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Gandhara school of art in hindiगांधार कला : इस शैली की मुख्य विशेषताएँ - Sansar Lochan.Mathura School of Arts, Gandhara School of Arts, Amaravati School of Arts – SELF STUDY HISTORY
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This gave rise to several schools of art: Central Asian, Gandhara, and Mathura. Pieces of sculpture from Central Asia show a synthesis of both local and Indian elements influenced by Buddhism. During the same period, beautiful works of art were created at several places south of the Vindhyas. Wonderful Buddhist caves were constructed out of rock in Maharashtra. In AP, Nagarjunakonda and Amaravati became great centres of Buddhist art, and stories associated with the Buddha were portrayed on numerous panels.
However, further development in sculpture occurred in the early centuries of the Christian era. Mathura School of art At Sanchi, Barhut or Gaya, Buddha was never depicted in a human form but was represented only as a symbol of either two footprints or wheel. Artisans from Mathura initially continued the Mauryan sculptural forms of the Yaksha and Yakshi, until a human image of Buddha appeared, which was independent of other schools of art, but later influenced by the Gandhara School.
The representations of the Buddha in Mathura, in central northern India, are generally dated slightly later than those of Gandhara. The school of art that developed at Mathura in modern Uttar Pradesh is called the Mathura art. It flourished in the first century A. In its early phase, the Mathura school of art developed on indigenous lines. The Buddha images exhibit the spiritual feeling in his face which was largely absent in the Gandhara school.
It is also famous for the headless erect statue of Kanishka whose name is inscribed at its lower end. It also produced several stone images of Vardhamana Mahavira. Its pre-Gupta sculpture and inscriptions ignore Krishna , although Mathura is considered his birthplace and the scene of his early life. The Mathura school also carved out the images of Siva and Vishnu along with their consorts Parvathi and Lakshmi. The female figures of yakshinis and apsaras of the Mathura school were beautifully carved.
Period and Center of Production Mathura School of art is purely indigenous style. Mathura art developed during post Maurya peiod mainly during Shunga period and reached its peak during the Gupta period AD to The Mathura school of art flourished in the early centuries of the Christian era. The traditional centre, Mathura, remained the main art production site whereas Sarnath and Kosambi also emerged as important centres of art production. Spotted red sandstone has been used in this school.
Type of Sculpture: The Mathura School of Art, noted for its vitality and assimilative character, was a result of the religious zeal of Brahmanism, Jainism and Buddhism. Theme may vary from Buddhist to Brahmanical to sometimes secular. Several Brahmanical Deities were first crystallized by this school.
The images of Vishnu and Shiva are sometimes represented by their weapons. Images of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities and portrait statues are profusely sculpted.
Brahmanical images: Quite a few Brahmanical images have been found in Mathura. To A. During the Kushana period Karttikeya, Vishnu, Sarasvati, Kubera and certain other gods, including Naga images, were represented in sculpture. Some of iconographical features or features which characterize each deity are present in images of this period.
For example Siva, though he is represented in the linga form, began to be carved in the form of Chaturmukha linga. This refers to linga with four human faces of the Siva on all four sides. The Surya in the Kushana age is shown riding a chariot driven by two horses.
He wears a heavy coat, a dress in the lower half of the body resembling a salwar, boots, a sword in one hand and a lotus in the other. Balarama has a heavy turban on his head. Saraswati is seated with a hsary and manuscript in her hands. Dressed in a simple way she wears no ornaments and is attended by two other figures.
Durga in her Mahisha-mardini form, is depicted as the killer of buffalo demon. Jaina specimens: Mathura was a sacred centre of the Jains as it was of the followers of Brahmanical and Buddhist faiths.
It has yielded a number of inscriptions which refer to lay followers of Jainism, to Jaina monks and nuns and to donations and dedications made by them. For example, as early as the middle of the second century B.
Kankali Tila was the main Jaina site at Mathura and it has yielded an overwhelmingly large number of sculptures: ayaqapatas or stone slabs with Jaina figures in centre and auspicious marks or with representations of Jaina Stupas these were objects of worship a various architectural fragments like pillars, capitals, crossbars, railing — posts, etc.
The representations of the Jainas or the Tirthankaras on the ayaqapatas date before the Kushana period but regular images become common only from the Kushana period onward. Of them Parsvanatha is recognizable from his canopy of snake hoods and Rishabhanatha from rocks of hair falling on his shoulders but other Tirthankara images are not so easily identified. The Sarvatobhadrika image of 4 jain Jinas standing back to back belongs to the Mathura school. Jain sarvatobhadra Buddhist images: Buddhist images are found in large numbers compared to other faith.
The earliest images of Bodhisattvas and Buddha were perhaps made at Mathura and sent also to other regions. For example, the Samath image of standing Bodhisttvas installed in the period of Kanishka-I was made at Mathura. Buddha was depicted as Human and the main theme was Buddha and Bodhisattavas.
Among the sitting idols the one found at Katra is among the oldest. The characteristics of this idol are: a Buddha sitting under a Bodhi tree, Right hand in abhaya posture, Dharam chakra and tri-ratna chiselled in palms and at bottom of the feet, and the head is shaven except one lock. Buddha image at Mathura is modelled on the lines of earlier Yaksha images whereas in Gandhara it has Hellenistic features.
Standing Buddha from Sarnath The sitting Buddha of Mathura School is in padmasana and soles of the feet have been decorated with Tri ratna and Dharmachakra signs. Buddha attended by 2 Bodhisattvas. Mathura, 2nd century CE The presences of the two attendants by the side of Buddha who hold Chanwars is a feature of the Mathura school and this figure has been later inspired the images of Indian Deities.
The art of Mathura features frequent sexual imagery. Female images with bare breasts, nude below the waist, displaying labia and female genitalia are common. The Buddha, Kushana period, 2nd century A. Images started getting fashioned in the round so that they could be seen from every side. The head and face are shaven. The right hand is shown raised in abhaya posture. There is no mark on the forehead. The dress is always tight on the body and the left hand holds the frill.
A number of Yaksha and Yakshini images have been discovered in Mathura. They are associated with all the three religions — Buddhism, Jainism and Brahmanism. Kubera was another deity shown with a bulging belly. He is associated with wine and with parties where participants indulge in drinks. He bears resemblance to Bachhus and Dionysius respecting the Roman and Greek gods of wine. Sculpture Features and Its Evolution More stress is given to the inner beauty and facial emotions rather than bodily gesture.
There is boldness in carving the large images. The first Mathura image makers never intended to sculpt an anatomically correct human Buddha. Their images were a composite of 32 major and 80 minor laksana, or marks.
Later, the Human Buddha images evolved associated with humanly beauty and heroic ideals. The early images of the Buddha and the Bodhisattva are happy, fleshy figures with little spirituality about them.
The block like compactness and smooth close-fitting robe, almost entirely devoid of folds, are replicated in the earliest standing Buddha image that belongs to the Mathura school. The volume of the images is projected out of the picture plane , the faces are round and smiling, heaviness in the sculptural volume is reduced to relaxed flesh.
The garments of the body are clearly visible and they cover the left shoulder. However, in the second century AD, images got sensual with increased rotundness and became flashier. The extreme fleshiness was reduced by the third century AD and the surface features also got refined.
The trend continued in the fourth century AD but later, the massiveness and fleshiness was reduced further and the flesh became more tightened. The halo around the head of Buddha was profusely decorated. The idea of building reliquaries or structures for housing portrait-statues of rulers and other dignitaries of the State possibly came from Central Asia.
This was done to give the rulers a divine status: The dresses which the dignitaries wear were also of Central Asian origin. Many heads of Scythian dignitaries have also been found at Mat.
These discoveries indicate that Mathura was the most important centre of the eastern part of the Kushana empire. They also forcefully suggest interaction between Gandhara and Mathura art forms.
This gave rise to a new form of art in which images of the Buddha were made in the Graeco-Roman style, and his hair fashioned in the Graeco-Roman style. Greco-Buddhist art is the artistic manifestation of Greco-Buddhism, a cultural syncretism between the Classical Greek culture and Buddhism, which developed over a period of close to thousand years in Central Asia, between the conquests of Alexander the Great in the 4th century BC, and the Islamic conquests of the 7th century AD.
A large number of monasteries were also built from first to fourth centuries A. Ruins of about fifteen monasteries were found in and around Peshawar and Rawalpindi. The Buddhist stupas erected during this period had Graeco-Roman architectural impact. The height of the stupa was raised and ornamentation was added to the structure of the stupa.
These changes made the stupa more attractive. Origin Place and Period of Development The home of the Gandhara school of art is the territory in and around Peshawar in northwestern India. The influence of Greco-Buddhist art also spread northward towards Central Asia, strongly affecting the art of the Tarim Basin, and ultimately the arts of China, Korea, and Japan.
The best of the Gandhara sculpture was produced during the first and second centuries A. It originated during the reign of Indo-Greek rulers but the real patrons of this school of art were the Sakas and the Kushanas , particularly Kanishka.
Specimens of Gandhara sculpture have been found in Taxila , Peshawar and in several places of northwest India. Salient Features Gandhara style of art that developed in sculpture was a fusion of Greco-Roman and Indian styles.
Gandhara school was heavily influenced by Greek methodologies, the figures were more spiritual and sculpted mainly in grey, and great detail was paid to exact depiction of body parts. It is also known as Graeco-Buddhist School of art. The theme of the Gandhara school is mainly Buddhist and it made sculptures of the Buddha in various sizes, shapes and postures.
The main theme was the new form of Buddhism — Mahayanism — and the evolution of an image of Buddha. Sculptors constructed Buddhist images with anatomical accuracy, spatial depth , and foreshortening. The images of Buddha resembled Greek God Apollo. Rich carving, elaborate ornamentation and symbolic expressions. The Buddha of Gandhar art is sometimes very thin , which is opposite in Mathura art.
Thick drapery with large and bold fold lines. More stress is given to the bodily features and external beauty. Gandhara Style, Afghanistan,4th-5th C. It looks like the Mathura, Gandhara arts cross-fertilized in due course of time, and the bulky Mathura Buddha gradually gave way to the slender elegance of the Gandharan image. The result of this synthesis ennobled, refined, and purified the Buddha image that appeared in the Gupta period.
This Gupta style became the model for Southeast Asian Buddha images. Some Greco-Buddhist friezes represent groups of donors or devotees, giving interesting insights into the cultural identity of those who participated in the Buddhist cult.
The other materials used were Mud, Lime, Stucco. However, Marble was not used in Gandhara art. Terracotta was used rarely. Stucco provided the artist with a medium of great plasticity, enabling a high degree of expressiveness to be given to the sculpture.
The Various Mudras of Buddha in Gandhara Art In all the Buddha depicted in the Gandhara Art is shown making four types of hand gestures and this is a remarkable feature in this art. This mudra symbolizes one of the most important moments in the life of Buddha, the occasion when he preached to his companions the first sermon after his Enlightenment in the Deer Park at Sarnath.
Evil demons have failed to distract him, and he calmly touches the earth to witness his attainment of enlightenment. Particularly Kanishka, the greatest of the Kushanas was a great patron of art and architecture. It was during his reign that Gandhara School of art flourished.
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