Various rulers controlled the regions which were once under the control of Mauryas, later came under rulers such as the Shungas, Kanvas, Kushanas and Guptas in both north and south of the country after the decline of the Mauryan Empire in the second century BC.

The Post-Mauryan era had also witnessed the emergence of Brahmanical sects like the Shaivas and the Vaishnavas. Chief examples of fine sculpture are found at Bharhut and Vidisha (Madhya Pradesh); Mathura (Uttar Pradesh); Bodhgaya (Bihar); Jaggayyapeta (Andhra Pradesh); Bhaja and Pavani (Maharashtra); and Khandagiri and Udaigiri (Odisha)

Post-Mauryan Trends: The Tradition of the West India Caves

• The caves were excavated in the 2nd century BC.
• Three styles of architecture: Chaitya halls-Ajanta, Bhaja, Pitalkhora Apsidal vault-roof
• Thana-Nadsur Apsidal roof-roofed halls without pillars
• Flach roofed hall with a circular chamber on the back – Mumbai's Kondivite
• The front of the Chaitya hall is surrounded by an impressive semi-circular arch with a wooden façade.
• There is no Chaitya arch in the caves of the Kondivite.
• Ajanta Cave No. 9 is an example of the shape of the Apsidal roof. It is furnished with a rectangular hall and a stone wall. Nashik, Bedsa, Kanheri, and Karla have similar shapes.

• Since the first century BC, several caves have been of the first architectural form.
• The number of excavations in Junnar is higher – more than 200.
• There are 108 caves excavated in Mumbai, Kanheri.
• The most popular sites are Ajanta, Pitalkhora, Ellora, Nashik, Karla, Bhaja, Junnar, and Kanheri.
• It was believed earlier that these caves belonged to the Orthodox Theravada sect of Buddhism. But the discovery of the Konkan Maurya inscription which mentions the Saka era 322 (corresponding to 400 AD shows that cave activity in western Deccan was a continuous operation.
• Some of these sites have been converted into modern Hindu shrines, and local people are used to this day.
• Caves of rock cutting are found not only in Maharashtra but also in:
• Karnataka – funded largely by the Chalukyas in Badami and Aihole.
• Andhra Pradesh – Vijayawada district.
• Tamil Nadu – the patronized Pallavas of Mahabalipuram.
• Compared to the collective public patronage of the past, the art of the sixth century depended more on political patronage.

Post-Mauryan Trends: Karla's Caves

• It's situated in Karla, Maharashtra, Lonavala.
• Karla was excavated in the largest rock-cut Chaitya hall.
• This cave has two columns of an open courtyard, a stone wall, a veranda, a stone wall as a façade, a chaitya hall, an apsidal vault roof, a pillar, and a stupa at the back of the cave.
• The Chaitya Hall is sculpted with human and animal figures.

Post-Mauryan Trends: Viharas

• At all cave sites, Viharas were excavated.
• Vihara plan: a porch, a hall, and cells along the walls of the hall.
• Important Viharas – Ajanta cave No.12; Nashik cave No. 3, 10 and 17; Bedsa cave No.11.
• Early vihara caves are carved with internal decorative motifs such as chaitya arches and Vedic patterns over cell doors.
• The Vihara caves in Nashik have front pillars carved with a ghata-base and a ghata-capital with human figures.
• A famous cave of this kind was found in Junnar, and it was popularly called Ganeshlinisince the image of Ganesha belonging to the later era had been built in it. It was a chaitya-vihara when a stupa was attached to the back of this vihara.

Post-Mauryan Trends: Ajanta

• The best-known site of the cave. Maharashtra is situated in the district of Aurangabad.
• Ajanta's got 29 caves.
• 4 Chaitya caves:

Numbers Caves 10 and 9 of the first and second centuries BC.

Numbers 19 and 26 of the cave of the 5th century AD.

• Major chaitya-viharas are also present.
• Decorated with drawings and sculptures.
• The only preserved example of paintings from the first century BC to the fifth century AD.
• The cave numbers 19 and 26:
• Well, crafted extensively.
• The façade with the images of Buddha and Bodhisattva.
• Variety of vault-roof apse. Cave No. 26, very wide inner hall with Buddha images; the biggest picture is Mahaparinibana.
• The photographs of the shrine of Ajanta are large in size.
• Chief Patrons of Ajanta:

King Harishna's Minister of Varahadeva – Cave No. 16

• Well, Cave no. 17 – 20 Upendragupta, the local King, the feudatory of the King of Vakataka.
• Cave No. 26- Buddhadra
• Cave No. 4- Mathuradas
• Paintings display a wide range of typological variations. Outward predictions are apparent from the 5th century onward. Lines are rhythmic and well established. The figures in this region are as heavy as the sculptures. It's limited in color.
• These paintings depict various colors of the skin, such as chocolate, yellowish-brown, greenish, yellow ochre, etc.
• The subjects of the work are the events of life, the Jatakas and the Avadanas.
• Pictures of Padmapani and Vajrapani are very frequent in the caves of Ajanta. A selection of sketches decorates the wall of the caves. Example: Sinhala Avadana, Jataka Mahajanak, and Vidur Pandita. Example: (a)
• Events are divided geographically into many paintings. A well-known example of cave painting #1, Padmapani Bodhisattva.

Post-Mauryan Trends: Ellora

• A large cave site in Aurangabad. Located 100 km north of Ajanta.
• The house includes 32 caves of Buddhism, Jain, and Brahman.
• The monasteries associated with the three religions were established in India from the 5th to the 11th century AD and are a unique historical site.
• Buddhism Caves: A total of 12.
• The pictures are from Tara, Akshobhya, Mahamayuri, Avalokiteshvara, Maitreya, Vajrayana Buddhism, etc.
• They are wide, with single, double, and three stories. They're very broad.
• Only Ellora is found in a cave of three stories.
• Have large columns.
• Both cellars were painted and plastered, but nothing can be seen today.
• It's a monumental sculpture.
• Shrine Buddha images of Padmapani and Vajrapani are typically amazing.
• The Jain cellars: They're more ornate than the caves of Buddhism.
• The decorative shapes are rather strong.

• It belongs to and after the 9th century AD.
• Brahman's caves: 13 – 28.
• Cave No. 14 is the only cave on the double floor.
• Have pictures and their different aspects of Shiva and Vishnu.
• Prominent subjects include Andhakasurvadha, Ravana, Kailas Mt.
• Vishnavite's main theme: Vishnu avatars.
• A variety of art guilds from Vidarbha, Karnataka, and Tamil Nadu have carved Ceran groves. The most diverse place in India.
• Cave No. 16 - Kailashleni also named after him. Here the temple is carved out of a rock.

Post-Mauryan Trends: The Caves of Elephant

• Located in Mumbai Harbour, Elephanta Island.
• The Buddhist site was initially dominated by Shaivism later on.
• Present of the Grottoes in Ellora.
• Sculptures are slender with visible light and dark effects on body images.

Post-Mauryan Trends: Eastern India Cave Tradition

• Mostly in Andhra Pradesh and Odisha's coastal regions.
• AP – Guntapalle's key sites in Elluru.
• Single because in one location are excavated structural stupas, viharas, and cellars.
• Chaitya grotto – circular hall with stupa and an arch of charity at the entrance.
• They date mainly from the 2nd century BC.
• Most caves are of a vihara type.
• The largest rock-cut stupas in India are located in Anakapalli in Vishakhapatnam. It was carved in the 4th – 5th centuries AD.

Earliest examples in Odisha-Udayagiri-Khandagiri caves near Bhubaneswar. Scattered caves with the inscriptions of the kings of Kharavel. As for the inscriptions, the caves were intended for the monks of Jaina.

FAQs

MCQs

1. Which of the following schools of art is known for its Hellenistic influence in Post-Mauryan culture?

A) Gandhara
B) Mathura
C) Andhra
D) Mauryan

2. What was a significant feature of Post-Mauryan architecture?

A) Extensive use of wood
B) Large-scale stone pillars
C) Introduction of Buddhist stupas and monasteries
D) Reliance on mud and brick for construction

3. The depiction of the Buddha in human form was introduced by which art school during the Post-Mauryan period?

A) Gandhara
B) Mathura
C) Andhra
D) Gupta

4. Which of the following was a major feature of the Mathura school of art?

A) Use of ivory and metal
B) Depictions of Hindu deities like Vishnu and Shiva
C) Predominantly Greek motifs
D) None of the above

5. The Post-Mauryan period saw a significant influence of which external culture in Indian art?

A) Greek
B) Chinese
C) Persian
D) Roman

GS Mains Questions and Model Answers

Q1: Discuss the role of the Gandhara school of art in the development of Post-Mauryan religious iconography. How did it influence the representation of the Buddha?

Answer: The Gandhara school of art, flourishing during the Kushan Empire, played a vital role in the evolution of Buddhist iconography, particularly the depiction of the Buddha in human form. This marked a shift from the earlier symbolic representations of the Buddha. The art drew heavily from Hellenistic traditions, evident in the use of realistic human features, drapery, and detailed facial expressions. Greek artistic influences blended with Indian religious themes, resulting in a distinctive style that spread across Central Asia, Afghanistan, and parts of India. The Gandhara school’s depiction of the Buddha became the model for future Buddhist art, influencing the iconography of Buddhism across Asia.

Q2: How did the cultural exchange between the indigenous Indian traditions and foreign influences during the Post-Mauryan period shape Indian art and architecture?

Answer: The Post-Mauryan period witnessed significant cultural exchanges, particularly through the interactions with the Greeks, Romans, and Persians. These interactions brought about a fusion of artistic styles, as seen in the Gandhara and Mathura schools of art. Greek art’s influence on the Gandhara school led to realistic depictions of the Buddha, while the Mathura school focused on the sculptural representation of Hindu deities. Architecture also evolved, with the introduction of large Buddhist stupas and monastic complexes, influenced by both indigenous Indian traditions and foreign elements. This synthesis of cultures resulted in a rich and diverse artistic heritage that shaped the religious and cultural landscape of ancient India.

Q3: Analyze the contribution of the Kushan rulers in promoting Post-Mauryan art and culture. How did their patronage influence religious developments?

Answer: The Kushan rulers, particularly under Emperor Kanishka, played a crucial role in promoting art and culture during the Post-Mauryan period. Their patronage of both Buddhism and Hinduism led to the flourishing of the Gandhara and Mathura schools of art. The Kushans helped establish Buddhism as a prominent religion, contributing to the spread of Buddhist art and culture across Central Asia and China. They also supported the development of Hindu religious iconography, with Mathura emerging as a significant center for the production of sculptures of Hindu deities. The Kushan period, therefore, marked a golden age for religious art, leaving a lasting legacy in the history of Indian art and culture.

Previous Year Questions on Post-Mauryan Trends Part-II

1. UPSC CSE Prelims 2016:

Question: Consider the following statements about Gandhara art:

• 1. Gandhara art combined Hellenistic influences with Buddhist themes.
• 2. It is known for its depictions of the Buddha in human form.
• 3. It developed mainly during the Gupta period.

Options:

A) 1 only
B) 1 and 2 only
C) 2 and 3 only
D) 1, 2 and 3

Answer: (B)

Explanation: Statements 1 and 2 are correct. Gandhara art, which developed under the Kushan Empire, combined Hellenistic (Greek) influences with Buddhist themes and was the first to depict the Buddha in human form. Statement 3 is incorrect as Gandhara art flourished long before the Gupta period.

2. UPSC CSE Mains 2018:

Question: Explain the major characteristics of Post-Mauryan architecture and discuss how it influenced the spread of Buddhism in India.

Answer: Post-Mauryan architecture is characterized by the construction of Buddhist stupas, monasteries, and sculptures, with significant use of stone and brick. The most notable example is the Great Stupa at Sanchi. The design and construction of these stupas played an important role in spreading Buddhist teachings across India and beyond. Stupas, as focal points of Buddhist practice, became important pilgrimage sites, contributing to the propagation of Buddhism throughout South and Southeast Asia.