Describe the main feature of gandhara,Mathura and Amravati school of art
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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.
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 325 to 600).
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. Images of Vaishnava and Shaiva faiths are also found at Mathura but Buddhist images are found in large numbers. The images of Vishnu and Shiva are represented by their weapons. Images of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities and portrait statues are profusely sculpted.
Theme may vary from Buddhist to Brahmanical to sometimes secular. Several Brahmanical Deities were first crystallized by this school.
In these sculptures, Buddha was depicted as Human and the main theme was Buddha and Bodhisattavas. Both sitting and standing posture of Buddha’s statues were carved out in the Mathura school. Buddha image at Mathura is modelled on the lines of earlier Yaksha images whereas in Gandhara it has Hellenistic features.
A Bodhisattva, 2nd century, Mathura
The Jina Image and Indigenous style of Buddhas image was a remarkable features of Mathura art. The Sarvatobhadrika image of 4 jain Jinas standing back to back belongs to the Mathura school.
Jain sarvatobhadra
The Standing Buddhas of the Sravasthi ,Sarnath and Kausambhi belong to the Mathura School.
Standing Buddha, 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.D., Katra mound, Mathura region
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
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.
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 325 to 600).
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. Images of Vaishnava and Shaiva faiths are also found at Mathura but Buddhist images are found in large numbers. The images of Vishnu and Shiva are represented by their weapons. Images of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities and portrait statues are profusely sculpted.
Theme may vary from Buddhist to Brahmanical to sometimes secular. Several Brahmanical Deities were first crystallized by this school.
In these sculptures, Buddha was depicted as Human and the main theme was Buddha and Bodhisattavas. Both sitting and standing posture of Buddha’s statues were carved out in the Mathura school. Buddha image at Mathura is modelled on the lines of earlier Yaksha images whereas in Gandhara it has Hellenistic features.
A Bodhisattva, 2nd century, Mathura
The Jina Image and Indigenous style of Buddhas image was a remarkable features of Mathura art. The Sarvatobhadrika image of 4 jain Jinas standing back to back belongs to the Mathura school.
Jain sarvatobhadra
The Standing Buddhas of the Sravasthi ,Sarnath and Kausambhi belong to the Mathura School.
Standing Buddha, 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.D., Katra mound, Mathura region
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
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The most distinguishing trait of these schools is that they were all independent of one another while being inspired by Gandhara.
Explanation:
- The Yaksha and Yakshi sculpture forms were initially preserved by Mathura artists until a human image of Buddha appeared.
- In Gandhara, India's northern border, Indian crafters encountered Central Asians, Greeks, and Romans.
- Beyond Mathura, as far as Amaravati on India's east coast, the usage of Greek scrolls in association with Indian deities may be sensed. Greek chariots carried by four horses were among the other motifs uncovered in the same area.
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