Introduction to Post-Mauryan Marvels: The Flourishing Tapestry of Art & Architecture in Ancient India 

Post-Mauryan Art & Architecture in India saw notable developments showcasing the diverse artistic and architectural expressions during the post-Mauryan period in India.

Sanchi Stupa Trilogy: Post-Mauryan Splendor and Relics of Enlightenment

• Location: Sanchi, about 50 km from Bhopal, the capital of Madhya Pradesh, is a world heritage site. 
• Three main stupas at Sanchi:
  • Stupa-1: It is presumed to have the relics of the Buddha.
    • Stupa-1 is known for the carvings on its gateways.
    • It is one of the finest examples of stupa architecture. 
  • Stupa-2: The relics of ten famous arhats belonging to three different generations. 
    • Their names are found on the relic casket. 
  • Stupa-3: It has the relics of Sariputta and Mahamouglayan.

• Characteristics: 
  • Originally the stupa was covered with stone, vedica and the torana (gateways). 
  • Post-Mauryan – Ashokan Pillar: The Ashokan lion capital pillar with an inscription is found on the southern side of the stupa.
  • Features: The pradakshinapath around the stupa is covered with the vedica. 
  • Buddha is shown symbolically as an empty throne, feet, chhatra, stupas, etc. 
    • Toranas are constructed in all four directions. 
  • Post-Mauryan – Sanchi Figure: The figures at Sanchi, despite being small in dimension, show considerable mastery of sculpting. 
    • Their physiognomic treatment of the body shows both depth and dimension which are very naturalistic. 
  • Shalbhanjika Figure: There are guardian images on pillars and the shalbhanjika (i.e., the lady holding the branch of a tree) sculptures are remarkable in their treatment of volume.
  • Features: Each torana consists of two vertical pillars and three horizontal bars on the top. 
    • Each horizontal bar is decorated with different sculptural themes on the front as well as at the back.

Exploring Post-Mauryan Buddha’s Majesty: A Glimpse into Kushana Period Sculptures at Mathura’s Katra Mound

• Time Period: A large number of images dating back to the Kushana Period are from Mathura. 
  • The image of the Buddha from the Katra mound belongs to the second century CE.
  • It represents the Buddha with two Boddhisattva attendants. 
• Description: The Buddha is seated in padmasana (cross-folded legs) and the right hand is in the abhayamudra, raised a little above the shoulder level whereas the left hand is placed on the left thigh.  
  • The ushanisha, i.e., hair knot, is shown with a vertically raised projection. 
• Bodily Description:  Mathura sculptures from this period are made with light volume having a fleshy body. 
  • The shoulders are broad. 
  • Garments: The sanghati (garment) covers only one shoulder and has been made prominently visible covering the left hand whereas while covering the torso, the independent volume of the garment is reduced to the body torso. 
  • The Buddha is seated on a lion’s throne. 
• The attendant figures are identified as the images of the Padmapani and Vajrapani Boddhisattvas as one holds a lotus and the other a vajra (thunderbolt). 
  • They wear crowns and are on either side of the Buddha. 
  • The halo around the head of the Buddha is very large and is decorated with simple geometric motifs. 
  • There are two flying figures placed diagonally above the halo. 
  • They bear a lot of movement in the picture space. 
  • The face is round with fleshy cheeks. 
  • The bulge of the belly is sculpted with controlled musculature. 
• Reflects Post-Mauryan Development: It may be noted that there are numerous examples of sculptures from the Kushana Period at Mathura, but this image is representative and is important for the understanding of the development of the Buddha image in the subsequent periods.

Post-Mauryan Splendor in Stone: Exploring Gandhara’s Buddha Head and the Fusion of Cultural Traits 

• Time Period: The Buddha head from Taxila in the Gandhara region, now in Pakistan, dates back to the second century CE and belongs to the Kushana period. 
• Hybridised Reflection: The image shows hybridised pictorial conventions that developed during the Gandhara period. 
  • It has Greco-Roman elements in the treatment of sculpture. 
• Post-Mauryan -Hellenistic Elements:  The Buddha’s head has typical Hellenistic elements that have grown over a period of time. 
• Hairs: The curly hair of the Buddha is thick, having a covered layer of sharp and linear strokes over the head. 
• Description: The forehead plane is large, having protruding eyeballs, the eyes are half-closed and the face and cheeks are not round like the images found in other parts of India. 
• Grandeur Image: There is a certain amount of heaviness in the figures of the Gandhara region. 
  • The ears are elongated, especially the earlobes. 
  • The treatment of the form bears linearity and the outlines are sharp. 
• Nuanced Description: The interplay of light and dark is given considerable attention by using the curving and protruding planes of the eye socket and the planes of the nose. 
• The expression of calmness is the central point of attraction. 
  • Modeling of the face enhances the naturalism of three-dimensionality. 
• Post-Mauryan Fusion of Traits: Assimilating various traits of Acamenian, Parthian and Bactrian traditions into the local tradition is the hallmark of the Gandhara style. 
• Reflects Continuity: It may also be observed that the north-western part of India, which is now Pakistan, always had continuous habitation from proto-historic times. 
  • It continued in the historical period as well. 
• Varied Images: A large number of images have been found in the Gandhara region. 
• Different Narrations: They consist of narratives of the life of the Buddha, narrations from the Jataka stories, and Buddha and Boddhisattva images.

Sculpting Serenity: Post-Mauryan Elegance in the Seated Buddha of Sarnath 

• Time Period: This image of the Buddha from Sarnath belonging to the late fifth century CE is housed in the site museum at Sarnath. It has been made in Chunar sandstone. 
• Post-Mauryan – Buddha Seated on Throne: The Buddha is shown seated on a throne in the padmasana which represents dharmachakrapravartana as can be seen from the figures on the throne. 
• Post-MauryanThrone Panel Imagery: The panel below the throne depicts a chakra (wheel) in the center and a deer on either side with his disciples.
• Post-Mauryan Sarnath School Sculpture: This Buddha image is a fine example of the Sarnath school of sculpture. 
  • The body is slender and well-proportioned but slightly elongated. 
  • The outlines are delicate, very rhythmic. 
• Post-Mauryan Visual Balance: Folded legs are expanded in order to create a visual balance in the picture space. 
  • Drapery clings to the body and is transparent to create the effect of integrated volume. 
• Facial Features: The face is round, the eyes are half-closed, the lower lip is protruding, and the roundness of the cheeks has reduced as compared to the earlier images from the Kushana Period at Mathura. 
• Dhamma Chakra Pravartana Mudra: The hands are shown in dharmachakra pravartana mudra placed just below the chest. 
• Incised Folds: The neck is slightly elongated with two incised lines indicating folds. 
• Hairs: The ushnisha has circular curled hair. 
• Post-Mauryan Achievement of Nibbana: The aim of the sculptors in ancient India had always been to represent the Buddha as a great human being who achieved Nirvana (i.e., cessation of anger and hate). 
• Plain Central Halo: The central part of the halo is plain without any decoration. 
  • It makes the halo visually impressive. 
• Artisan’s Sensitivity: Decoration in the halo and the back of the throne indicates the artisan’s sensitivity. 
• Physical Body Extension: Transparent drapery becomes part of the physical body. 
  • Such refinement comes over a period of time and these features continue in subsequent periods. 

Conclusion

The Post-Mauryan era unfolds a rich tapestry of artistic brilliance, epitomized by the Seated Buddha of Sarnath in Chunar sandstone. This masterpiece, a hallmark of the Post-Mauryan period, intricately captures the evolution of sculptural finesse, from the slender Sarnath School proportions to the delicate facial features, reflecting the continuous refinement of artistic expression. The Seated Buddha’s serene presence, marked by the plain central halo and transparent drapery, stands as a testament to the enduring legacy of Post-Mauryan artistry in portraying the spiritual essence of ancient India.