and is the biggest narrative painting. 

Mara Vijaya, Ajanta Cave No. 26

The theme of Mara Vijaya has been painted in the caves of Ajanta. 

• This is the only sculptural representation sculpted on the right wall of Cave No. 26. 
• It is sculpted near the colossal Buddha image of Mahaparinibbana. 

• The panel shows the image of the Buddha in the centre surrounded by Mara’s army along with his daughter. 
  • The event is part of the Enlightenment. 
  • It is a personification of the commotion of mind that the Buddha went through at the time of enlightenment.
• Mara represents desire. According to the narrative, there is a dialogue between the Buddha and Mara, and the Buddha is shown with his right hand pointing towards the earth as a witness to his generosity. 
• The image of Mara is shown contemplating how to disturb Siddhartha, the name of the Buddha before enlightenment. 
  • The army of Mara is shown marching towards the Buddha in the first half of the panel whereas the lower half of the panel shows the departing army of Mara giving him adorations.
• The centrally placed Buddha is in padmasana and a tree at the back is shown by dense leaves. 
• This is the largest sculptural panel at Ajanta. 
  • Though there are several big images in the caves of Ajanta especially located in the shrine antechamber as well as facade walls, such a complex arrangement of figures is unique.

Maheshmurti, Elephanta 

The image of Maheshmurti at Elephanta dates back to the early sixth century CE. 

• It is located in the main cave shrine. 
• It is one of the best examples of qualitative achievement in sculpting images in rock-cut caves. 

• The image is large in size. The central head is the main Shiva figure whereas the other two visible heads are of Bhairava and Uma. 
• The central face is in high relief having a round face, thick lips and heavy eyelids. 
  • The lower lip is prominently protruded showing a very different characteristic. 
• The face of Shiva-Bhairava is clearly shown in profile in anger with bulging eyes and moustache. 
• The other face showing feminine characters is of Uma who is the consort of Shiva. 
• One of the Shilpa texts mentions five integrated faces of Shiva and this image, despite being shown with only three faces, is considered as of the same variety and the top and back faces are deemed as invisible. 
• Each face has a different crown as per its iconographic prescription. 
  • This sculpture has been sculpted on the south wall of the cave along with the sculpture of Ardhanarishwara and the Gangadhara panel. 
• Elephanta sculptures are known for their remarkable qualities of surface smoothness, elongation and rhythmic movement. Their composition is very complex. 
  • The iconographic arrangement of this cave is replicated in Cave No. 29 at Ellora. 

Mural Traditions Of India 

Anantha from Ananthapadmanabh Temple, Kasarghod.

• Shiva chasing the boar—a scene from Kiratarjuniya, Lepakshi temple. 
• Chola king Rajaraja and court poet Karuvar Dever, Thanjavoor, eleventh century. 
• Shiva killed Tripuraasura, Thanjavoor. 
• Rama kills Ravana, a scene from Ramayana panel, Mattancherry Palace. 
• Shasta, Padmanabhapuram Palace, Thakkala. 

Conclusion

The Post-Mauryan period in India witnessed a fascinating evolution in art and architecture. During this era, artistic styles and architectural techniques evolved, blending indigenous traditions with foreign influences, particularly from the Hellenistic world and Central Asia. 

• Notable developments include the rise of the Shunga dynasty, the elaborate rock-cut caves of the Western Ghats, and the stupa-centric architecture exemplified by the Great Stupa at Sanchi, Ajanta and Ellora caves etc. 
• These artistic achievements not only reflect the religious and cultural diversity of ancient India but also mark an important chapter in the country’s rich artistic heritage.