The conversion to Buddhism of the Mauryan
emperor Ashoka (272-232 BC) led to the highest
moment of artistic development. The ruins
of a stupa at Piprawa in Nepal and the core
of the great stupa at Sanchi mutely testify
to his zeal. Stone memorials, which consisted
of great pillars crowned by sculpted animals
of metaphysical significance, were set up
at sites associated with Buddha. On these
pillars and rocks were inscribed Ashoka's
edicts on Dharma in Pali. The Chinese pilgrim
Hieun Tsang, who visited Sarnath (the scene
of Buddha's first preaching) in the seventh
century, speaks eloquently of the monument:
"A stone pillar about seventy feet
high. The stone is altogether as bright
as jade. It is glistening and sparkles like
light…" During the period of the later Sunga rulers
(185-72 BC), Buddhist art emerged from an
archaic phase of expression towards final
maturity. The stone, whether on railings
or gateways, was profusely decorated. The
monuments at Sanchi, Bharhut and Amravati
are glowing examples of this.
The stupa had come to be regarded an outward
and visual manifestation of Buddha in the
Ashokan age. It displayed the same mathematical
perfection of sheer architectural form and
mass as in pyramids. Above the square or
circular base rose the solid and hemispherical
dome. The dome symbolized the dome of heaven,
enclosing the world. A frequent motif was
of the yakshi embracing a tree, usually
a sal. The embrace of the yakshi and the
tree, which yearns for her quickening touch,
is symbolic of some ancient fertility rites.
Yakshas are also represented, and Kuber,
the chief of yakshas, adorns the Bharhut
railing. The most beautiful representations
are of yakshis portrayed with globular breasts
and an ample pelvis. Jeweled ornaments are
carved in sharpness and precision while
the body curves softly in contrast. The
effect of drapery is created intelligently,
emphatically defining borders and seams
of the skirt.
The medallions served to relate Jataka
tales. The method of continuous narration
was universally employed-that is, a number
from the same story is represented within
the confines of the same panel. Time and
space were represented on the panel by placing
the figures one above the other.
During the early Andhra period (72-25 BC),
embellishment of the four gateways of the
Sanchi stupa and decoration of the torans
and railings were undertaken. The eastern
gateway has two panels of Lakshmi typifying
the nativity of Buddha; the enlightenment
is indicated by the tree and empty throne;
and the preaching at Sarnath by the wheel.
The only surviving examples of wall paintings
from the early Buddhist period are to be
found in a rock-cut chaitya hall at Ajanta.
The most famous paintings are in Cave 1,
which date from the Gupta to early Chalukya
period (5th-7th century). The colossal painted
figures of Bodhisattvas "by their beauty
and finality represent the imagined anatomy
of a God. The face has the perfect oval
of the egg, the brows curve as an Indian
bow; the eyes are lotiform. The elephantine
shoulders and arms, the leonine body, and
perhaps loveliest of all, the hand, which,
in its articulation, suggests the pliant
growth of the lotus flower it holds".
The representation of Shakti or female energy
can be recognized in the beautifully drawn
female figure of dusky complexion with a
towering headdress.
Rock-cut sanctuaries were enormous halls
of worship hewn from the rock in imitation
of freestanding architectural types. Called
chaityas, they relate to Hinayana (The Lesser
Vehicle) sect of Buddhism. The earliest
chaitya hall is at Bhaja, dating back to
the first century BC. It consists of a nave
separated by rows of columns from smaller
aisles terminating in a semi-circular apse,
in which was located the principal symbol
of worship, a rock-cut stupa. The impressiveness
of the hall is a result of the grandeur
of its architecture coupled with the mystery
provided by the twilight, which in these
interiors seems to make everything melt
and disappear. The visitor is trapped in
a magic world of unreality.
The most magnificent cave temples are at
Karla. The two massive stambhas (columns)
here once had an enormous wheel supported
on lions. The façade screen is of
carved stone. In this chaitya, the light
streaming through the timbered rose window
illumines the interior with a mystical half-light.
Gandhara art was patronized by the Kushans,
whose empire flourished in northwestern
India from first to fifth century AD. The
subject of Gandhara carvings was entirely
Buddhist and its sculptures are closely
related to Roman art. The soft, effeminate
facial type of the early
gradually assumed the mask-like, frozen
character of late antique sculpture that
prevailed over the Roman world. The Gandhara
School is credited with the first representation
of Buddha in anthropomorphic form. The seated
Buddha and the Bodhisattvas are stylistically
presented. During the Pala-Sena period (AD 730-1197),
Buddhism had largely disappeared from northern
India. The worship of the mystical Dhyani
Buddha completely replaced any devotion
to the mortal Buddha. In this phase, usually
called Vajrayana, the paraphernalia of art
found their way to Tibet and Nepal.
The last major site in India where Buddhists
art and crafts flourished was the university
township of Nalanda. The Nalanda bronze
images display elegance and a fondness for
detail. This metal imagery led to the flourishing
of Nepalese and Tibetan sculpture.
Bidri is yet another proof of the sea like
character of Indian art and craft to absorb
and assimilate the latest in craftsmanship
in keeping pace with the developments in
this extraordinary field.
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