Mauryan art and architecture
(Relevant for Historical Section of General Studies Paper Prelims/Mains)
The renowned Mauryan monarch, Ashoka, adopted Buddhism as a component of the shraman tradition, and the extensive missionary efforts of Buddhism during his reign significantly contributed to the evolution of Mauryan sculptural and architectural forms.
During the 3rd century BCE, King Ashoka supported the shraman tradition.
The shraman tradition encompasses various Indian religious movements that existed alongside, yet distinct from, the traditional Vedic religion. This category includes Jainism, Buddhism, as well as other movements like Ajivikas and Carvakas.
Background
- In 321 BC, Chandragupta Maurya, aided by Chanakya (the author of Arthashastra), established the Mauryan dynasty by overthrowing the Nanda Dynasty.
- The Mauryan Empire stands as the first and most potent Indian realm that united the entire Indian subcontinent under a single rule.
- Under the leadership of Chandragupta Maurya, the boundaries of the Mauryan empire extended into Central Asia and Persia.
- Expansion of the Mauryan Empire: Following Chandragupta Maurya, his son Bindusara assumed power in 298 BC and expanded the realm across the majority of present-day India, with the exception of Kalinga.
- Mauryan Dynasty during Ashoka’s Reign: The kingdom of Bindusara was inherited by his son Ashoka the Great in 274 BC.
- Invasion of Kalinga: During the Kalinga campaign, Ashoka underwent a transformation, renouncing violence and adopting the principles of Ahimsa (non-violence) and Buddhism.
Mauryan Art and Architecture
Mauryan Art: Implies architectural works (in the form of pillars, stupas and palaces) commissioned by Mauryan rulers for political as well as religious reasons.
Palaces
- The renowned Greek historian Megasthenes marvelled at the palatial structures of the Mauryan empire, considering them among the most remarkable achievements of human civilization. Similarly, the Chinese traveller Fa Hien referred to Mauryan palaces as divine wonders.
- Influenced by Persian architecture: Chandragupta Maurya’s palace design drew inspiration from the Achaemenid palaces of Persepolis in Iran.
- Choice of materials: Wood constituted the primary construction material employed during the Mauryan Empire.
- Illustrations: Notable instances include the Mauryan capital at Pataliputra, Ashoka’s palace at Kumrahar, and Chandragupta Maurya’s palace.
Pillars
Ashoka pillars, often crafted from Chunar sandstone, held immense significance as symbols of the state within the Mauryan Empire.
Purpose: The primary aim was to propagate Buddhist ideology and the decrees of the court throughout the expanse of the Mauryan domain.
Language: While the majority of Ashoka pillar inscriptions were in Pali and Prakrit languages, a few were also composed in Greek or Aramaic.
Architectural Elements: Mauryan pillars featured four key components:
- Shaft: The base consisted of a lengthy shaft constructed from a single piece of stone, forming a monolith.
- Capital: Positioned atop the shaft, the capital came in either a lotus or bell shape.
- Abacus: Above the capital, a circular or rectangular base known as the abacus was situated.
- Capital Figure: The capital figures, often depicting animals like bulls, lions, and elephants, were dynamic and sculpted to stand on a square or circular abacus.
Similarities with Persian (Achamenian) Pillars
- Refined Stones and Decorative Patterns: The employment of polished stones and the presence of shared sculptural motifs like the lotus can be observed in both Mauryan and Achaemenid pillars.
- Announcements: The concept of engraving proclamations (pertaining to Buddhist teachings and court decrees) onto pillars, as practiced by the Mauryan Empire, draws inspiration from Persian pillar inscriptions.
- Shift in Perspective: The inscriptions of both empires initiate in the third person and subsequently transition to the first person.
Differences with Persian (Achamenian) Pillars
- The Capital Figure: The elaborate capital figures seen in Persepolis pillars are absent in the Mauryan pillars of the Kumhrar hall.
- Shape and Decoration: The shape of the Mauryan lotus differs from that of the Persian pillars.
- Pillar Surface: While most Persian pillars exhibit a fluted or ridged surface, Mauryan pillars have a smooth surface.
- Architectural Design: Achaemenid pillars are typically incorporated into larger architectural schemes, often being complex and intricate. In contrast, Ashokan pillars are simple, freestanding structures.
- Shaft: Unlike the Mauryan shafts, which are constructed from a single piece of stone (monolith), Persian or Achaemenid shafts consist of separate segments of stones stacked on top of one another.
STUPAS
Stupas, which were prevalent in India since the Vedic period, were burial mounds with a significant architectural presence.
Architectural Structure: Stupas feature a cylindrical drum, a circular “anda,” a “harmika,” and a “chhatra” atop.
- Anda: The hemispherical mound symbolizes the dirt mound used to cover Buddha’s remains, with many stupas containing actual relics.
- Harmika: This refers to the square railing positioned at the top of the mound.
- Chhatra: The central pillar supports a triple-umbrella structure.
Materials Utilized: The stupa’s core was constructed using unburnt bricks, while the outer surface consisted of burnt bricks, covered by a substantial layer of plaster. The toran and medhi were adorned with wooden sculptures.
Examples: Sanchi Stupa in Madhya Pradesh stands out as the most renowned of Ashokan stupas. The oldest one is the Piprahwa Stupa in Uttar Pradesh. Stupas built post-Buddha’s demise include Rajagriha, Vaishali, Kapilavastu, Allakappa, Ramagrama, Vethapida, Pava, Kushinagar, and Pippalivana. An example from Bairat, Rajasthan, showcases a grand stupa featuring a circular mound and a pathway for circumambulation.
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