Which of the following statements about sculptures at Sanchi is/are correct? 1. In some sculptures there is representation of Shalabhanjika. 2. The figure of Shalabhanjika is represented by a woman surrounded by lotuses and elephants. 3. The Shalabhanjika motif was not directly inspired by Buddhist ideas. Select the correct answer using the code given below:
1 and 3 only
Analyzing Sculptures at Sanchi: The Shalabhanjika Motif
Let's carefully examine each statement regarding the sculptures found at Sanchi, particularly focusing on the Shalabhanjika motif, a significant figure in Indian art often seen at this site.
Statement Analysis
We will analyze each statement provided in the question to determine its accuracy in the context of Sanchi sculptures.
- Statement 1: In some sculptures there is representation of Shalabhanjika.
This statement refers to the presence of the Shalabhanjika figure in Sanchi sculptures. The toranas (gateways) of the Great Stupa at Sanchi are adorned with numerous carvings, including figures of yakshis and other nature spirits. The Shalabhanjika motif, typically depicting a woman grasping a tree branch, is indeed prominently featured on the Sanchi toranas, particularly on the brackets supporting the architraves. Therefore, this statement is correct. - Statement 2: The figure of Shalabhanjika is represented by a woman surrounded by lotuses and elephants.
This statement describes the representation of the Shalabhanjika figure. While lotuses and elephants are common motifs in Buddhist art and appear in Sanchi sculptures, they are not the defining characteristics of the Shalabhanjika motif itself. The core representation of Shalabhanjika is a woman associated with a tree, often depicted holding or kicking a branch, symbolizing fertility and abundance. The description given in this statement does not accurately represent the typical or defining portrayal of Shalabhanjika found at Sanchi or in Indian art generally. Therefore, this statement is incorrect. - Statement 3: The Shalabhanjika motif was not directly inspired by Buddhist ideas.
This statement concerns the origin and inspiration of the Shalabhanjika motif. The Shalabhanjika (or Salabhanjika) is an ancient Indian motif, appearing in pre-Buddhist art and literature. It represents a tree spirit or nature deity (yakshi) associated with fertility, vegetation, and auspiciousness. This motif existed in Indian culture before the rise of Buddhism and was later incorporated into Buddhist art as a decorative and auspicious element, symbolizing prosperity and the abundance of life. Its origins are rooted in indigenous Indian folk traditions and beliefs, not directly in Buddhist doctrines or narratives. Therefore, this statement is correct.
Conclusion
Based on the analysis:
- Statement 1 is correct: Shalabhanjika figures are present at Sanchi.
- Statement 2 is incorrect: The description of the Shalabhanjika figure is inaccurate.
- Statement 3 is correct: The motif predates and is not directly inspired by Buddhist ideas.
Thus, the statements that are correct are 1 and 3.
Revision Table: Sanchi Sculptures and Shalabhanjika
| Aspect | Detail related to Sanchi & Shalabhanjika |
|---|---|
| Location | Sanchi Stupa complex, particularly on the Torana gateways. |
| Shalabhanjika Representation | Woman associated with a tree branch (often holding or kicking). Symbolizes fertility/nature spirit (Yakshi). |
| Origin of Motif | Pre-Buddhist Indian folk tradition and belief system. |
| Incorporation in Buddhist Art | Used as an auspicious and decorative element, not central to Buddhist doctrine but reflecting contemporary cultural motifs. |
Additional Information: Sanchi and Buddhist Art Motifs
Sanchi is home to one of the oldest Buddhist stupas in India, commissioned originally by Emperor Ashoka. The stupa and its gateways are covered in intricate carvings depicting Jataka tales (stories of Buddha's previous lives), events from Buddha's life, and various figures and motifs from Indian culture.
- Toranas: The gateways are the most elaborately carved parts, depicting scenes in a continuous narrative style.
- Symbolic Representation: Early Buddhist art, including at Sanchi, often used symbols to represent the Buddha (e.g., the Bodhi tree, the Dharma wheel, footprints, the stupa itself) rather than a direct anthropomorphic image. However, human and semi-divine figures like yakshas and yakshis (including Shalabhanjika) were commonly depicted.
- Yakshis and Nature Spirits: Figures like Shalabhanjika are part of the broader category of Yakshas and Yakshis, who were indigenous nature spirits or semi-divine beings associated with wealth, fertility, and the earth. Their inclusion in Buddhist sites reflects the integration of popular beliefs and motifs into the broader religious landscape.
Understanding these motifs helps in appreciating the rich cultural synthesis present in ancient Indian art like that at Sanchi.
Important Questions from Sculpture
The ‘Gandhara School of Art’ was developed under the ________ Dynasty.
Lalit Kala Academy was established by the Government of India to-
- At the Gandhar School of Art, initially, blueshists and green fightlights were used. When did plaster completely replace stone as the main material used by the sculptors of the Gandhara school?
- With reference to the 'Male Torso' figurine from the Indus Valley Civilization, consider the following statements:
1. It was excavated from the site of Mohenjo-Daro.
2. It is made of red sandstone and possesses drilled sockets for the attachment of other body parts.
3. Its dynamic posture and naturalistic representation indicate an advanced understanding of human anatomy for its time.
Which of the statements given above is/are correct? - Which of the following Ashokan pillar capitals, notable for its depiction of a powerfully built single bull atop a circular abacus adorned with geese and rosettes, was discovered in Bihar?
