Architecture in association with sculpture enjoyed the liberal patronage
of Kanishka. The style of this age is known as the Gnadhara. The forms
of Greek art were applied to Buddhist subjects with reasonable amount of
success. Images of the Buddha appeared in the likeness of Apollo and
Yaksha Kubera in the fashion of Zeus of the Greeks figures. The drapery
follows the Hellenistic models. This particulars style was later
transmitted to the Far-East through Chinese Turkista. The figure of the
Buddha in Chiana and Japan reveal distinct traces of the Hellenistic
modes of vogue at the court of Kanishka. Excavatations in the Kotan
(Chinese Turkestan) prove that it was the meeting place of four
civilization - Greek, Indian Iranian and Chinese.
The Kushan dynasty reached its apex-during the days of Kanishka, who
ruled over a flourishing nation strategically located to control to
gates to the rice network of trade crossing Asia. He even sent to an
envoy to the Emperor Trajan in Rome. Kanishka coins also reveal his
desire to live harmoniously with various people and religions within his
domain and beyond it. The elaborate
parathion struck on the face of his coins illustrates particularly the
various religions, practised beyond Gandhara-deities of Persia and Gods
of Rome, Alaxandria and the Hellanised orient and finally Shiva and
Skand Kumar representing brahminical India. The most remarkable image
appeared on a gold coin of Kanishka with standing figure of the Buddha.
The Gandhara sculptures have been found in the ruins of Taxila and in
various ancient sites in Afganishtan and in West Pakistan. They consist
mostly of the images of the Buddha and relief sculptures presenting
scenes from Buddhist texts. A number of Bodhisatava figures were carved
out. A figure of Gandhara shows the first sermon in the deer park and
the death of the Buddha. In all these figures there is a realistic
treatment of the body although it is
draped. In these sculptures there is a tendency to mould the human body
in a realistic manner paying great attention to
accuracy and physical details particularly in the presentation of
muscles, moustaches, etc. Also the representation of the thick bold fold
lines forms a distinct characteristic. Thus the Gandhara sculptures
offer a striking contrast to what has been discovered elsewhere in
India.
The Gandhara art primarily depicted the Buddhist themes. The mother of
the Buddha resembles an Anthenian matron. Apollo-like face went into the
making of a Buddhist scene. Perhaps one of the loveliest Gandhara
sculptures reflecting a western subject is the figure of Athena of Rome
at Lahore. This sculpture is made out of blue-grave schist, which is
found only in Gandhara. Although the technique of Gandhara was
essentially borrowed from Greece this particular art is essentially
Indian in spirit. It was employed to give expression to the beliefs and
practices of Bhddhists. Except for a few exceptions no Greek art motif
ahs been detected in the extanct specimens. The Gandhara artist had the
hand of a Greek, but the heart of an India.
There are large Gandhara stupas and monasteries survived as ruins at
Guldara in Afganishta. Later a votive stupa from loriyaan Tangai in
Gandhara has been found. If this is treated as the model of stupa in
Gandhara, the stupa has undergone great changes form great stupa at
Sanchi with its dome structure. It Gandhara the dome grew taller while
the square railing at its summit was enlarged and elaborated.
The greatest of all gandhara stupas as the one erected by Kanishka
outside the gates of modern Peshawar. Here also the stupa had not
survived but a reliquary (receptacle for relics) of Kanishka have been
found. One more such beliquary has been found at Bimaran in Afganishtan.
This particular kind of Gandhara style continued at least till the 8th
century. It was along with Caravan route joning Taxila with Bactria that
one of the greatest monastic centers of Buddhism flourished. It is the
Bamiyan valley. The paintings in the valley reveal the motives adopted
from Sassanian fabric designs. The most spectacular creation carved from
the cliffs at Bamiyan are two colossal standing figures of the Buddha,
the largest of them began as high as 175 ft. in its stone niche. It was
finished with lime plaster. The image reflects the Gupta style of early
fifth century. Above the figure's head are fragments of painting
resembling those created by Gupta Buddhists at Ajanta.
Stucco was a popular technique in Gandhara art. A large number of
monasteries of Afganishtan are decorated with stucco images. Also
terracotta was used particularly among those who could not afford stone
sculpture. Terracotta figures were also used as decorations in homes and
as toys. All these provide interesting glimpses of the dresses and
fashions of the time.
Another revealing features is the presence of the images of Mother
Goddess as the worship of this goddess remain an essential religious
expression of the ordinary people. Buddhism, too came to be associated
with fertility cult and other popular religious cults. This association
in evident from the symbolic importance of the stupa and the brackets
with female figures as to be seen at Sanchi. As a matter of fact, these
figures are sophisticated version of Mother Goddess images.
Apart from Gandhara sculpture appeared at Sarnath near Benaras. Mathura
on the Yamuna and 'Amravati' and in Andhara Pradesh. They all offer many
examples of excellent sculpture. Each of them has a distinct style. The
most well-known are the elaborate base
relief from Amravati. Over many years this form was pursued. Most of it
was probably execute in Huvishka reign.
Simultaneously with the appearance of Buddha icon in Gandhara Buddha
portrait based upon Yaksha model began to be created in the southern
worship or Mathura. This place was a religious center even before the
arrival of the Kushans. Under standably the Jains continued their
activities along with those of the Buddhists in the Kushan and Gupta
periods. Some scholars believe that the Mathura worship created a Buddha
icon at least as early as Gandhara. Close to Mathura is a sanctuary
consisting of stone figures of Kushan rulers and deities. Only mutilated
aculptures are recovered. They are carved from sikri sand-stone which
is red mottle with cream spots. Two great fragmentary protrains are of
king Vima Kadphises and standing king Kanishka. The garments worn by the
Kushans can be know from these two pieces.
Apart from creating the Buddha figures in the form of Bodhisattva the
Mathura school did produce the master-piece of Buddha in the mid 2nd
century. It is carved from the local sand-stone and it is a sitting
figure. Unlike the majority of statis Buddhas of Gandhara wropped in the
toga-like sanghatis this Buddha of a warmer clime is dressed as a true
Indian wearing transparent muslim garments. Such like transparent
textile being shown in a distinctive Mathura feature.
Some hold the view that the Buddha image was evolved independently both
at Mathura and Gandhara since there is a striking difference between the
two. The Gandhara school laid stress on accuracy of an actomical
details and physical beatury while that of Mathura strove to impart
sublime and spiritual impression to the figures. The first was realistic
and the other idealistic.
Others hold the view that the Hellenistic artists of Gandhara are the
earliest iconographers while others attributed to the sculptures of
Mathura. However, it is generally held that sculptures made by the
former have been reckoned as those belonging to the gandhara school,
while those made by the latter have bee ascribed to the Mathura school.
It is probably that images came to the made and almost simultaneously by
both the schools. For the sculpturala and iconographic features of
their products differ in essential details.
