India after the Mauryas was not a particularly remarkable time in terms of political unity, but it did see a significant development of Indian art and culture. After Ashoka's successors failed to maintain the empire, several tiny kingdoms arose across the Indian subcontinent. The Sunga dynasty quickly supplanted the Mauryan Dynasty. Brahmanical sects such as the Shaivas and the Vaishnavas arose during this time. This article will explain to you the concepts related to Post-Mauryan Art which will be helpful in Indian Art and Culture preparation for the UPSC Civil service exam.

Post Mauryan Art

• In India, there are various sites that date back to the second century BCE.
• Vidisha, Bharhut (Madhya Pradesh), Bodhgaya (Bihar), Jaggayyapeta (Andhra Pradesh), Mathura (Uttar Pradesh), Khandagiri-Udayagiri (Odisha), Bhaja near Pune, and Pavaninear Nagpur are some of the most renowned examples of the greatest sculpture.

Bharhut

• Bharhut stupas are towering, like the Mauryan depictions of Yaksha and Yakshini.
• The sculptural volume is modeled in low relief to ensure linearity.
• Narratives depict relief panels, and selecting major events improves the clarity of the narratives.
• Narrative panels begin with fewer characters, but as time goes on, others, in addition to the main character in the story, have begun to appear in the picture space.
• At Bharhut, narrative reliefs demonstrate how artists effectively communicated stories using pictorial language.
• One such story is Queen Mahamaya/(Siddhartha Mayadevi's Gautama's mother) dream.
• The queen is reclining on the bed, with an elephant on the top of the bed moving towards Mayadevi's womb.
• The portrayal of a Jataka story, on the other hand, is quite basic - it is recounted by grouping events according to the geographical area of the story, such as the Ruru Jataka picture, which shows a Bodhisattva deer rescuing a man on his back.
• Such Jataka stories were used to decorate stupas.
• As the number of stupas built in different sections of the country increased, regional artistic differences emerged.

Sanchi

• In terms of stylistic advancement, the next phase of cultural growth at Sanchi stupa-1, Mathura, and Vengi in Andhra Pradesh is remarkable.
• Sanchi's Stupa-1 contains both an upper and lower pradakshina patha or circumambulatory walk.
• The sculptures on the entrances of Stupa-1 make it the best example of stupa building (torans).
• It began as a tiny brick structure that grew over time and was eventually covered in stone, vedika (fence), and torans.
• It includes four ornately decorated Torans (Gateways) portraying scenes from Buddha's life and Jataka stories.
• Figure compositions have a lot of relief and take up a lot of room.
• The stance is depicted in a naturalistic manner, with no stiffness in the body.
• The story becomes more detailed, and the carving methods appear to be more sophisticated than Barhut's.
• Symbols continued to depict Buddhas or Buddhas from the past (according to the textual tradition there are 24 Buddhas, but only the first one, Dipankar, and the last six are pictorially represented).
• Despite the fact that the narrative becomes more complex, the portrayal of the dream episodes stays simple (the dream of queen Mayadevi).
• Stupa-2 houses the relics of ten lesser-known Arhats from three generations. (An Arhat is a perfected person who has gained Nirvana in Theravada Buddhism.)
• In some Buddhist traditions, the phrase refers to persons who have made significant progress on the path to Enlightenment but have not yet attained full Buddhishood.
• The relics of Sariputta and Mahamoggallana/Mahamouglayan can be found in Stupa-3 (disciples of Gautama Buddha).
• The top pradakshina patha is likewise peculiar to this location (i.e., totally two pradakshina patha).
• The four doorways are adorned with statues in abundance.
• An empty throne, feet, chhatra, stupas, and other symbols are used to represent Buddha.
• Torans can be built in any of the four directions.
• Despite the fact that stupa-1 is the earliest stupa, the carvings on stupa-2's vedika are older than those on stupa-1.
• The Jataka stories became an important component of the stories as well.
• Sanchi's figures, despite their small size, are extremely realistic.
• On sculptors, there are guardian images, and salabhanjika sculptures are notable for their quantity (salabhanjika sculptures are sculptures of ladies holding a branch of a tree/plate, etc.).
• The representations of salabhanjika support the elongation of the lowermost horizontal bar from below.

Mathura, Sarnath, Amaravati, and Gandhara Schools

• Gandhara (now Pakistan), Mathura in Uttar Pradesh, and Vengi in Andhra Pradesh all became prominent centres of art from the first century CE onwards.
• In Mathura and Gandhara, Buddha's symbolic form was transformed into a human form.
• In Gandhara, the sculptural tradition merged Bacteria, Parthia (both Indo-Greeks), and the native Gandhara heritage.
• Mathura's indigenous sculptural culture grew to such prominence that it extended throughout northern India. The stupa sculpture located in Sanghol, Punjab, is the best example.
• The Buddha picture at Mathura is based on earlier Yaksha images, whereas it includes Hellenistic characteristics in Gandhara.
• Vishnu and Shiva are seen with their respective Ayudhas (weapons).
• The characteristics of the several architectural schools are described here, along with an appropriate example from each.
• Sultanganj Buddha is a good illustration of this (7.5ft in height).

Seated Buddha, Katra mount

• Mathura has a vast number of images dating back to the Kushan period.
• The second-century CE figure of Buddha from Katra Mount.seated Buddha sculpture from Katra Mount
• It depicts the Buddha with two Bodhisattvas as his companions.
• The Buddha is sitting in Padmasana with his right hand in Abhaya Mudra.
• The Buddha's face is round, with chubby cheeks.
• With a vertical elevated projection, the Ushnisha (hair knot) is depicted.
• This period's Mathura sculptures are produced with a light volume and a fleshy form.
• Only one shoulder is covered by the sanghati (garment).
• The representations of Padmapani and Vajrapani Bodhisattvas, one holding a lotus and the other a Vajra, are recognised as the attendant figures (Thunderbolt).
• The huge halo that surrounds Buddha's head is adorned with simple geometric designs.
• Two flying figures are positioned diagonally above the halo.

Seated Buddha at Sarnath

• The late fifth-century CE figure of Buddha from Sarnath is fashioned of chunar sandstone.
• Padmasana depicts the Buddha seated on a throne.
• Sarnath's seated Buddha image
• As the figures on the throne show, it signifies Dharmachakrapravartana (first sermon).
• A Chakra (wheel) is depicted in the centre of the panel below the throne, with a deer on either side and his students.
• As a result, it is a portrayal of the historic occurrence of Dharmachakrapravartana, or dhamma preaching.
• It is the best example of sculpture from the Sarnath School.
• In comparison to earlier images from the Kushana period at Mathura, the face is round, the eyes are half closed, the lower lip protrudes, and the roundness of the cheeks has decreased.
• Dhamma Chakra Pravartana Mudra is presented on the hands.
• The hair on the Ushnisha is curled in a round pattern.
• The goal of ancient Indian sculptures was to depict the Buddha as a wonderful human being who had attained Nibbana (cessation of anger and hate).

Buddha Head- Gandhara

• The Buddha head from Taxila in Pakistan's Gandhara region dates from the second century CE and is from the Kushan period.
• It demonstrates the development of a hybridised pictorial convention during the Gandhara period.
• It has Greek and Roman influences.
• The Buddha Head features aspects that are typical of Hellenistic art.
• Buddha's curly hair is thick, with a covered layer of shape and linear strokes all over his head.
• The frontal plane is large, with bulging eyeballs, half-closed eyes, and a round face and cheeks, unlike representations from other parts of India.
• The earlobes, in particular, are extended.
• The figures from the Gandhara region have a certain element of heft to them.
• Head of the Buddha from Taxila
• The form is treated with linearity, and the contours are sharp.
• The artwork is highly expressive and the surface is nice.
• The centre of attraction is the manifestation of tranquility.
• Face modelling improves naturalism and three-dimensionality.
• Gandhara style is characterised by the incorporation of Acamenian, Parthian, and Bactrian elements into local tradition.
• The origins of Buddha representations, as well as other imagery, can be traced back to the country's unique geopolitical circumstances.
• It's also worth noting that the northwestern section of India, which is now Pakistan, has always been inhabited since prehistoric times. It was also present during the historical period.

Amaravati stupa

• Many stupas can be found in Vengi, Andhra Pradesh, including Jagayyapetta, Amaravati, Bhattiprolu, Nagarjunakonda, and others.
• There is a Mahachaitya in Amaravati, as well as several statues.
• Amaravati stupa, like Sanchi stupa, has a pradakshina patha encased within a vedika depicting several narrative sculptures.
• The relief stupa sculpture slab that covers the domical stupa structure is a distinctive feature.
• The Amaravati stupa's torana has vanished over time.
• The early phase, like Sanchi, is devoid of Buddha images, but in the later phase (2nd and 3rd CE), Buddha images are carved on the drum slabs and in a variety of other places.
• In this area, the sculptural form is marked by strong emotions.
• The sculpture composition is more intricate than Sanchi, and the bodies are represented with three bends (Tribanga).
• Queen Mayadevi's Dream is also represented here.
• Amaravati, Nagarjunakonda, and Guntapalle all have their own Buddha images.
• Guntapalle is a rock-cut cave in Andhra Pradesh near Eluru.
• Sannati is the largest stupa ever dug in Karnataka.
• Other Buddhist pictures of Bodhisattvas, such as Avalokiteswara, Padmapani, Vajrapani, Amitabha, and Maitreya Buddha, began to be sculpted alongside Buddha statues.

Amaravati stupa

Cave tradition in western India

• Many Buddhist caves dating back to the second century BCE have been discovered in western India.
• Chaitya hall with the apsidal vaulted roof (found at Ajanta, Pitalkhora, Bhaja)
• Apsidal vaulted vaulted vaulted vaulted vaulted vaulted vaulted vaulted vaulted vaulted vault (found at Thana-Nadsur)
• A quadrangular hall with a circular chamber at the back and a flat roof (found at Kondivite)
• A stupa is found in the back of all chaitya caves.
• Karla, Maharashtra, has the world's largest rock-cut chaitya hall.
• Viharas have been discovered in all of the caverns.
• The vihara's layout consists of a veranda, a hall, and cells surrounding the hall's walls.
• Interior decorative themes such as chaitya arches and vedika decorations over the cave's cell entrances can be found in many early vihara caves.
• Later on, a stupa was erected to the back of the vihara, and it was renamed Chaitya-Vihara.
• Junnar (Maharashtra) has the most cave excavations, with more than 200 caves around the town's hills, whereas Kanheri (Mumbai) has 138 caves explored.
• The caves were previously thought to belong to the orthodox Buddhist faith, Theravadins, due to the lack of Buddha pictures.
• However, the discovery of a Konkan Maurya inscription stating the Saka era 322 (400CE) has now proven conclusively that cave activity in western India existed.
• Many caverns have been turned into modern Hindu sanctuaries and have become popular worship locations.

Ajanta caves

• Ajanta is a well-known cave location in western India.
• It is situated in Maharashtra's Aurangabad district.
• There are 29 caverns in total, including four chaitya caves.
• It is home to the enormous Chaitya-Vihara, which is adorned with sculptures and paintings (murals).
• Ajanta is the only surviving example of first-century BCE and fifth-century BCE painting.
• Some of the vihara caverns are still under construction.
• Varahadeva, the Prime Minister of Vakataka king Harisena; Upendragupta, the native king of the region and Harisena's feudatory; Buddhabadra, and Mathurasena were all prominent patrons of Ajanta.
• Figures in the paintings are hefty, reminiscent of western Indian sculpture.
• Cave excavation and painting took place at the same time, and the paintings were dated after the cave excavation.
• The paintings' various skin tones symbolize a multi-colored civilization.
• The paintings depict episodes from Buddha's life, as well as the Jatakas and Avadanas.
• The locations of events in the bush and events in the palace are distinguishable.
• In Ajanta, images of Padmapani and Vajrapani are quite prevalent.

Ellora caves

• Ellora is another notable cave site in Aurangabad.
• It is 100 kilometers from Ajanta.
• There are 32 caves in total, including Buddhist, Brahmanical, and Jain caves.
• It is a one-of-a-kind art historic landmark in the country since it contains monasteries affiliated with all three religions that date from the fifth to eleventh centuries CE.
• There are 12 Buddhist caves with several Vajrayana Buddhist pictures.
• Buddhist caves are large, with single, double, and triple stories.
• Pillar patterns originate in Buddhist caves, and when they reach Jain caves (9th century CE), they become exceedingly ornate, with strong protrusion of the decorative elements.
• Shaivism is practiced in the majority of Brahmanical caves.
• Vishnu's various avatars are also shown here.
• Kailas Leni/Kailasa Temple is the name given to Cave No.16.
• It is a rock-cut temple carved from a single piece of rock.
• It was constructed in the eighth century CE.
• Ravana striving to move Mount Kailash with all his power is a masterpiece of Indian sculpture.

Elephanta caves

• The Elephanta Caves, which are located on Elephanta Island in Mumbai, were once a Buddhist site that was eventually taken over by the Shaivite faith.
• It's from the same era as Ellora.
• Bagh, near Indore, MP, is another significant cave location.
• The Bagh cave also has murals, including one depicting a group of dancers that resembles the North Indian Garba Dance (originated in Gujarat).
• The tradition of rock-cut caves continued in the Deccan, with examples finding not only in Maharashtra but also in Karnataka, primarily at Badami and Aihole, and in Andhra Pradesh in the Vijayawada area, and in Tamil Nadu, primarily at Mahabalipuram, under the patronage of the Pallavas.
• When the country's early history was based on collective public patronage, the post-sixth-century CE era was based more on political patronage.
• This is where Maheshmurti's sculpture (Shiva in the center, Bhairava, and Uma on either side) may be found.

Cave tradition in Eastern India

• Buddhist caves have been discovered in eastern India, primarily in the coastal districts of Andhra Pradesh and Odisha, similar to those found in western India.
• Guntapalle in the Eluru district is one of the most important places in Andhra Pradesh.
• Guntapalle is one of the few locations where structural stupas, viharas, and caverns have all been unearthed in one location.
• Rampa Yerrampalem, in addition to Guntapalle, is an important location.
• A massive rock-cut stupa was carved out of the hillock in Anakapalli, near Visakhapatnam, during the 4th-5th century CE.
• It is a remarkable location since it contains the country's largest rock-cut stupas.
• The Udayagiri-Khandagiri caves in Odisha are another notable cave location.
• These caverns are distributed around the area and contain inscriptions from the Kaharvela Kings.
• The caves were intended for Jain monks, according to the inscription.
• Numerous single-cell excavations can be seen here.
• The upper half of the cell is embellished with a succession of Chaitya arches and legends that are still told in the region's folklore.

Early Temples

• While stupa construction continued, Brahmanical temples and images of gods began to be built.
• Myths mentioned in the Puranas were incorporated into narrative expression.
• Each temple housed a primary picture of a god.
• The temple's shrines were divided into three types:
• Sandhara type: with pradakshina patha
• Nirandara type: does not have pradakshina patha.
• Sarvatobhadra type: accessible from all sides.
• Some major temple sites from this time period include Deogarh (UP), Eran, Nacha-kuthara, and Udayagiri near Vidisha in MP, among others.
• These temples are basic structures that include a veranda, a hall, and a shrine in the back.

Deogarh temple

• Deogarh is a notable example ,dating from the early sixth century CE.
• The main shrine is erected on a rectangular pedestal, with four smaller subsidiary shrines at the four corners, in the panchayatana style of architecture (making it a total number of five shrines, hence the name, panchayatana).
• This curving latina or rekha-prasada kind of shikhara further indicates that this is an early example of a traditional nagara temple style.
• The temple displays Vishnu in many forms, it was assumed that the four ancillary shrines must have likewise held Vishnu's avatars, and the temple was identified as a dashavatara temple.

Conclusion

Gandhara, Mathura, Amaravati, and other post-Mauryan schools of art and architecture, as well as cave traditions that flourished at the time. This article also covers some of the most important architectural sites, including Sanchi, Ajanta, and Ellora. Various monarchs established authority over the large Mauryan Empire from the second century BCE onwards. The great Brahmanical sects, such as the Vaishnavas and Shaivas, rose to prominence during this time.

FAQs

Q1: What is Post-Mauryan art?

Q2: How did the decline of the Mauryan Empire influence art and culture?

Q3: What are some key features of Post-Mauryan sculpture?

Q4: Which major schools of art emerged during the Post-Mauryan period?

Q5: How did religion influence Post-Mauryan art and culture?

MCQs

1. Which school of art is characterized by Greco-Roman influences?

A) Mathura School

B) Gandhara School

C) Ajanta School

D) Amravati School

2. What is a significant feature of Post-Mauryan sculpture?

A) Abstract forms

B) Use of vivid colors

C) Realistic expressions

D) Monochromatic designs

3. During which period did Post-Mauryan art flourish?

A) 3rd century BCE to 1st century CE

B) 2nd century CE to 5th century CE

C) 5th century CE to 8th century CE

D) 1st century BCE to 1st century CE

4. What role did religion play in the development of Post-Mauryan art?

A) Minimal influence

B) Primarily secular themes

C) Major influence with religious themes

D) Only influenced sculpture

5. The Mathura school of art is primarily associated with which religious themes?

A) Jainism

B) Zoroastrianism

C) Buddhism and Hinduism

D) Christianity

GS Mains Questions and Model Answers

Q1. Analyze the impact of the Post-Mauryan period on Indian art and culture.

Answer: The Post-Mauryan period, following the decline of the Mauryan Empire, marked a transformative phase in Indian art and culture. This era witnessed a diversification of artistic styles, influenced by regional identities and interactions with foreign cultures. The fragmentation of the Mauryan Empire led to the rise of various local dynasties, each promoting distinct artistic expressions that reflected their cultural and religious values.
One of the notable developments during this period was the emergence of the Gandhara and Mathura schools of art. The Gandhara school, with its Greco-Roman influences, excelled in creating lifelike sculptures of Buddha and intricate narrative reliefs. In contrast, the Mathura school focused on expressive representations of Hindu deities, showcasing a robust and vibrant artistic style. These schools not only enriched the visual arts but also facilitated the spread of Buddhist and Hindu iconography throughout India.
Moreover, the Post-Mauryan period saw a resurgence of religious architecture, with the construction of stupas, temples, and monastic complexes. These structures served as important centers for religious and cultural activities, contributing to the spread of Buddhist teachings and the revival of Hindu practices.
In conclusion, the Post-Mauryan period played a crucial role in shaping Indian art and culture, fostering a rich tapestry of artistic expressions that reflected the diverse socio-political landscape of the time and laid the groundwork for subsequent developments in Indian art.

Q2. Discuss the significance of the Gandhara and Mathura schools in the evolution of Post-Mauryan art.

Answer: The Gandhara and Mathura schools are significant in the evolution of Post-Mauryan art due to their distinct styles, thematic representations, and contributions to religious iconography. The Gandhara school, located in what is now Pakistan, was heavily influenced by Greco-Roman artistic traditions. This influence is evident in the realistic portrayal of figures, intricate drapery, and the adoption of Western artistic techniques. Gandhara art is renowned for its sculptural representations of the Buddha, which embody a fusion of Indian and Hellenistic styles, thereby making Buddhism more accessible to diverse audiences.
On the other hand, the Mathura school, based in northern India, is characterized by its bold and expressive sculptures of Hindu deities and Buddhist figures. The art from Mathura reflects a deeper engagement with indigenous themes and a focus on emotive expressions, conveying spiritual narratives effectively. This school played a crucial role in promoting Hindu iconography, which later influenced temple architecture and sculpture throughout India.
Together, these schools represent the artistic richness of the Post-Mauryan period. They contributed to the spread of Buddhism and the revival of Hinduism, impacting the religious and cultural landscape of India. The legacy of both schools continues to resonate in Indian art, highlighting the enduring significance of their contributions to the broader historical narrative.

Q3. Examine how Post-Mauryan art reflects the socio-political changes in ancient India.

Answer: Post-Mauryan art serves as a critical lens through which to examine the socio-political changes in ancient India during and after the decline of the Mauryan Empire. The fragmentation of the empire led to the emergence of various regional powers, each with its own artistic expression reflecting local traditions, cultural values, and religious beliefs.
During this period, the diversity of political entities fostered a rich artistic environment where local styles and techniques flourished. The emergence of the Gandhara and Mathura schools illustrates how regional influences shaped artistic output. The Gandhara school, influenced by interactions with the Greco-Roman world, produced sculptures that depicted the Buddha with Hellenistic traits, showcasing a blend of cultures resulting from trade and conquest.
Simultaneously, the Mathura school embraced indigenous styles, focusing on Hindu iconography, thereby reinforcing regional identities and cultural continuity. The revival of Hindu themes in art during this period coincided with the rise of local dynasties that promoted Hinduism, reflecting a broader socio-political shift away from the predominantly Buddhist themes of the Mauryan period.
Furthermore, the construction of stupas, temples, and monastic complexes during the Post-Mauryan period signifies the socio-political endorsement of religious institutions. These structures not only served as places of worship but also as centers for community gathering and cultural exchange, illustrating the interconnection between art, religion, and social life.
In conclusion, Post-Mauryan art reflects the dynamic socio-political landscape of ancient India, highlighting the interplay between regional identities, cultural interactions, and the evolution of religious practices. The artistic expressions of this period provide valuable insights into the complexities of India's historical narrative.

Previous Year Questions on  Post Mauryan Art

1. UPSC CSE 2020

Question. "Discuss the evolution of Indian art from the Mauryan period to the Gupta period."

Answer: The evolution of Indian art from the Mauryan period to the Gupta period illustrates a remarkable journey of artistic expression, reflecting significant socio-political and cultural changes. The Mauryan period (322–185 BCE) is marked by grand architectural projects and intricate sculptures, primarily influenced by Buddhist themes, epitomized by the Ashoka Pillars and the stupas, such as the Sanchi Stupa. The emphasis was on monumentalism, with an idealistic portrayal of figures.
Following the decline of the Mauryan Empire, the Post-Mauryan period (3rd century BCE to 1st century CE) saw the emergence of diverse regional styles, particularly the Gandhara and Mathura schools. The Gandhara school, influenced by Greco-Roman aesthetics, introduced naturalism and detailed drapery in Buddhist sculptures, while the Mathura school focused on robust representations of Hindu deities, marking a shift towards more emotive and expressive art. The Gupta period (c. 4th to 6th century CE) is often regarded as the golden age of Indian art, characterized by the refinement of earlier styles and the emergence of new artistic forms. Gupta art is known for its exquisite sculptures, such as those found in the Ajanta and Ellora caves, which depict intricate narratives and embody a perfect blend of beauty and spirituality. The period also saw the standardization of iconography and the portrayal of divine figures, reflecting the societal integration of art and religion.
In conclusion, the evolution of Indian art from the Mauryan to the Gupta period showcases a transition from monumental and idealistic forms to diverse regional expressions, culminating in a rich artistic heritage that laid the foundations for future developments in Indian culture.

2. UPSC CSE 2021

Question. "Analyze the role of religion in shaping Post-Mauryan art and culture."

Answer: Religion played a pivotal role in shaping Post-Mauryan art and culture, significantly influencing artistic expressions and cultural practices during this transformative period in Indian history. With the decline of the Mauryan Empire, there was a resurgence of local dynasties that sought to promote their religious ideologies through art.
Buddhism continued to thrive, and this era witnessed the emergence of various forms of Buddhist art, particularly in the Gandhara and Mathura schools. The Gandhara school, influenced by Greco-Roman styles, produced sculptures that depicted the life of Buddha and other Buddhist narratives, thereby making the teachings of Buddhism visually accessible to a broader audience. The intricate carvings and naturalistic forms found in Gandhara art reflect the adaptation of external influences while maintaining core Buddhist themes.
Simultaneously, Hinduism experienced a revival, leading to the development of a rich artistic vocabulary that emphasized deities and mythological narratives. The Mathura school became a significant center for Hindu iconography, producing expressive sculptures of deities such as Krishna and Shiva. The integration of religious motifs into everyday art and architecture reflected the spiritual aspirations of the populace, facilitating the construction of temples and religious complexes that served as focal points for community engagement.
Moreover, the period also saw the incorporation of Jain themes into art, highlighting the diversity of religious expressions. Temples dedicated to various deities were adorned with elaborate sculptures and carvings, indicating the intermingling of religious and artistic endeavors.