iv. Post Mauryan Empire Sculptures

Unlike the centralized Mauryan Empire, the period between 200 BCE and 300 CE was characterized by a fragmented political landscape, with numerous small kingdoms, many of which had foreign origins. Prominent among these were the Sungas, Kanvas, Satavahanas, and Kushanas.

1. Sculptures of Kushana Empire

The Kushan Empire in particular gave rise to two distinct and influential schools of sculpture:

1. The Gandhara School, which developed in the northern Gandhara region, reflected strong Greco-Roman influences and is noted for its realistic depictions of the human form and drapery.
2. The Mathura School, which emerged in the southern region around Mathura, had a more indigenous Indian aesthetic, characterized by robust figures, elaborate ornamentation, and spiritual expression.

Both schools played a vital role in shaping the future trajectory of Indian art and sculpture.

2. Sculptures of Gupta Empire

• • Gupta sculpture is the logical outcome of the sculpture schools of Amravati and Mathura. Its grace is derived from that of Mathura and its elegance from that of Amravati.
  • With time the art of Bharhut, Amravati, Sanchi and Mathura came closer and closer; melting into one.
  • The human figure, taken as the image, is the pivot of Gupta sculpture. A new canon of beauty is evolved. The soft and pliant body of Gupta sculpture with its smooth texture facilitates free and easy movement.
  • The transparent clinging drapery became the trend of this age. However the sensuous effect was restrained by a conscious moral sense and nudity was eliminated from Gupta sculpture.

• Halo around Buddha was intricately decorated.

• The magnificent red sandstone image of the Buddha from Mathura is a great example of Gupta workmanship datable to the 5th century CE Buddha is shown here standing with his right hand in abhayamudra, assuring protection, and the left holding the border of the garment .
• The image of the standing Buddha is an excellent example of Gupta art in its maturity from Sarnath. The softly moulded figure has its right hand in the attitude of assuring protection.
  • Sarnath introduces not only a delicacy and refinement of form but also a relaxed attitude by bending the body in the case of the standing figure, slightly on its own axis, thus imparting to it a certain litheness and movement in contrast to the columnar rigidity of similar Mathura works. The folds have been discarded altogether; an indication of the drapery only survives in the thin lines on the body suggesting the edges of the garment. The body in its smooth and shining plasticity constitutes the principal theme of the Sarnath artists.
• Ganga and Yamuna, two life – sized terracotta images, originally installed in niches flanking the main steps leading to the upper terrace of the Shiva temple at Ahichhatra, belong to the Gupta period 4th century CE
• Clay figurines (Terracottas) have great value as sources of social and religious history. The Head of Shiva is an elegant example of Gupta terracottas, depicted with matted locks, tied in a prominent and graceful top knot. The expression on the face is noteworthy and both the figures, of Shiva as well as Parvati, are two of the most charming specimens from Ahichhatra.

3. Sculptures of Pala School

• Origin of Pala sculpture can be attributed to the late Gupta style.
• However at a later stage the Pala style drifted away from its origin and developed its own style. The deviation was due to the fusion of classical mannerism with the indigenous style of Bengal.
• Later, more importance was given to vegetable decoration, ornamentation. Faces became more pointed. Excepting a few most of Pala sculptures of eleventh and twelfth century are stereotyped .
• These sculptures were built in such a way so that they could stand the rough weather. The sculptures of the deities were carved out of fine grained black stones.
• Terracotta is a key feature of Pala sculpture. The terracotta plaques have been used to decorate the surface of the walls.
• Bangla Roof: One of the most prominent feature of the Pala School was the shape of the sloping or curving side of the bamboo roof of a Bengali hut.

4. Sculptures of Chalukyas

The Chalukya dynasty was an Indian royal dynasty that ruled large parts of southern and central India between the 6th and the 12th centuries . During this period , they ruled as three related yet individual dynasties. These are:

• Badami Chalukyas
• Western Chalukyas (Chalukyas of Kalyani)
• Eastern Chalukyas (Chalukyas of Vengi )

5. Rashtrakuta Sculptures

• Rashtrakuta was a royal dynasty ruling large parts of the Indian Subcontinent between the 6th and 10th centuries.
• Rashtrakuta sculptures and architectures thrived under royal patronage and are well known for their intricate carvings.
• Rashtrakuta sculpture is reflected in the splendid rock-cut cave temples at Ellora and Elephanta in Maharashtra. These caves belonged to varied religious faiths: Buddhist, Jain and Hindu (Shaiva and Vaishanava). The Elephanta caves are known for the huge three-faced icon of Mahadeva.
• The walls of many of the temples like Parameshvara temple and Brahmeshvara temple have carved sculptures depicting incidents from mythology and epics.
• One of the main features of Rashtrakuta sculptures is the variety that these present to the beholder. Their sculptures bear testimony to India’s religious unity.

6. Sculptures of Hoysalas

• The Hoysala empire was a prominent Southern Indian Kannadiga empire that ruled most of the modernday state of Karnataka between the 10th and the 14th centuries.
• The Hoysala empire was preceded by the Western Chalukyas and it was succeeded by the Vijayanagara Empire.
• The Hoysala style of architecture was often referred to as an amalgamation between the Dravidian and Indo-Aryan forms.
• Thick foliage sculptures are also present on these temples. The ceilings of the mandapas are designed with prolific sculptures. The huge gateways are decorated with well carved sculptures.
• The temples at Belur, Halebeedu, Somanthapura and Doddagaddavalli are among the best specimens of Hoysala sculpture.
• Another feature of the Hoysala sculpture is erotica. The nooks and niches of the temple walls have been filled with erotic themes.

7. Sculptures of Vijaynagara Empire

• The Vijayanagara Empire was based in the Deccan Plateau region in South India. The empire rose to prominence by the end of the 13th century. It lasted until 1646, although its power declined after a major military defeat in 1565 by the Deccan sultanates.
• Soapstone, which was soft and easily carved, was commonly used for reliefs and sculptures. To cover the unevenness of the stone, artists employed brightly painted plaster to smooth over and finish rough surfaces.
• Sculpture was integrally linked with architecture in the creation of Vijayanagar temples.
• Large life-size figures of men, women, gods, and goddesses adorn many Vijayagara temples, and temple pillars often have engravings of charging horses and other elements of Hindu mythology.
• Another element of the Vijayanagar style is the carving and consecration of large monolithic statues, such as the Sasivekalu Ganesha and Kadalekalu Ganesha at Hampi.

8. Sculptures of Chola Empire

• The Chola Empire was a Tamil dynasty that ruled primarily in southern India until the 13th century.
• The remarkable Chola sculptures adorned the temple walls in South India. Most of these temples were dedicated to either to Lord Shiva or Lord Vishnu.
• One of the important features of early Chola sculptures then was that the hugeness was missing.
• The main architectural elements that are to be found in the temples of Chola dynasty are garbhagriha, vimana and circumbulatory corridor.
• Rajaraja Chola gave a great boost to the Chola sculptures and architecture. Some of the prominent temples from this period are the architecture and sculpture of Brihadiswara Temple in Tanjore, sculpture of Gangaikonda Cholapuram Temple and the sculpture of Shiva Temple.
• Another important feature of the Chola sculptures was that the sculptures were intricately done. Besides the usual images of gods and goddesses foliage sculpture, perforated windows, animal imageries and others were recurrent motifs as well.
• Apart from the temple sculptures the bronze sculptures thrived too under the Chola kings. The bronze sculptures were created by following the lost wax technique or Cire Perdure. One of the finest examples of bronze Chola sculpture is that of the Nataraja (Lord Shiva in dancing pose).
  • In the early Indian scriptures, the Tandava dance has been recorded as cosmic dance. Cosmic dance , as described in Rig-Veda, is the dance of the particles on the stage of the cosmic field.
  • The Natyashashtra speaks about the pair of Tandava and Lasya in context with the classical dance. While Power and Force are typical of Tandava, grace and delicacy are typical of Lasya. Lasya was the dance performed by Goddess Parvati in response to the male energy of the cosmic dance of Tandava performed by Lord Shiva.
  • Tandava dance of Nataraja represents and symbolises five divine actions viz. Shristi , Sthati, Samhar, Tirobhava and Anugraha. When Nataraja dances, the earth trembles; sky and stars are disturbed by the movement of his powerful hands , at the impact of his whirling matted locks of hair heaven shudders, such is its majesty. The ancient scriptures discuss about seven types of Tandava Dances viz. Sandhya Tandava, Kalika Tandava , Ananda Tandava, Tripura Tandava, Gauri Tandava, Samhara Tandava and Uma Tandava.
  • Another majestic example of Tandava dance is mentioned in Mahabharata when Krishna subdued Kalia Nag in Yamuna River, though at the intercession and prayer of Kalia’s serpent- wife he spared the nag’s life. He danced the tandava dance on Kalia’s head and played on flute.

9. Sculptures of Pallava Empire

• The Pallava dynasty was a South Indian dynasty that existed from 275 CE to 897 CE, ruling a portion of what is today southern India. They gained prominence after the eclipse of the Satavahana dynasty, whom the Pallavas served as feudatories.
• For the first time the stone sculptures, a predominant feature of the South Indian temples, were fast replaced by the innovative rock architecture and sculptures.
• The features of Pallava Sculptures include intricate carvings. Mammoth images were carved out of stone so that the buildings can be dedicated to the deities .
• The Hindu epics were a popular source from which the artisans derived their subjects. These were then retold through the stone sculptures. The sculpture of Kailasanatha Temple at Kanchipuram and the Shore Temple at Mahabalipuram are outstanding examples of art that was carved out of stone during the Pallava reign.
• Pallava bronze sculptures were mostly built from 600 CE to 850 CE . Initially their sculptures were smaller in size. Pallavas developed the Shaivite iconography. They were staunch Saivites and dedicated various forms of Siva in the temple complex.
• Most of the sculptures were less than one foot high and the figures were natural in pose and moulding .