Unit 6: Ancient Indian art

1. The Mathura School of Art

The Mathura School of Art represents a pivotal period in Indian art history. Unlike the Gandhara School, which was heavily influenced by Greco-Roman styles, the Mathura School was completely indigenous and deeply rooted in Indian traditions.

Historical Context

• Time Period: Flourished primarily between the 1st and 3rd centuries CE.
• Dynasty: Reached its zenith under the patronage of the Kushana rulers (particularly Kanishka, Huvishka, and Vasudeva).
• Location: Centered around Mathura (modern-day Uttar Pradesh) on the banks of the Yamuna River.

Key Characteristics

• Material: The distinguishing feature of this school is the use of Spotted Red Sandstone.
• Religious Pluralism: It produced art for all three major faiths of the time:
  1. Buddhism: Images of Buddha and Bodhisattvas.
  2. Jainism: Tirthankaras and votive tablets (Ayagapatas).
  3. Brahmanism (Hinduism): Images of Vishnu, Shiva, Durga, and Kartikeya.
• Style and Aesthetics:
  • Boldness: Figures are characterized by a sense of power and fleshy physicality.
  • Volume: The sculptures are voluminous and usually carved in high relief (often visible only from the front).
  • Attire: Transparency in clothing is a hallmark feature. The drapery is often depicted as clinging to the body (wet drapery style) but differs from the heavy pleats of Gandhara.

Evolution of the Buddha Image

Mathura is credited (alongside Gandhara) with the creation of the first anthropomorphic (human) representations of the Buddha.

• Early Phase: Buddha is depicted as a Yaksha (nature spirit) with a strong, masculine body, broad chest, and open eyes. He typically displays the Abhaya Mudra (gesture of fearlessness).
• Iconography:
  • Shaven head (in early stages) or snail-shell curls (later stages).
  • Ushnisha: A cranial bump symbolizing wisdom.
  • Urna: A tuft of hair between the eyebrows.
  • Halo: Initially plain with scalloped edges; became elaborately decorated in the Gupta period.

Secular Art

• The school produced beautiful figures of Yakshas and Yakshis (fertility deities).
• The "Salabhanjika" motif (a woman holding a tree branch) was popular, showcasing feminine beauty with tribhanga (three-bend) posture.

2. Stupa Architecture: Sanchi and Bharhut

The Stupa began as a funerary mound holding relics (Sarira) of the Buddha or realized monks. Over time, it evolved into a complex architectural structure symbolizing the cosmos.

General Stupa Architecture Terminology

• Anda: The hemispherical dome (symbolizing the universe/peace).
• Harmika: A square railing on top of the dome (symbolizing the abode of gods).
• Chhatra: A central pillar with umbrellas (symbolizing the Buddha, Dharma, and Sangha).
• Medhi: The circular terrace for circumambulation (Pradakshina).
• Vedika: The boundary railing separating the sacred space from the secular world.
• Torana: Elaborate gateways at the four cardinal points.

A. Stupas of Sanchi

Located in the Raisen District of Madhya Pradesh, Sanchi is the best-preserved stupa complex.

Stupa No. 1 (The Great Stupa):

• Origins: Originally commissioned by Emperor Ashoka (3rd Century BCE) as a brick structure.
• Expansion: Expanded during the Sunga period (2nd Century BCE). The brick core was encased in stone, and the size was doubled.
• Toranas (Gateways): Added during the Satavahana period (1st Century BCE – 1st Century CE).
  • There are four Toranas (North, South, East, West).
  • Artistic Content: They are densely carved with scenes from the Jataka Tales (stories of Buddha's previous lives) and events from the life of the Historical Buddha.
  • Aniconism: In the early Sanchi art, Buddha is never shown in human form. He is represented by symbols:
    • Lotus/Elephant: Birth.
    • Horse: The Great Departure (Mahabhinishkramana).
    • Bodhi Tree: Enlightenment (Nirvana).
    • Wheel (Dharmachakra): First Sermon.
    • Stupa: Death (Mahaparinirvana).

B. Stupas of Bharhut

Located in Satna District, Madhya Pradesh. Built primarily during the Sunga Period (mid-2nd Century BCE).

Key Features:

• Current State: largely destroyed; remains are preserved in the Indian Museum, Kolkata.
• Nature of Art:
  • Narrative Style: Bharhut is famous for its linear narrative reliefs. The stories are often carved in panels with "labels" in Brahmi script identifying the scene (e.g., "The Gift of Jetavana").
  • Folk Integration: Incorporates local folk deities (Yakshas and Yakshis like Chulakoka Devata) into Buddhist mythology to make the religion more accessible.
  • Flat Relief: Unlike the deep carving of Sanchi, Bharhut sculptures are often in low, flat relief, resembling wood carving techniques transferred to stone.
  • Humor and Daily Life: Depicts scenes of daily life, humorous monkeys, and processions, grounding the sacred in the mundane.

3. Ancient Indian Paintings

The tradition of painting in India is ancient, documented in texts like the Chitrasutra of the Vishnudharmottara Purana. The most significant surviving examples are the mural paintings of Ajanta and Bagh.

A. Ajanta Caves

Located in the Aurangabad district of Maharashtra, carved into a horseshoe-shaped cliff overlooking the Waghora River.

Phases of Development:

1. Early Phase (Satavahana): 2nd Century BCE – 1st Century CE. (Caves 9, 10). Primarily Hinayana (symbolic worship).
2. Later Phase (Vakataka-Gupta): 5th – 6th Century CE. (Caves 1, 2, 16, 17, 19, 26). Primarily Mahayana (Buddha in human form).

Technique (Mural):

• Often mistakenly called frescoes.
• Technique: Fresco Secco (Double layer of plaster applied to dry rock, painted while dry).
• Process: A layer of clay/cow dung mixed with rice husk, followed by a thin coat of lime plaster.

Themes and Subject Matter:

• Jataka Tales: Stories of compassion and morality (e.g., Shibi Jataka, Mahajanaka Jataka).
• Life of Buddha: Birth, renunciation, enlightenment.
• Ornamentation: Ceilings decorated with geometric patterns, floral motifs, and flying celestials (Gandharvas/Apsaras).

Artistic Features:

• Emotion: Mastery over expression. The "Dying Princess" in Cave 16 is noted for its pathos.
• Perspective: Use of "rotative perspective" (multiple viewpoints in one scene).
• Famous Paintings:
  • Padmapani Bodhisattva (Cave 1): Famous for the calm expression, tribhanga pose, and holding a blue lotus.
  • Vajrapani Bodhisattva: Depicting power and thunderbolt.

B. Bagh Caves

Located in the Dhar district of Madhya Pradesh on the banks of the Baghini River.

Context:

• Timeline: Late 5th – 6th Century CE (Gupta Period).
• Structure: 9 rock-cut caves (Viharas).
• Current Status: Heavily dilapidated; many paintings have faded or collapsed.

Comparison with Ajanta:

• Style: Very similar to Ajanta (Gupta style) regarding modeling, line quality, and color.
• Thematic Difference: While Ajanta is strictly religious, Bagh paintings are more secular and materialistic.
• Key Scenes:
  • Cave 4 (Rang Mahal): Contains the famous mural of the Hallisaka Dance, depicting women dancing to the rhythm of music, possibly celebrating a festival.
  • Processions of elephants and horses, reflecting courtly life.

Summary Comparison Table: Art Schools