CLASS 11
UNIT 2
BUDDHIST, JAIN AND HINDU ART
PART B
SCULPTURES
NAME PERIOD DYNASTY MEDIUM COLLECTION
LION CAPITAL Circa 3rd Mauryas Polished Patna Museum ,
Century Ashoka Sandstone Bihar
B.C
CHAURI BEARER Circa 3rd Mauryas Polished Patna Museum ,
Century Sandstone Bihar
B.C
SEATED BUDDHA 3rd century Kushan Red Spotted Government
FROM KATRA A.D. Period - Sandstone Museum (U.P.)
MOUNT Mathura (Sikri)
Style
JAIN TIRTHANKARA Circa 5th Gupta Stone State Museum,
Century Dynasty Lucknow (U.P.)
A.D.
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LION CAPITAL
Name :- Lion Capital From Sarnath
Medium :- Polished Sandstone
Period :- Circa 3rd Century B.C
Dynasty :- Mauryas Ashoka
Collection :- Sarnath Archaeological Museum. U.P
Theme/Subject Matter :- A sculpture of four lions standing back
to back, on an elaborate base/abacus that includes other
animals It was adopted as the official Emblem of India in 1950.
Description:- The Sarnath lion capital. the crowning piece of a
monolithic Ashokan Pillar was built in the 3rd century B.C at
the Deer Park in Sarnath, the outskirts of Varanasi. Here
Buddha had preached his first sermon after gaining
enlightenment and set the wheel of law in motion-Dharma
Chakra Pravartana.
The capital, made of polished sandstone is more than two
meters (7 ft) in height. It comprises of four roaring lions placed
back to back on a round slab called abacus. The abacus is supported by a bell shaped-
inverted-lotus base On the side of the abacus are carved four aninials-lion, elephant, bull and
horse moving in a clockwise manner. These animals carved with great skill alternate with four
smaller dharmachakras or wheels of law
It is believed that the capital was originally crowned by a bigger Wheel of Dharma -
dharmachakra. with 24 spokes the broken pieces of which were found at the original site
The four lions on top are highly symbolic and stylized with very little hint of naturalness. This
is clear in the hair carved along the neck as little flame shaped bunches and the upper lip of
the lions shown by three slit/cut lines. The magnificent modeling gives them a great power
and dignity. Surprisingly, compared to the majesty of the lions, the animals on the round
bare (abacus) are done with great naturalistic energy and are defined carefully. Petals of the
lotus have rhythmically cut/slit curves and contours. The surface of these pillars has a
mirror like finish. It also reveals the aristocratic and international nature of the Mauryan art.
The pillar bears the edict of Ashoka's warning as a ruler in Brahmi script "No one shall cause
division in the order of monks" The broken pieces of the Pillar are now in the Museum at
Sarnath. The great symbolism of the greatest Buddhist virtues along with the great masterly
skill of sculpting of this piece of art deserved to be a national identity of the great nation.
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CHAURI BEARER
Name :- Chauri Bearer From Didar Ganj
Medium :- Polished Sandstone
Period :- 3rd century B.C.
Dynasty :- Mauryas
Collection :- Patna Museum , Bihar
Theme/Subject Matter A life-size sculpture of a Yakshi
holding a Chauri.
Description : The statues of Yakshas and Yakshis, the
deities of fertility and abundance are excellent specimens
of the Mauryan craftsmanship in fashioning the human
figure The Yakshi from Patna Museum is a striking
example of 3rd century B.C., created by a gifted sculptor.
The Didarganj Chauri-bearer is named so because it was
excavated from Didarganj, an ancient locality of Patna in
Bihar It is a beautiful female figure carved out of a single piece of stone standing 64"(5 ft 4
inches) tall. This classic. life size sculpture was carved in the five grained buff colored sand
stone, delicately polished to a mirror like shine. Though massive and bold in its execution,
this is a grand portrayal of the Indian ideal of feminine beauty. The careful attention to detail
is visible in the notable breasts, broad hips, narrow waist and the creases on lower abdomen,
formed due to the weight of her breasts. The figure is wearing elaborate jewellery in the neck,
ears and a beaded matha-patti with a big round piece in the centre of hair partition at the
forehead. There is a heavy garment below her waist draped elegantly with folds and pleats
gathered in front. The pleats are neatly held in place by a beautiful and delicate jewel-
oddiyanam. She holds a fly whisk (the chauri) in her left hand whose length falls till her foot
from behind.
The most remarkable feature of the sculpture apart from the shiny polish is the peaceful and
calm expression on her face. Her composure creates a powerful impact of rare and royal
dignity This beautiful Didarganj Chauri-bearer is a proud symbol of Indian artistic genius It is
considered the Mona Lisa of Indian Art because of the mystenous half smile on her lips".
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SEATED BUDDHA FROM KATRA MOUNT
Name :- Seated Buddha From Katra Tila (Mount)
Medium :- Red Spotted Sandstone (Sikri)
Period :- 3rd century A.D.
Dynasty :- Kushan Period - Mathura Style
Collection :- Government Museum (U.P.)
Theme/Subject Matter :- Buddha seated in padmasana
with Bodhisattvas on both sides.
Description :- This Kushan sculpture height 274 inch (69
cms) was found in the Katra mound at Mathura
Buddha has two crowned Bodhisatva attendants on both
sides, Padampani holding a padam-Lotus and Vajrapani
holding a Vajra Thunderbolt (earlier they were thought to
be Indra and Brahma). He is dressed as a true Indian, in a
transparent muslin garment-Sanghett that covers only one
shoulder and gathered in small stringed folds along the upper left arm. This feature of
gathered, transparent textile also seen on the two Bodhisattva figures is a distinctive
characteristic of Mathura.
Buddha is seated as a yogi in padmasana-cross legged pose with soles turned upwards, on a
lion throne under the Bodhi tree The face has a smiling friendly expression like all other
Mathura Buddhas. The Buddha is backed by a large decorated halo carved on the edges and
decorated with simple motifs. He is attended by heavenly beings called gandharvas placed
diagonally above the halo bearing fly whisks. The abhay mudra of the right hand and the
other angled arm, resting on his left knee, gives an air of movement. There are no wavy
impressions of hair on the head like most of the later buddhas, only a snail shell like knot on
the head ushnisha Other lakshanas like Urna on the forehead between the eyebrows, the
wheel on the palm and soles of the feet are clearly represented.
Mathura sculptures from this period have light volume but a fleshy body. The beauty in the
flexibility of delicately carved curves and contours gives them an earthy look The face is
round with fleshy cheeks and shoulders are broad. The swell of the belly is sculpted with the
quality of prana or inner breath in the figure.
The flying gandharvas give a spiritual importance to the sculpture The lion throne has three
lions carved in relief. the one in centre facing the front, and the two on sides facing away from
each other The details are minimal but the liveliness in this figure makes it unique This
sculpture is an excellent early example of an entirely Indian Buddha.
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The earliest style at Mathura-Kushan ultimately led to the development of the supreme
Buddha icon in the Gupta period.
JAIN TIRTHANKARA
Name :- Jain Tirathankara
Medium :- Stone
Period :- Circa 5th Century A.D.
Dynasty :- Gupta
Courtesy :- State Museum, Lucknow (U.P.)
Theme/Subject Matter :- The famous Jain deity seated in
padmasana.
Description: The main Jain deities consist of twenty-four
Tirthankaras (or saviours), the first being Rishabhanatha and
the last Mahavira. This Image of Swami Mahavir, the 24th
Tirthankar found in Mathura is seated on a square pedestal in
a meditative mood. This Statue of Jain Tirthankar in Dhyan
Mudra with one hand at the top and other is made in the
Buddhist and Jain style of the Kushana period.
As taught by Lord Mahavir Tri-ratna, the three gems of action
which are faith, righteous action and truthful words free a man from the circle of life and
death. The artist has rightly expressed this in a life-sized, sensitively modelled sculpture with
a gentle, peaceful expression beneath bow-shaped brows. The eyes with an intense spiritual
gaze. the hair arranged in snail shell curls rising to a lotus ushmisha complete this sculpture.
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