The present book “Buddhist Art: Sanchi to Early Mathura” deals with the development, adaptation and changes from Sunga art style forms (including the art style of Bharhut, Sanchi Stupa No. II and other contemporary sites) with special reference to Stupa No. I of Sanchi to early Kuṣāņa art of Mathura.
So far no serious research work has been conducted in this direction particularly on Transitional phase of Sunga art to early Kuşāņa art of Mathura, the present book will provide a insight in the development, transformation and evolution of Sunga art to Kuṣāņa art.
The objectives of the present book are to understand the following points:
1. Genesis of the Stupa Architecture
2. Symbolism in Buddhist Art: (during 3 B.C.E) Buddhist Art: during 2nd B.C.E. to 1″ B.C.E.
3. Transitional phase of the Buddhist art between Sungan to Kuşāna period.
4. Development and transformation of Buddhist art from Sungan to Kuṣaṇa period.
An in-depth study of early Buddhist art of Sanchi and Mathura in light of other centers and inscriptional evidences will certainly unfold the factors responsible for the growth, development and transformation of Buddhist sculptures in Mathura, Sanchi and elsewhere in the light of religious, political and administrative developments.
To meet the above objectives a detailed examination of all the facts available through various published sources in various fields of study have been collected and discussed, by dividing the book into seven chapters.
Seated Buddha sculpture from Mathura (Kuşäna period) recently retrieved from Australia.
Dr. Archana Asthana is an Archaeologist and Art Historian. She did her M.A. in History from G.G.D. University, Bilaspur. She is a first class first Gold Medalist throughout her academic career, Dr. Archana was awarded P.G. Diploma in Archaeology from Institute of Archaeology, Archaeological Survey of India and D. Phil. Research on “Transitional Phase of Buddhist Art Between Sunga to Kuṣāņa Period” (with special reference to Sanchi Stupa No. 1, to early art of Mathura in the Kuşana Period) from National Museum Institute, New Delhi, Dr. Archana has experience of explorations and excavations of many archaeological sites of pre, protohistoric to Historic periods, all her works have been attested by the diversified publication in forms of the book as co- author (Archaeological Heritage of Rig Vedic Saraswati) in press, articles in journals and news papers of national and international repute. She is also visiting faculty at the Kendriya Vidhyalaya, C.C.R.T., S.C.E.R.T. and Institute of Archaeology, Delhi. Presently she is working as Assistant Superintending Archaeologist in Archaeological Survey of India, New Delhi.
Dr. Ashwani Asthana is an Archaeologist by field training. He did his M.A. in Ancient Indian History Culture and Archaeology from Osmania University. He stood 1″ in order of merit in P.G Diploma in Archaeology from Institute of Archaeology, Archaeological Survey of India and D. Phil. Research on “Literary and Archaeological Heritage of Rigvedic Saraswati: (From) 5000 BCE to 1500 BCE)” from Kumaun University, Nainital (UK), Dr. Ashwani has experience of exploration and excavation of about 15 years. he has participated in the excavations at Sanghol, Balathal, Kanmer, Nagiari, Dholavira, Mandoli, Vadnagar, Sankisa and other archaeological sites of pre, proto and historic periods, all his works have been attested by the diversified publication in forms of Books as co-author (Archaeological Heritage of Rig Vedic Saraswati) in press and articles in journals of national and international repute. Presently he is teaching and imparting field training to P.G. Student of Archaeology and Heritage Management for the past 18 years in Delhi Institute of Heritage Research and Management GNCT Delhi, New Delhi
Acknowledgements
Above all, we owe great debt to late Dr. S. P. Gupta, former Chairman of Indian Archaeological Society and our teacher, who guided us in every aspect to this endeavor, without his help this work would have never been possible. His invaluable insights, perceptive criticisms and rigorous supervision were a source of guidance and inspiration.
We both are deeply grateful to late Shri M. C. Joshi, late Shri J. P. Joshi, both former Director Generals of Archaeological Survey of India, late Prof. R.C. Sharma, former Director General of National Museum Institute; they were the great source of encouragement and inspiration and were always approachable whenever required. Their time to time suggestions and views have been extremely helpful in perusing this research work.
Our special and sincere thanks are due to Dr. B.R. Mani former, Additional Director General of Archaeological Survey of India, for his generous and learned insight that have aided us in many aspects of this studyand for going through the manuscript of the book and for writing the foreword, as per his advice all said corrections has been carried out with utmost care. We are also thankful to him in various administrative matters. We also wish to acknowledge our sincere thanks to Dr. R.K. Tiwari, Director General of Archaeological Survey of India for extending us every possible help in academic aspects.
We are also grateful to the librarians and staff members of the following libraries: National Museum Library; New Delhi, Slide Library, National Museum Institute; New Delhi, Central Library of Archaeological Survey of India; New Delhi, American Institute of Indian Studies Library; Gurgoan, Haryana, Library of Indian Centre of Historical Research; New Delhi and Library of Indian Museum, Kolkata.
Our special thanks are also due to the Directors, curators and staff members of various Central and State Archaeological Museums for helping us in various ways during our visits for collecting the data and photographs for the present book, such as site Museums of Bodhgaya, Sarnath, Varanasi, Vaishali, Sanchi, of Archaeological Survey of India, National Museum, New Delhi. State Museums of Mathura, Lucknow and Vidisha; University Museum Allahabad, Bharat Kala Bhawan Banaras Hindu University; Varanasi and Indian Museum, Kolkata.
The constant and unconditional support of Smt. Shyama Asthana, has been invaluable in various ways such as typing, photography and editing of the present research work. We also owe a great debt to the world renowned Kathak Dancers Ms. Nalini and Kamalini (Delhi Sisters) for extending their help in immense ways. My religious Guru and Kathak Acharya, Guru Jitendra Maharaj has always blessed us with moral support whenever, we have loosen our heart.
We are also grateful to our young ones Mr. Rishabh Asthana and Monish Asthana for taking long naps and being patient and forbearing while their mother and father worked on this research work.
We are also grateful to our departed parents Late Shri Bhagwan Prasad Asthana, Late Smt. Geeta Dubey and Late Shri Krishan Kumar Dubey, their untimely death during our period of research work not only shaken us, but provided us an inspiration to achieve our academic goals, as they have always inspired us to work hard with honesty.
Last, but not the least we are very much thankful to Shri Praveen Mittal Ji of Buddhist World Press, for insisting us to complete the work and submitting the proofs in time for publication, his brotherly approach and personal act in this regard is appreciable.
– Archana Asthana
– Ashwani Asthana
Preface
The working on the present book “Buddhist Art: Sanchi to Early Mathura’ in fact started long back in our mind, when we were on tour to the Buddhist sites and Museums of India alongwith other archaeological sites. Once, we discussed some of our thoughts about the development, transformation and evolution of Sunga art to Kusana art and their interrelating art features with our teachers of Art and Archaeology, Late Dr. S.P. Gupta, Late Shri. J.P. Joshi, Late Shri. M.C. Joshi, Late Shri R.C. Mishra, Dr. B.R. Mani. All expressed one thing saying “Is it possible to trace in realm”? “If you feel so, both of you start research on these issues.”
We humbly approached Dr. B.R. Mani for detailed discussions on the various issues pertaining to the subject, and for seeking his suggestions and guidance. The conspicuous question which emerged at the end of the discussion was that, how far the early Buddhist art of Sanchi and Mathura in light of other centers, keeping in mind the literary, inscriptional and numismatic evidences will unfold the process of the growth, development and transformation of Buddhist sculptural art in Mathura, Sanchi and elsewhere in light of religious, political and administrative developments?
We started working on the topic as per his guidance and advice on the issue by presenting and publishing our research papers in national and international seminars, conferences, books and journals, to know the truth and reality of the problem.
It is common knowledge that the subject is vast and voluminous, much has been written on it. Even now each year several research volumes are produced. But, why! What is so very special about this subject?
Just, because today we know so little about it. The scholars are still working on the issue around the world, but they are working only in their specific fields of specialization, but not undertaking interdisciplinary approach in the subject matter. The present book has been written with an interdisciplinary approach on the subject, taking into account of all the available published facts and figures of almost all the researches done so far by the expert researchers from different fields of studies for analysis under one roof, just to examine and understand the process of growth, adaptation, development and transformation of art form and various factors responsible for the entire process.
A the initial stage of the research work it was felt a necessity and need of the hour to present the Buddhist art, from the beginning to the time of the Kuṣānas, when the Buddhist art was almost developed; and reached to its zenith during the time of Gupta period. The present work deals with the emergence, evolution, development and transformation of sculptural art from Sunga to Kuşäna period.
The book is divided into seven chapters as briefly described below, to make it understandable to the common people and specially students of art history to appraise about the continuous and uninterrupted evidence of Indian Sculptural Art Heritage.
It deals with the emergence of the cult of stupa. It also includes the explanation of the symbolism of the cult of stupa from the earliest time to the days of Buddhism. The literary evidences of this has been found mentioned in Satapatha Brahmana, Mahāparinibban Sutta, Mahavamsa etc.
Much attention has been given to the Sarnath lion capital with special reference to its symbolic meaning.
1. The Buddhist art has been discovered as seen at Bharhut and other contemporary sites like Bodhgaya, Pauni, Sanchi Stúpa No. II, Katar (Musanagar, U.P. etc., In stúpa No. II at Sanchi a sculpture, carved in the medallion, has been identified as näga king Muchalinda.
2. It deals with more stylish and intricate phase of Buddhist art of Sanchi. An attempt has also been made to identify some unidentified sculptures carved in the stúpa No. I, for example identification of näga Sudarfana, Kämdeva and Rati.
3. It deals with the early sculptural art of Mathura discussing the early sculptures of Maurya and Sunga period. Factual descriptions of the sculptures of Buddhist, Brahmanical and Jain sects have been described in this chapter.
4. All the aspects of sculptural art, during the transitional phase have been discussed in this chapter. Transitional phase is evidently witnessed in the ayagapammas depicting symbols and jina figures.
5. It deals with the fully developed form of Buddha / Bodhisattva figures. Iconography of these figures were the result of combined features of ascetic and chakravartin elements except for halo which is the Iranian influence, and is known as ‘hvarr’ or the disk of divine glory.
6. We hope that in posterity the present research work in form of this book, will not only throw new light on the studies of Sungan-Kuşaṇa art, but will also help the students of art history in their further researches.
ABBREVIATIONS
ABORI – Annals of Bhandarkar Oriental Research Institute.
AEHSA – Archaeology of Early Historic South Asia.
AHC – Art History Congress.
AIIS – American Institute of Indian Studies
ASI – Archaeological Survey of India.
ASR Annual Report of the Archaeological Survey of India.
AUM Allahabad University Museum.
BM British Museum
BMAUP Bulletin of Museums & Archaeology, Uttar Pradesh.
E.I. – Epigraphia Indica.
GMM – Government Museum, Mathura
IAHC – Indian Art History Congress.
IAR – Indian Archaeology-A Review.
IAS -Indian Archaeological Society
IGNCA – Indira Gandhi National Centre for Art.
HC – Indian Historical Congress.
IHQ – Indian Historical Quarterly
IMB – Indian Museum Bulletin.
IMC – Indian Museum Calcutta
JAIH – Journal of Ancient Indian History.
JASB – Journal of the Asiatic Society of Bombay
JBORS – Journal of Bihar and Orissa Research Society.
JHSUP – Journal of the U.P. Historical Society.
JIH – Journal of Indian History.
JIM – Journal of the Indian Museums.
JISA – Journal of Indian Society of Art.
JISOA – Journal of the Indian Society of Oriental Art.
JPASB- Journal and Proceedings of the Asiatic Society of Bengal
JRAS – Journal of the Royal Asiatic Society.
JSAS – Journal of the South Asian Studies
JUPHS – Journal of the United Provinces Historical Society.
MASI – Memoirs of the Archaeological Survey of India
MHAC – Museum of the Haryana Archaeology, Chandigarh.
NMD – National Museum, Delhi
PTS – Pali Text Society.
SAA – South Asian Archaeology.
SBB – Sacred Books of Buddhists.
SBE – Sacred Books of East.
SMSASI – Site Museum Sarnath, Archaeological Survey of India.
SMHPS – State Museum, Himachal Pradesh, Shimla
SML – State Museum, Lucknow.
SMP – State Museum Patna
CONTENTS
VOLUME I
Foreword
Acknowledgements
Preface
Abbreviations
Diacritical marks for transliteration
List of Plates
Introduction
Chapter 1: Genesis of the Stupa Architecture
Chapter 2: Buddhist Art towards Symbolism (during 3 Century BCE)
Chapter 3: Buddhist Art during 2 Century BCE to 1″ Century BCE (with special reference to Sanchi Stupa No. II and Stupa of Bharhut)
Chapter 4: Buddhist Art of Sanchi Stupa No. I: Sculptural Assessment
Chapter 5 Beginning of Mathura Art
Chapter 6: Transitional Phase of Buddhist Art between Sunga to Kusana Period
Chapter 7: Development and transformation of Buddhist Art from Sunga to Kusana Period
VOLUME II
List of Plates
Plates
