shoulclcrs p.rrt of drc gll lrncl sLrir-oun.1inq rhcclsket. Io cit ircr sit le oi rhe prince lrrri lbovr:thc g:rrl:rrrcl. :r lc l-rgrrrcs LhoughL 1o Lrc the divurclttr-rldrnts lncl solrr: ruil lLrrr:rr J.-ir ies. Miiroenri Meo,, orc- oi rLhorrr pl,rccs .r r",.rcudr on thcliclcl oi thc Kusrurr princcll ,qurc vhil.: rhcother- cirrr-ics ir \\ 're.uh in hL l iqlrr hrnr1. Thcp1:rccmcnt ot t lr,.: u-rcrth on thc Lcr.l ,rt th.rp r i t rccLv t rgurc i s r s r r r rbo l o f r l i v inc l i i qJ r iprn( l sLrgq{s t \ th . r t t : l i rn r .n t o i - r r rs l i c . l ] r i r l ( r . \ .\ . l . ' t l . , , l ' \ . n ' J t , " t . ' l . ;

(of Krniske?) is shol 'n tr lrrsccir. iurg r lrr : orLru-clanc rcl lrrr l1r( l cl lLcri l rq into thc re: i l trr ol rhct l ivinc. Ihc LrrclLrlering l in.: oi the grrr lrurd

clcrr l l ' 5qp11111'5 thc divinc f iqurcs of thc t l lccI luclclhls, lnr lre, 13rehnri. Mii lo,:rnrl M.ro |-,rrnthc munclanc lcvcl bclorv conreininq thc rorr ll i rgurc and thc erotcs. Ciccsc. sunbolic of r lrctr lr isccl. lcnt lcl lm :111!l a mori i l -oLrlrr l ln ln( l icxrt xf lcasf si lrcc MrLdvr t irrrc\, plocca.l i l t xcloct l isc dircoion rr:ould thc c.rsLct 1id hol i l inq1!fcrths.

Most oi thc rurviving scLri l ' tLr lcs lrom thenorthlvcst rcgrorr cl l t inq i ionr rh,:1-{LLsrnr pcriodarc nradc oi stonc.

' lhc r-. tst r lrxjof i t \ ' ol thrse

lvcrc 1nx(lc in thc scrvici oi rhc l lucldhistr , : , | l . M r \ . | " ' r ' ' , ^ i f " , , . , . .

bclorqccl to corrrplcx iconoqrlphic scir, .nrcs,

somctiorcs :rs prrt of l f . :hi tccttrr:Ll dccorlt ion b!toftcn rs prrt ol slr l inc -r iroufi i r .qs. In thc nrLjorin-

of c:rsr:s, bo'"r 'cr 'cr. thc origin:r l conic\ts ol thc\crr,ork\ hlvc Lccu 1ost. lcevirr-9 e f irr lnicntcLl

ovcrvicu' of thc icorroqr:rp1rr oi rLc pcrio,,1

sccn Irrqclv throuqh -,rh;rr erc ro..r isolercdari:uIPle !,

Strrrcl ing l lLrt | lhe i luqcs l lc ouc of [hc nrosL

colurorl sl lbjccts r lcpicrcrl in lJ:rctro (hori lrur

:1r ' t ol r l ic Kusine pcriocl. Mln1. Lri rhc f iqurrsshou e rcnrrrkrblc colrforlr i t \ i r 1.o5". aurru,rta,

t tdtn, la[!dl1ns. lrrc] othcr chroctcrisr: ics. Atvpic.r l cr lrnplc slrol,s e BLrdrihe surni l ing,b:rrc' foot, lncl l r i th onc lr-r l sl i -rqlrr1r bcni bt iLothcrlr isc in ;r gcrrcrr l l r . f iontt1 nrlr-nct i l iq.S . ro ) . l I c sce rs : r r r l hc l hc i l l y r obc t he t covc r :borh shoukl. ' rs. His lcft l renrL is Jon-n .rndscc r r s ro l l r l d l u l t o i h i s g i r f r ) ) cn t \ \ h i l c h i r f i qh thenri. nol lrrof,cl . ;Lpprrcntl l ci ispL.l L:r l , : l / ra1orrirdrr. Arol) his lrcecl is l t is rr-srrt-r,r . i le r i clrs no

- j cuch l o r - o t i r c r f r i l l a c l v ( ) i n rn r . 1 r r s . Ho l c , , c r ,

N()Jt I l l t t t f t : . . ; i l )1\s t .NLrt : t t HE LLIsa\- ,1s . t 2?- i

r t i S i : , r J i : , g i l L r d L l h . r . F r ' , : l ] r . r r ( , ( ; i u , ( i l , i , r , , , g : . n .

I i r i r : r r i r K n i r J r : r t ' . r i , , J ! . l r i ' f . l l : c . r . r ; o c r r r . L r h o r - '\ l 1 r r c , , , , r . I - r h o r .

i - . . . .

1 ' '&ft,..l:',a l-s. ' *- i .

, , ] .

. . . -

li

iI

I

Itiillrl,

r:6 pruoo oF THE EARrY DYNASTIES

8.rr. Standing Buddha. Frorn Bactro-Gandhara region,Pakistan. Kusana period. Schist. H: ca. 55 crn. IndianMuseunr, Calcutta,

his elongated ear lobes are a remnant of a for-

rner or earlier phase ofexistence as a bodhisattva,

when healy ornaments would have been worn.

As a symbol of renunciation of the material

world, the elongated ear lobcs are an almost

universal feature of Buddha images. Behind his

head is a halo.These characteristics, and others, can be seen

with great regularity arnong the Buddha images

of the Kupqa period from the Indic northwest.

Yet it is unlikely that all these figures are rePle-

sentations of the same individual or the same

event. A number of specific Buddhas are named

in Buddhist texts that were current dudng

Kusdna times, but unless there are interpretable

idenriFying features on tlte images. it is im-possible to be certain which Buddha is being

shown.ro Such uniformity, indeed, rnight be

expected in the depiitions of beings who sym-

bolize the attainment of a nondifferentiated

state of perfection. Yet an understanding of the

individual identities is important to properly

interpret the Buddhological message. Such

8.r2. Seated Buddha. From Loriyan Tangai, Pakistan.Kultqa pe od. Schist. H: ca. 6o crn. Indian Museum,Calcutta.

meanings might have been provided by theoriginal contexts of the images. Sometimes,scenes of sculpted figures or symbols are carvedonto the pedestal upon which the figure stands,and these may provide clues to the identity ofthe Buddha. In this example, a number ofdevotees worship rat a shrine that appears tocontain an incense offering. But irs meaning.orher thrn as a general acr o[ devorion. is un-certain in relationship to the Buddha image.

Despite the relative iconographic conformityof the Buddha figures, Bactro-Gandhara imagesdisplay a great variety of stylistic characteri-stics. This carving, for example, displays asignificant debt to the classicistic tradition ofHellenistic and Roman art, though whether itis the result ofthe general western Asiatic culturalrnilieu or a new infusion from the Mediter-ranean world is unknown. Classicistic featuresinclude the heavy, three-dimensional folds ofthe drapery, which contrast strongly to the morediaphanous, clinging styles of the Indic regions.Mediterranean models might also have been a

z

I

8.r3. Seated Bud<lha. From Loriyan Tangai, Pakistan.

Kugelre period. Schist. H: ca. 60 cm. IncLan Museum,

Calcutta,

source for the regular, well-defrned facial Gaturesand warry hair style. The bent-leg posturer afeature found widely throughout the Bactro-Gandhera realrns, might be ultimately traceableto the classical contrapposto.

A second example, while yirtually identicalin format and the depiction of the Budclhafigure, is strikingly different in style (Fig. 8.rr)'The most noticeable dif,erence is that this 6gureis much shorter and stockier in build tban theother. The "four-heads high" proportions, whenstudied in light of the stylistic evolution in theMediterranean and related worlds, would sug-gest late Roman models and a significant dis-tance in time from the imperial Roman styles.In addition, the hair is shown as a series ofstriations rather than curls,

Seated Buddha representations, another verypopular mode of depiction during Ku9a4atimes, also show similar sry)istic variations, asdemonstrated by three strikingly distinct ex-amples (Figs. 8.rz-r4). Although there are dif-ferences in hand positions, since the first examPle

NORTHERN REGIONS UNDBR THE EUIANAS 1'7

8.r4. Seated Buddha. From Bactro-Gandhtra region,Palistan. Kuga4a period. Schist. H: ca. 75 cm, LahoreMuseum, Lahore.

is represented in dharmacakra muha, t teachinggesture, and the other two are in variants ofdhyana nufun, a meditative gesture, this does

not negate the differences in style. Figure 8.rzis decidedly classicistic in type, especially in thetreatment of the facial features and the warryhair style. A muscular body, in keeping with theclassicistic norm, is indicated by the bared rightarm and the torso beneath the drapery. (Thegarrnent, which leaves one shoulder bare,though less common than that that covers bothshoulders, is widely found in Bactro-Gandharasculpture; its origin is not known and it is pos-sible that sectarian distinctions were indicated bythe different ways of wearing the monks' robe.)Figure 8.r3 has a fuller, fleshier face, a curledhair style instead of the waves, and somewhatmore regularized and shallow folds to his gat-ment. The third example(Fig. 8.14) is yet anothervariant in terms of the rendering of the drapery(here shown in very finely pleated folds), in facialtype, with Iranian-style mustache and ratherfull ears, and in hair style depicted in wary lines

' L e I r n t ( ) , r ' t t , . | \ n ' I D \ \ \ \ t )

thlt cntl in rhe clustcr of curls ol ' thLr l-{ris.7.Whilc such dilTe'r 'enccs in stvlc lrc crsily ob-

. c r v . . l . t l . ' . . r r r . . . r . . l i F r , , . l r t ' i r r . r p r , t r r l r ,l ; l . . . " " . , . r L , , ^ " I . r " . r . i , . r i h r ' - . , r . , 1 . .thet comprises thc rcgion iu1r1 its l lctcrogcllcoLrs. ' r l t l r l r r , r i . q , . . r r . . l r l t ' r . . r l r r , , r ' . s r , . r l , . 'rnri i lc.l stylc coul.l hrve i:xisted. Tn etldirior,r,vhilc ir is conurloll pri lcticL- for lrt historirins tors\ign tl le m:5olity oi rvorks ti-oru this rcgionend lpploxirnatc pcrio,:1 l qencr:rl . l i te of thesccond to thc thircl ccrturics A.r)., i t is l i lcl\.dr.tvcr)' spccitlc cirronoloqicll . lcvelopmcnts oc-

. . . . r . . : , r . . . . - a , i . t r . , rk r . . [ ._nrorrl l. essiqrrccl to ti lc I(os:ln:l pcriocl milt-in{ict luvc bccn protlucts of Srkr-Parthi: irr t inlcs,rvhile othcrs undoubtcdlv rc cct tuclit iorrsprcvrlcnt:rftc.r the Klrslrnl empirc rves cclipsed.Other lectors, such es rcligious scctlrirnisln:rndrhe l-Leutl of individual artists, rnsy .1so :rccollrltfor somc of thc dil l i lences in artistic stylcs.Thcrcforc. rvhilc onc cil1l irlclcL.d distinguish$,'orks of art f i on1 the Kus;rnl pcriocl in theInrlic noltltl'est lrorr rvorks pro,:lLcccl clscrvhcrcirL South Asil. virri:Lti(n\ rvithin thc bro.idlvdefln.-cl school occur. Thcsc nrrv bc visibler ( c o . . l . ̂f t l r c l r ' . t n r y " f r l ' . . . l . ' r d . . ' . ' . k i r r : -the advent oincr,v pcoplcs i lto thc rcqion or thcprcsclvitt iolr of l l lcedv . 'steblished treditions.Yct ir sri l i [c1li.] ins to tr.cc such inllucnccs.

l locLhislttvas courprisc lnothcr importent rub-jcct in I).rctro-Gurrclhan sculfturc. Aldroughorl thc sinrplcst lcvcl, hv dcvotccs nl:rv bcconrc-bo.l l isrttv.rs bl ' r.rkinq i1 \ 'o\ '. thc boclhisrrrvrssholvn in :rrt lre rrra/rasaftla bodhisettvls endrcprcsclrt d1c iult i l lnrcDt. rrot thc bcqil lr l i l1gstrse. oi bodhisrttvehood. IiLc lJLr.1clh.rs. thcs,::nul. ' f i .qr,ucs n1i1l_bc sho\1:n srrl. l irrg or sclrccl.' fhe mosr popul:rr bodhisern'r s]ro\.n in Kus:ine-pcriorl rrr of lhc nor-tltr ' .:st is Mritrcl '1, thc pcr-sonitrcrrion of lovc. AlLhoLrgh ,rl l boclhis.rrLvrslrc by .lcfir it ion futurc l ludtlh:rs, Mritrcle'sIlrrclclh:rhooJ ir consiclcr-ecl to bc inlmirlcnt. t i)r 'hc is ro sncccccL (ekylnrLuri is lhc 1rc-\t lrortxl(n;rrrisi) Rurldha. I lcceusc o{ his impcndirrgllLrdrlh.rhooJ. Mlitrcl.r is sonlctinlcs shorvn inlrt es ,r RLr.l. lhe, or. i1s ir l r(-pr:cs!'nti1!iol1 tronlTrkht i- l3rhi (Fig. s.r5). jn thc tornr of l bodhi-suttv.r. i- ikc rn;1ry othcr boclhisrrnrr fr_om rhcnortlr\\ r 'sl r-..-qion in gcnclxl. the trgurc tc.rrs lt

Ir i . Bo.lhLsxrtv.r \1:r i trcr 'r . Fron) lrkhr- i- ] lxhi, PrkF\f lr . KLr\aDr pcriod. Sdrirt . H: 2oS \ .r ir . Lrhore \4u-

r//ror;- l ikc lou.cr qarlr lcnt. His torso ls brrc-

.r i though hc- * 'crrs e shetl l ik i ' lenqth oi cloth

ovcl lr is shoulclcr. His . j . \ 'c l f) ' bc{i ts bis rcgal

strt iolr xs e bocl l i is ir l lva 1l l lc l inclucLcs ncckleccs,

ciurir iq!. rrrrrb. lD(ls. :rncl luir omenlcrl ts. Inqcncul, bocLir islrn-es ]r;rve uoLc cl lboratc lr l i i r

snlcs th,rn Llud.lhes, oltcn cher;rctcrizcd in this

r lorth\restcn lcgion br, locl is of hrir fal l ing

:LronntL drc shoul. lcrs. rs s.cn hcrc. As higl iy

pcrl i 'ctcd bcl lgs, borlhisrrtvrs disph,v nr;rny of

thc /al-vao-, elrl othcl spcci:rl ch:rracrcristics of

BLrrldhls. This fr-qLrre, 1ir c-. lnrplc, hls al r iraa

,ut l s ' ]ut rn:rt_bc an r isrrt-rrr ls rvel l :rs e lurlo.

Whilc rhcsc chelectcr- ist ics rulr.bc sharccl b, l '

r l i l l i ' rent boclhisettves ,rncl eppcer * idcly in

surviving images, bodhisattvas also have in-dividual idcntitics that are important to anunderstanding of their Buddhological meanings.Distinct bodhisattvas might be recognizablebecause of symbols that appear in their head-dresses, attributes that are held in their hands,and sometimes other charactcristics. These dis-tinguishing fcaturcs became incrcasingly codi-fied as the Briddl.rist religion developed, althoughduring thc Kusana period, the use of whatappear to be generic synbols makes it difficultto identify the figures in every case. The vaseheld in Maitreya's left hand, for example, isalmost exclusivcly characteristic of hin; how-ever, the abhaya uudra of the now brokenright hand is also characteristic of many of thebodlisattvas shown in Kuga4a-period art.

The style of this image is strongly classicistic,reflecting the cultural heritage of the Gandhararegion in particular. This is especially visible inthe muscular torso, a Gature that suggcsts strongaffnities with thc Graeco-Roman tradition. Thefigrrre stands with one leg benr in a ror-trapposto-hke pose and his heavy drapery alsosuggests ties to the late Hellenistic world. LikcBuddha images and other subjects, however,images of bodhisattvas display a great variety ofstylistic types that are the result of a number offactors, including the speci{ic school of theregion where they werc rnade and thcir periodof production.

Another important Mhasaftra bodhisattvain Kusana-period art and, indeed, the urostpopular in all of Buddhist art, is Avalokite(vara,the personification of compassion. This bodhi-sattva has rDany names and takes nunerousforms. He is often shown as Padmapani, "Bearerof the Lotus," as in an image fromLoriyan Tangaiin which he holds his characteristic lotus in hisleft hand (Fig. 8.16). Thc figure is dressed intypical bodhisattva garb. His turban is a signof his royal nature, for like crowns, diaden.rs, andothcr headdresses, turbans are widcly used in thegarb of princeiy figures. Like many bodhisartvasdepicted in Bactro-Gandhara imagery, the fig-ure wears sandals and has a mustache. Neitherof thcse features is characteristic of Indic art ingeneral. Their popularity in Kr.rsana-period art

. of the northrvest is generally attributed to

NORTHERN REGTONS UNDER THr KU|ANAS lrg

8.16. Bodhisattva Avalokiteivara (Padmapani). FromLoriyan Tangai, Pakistrn. Kust+a period. Schisc. H:ca- 66 cm. Indian Muscum, Calcutta.

Mediterranean, Iranian, or other non-Indicaspects of western Asiatic culture.

Another feature of inrerest in this image isthe position in which the bodhisattva sits.Postures like this one and others in rvhich one orboth lcgs are pendant arc generally thoughtto denote royal ease. ln this way, they may becontrasted to the more forrnal, urcditative legpositions in which the legs are foldcd up in oneofa number ofways. Furthermorc, the pendentleg postures are usually associated with western,or perhaps western Asiatic, radler than Indictraditions. It is possible that the pendent legpositions arc rclated to royal imagery broughtin with the Kusdnas, such as thar seen in thestatue that may represent Vima (Fig. 8.2).

Thc preeminent Buddhist personage in theKusdna art of the northwest is Sakyamuni, whois depicted in both his bodhisattva and Buddhastages. His bodhisattvahood may be de{ined ashaving thrcc stages. Thc first occurrcd over

'4O PXRIOD OF THE EARLY DYNASTIES

many lifetimes and is rccorded in the jatuka

tales. This stage dcmonstratcs his perfection ofmerit, which prepared hirn for eventual Bud-dhahood. The sccond stage is defined by hislife in Tupita heaven, where he dwellecl as a fullypetfectcd nahdsattrra bodhisattva, awaiting his{inal birth. The third stage occurred during hislast life and includes all of his preenlightenmentactivities. Tlis stage is viewed by Buddhists assigni{icantly beyond the first trvo stages, sinceit n.rarks the {inal preparation for Buddhahood.During this third stage, he is known by hisprinccly name, , Siddhartha, prior to the enlight-enment, and Sakyamuni (Sage of the Sakyas)only after he had achicved Buddhahood.

A few Ku9a4a-period irnages from the north-west depict the jatukd and Tusita phases ofSakyamuni's life cycle. However, by far thegreatest emphasis is placed on the last life duringboth the preenlightenment and postenlighten-ment phases. In general, such life scenes werepart ofcycles of reliefs that together revealed themessage of Sakyamuni's life, which was beyondthe significance of any individual event. Today,however, most of the carvings are known onlyout of context and as isolated examples. Theepisodes depicted may be based on the Diuyaua-dana, the Lalita stara, ot other canonical Bud-dhist texts current at the time that recordportions of the last lile of Sakyarnuni. Other,noncanonical texts on the life of the Buddha,such as the Bud,lhacarita ar'd the Sawtdara Nanda,both courposed by Aivaglroga, who lived in thenorthwest around a.p. roo, refect the greatinterest in the subject in western Asiatic Bud-dhism and may also have served as secondarysources for the art. It r.uay be suggested thattlrc emplrasis on Sekyamuni as a personage inthis region rnay be related to the Act that theinhabitants ofthe northwest were not necessarilyinhcrently predisposed to many of the broadphilosophical presuppositions of Indic society.In the Indic context, the existence of Sakyamuniand the cyclcs of births he underwent wereseen as only one rnaniGstation of the csscntialorder of the universe and its inevitable processes.In the hcterogcneous society of the northwest,with its n.ixed religious milieu, the life ofSakyanuni itself may have served as the most

8.r2. Birrh ofSiddh.rtha (Sekyamuni Buddha). Possiblyfrom Guides Mess, Mardan, Pakistan. Kuger.ra pedod.Schist. H: 66 cln. National Museurn, Karachi.

eloquent demonstration of the Buddhist dharna.L\

, Along with the expected major events inSakyamuni's liG, numerous lesser events aredepicted in the art, suggesting that narrativecompleteness was a major concem of the crea-tors. A remarkable standardization in terms ofcomposition, pose of figures, and other detailsfor each incident in the Buddha's liG, sr.rggeststhat the iconography of dre individual subjectswas established early in the liistory of suchdepictions, perhaps even prior to the stone-working stage. In spite of their iconographicsimilarity, however, these scenes show a widevariety of srylistic traits, like other sculpturesfrom the northwest.

A typical representation of the birth of Sid-dhartha shows his mother, Queen Maya, grasp-ing a ial tree, with the child emerging from herright side (Fig. 8.r7). Indra, nimbused and inprincely garb, receives the child as it is born,while other attendants witness the scene. Asecondary event, the taking of the seven stepsby the newborn child, symbolizing his supre-macy over the world, is indicated by the presenceof the small, naked child, replete with halo,standing just next to Indra's knees. Maya's pose,as she grasps the tree and stands in a ratherrelaxed posture, is reminiscent of tlb;adevata

II

8.r8. First Mcditxriorl of Siddhrtha (Sak-r,'arnuni Bud-dha). Fror]1 Mound C, Sahri-Bahlol, Pakistltll. Kui.4apcriod- Schist. H: 68. j cnl. Pcsh,war Muscum, Pcsht-

8.r9. Grcat Dcprrnrrc of Siddhardra (Srkyanuni Bud-dha). From Loriyxn Tangai, Pakistan. Kusana pcriod.Schisr. H:,18.j cn1. Lldiar MuseLrm, Calcutta.

NORTHIRN REGIONS UNDXR THE KUIANAS ]4]

{igures in Indic art and it is likely that son.reoverlap in neaning is inhcrent. As in thc cascof many Buddhist subjects, :r symbolic levcl,bcyond thc narative or descriptivc level, isintended by thc birth incident. Tirus, M-ya,whosc n.ne is identical with thc pliiosophicalconcept of the illusory nattre of thc physicalrvorld, as the mother of the potential Buddha,seems to be a deliberate rcfcrcnce to the causationof all birth ancl thc rcalm of sath:;atu.

The narrative seclucnccs in thc art of drcnorthwcst are often very dctailcd and scenessucir as the visit to thc fortune teller sirortly aftcrthc birth of the bodhisattva ancl otl.rer sccncsfrom his childhood are comrnonly represented.Onc important event was thc boclhisattva'sfirst neditation (Fig. r.ri). While sti l l a youngman living at his fathcr's palacc, he rvasbrought to sit tncler a rosc applc (janbu) ttee,wl-rere he was to witoess a ploughirLg conrcsr asrcprc .cn tar ivc [o r r l ' e k ing . WI r i l c s i t r ing . l rcpracticcd yogic breathing and attained his firsttrancc. Whcn his attendants rctumccl some timclater, thcy noticcd tl.Lat the shadows of the othertrees nearby had movcd, but tJrat of thc jarrrlrtree had remaincd statiolary over thc mcditatilgprince. When l.is fathcr was toid of d.ris, he paidreverence to his son. In this rcprcscntation, tirisspecific nrcditation is indicatcd by thc janfuutree abovc thc hcad of thc bodhisattva and theploughing scene at the lowcr right. The maiufigurc is dressed in typical bodhisattva garb andi ' Jcp ic ted in tJ r , l r ig l r l y c l r . ' i c i . r i c . t y lc , l r . . r -, rc tc r i . r i c o f rn r rch o f r lLe lo r r l ruc . t reg ion . r .seen in the muscular torso and heavy drapery.His act of lncditation is indicatcd by thc r{hyanantdra of his lrancls and thc uajraparyaikasana ofhis Iegs.

Anorher in rpor t . rn t p rLcn l ig i r fe r I l renr (vcn t i sthc Great l)eparttrrc (n ahaLh i ni skr a n a n o), wltcnthe bodlisattva left the palace after havingresolvcd to seek truth and knowledgc (Fig.8.r9). Tlis decision camc about after he hadseen on four clilTereut occasions a sick man, anolcl man, a dead n-ran, and an ascctic. These fourvisiotrs are usually refcrred to colJectivcly as theFour Sights. The {irst thrcc "siglrts" causcd thcbodhisattva to rccognize the transicnt and frailcondition of lifc, rvhile the fourth set out a

1,72 l l lRlOD Or TI IL l r \ I t lY l )YNASTIIS

possiblc !rrth \vhcrebl' thc rrn!icncc of ihr-rrnivc-rsc lrl ight bc ovcrcoruc. Lr rha dcfxrturLlsccrrr-, thc boclhis.rtn'e is sho\,n rit l inq hislavoritc horsc, rvhosc hcrovcs rrrc bcing bornceloft bv r/r 'r,,rs to silcnce rhcir noisc so tlr lrt thcclepllturc lou]rl not be clcrcctcJ. I Ic is rttcndcd br-Irr,:1rl (rvho holds e r,,r7ra rnd st;rnrls tothc icfi of t ltc horsc), l3r;rhrl l (strrrclirrg ro thclcfi of Indr:r). :rncl othcr hcevcniv dcvotccs. A\sLich. thc clt-piction cottri lsts stro[gl\.wit]r thc"rccnlc!Drctrt" sccnc oIl thc f(rl.drat it Sxrrc1(F is .6 . ro . LLppcr ) .

Otrc ol thc nlost clrxllr irt ic visuel contribntionsof thc [ortl lvcstcrn ert sc]rools to l judclhist artis thc dcpiction of rhc b,rrlhis.rtrr '.r i lrrrir iq rhcpcriod of his crtrcnrc rsccrici!nr (Fiq. S.:o).This occullc.l prior ro his cnliglrtcnmcnr end]crl to his dccision to c\pollsc thc rloctl inc oi thcMiddlc W.rv, l peth bL'ts'ccn lLrrLrl ions inrlLrl-, t \ ' r r . f . r r r . l . \ . l ) ) ( . i D U l t , r . r r r . ' r . R . I ' t . . 1 , . r i , , r . .

oi tlLc bo.lhisettv.r i1s ;rn curilci.ltc(r :1sc:('rlc irrcl | . r r l i ' . n l i r r t r , l r l r . p r . r . . r r q , r r , r . , . . I t r

sccl)r t() l l i l lc Lrccn iL] lportent rDtinly iD ther " r r r \ \ , r . l r , ' . r r . , r . , . r . r . . t r i . r \ 1 1 \ \ . . \

tr l rsnri t tccl to Irst Asi l . I{cr-c-. r ] ic prccl i lcct ioutolards classicist ic rcxl isln \o prcvelcnt i tr thcert of rhc Dorth\\:estcrtr Kus:rna rce]nrs rclclsJri l ln:r to rhc cxcrcul ion of thc- ck:tei ls of thcskc]ctoir. t l lc strLlctLrlc of thc ncck. enrl thervrsred 1lc-sh oI t i rc borlv. T]r is dcrr i i lccl. elbcitcurpir icr i . knorvlct lgc of erl i i tornv contr i l )urcsr ' r , . , r l r . l 1 , , r r : . o t - , r r r . s . . l r L ( . p l n , .

visiblc drrough rhc sunkcn ebdorrrcrr, presuru-. , ' l . . . . ( J - . I I i , r , , , . l l , r . . r r v . . . , u r . r ' r r l \ r i o nof nrcrclv one gr.r in of r icc pcr clav clLrr in{r thissragc of his spir i tual clcvclopncnt, is i l l t l tur.t lur is dcscribccl iu BLrJt lhist rcxrs. Thc prescnccof I bear,: l sLrggests rhc clcrp lbsorption of t l -rcboclhisrrt tve art l thc rcsult :rnt borl i l i , ncvlcct.Also n'picr1lv Dorth\\.cstcm iu stvlc arc thefecill fc.rturcs antl l1air rteatDlcnt.

\ r ' . . . . r . r ' . r p ^ r r . . I r r . \ j 1 . r r r l , . l i r , " - 5 . , ( ) . *

rnuni f rcqLrcntl l ' dcpictccl in l lactro,Gilndirara artis thc 14dra jaya (Vict,r'1. 61',31 Mrra), elsocrl lcd thc tcxrpterioi l sccnc (Fir. 8.:r). Oftcnnrist lkcnlv idcrrLif icd as thc crl ighr,-:rrrrrcnt, this: ( ( l c i t r r ' \ r ' | l , r l ) . . . \ . r l l . . . r l . r i o r r ^ 1 l t .ol l ighrennrcut. rvhcn Mirr. the pcrsoni l icat ionoi evi l . of i :rcr l thc boclhisrrtn'r $,orlr l l r ' r ichcs. r I l . r r i , . r . , r . r ' i r r r l ( ( , n , , , t I . r , o \ ' 1 ,t lauglrtcrs !o tcnpt hi ln lrver ' f i -onr his rcsolvc.Whcn thcsc u crr: r 'cf irscJ b1. thc boclhisrtv:r,Mrrr scrr! his ernt i , :s (pcr sol i f icet ions ol pxssiotrsencl cvi l rnrpulscs rLrch es lust. cr l t \ ' i1lq. xndhvpocrisv) l 'hosc t 'eepons, horvcvcr- turncdro 1lo\vcr! i rs t ]rcv tottcl ta(l thc nrct l i tatrng f igLrrc.Tl ius fbi lcd, thr: i r-rrsrr:rtcd M:rrr rskccL thc bod-his:rLtv.r t , :r provc his r ight to i l r t i in eni iqhtcn-r lrcnt. \rhcrcupon rhc bo.lhisettvl touchccL thc.c.. th ( l /r i i l , rLy. ir ia r luir ir) l r td thc c:rrth goclclcss,

l 'ho is cel icd eidrcr l)r thvi or J3hfrnri t1evi, c:ruicl ir th to st:rte th:1t she wls rviuicss ro his r ight.Marr, clciclrcr l , retreitccl. Wit l l thc l :rst obstaclercDrovc'. l . thc bodlt isi t tve cntclc. l l rr to thcnrdl i t . l t ion t-har rcsultcr l in his cl l i -qhtcnrnententi thcrc lc his lJLrdrlhrLhoorl. th.- Jcfcrt ofMarl svnrbol izt-s the Burlcl lu's overcoming oidceth (1r,1: lrr l i tcr:Ll lr . nrcrus "clc.rdr") end rhcbodhis:rt tv:r 's relclsc l ionr thc cr,cic o1- -vr ir- irra(thc r:heirL rrf ceusrt iorr). ln rcprcscnretions o[ 'this cvc11t. S-kvrnrrrrr i is inv:rr irbly shorvrr ls a

Buddha, not a bodhisattva, for though it oc-

curcd prior to the enlightenment in a technical

sensc, his Buddhahood was inevitable and im-

minent at that time.12 In this relief, which in

fact is part of a set of four life scenes, the ccntral

figure is nuch larger than the others. Thc lorlli

tree above his head and hls bhiukparia uuha

are key elen.rents in identifying the scene, as arc

rhe attacking armies of Mara in the upper half

of the composition.The first preaching of the fully enlightened

Buddha took place at the deer park near Varenasi

at Sernath. Dcpictions ofthis subject became one

of the most important image types in Buddhism.

In this sermon, the Buddha prcached his method

of overcoming deadr by following the Middlc

Way, which was comprise d of the Four Noble

l ru ths and r l re E igh t fo ld Parh . t l te p r in r r ry conr -

ponent. of his docrrine.rs ' l lrc forrr Noble

T.uth, "re:

all iife is sufering; suffering is causcd

8.2r. Sakyamuni's victory over Mira. Frorn Bacro-Gandhararcgion, Pakistan. Kugana period. Schist. H: 67 cm. Freer Galleryof Art, Smithsonian Institution, lVashington, D.C.

NORTHERN REGIONS UNDER THE KUIANAS ]4'

desirc, one nust follow thc eightfold path,which consists of right views, right intcntion,right spcech, right action, right livelihood,right cfort, rigl.rt mindfulncss, and right con-centration. In Kusena-period art of the north-west, thc subjcct is generally indicated by afigurc of the now enlightcncd Buddha seatcdon a throne, attended by various listcncrs, in-cluding the {ive companions fron his ascctic

days who had previously dcnounced hin.r whcnhe ab:ndoned self-mortification practiccs in favorof the Middle Way (Fig. 8.zz). In such depictions,the right hand of the Buddha is gencrally in the

abhaya nufua, signifying that hc is in the actof teaching, rvhile bencath his throne, two deerIlank a whcel. Thc wl.reel syn.rbolizes thc whccl

of tlrc law (dharnacakra), which thc Buddha is

said to have set into motion with this scrmon.

The dccr suggest the dccr park whcrc the setmon

took place, but on an esoteric level, rcprcscnt

thc overcorrinq of the fear of death.14Thc finai pasiing away of Sakyauruni Buddha,

by desirer rhe ce'sarion of suffering

.,chrcvcd by rhe cc.sarion 6[ iqrirc:may beto cease

: . r : r , i i r r i , , , , , i , , , , i : : r , L I

i . L , . r i r . : r r l i . , f . : . . , . i . , i .

NORTHERN RTGIONS UNDIR THE KUIANAS 145

his parinbva4a, is generally included in a cycle

of life scenes, for it is the culmination of his

attainment. The subject is usually shown with

the Buddha reclining on his right side, sur-

rounded by followers and mourners (Fig. 8.23).

His death, which represents the attainment of

niuatla rnd the snu6rrg out of individual

existence, is a remorseless event. Yet those who

have less than perfect understanding of this,

or who are still tied to the material and physical

u orld. are subjcct to griel ln this representation,

only the rnonl seated in meditation in front of

the Buddha seems to have achieved the detach-

ment required to sustain profound tranquility

in the face of this awesorne event.On the whole, life scenes of Sakyamuni in the

art of the northwest are rather simple composi-

tions, created largely by the positioning of

figures and a Gw key elements. Pictorial space

is generally implied by the volume of the

figures or other forms and their relationship to

one another rather than by deliberate linear,

architectural, or atmospheric dcvices. In this

way, the compositions are quite similar to the

reliefs of earlier Indic art schools. Perhaps as a

result of the Mediterranean heritage of the

art of this region, howevcr, there is generally

an attempt to show the figurcs in naturalistic

poses and scale, At the same time, care is taken

to emphasizeimportantPersonages throughcom-

positional rneans. ln the birth scene (Fig. 8.r7),

for example, Maya is placed in the center of the

relief and is clearly the most imPortant figure

in the composition. At {irst glance, she appears

to be larger than the others, though in fact hier-

archic scaling has not been used. Instead, her

apparent size is a visual cffcct created by having

thc male figure to her proper right posed in a

crouching position and her female 2ttcndants

on thc opposite side made only slightly smaller

than her in actual size, but stiil within thc

parametels ofnaturalisr-n. Partly as a consequencc

of this essentially naturalistic scaling, thc small

newborn bodhisattva standing next to the foot

of his mother scarcely attracts the viewer'sattentl0n.

As a young man, the bodhisattva is generallyshown on the sarne scale as other adult figures

in a composition, although again cornpositional

8.24. Amitabha/Anitdyus Buddha tcaching- FroDl Mo-harnmed Nari, Pakisran. Kulttra period. Schist. H:rr7 cm. Lahore Muscurn, Lahorc.

deviccs may be used to empl.nsizc him. In thedepiction of the Great Departure (Fig. 8.r9),for exan.rple, the glanccs of most of tl.re figuresin the relief are directed toward him. As a fullyenlightened Buddha, Sakyanuni is generallyshown as a much largcr figure than otherssurrounding him (Figs. 8.22, 8.23), so that regard-

less of compositional emphasis on him, he is acommanding and dominant focus of the scene,The increased scale ofthe Buddha is not a depar-

ture from the concept of naturalistic scalc,however, nor is it merely an artistic deviceintended to focus attention on him. Instead,it is apparently an attcmpt to depict thc Buddhaas he is described in Buddhist texts.15 Mahasa uabodhisattvas are also describcd as larger than

ordinary mortals but smaller than Buddhas, afeature that is oftcn seen in sculpture as well.This hierarchy of scaling is based solcly onspiritual achievement, which is described interms of physical form but is not meant as anactual record of thc physical world.

Thc discrepancy i4 size between Buddhas

r40 ?ERroD oF THX XARLY DYNASTTES

and other figures is even rnore clearly seen inan impressive and perGctiy preserved stele fromMoharnmed Nari (Fig. 8.24). Here rhe centralBuddha is not Sekyamuni but Amitabha/Amitayus, who is depicted presiding over hisparadise, that of the western quarter, Sukhavati(Full ofJoy). Textual descriptions of this Buddhafrom this period reGr to fus vast size, which issaid to be unlimited and incomprehensible tothe ordinary mind.le While a literal representa-tion ofthis size, would, of course, be impossible,the Buddha is shown on a rcale vasrly greaterthan the inhabitants of his paradise and otherfigures who surround him.

This complex relief i l lusrrates an imporrantaspect of Mahayana Buddhism known to havebeen present in the northwest during the Kugar.raperiod, that is, the emphasis on various paradises.Often called "Paradise Cult" Buddhism, themovement was at this time probably not adefined cult but rather an undercurrent ofMahayanism. From this region, the paradisesystems were transnitted to China and ulti-mately to Japan, where they became extremelypopular and clearly defined as separate secradanmovements.lT The belief in oaradises was nota new Gature of Buddhism during the Kusanaperiod, though many aspecrs of paradisaicalthought underwent development then.l8 Inparadise Buddhisrn, the goal of every devotee isto be reborn into paradise, where the individualwill reside without further transmiEration untilhe has reached rhe perfect alainme-nt necessaryto achieve xirua1a- Sakyamuni, for example,was reborn in the Tugita Paradise, where heawaired the final birth that led cohis nirvana.

To enter Sukhavati, the paradise depicted here,the devotee must have accurnulated considerableperfection of rnerit (pupyaparamita) and haveexpressed a desire to be bom there.le Thisparadise has every facility to assist the spiritualdevelopment of those who dwell there, andinhabitants have the opportunity to hear theB:uddllust dharna preached to them ar any ume.While Buddhas, bodhisattvas, and other residentsof Sukhavarr. including the birds. can preachthe dharma, this relief shows the presidingBuddha, Amitabha/Amitayus, preaching to hisdevotees, as indicated by his hands, which are

in a variant of the dhamucakrd nu&a. 'fhe .paradisaical nature of the scene is indicated bythe lotus lake below, replete with fish andwaterfowl, which is frequently mentioned intexts as the "land" of paradise. Amitabha/Amita-yus, sits atop a lotus that rises out of the waterand each of the inlabitants of his paradise, whoare reborn upon lotuses in the paradise, isalso borne aloft by a lotus pedestal.zo

In costnme, pose, hau style,lak5a4as, and. otherfeatures, the central Buddha is indistinguishablefrgm many other Buddhas depicted in the sryleof the northwest. If isolated from the contextof this composition, it would be virtually im-possible to determine whether he was any oneof a number of Buddhas. He is called bothAmitabha (Endless Light) and Amitayus (EndlesLife) in Sukhavati texts,zl although these namesare also used in other contexts to reGr to distinctforms of a single being. The garland or wreathbeing held aloft above the head of AmitabhafAmitayus signifies his transcendent state and histranscendent knowledge. The concept of thegarland may have been derived fron the Hel-lenistic world, where such items were used assymbols of mystical victory. Such wreaths wereknown in the northwest region at least sinceSaka-Parthian times (Fig. 7.9).

One feature of considerable artistic inrereston the Mohammed Nari stele is the pair ofbanners being held aloft by two figures llankingthe central Buddha. Such banners are no[ con-monly seen in artistic depictions fron the Indicworld in general, yet they may document atype of painted cloth banner known fromliterary sources to have been in widespreadusage from early times. Such banners may findtheir descendents tn the patas of Nepal or thethang-kas of Tibet. The function of these rwosmrll pictures within rhe mein composirion,however, is unclear.

Although Buddhas and bodhisattvas are themost commonly porrrayed subjects in tJreKu9a4a art of the northwest, a great variety ofother personages is also included in the artisticrepertoire, Like all sculptures from this vastregion, they exhibit considerable stylistic varia-tion. Two important individuals depicted ratherfiequently are Pancika (Fig. 8.25)22 and his

r-r+EI-F tt-tu

Frir:

l = 4i tcir (

lb:rsai=

-1.:r[: r

.E-1rC-

. G . c : :

g . : = =

-::t=.:;-,=:i:g_ =- ;:

It

8.2j. Paflcika. Frorn Tackal (near Peshawar), Pakistan.Kusina peaiod. Schist. H: r8o crn. Lahore Museun,Lahore.

consort, Heriti (Fig. 8.26). As wealth gods,Pencika and Heriti derive fron.r the ancient Indicydksa arLd.I4&ri cults; Pancika is believed to bea 1a&sa king. He is often shown as a corpulentindividual, a characteristic that suggests thewealth and abundance he symbolizcs. In thisexamplc, he wcars princely garb and holds aspear, but in later art, he may be shown holdinga brg of richcs or a mongoose spcwing gems inhis left hand. Hariti is a protectrcss of childrenand is usually shown with five small childrensurrounding her, symbolic of her own fivehLrndred childrcn (in rhis reprcsenrarion. twofigures are missing). I-tsing, a Chinese travelerwho visited India in the seventh century, nar-

NORTHIRN REGIONS UNDER THE KUIANAS I47

8.26. Heriti. From Sikri, Pakistrn. Kusina period.Schist. H: 9r crn. Lahore Museum, Lahorc.

lated a story then popular about her that cx-plains that in a forrncr birth, Hariti had vowedto eat all the babies in R.jgir city.z3 On hearingcomplaints from the inhabitants of Rajgir,Sakyamuni Buddha hid one of her own fivchundred childrcn. As a result, thc grief-strickenHariti understood the suffering she had causedothers, mendcd her ways, and converted toBuddhism. Representations of Hariti arc com-rnonly found in Buddhist refectories, and thedonor ofa meal is obligated to offer food to her.Her presence is thercfore a daily reminder ofthe need for empathy and its result in compas-sion. As a pair. Pancika .lnd Hdriri reprcscnr anexpression of the desire of the monkhood for

t 4 6 / F R l o D o l r H r F A R r \ D \ \ A \ | l F .

8.27. Htr i r i . Frorn Sehr i - I lahlo l , Pakistrn. Kulanr

pcr iod. Schist . H: r22 . ln. I resh.wxr Mu\cum, Pcdr,-

thc rratcrial rvcll-being lhrt :rllolvs thcnl to

P u r \ . r c I l s i r r c l i 3 i . , L r ' . , l r r r i r r P c r . .ln addition to thr: popular srorics about Ptncik:r

and H:rrit i told to thc Clincsc pilglim orotherwisc appearing rn Bucllhist l i tcraturc, thctrvo rl ivinit ies luvc au esotcric svnrbolisrl.Pancika is thc kccpcr of thc rvcaldr or trcisllrcof cnliqhtcnr.ncnt rvhilc Hariti is thc cnboclilncntof thc BrLddhanntrAa (Moficr of Burltlh'rs) endi s i , l c n r i , . , l " r h , h o j n a y t , n , r r r . . r r , r r . , . l r i , l rarc held to bc RrLddhanatrki itscl[.2] '1hus, it iseasy to scc in thcsc trvo sclrlpturcs thc twolcv . l s . L l ' . p rpLr . . r . r r ) ,1 t t , c . . r r . r i c . p r , ' c t tL i t rrnarrv inlgcs. Thesc tn'o figurcs, rvith thcirhcavv dr'rpery, traturxlistic poscs, and heft,v

bodics, rcflccr thc chssicel heritrge of Bactro-Candhara art.

Another imagc, lrom Sahri-Bahlol, elsodcpicts Harit i, birt irr a strikinaly dil lcrent lorm(Fig. f.:7). Thc fisurc has ttrsklike langs pro-n , , r : ' l . ; , . . , . 1 ' , . ' r . r n r r l r . , r j dnlav replescnt rn early eramplc of thc engryforrl of I larit i ucncrellv thought to cxist onlv. r r r t r ' r t , ] t l t , r , r . ' r , t r I r r ' c r A . , . r r i r , ' . , . ' " , . i '

Such:rrgrv ftrlms in lercr BLrcldlism end Llinrlu-r . n l . r i . r . , , i . ' r , , 1 r r r r i r L r r , r r r . r r . . r j . r c r i , ( t 'r,rsed to cncomp:rss i1 broxcl rrnge of rcliqiousancl ;,hilosophcal clcvclopnctts. Thc figure hasfour errus. e rare fcatrrrc in I(rrsita ert, elthoughthc use of mr,rlt iple botly parts. cspccirl ly amrsencl hcacls, bccoucs commolr in l luddhisr andHildu lrt of succecdinq pcriocLs. Mrrlt iarmcdl l . r r r . c r ' , r n r r \ o l r , , ' a r r r - . ^ i l \ c f K u j . l r . lkirrgs, notably, the image of Siva on the coinsof Vasudeva, end such lorms mav lcllcct clcscrip-tiors in ancicrrt tcxts th.t rcibr to rlanifoldpol.crs and charactcristics of dii lcrcnt dcitics.26Atttibutcs hcLl in thc hencls ol Harit i syu.Lbolizcsuch treits. lntl i t night be sr-rg9cst.-d tlr:rt t irc$,i11c cul dcnotcs the l)ionvsiec st:rtcs of ikcrc.lcon\ciou$ess tl i irt \rctc part of cuirs prcvalcntin thc Bectro-Gendhare rcgion; thc tridcnt, lrtrarlulct urtcrrclcd to rvard oll: i tt lchn-rert orothcr mnilcstations of cvil; the r':rsc, rvhichis of the y.,rrrro3lrald t1pr. frospcrjty aird rvcll-bcirq; end the snall child, en urdicetioo oliHeliri 's rolc rs thc "nrothcr" (of l ludclhas).This lrttcr lttr ibutc is rhc pliuurv clcnrcnt ofthc scLrlptLrrc that sugtcsts th:rt rhc fiqurc is tcrbc irLcntif iccl rs :r lbrru of Harit i.

Lr edrlit ion to nrctel erd stonc sculpturcs,\rorks ltr othcr mcdii l irc also knorvn to hlve'otistcd rn tl ic rrortlrr ' ,cst cluring thc I{usalnpcriorl. Sonrc of tfrc ivorir 's 6'onr thc Bcgrerlholr.l. for cremplc. nrnst heve becn clrvcri rtthis riurc. Aurolq rhc ruost sfcctrclrl:rr- pieccsh-orl l lcqrarrr xrc thc fr: lgrnclits of e chcsr olco1l.:1. Thc top of thc bor corrsisrs of at lcestsir sl.rbs of ivorl ' th.rt l.c'rc -joincd tolicthcr- tomake r, singic surfacc (Fi.q. 8.:S). Th.: dcsicu ofthc covcr inclurlcs an chboriltc borrlcr surroun.l-ing a cornposition oifour l 'omcn, tl 'o ofsionr:Lrc pleying l ith r bircl. uhilc thc othcr pair iscrrg:rgcrl in toilct prcplrlt iorrs. Dcspirc the

visually harmonious appearance of the cover,the composition employs motifs that havehighly disparate origins. The border is made ofan outer band of a bead-and-reel motif, afoliate acanthus-vine scroll, and an inner fretmotif. All three of these elements have originsin the Graeco-Roman world, though thcy wereundoubtedly already well established in theartistic repertoire of western Asia by thc Kusanaperiod. In contrast to these MediterraneanmotiG, thc voluptuous womcn, who appearunclothed except for their jewelry, are strikinglyIndic in concept and form. Their full-hipped,full-breasted bodies combined with narrowwaists and tapering limbs relate stylistically tofemale figures depicted in thc Indic subcontinentproper around the second century a.o. and maybe compared to cxanples fiom Mathura, Karli,and Amardvati from that approximate datc.Their rcscmblancc is so strong to Indic works

NORTHERN REGIONS UNDER THE KUSANAS I4O

of about the second century A.D. that it may bcsuggested that this ivory was a product of thcsame period. The combination of classicisticelements wit-h ones of srricrly Tndic origin intosuch a highly integrated composition is indi-cative of a nixed cultural heritage alrcadygenerations old, Howcvcr, it is unccrtain whcth-er the work was produccd in thc Indic sub-continent proper and latcr transportcd to tl-rcnorthwest where it was found at Begram orwhether it was created in the northwest, perhapseven at Begram or in the Kapi(a region. Thehighly skilled carving of the relief suggests that,in cithcr casc, thc work was the product of amar tc r c ra f t rman. H is . rcconrp l i shnrent i s e . -pccially visible in the intaglio carving of tlccentral figurcs, for thcy arc rcccsscd belorv thcsurface of the ivory while being very subtlynodeled with rounded forms that give a senseof volume to their bodies.

8.28. Coffer top. From Bcgran-r, Afghanistan. Kustna period. Ca.second century. Ivory. 29 X 46.J cn. Kabul Museum, Kabul.

IJO I ' IRIOD Of THE IARLY DYNASTIFS

Tirc sotrrhcrn cepitel of thc l(usines rves et

MathLrri , rvhcrc art ist ic pr-ol luct loD nr storrc

burgconecl . lur ing thc pcriod of t l ic ir rulc. B-v

Kus-ni r i lues, Matlrrra cit ,v nnrl t ts cuvtrons

consti tutccl x ki l1d ofcLrl turr l unit , lpprorimatcly

cquivalcnt ro somc of thosc in rhc nolt lrwcst,

such as G:rrrclhare, S\rat, ^nd Kapi(e. I t u' ls b,v

no 11' lcans e singlc sitc. but rathcr e vrst col lr | lcx

focusinq around t]rc motlcrtr tou'u of Mlthura

and surronnding i t for e r:rdiLrs of about thirty

ki lorueters. Numcrorts sjrcs in thc rcgion. such

ls Mlt, n'hcrc the Kusan:r royi] shrir lc \1as

locetccl, rvcrc irupott l trr end dist iuct fc,cuscs of

rel igious or pol i t ic: i i l i f t . Thc region, l4r i lc

pcrhaps insignif ic:rnt iD term! of u-rodcru trens-

poltxt iolr, l .as jn encicnt t imcs rrtLcr siz,rblc

and coulcl r lot be covcrccl in a dev's rvr l l ' f rour

onc cnd to thc othcr. It is lil,cly that ivithin its

boundarics thcrc rverc a nonrber of scparatc

rvorkshops drat procluccd sculptLtrcs in t l ic local

rcddish Sikri s;rnt lstonc rtsccl so cottrnrotr lv et

Mathuri r [rr ing thc l{ irsa]ra period. Thc art oi

Mxthr.rra, thcn, shoulcl not be vicrvccl rs nlono-

l i thic. :rs i t $'xs probibl,v subject to rrrrny of

thc slrnc vlr i l t ious visibic in thc' l rr of .rn1'

ot l l rr ' nrsjot- complc\. I l .cxosc thc Mrrlrtrr i

rcgiol l \vl \ \ : lckc(i i i t varioLrs t imcs in historv

inJ hls ncvrl bccrL thororrqhl l 'cxcrvi l tc( l , sucl l

r l ist irrct ions erc bt-,r 'oud plcsent scholership,

horvevcr. Nt_jtrc of t l ic m:rjor i t1-chitcctur:t l

nlorlumcll ts hlr,-c sLr vivccl i trr . icr, url thc cl is-

cussion of the :r lr of M:rthura nrlrst thclcfofc bc

coufint 'd to sculptLrrc elr l l rchitcctLu.rL fr:egructrts.

Asir lc from its import: l11cc as rn xrt pro.Luctiot l

ccnter. M.thlrra servccl ls l Li lcl of fbtrn t :r inhced

for othcr nort lr Indien rrt schools of thc l{ trsan.r

pcrio,:1. Sc,-r lptLrrcs oi Mrthura origir l hxvc bc.lr

founcl at a numbcr of r i ' i , lc lv cl ispcrsc-tL locatious.

irrcl trcl ing Sailci , Sernath, xn(l thc nort l l \ \ ' . rst.

This suqgcsrs t l l t t Mil thtrr 'a \1: ls :Lr1 c-\portar ol

lorks of art ;rnd t lr l l t r t , lut t ler b,: looscly

tcrrnc.. l t ]rc "Mlt]r t tra st1'1,:" scrvcrl rs e rno.lcl

fbr lr t ists lr t other sitcs. Works of ;rrt i t r st, l 'Jcs

vcrv closcly rclatc. l to thosc of Medrurar. for

el: , inrplc. ir"v" bccn founcl et Ahicchettra.

I( lu(anrbi, Slrnath, end othcr si tcs in nort l t

India rncl :rs Ier east ls Mrhesthatgarh in [3angle

N o R T H E n N I \ r ) r A : M A T H U R A A r r l l . t r l r l l S r l r s

::\rr*r=-

,%-_' : .

' : r . - .- . : . ,

\.tf,

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S.:9. l l l i l rJr l l i r l i r 's i l ( rdhj \ . r t tv ] . " Fronr Slr r r ) r rh. Ut t iLrl ) r r . lc$. Indj . r . I (usinr pcr ior l . Ycrr 3 Krni \ka s rc igD( ( . , . r . r ) . r : r ) . R t d d i s h s : r n d s t o n c . I T : : S q . s c r r l . S a r n : r r hSi tc X4usrurrr . SarDarh.

desh. Such works are much morc limited innumber than those fion.r MathLua, suggestingthat Mathur- retained artistic prominence whileother atelicrs were to some extcnt rcfectionsof the main ccnter at the Ku;aqa capital.

Mathura school sculptures often share ico-nographic features with their Kusana-periodcounterparts in the northwest. But, for themost part, they reveal a purcly Indic stylisticheritage that must havc cvolved independcntly.One of the most famous examples of theMathura style is the so-called "B,4lftsa Bala'sBodhisattva" (Fig. 8.29). Although this imagewas found at Sarnath, not Mathure, it is clearlyrefective of the iconographic and stylisticmodes cunent in the Mathura region. Indeed,it is likely that the work was a product of aMathurS ateiier since it is carved of the reddishcolored sandstone so popularly used there.Inscriptions on both the sculpture and the stonepost that supported a huge stonc o,rnbrella (chat-tra; Fig. 8.3o) over the head of the figure reve^lthat it was dedicated in the third year ofKaniska's

NORTHTRN RIGIONS UNDER THE KU$ANAS 15'

8Jo. Chatlft of "Bhi[s, Bala'sBodhieftva." Fron Sarnath,Unar Pradesh, India. Kugar1aperiod. Year 3 Kanigka's reign(ca. r..o. rz3). Reddish sandstone.D: 3oj cm. Strnath Site Museum,

reign (ca- a.o. rz3) and was the gift of onebliftsa (rnonl) named Bala, who is describedas a mastcr ofthe Tipitaka,z? the "tlvee baskets"or collections of Buddhist canonical literaturc.zsThe inscription identifies the figure portrayedas "thc bodhisattva," but the sculpture is clearlyof a Buddha, as indicated by the costume andabsence of jewelry or other ornanentation.Tl.re lion between the Get of the figure sug-gests thxt the image is a representation of Sakya-muni, since the lion is the symbol of the Sakyaclan into which he was born and since he is

" , | , : ,often called Sakyasirhha, rhe Lion oI rhe Sakya..It may therefore be inferred that thc termbodhisattva in this context (and on a few similarimagcs from this approxirnate period) had aspecific meaning that did not cxclude its use forBuddha figures.2e

The figure stands in a strictly fiontal positionwith no bend or flexion to the body at all. Inthis way, as well as in the huge scale of thework, hc resembles the. yak5a figures and carribearers of Maurya- and Suiga-period art. Indeed,

I t 2 P I R I O D O I I I I L I l A l l L Y l ) T N T ^ S T I E S

. r . , , r . . . . . 1 . r . . ' r . . l u r . \ \ r r r ' r f l i l r . p r ' L . r r l

focus of Coorruresrvlrly"s thcsis thet itnlges ofI}ucltlhes *ere dcrivcd frorl a strictly Indicsourcc.3O The llesl.Lv bodv end husky ph,vsique:rlso sccDl to clt'rivc ftoru thc car'licr hrdic trgrlrct . . . r . l , r , r t r . ' . t . r r r , t | ' l ' r i r l , t l ' c n ' r r . ' r ' ' r ,athlctic-lookinq nralc fisurcs fonncl in thcsculpturc of thc rlorth.wcst, rvho :rrc olicn poscdin cl:Lssicistic contralposto fositions. The garlrentjs sinri lrr in t,vpc to tbc princcly garb of rlelcfiqLrrcs in c:Lrl ier Inclic sculpturc and colrsists ofe r/lrotl-likc los'cr glrrncnt ,rrr.l :r sash et thervrist. Furcly inciscd l ines suqllest thc fol.1s olt irc vcry tl irplurLous, t l in cloth rnd the lbrmso f t r , ' b o , i . r c , l c - l . v i i L l . r J ' r " L r s l r l , .cl inginq rlrrpcry. As r ruic. l ludclha frgurcsarc not sbo\4;11 $'ith complctcly bere torsos an.lthus. in contrast to soluc of thc rnalc figurcsa1rcat1y cncoLinter-erl in thc hrtlic tr:Lrlition,this figtrrc has a lcrrgth of dr:Lper,v rhat goesacross his lcft shoLrlclcr ancl hangs ovcr iris ami r r . r i . . , ' f ' , . . f " ' , i ' l ' , . I l , . ! \ l . ^ f , l ) ; .

gxrncnt is stendlrd l lthouqh not rurivcrsal lorMethun lhr.ldha imagcs ancl rulv rcflcct thcr r , . i l r g l b . . , l . . n i , . . 1 . , . ! r f o r r r . - l . , rMathula:rt thc tirrc. Altholrgh mrrch clarlaqccl,thc f:rcc too rcvcels tics to thc Indic traditionancl is cher':rctelizecl br- the rlther stilf sruilc,u \ - r . r . / ( i . , t . . . . , r ' , 1 L ' ' . r ' " r r d . l r , . , r v ' l r . r p .

of drc face irsclf. His shavccl hc.rd. l ikc th:rr of ,rnronk. contrasts u,itfr the coillirrcs of llLrcl,:lhaimeqcs frorrr thc riortl lr.cst. l,r lsarta., rnc]uclurqxrI rJ-ri i i-n7. \\ 'crc prcscnt. es rvele clong:rtedcerlobcs. ,rl] of s.hich rvcrc :rpp.lrcntlv sr:rnclxrdrttributcs of Brrrl. l l i . f ieLrrcs rcqerJicss of thcscLr)ptLrr.r1 tlaclit ion. The riqht lrnr \f ls orlqurll-ly lrcld irr ahlnyd 1111fir6, es is kno*n lrorn' r ' . . r , r r ' l . ' . 1 ' , . ' r 1 r , . . . , r ' . , . I l r . r ] .most con1n1oll qcsf.u c of MathurlL-schoo] Br,rl-cliu fiqLrr:cs oi drc Kusitrr pcliod. Thc lcft hendfirlms e tight f ist uc1 is hcld,rgri lst t l ic 1iip. Ahalo. nou, lost. rvrs ; 'hccJ bc'l ln.l thc heed.Tlrc lrrqc clttlttttl at\cc supportcd abovc thc' " , . 1 . 4 , 1 , . | i . , " ' . , o , , i r ' . . ' " l , ' I ' . . . . ' - ' ,

" 5 " " ' 5 " "

encl scrvcs as :r sl .rnbol of rhc transccnclcnt vic-i " i r . . , , 1 - . ' . ' - l t r r r r ' J c L ' i d .

, . . . r r , I r ' i r l . . , n ̂ p c r o r r . r ' ' r t . r ' . r l r c . r l

bcests, and othcr nlot i f i , inclucl irrg thc rrrr lrrgala,

o r . , ' r . 1 i . i o . ' . v r b o l . , f R . , l d r r n l

: , , , . i . . -'te' -.

8.3 r. Buddhl imrqc. Frorlr Krlrr. Mithurt, Uftrr l )r-a-dcsh. india. Kusara pcrnrd. C:r. sccond r:enrury. Mot-dcd rcdcl idr sendstonc. H: 7: cnr. Mathuri Muscnrr,lvl;Ldlura.

' | ' i i r r r . q . r , . . r I t . l ( t ) i r ) P " r l . , r l r i r t i r '

o \ \ r ' l i n ) , . . r . i r | . . , r r . l l , r t " . z , ^ l r l r c l ' g r r r c, , , I t , , , , , - , . I i .

cort i l r i lcd iDto lxter centurics. I t rvas louncl irr

associxtiorl r,vith e teDth- or elcvcnth ceDtury

platfbrrn, suugcsting that i t rv:rs an objcct of

clcvotiori nt lcasr unti l thxt t iD1e.

A pcrfcct ly prcscrvcd cxxnlple of a seated

BtLcldha inrlgc l'as founcl it Ketra in thc M:l-

t l rrra cornplcx ( l iu. l l .3r). I ts inscript ion rccorcLs

thrt it rvrs rlc.liceted bv Anloht-,rsi, a llucldliist

nrur. "for thc wcl l i rc aud happincss of el l

scnticnt bcings."t l In this gcncrous rvish, the

strtclrent clcarly crpresses a Meharvarnist sctrti-

r c i l r . o , r . r l ' r ' r r r d . l , r r r . r i , t ' c . i r ' . r " v r : n 5

Marhura cpigraphs, inclucl ing thc "Brla lodhi-

s.t tv." in.rgc jrrst discussecl. I t is based or- i thc

bel ief t l rr t Ne t ( /n)tn) ncccl not bc carnccl by

:rn in. l iv iduel but c:rrr be trensflrred to him bv

xnothcr who hlcl g;:r iuccl i t through variorrs

.t2

. -a

FI,

I r+

I

T

8.32. Buddha image. From Ahicchattra, ljtlar Ptadesh,India. Kuse4e period. Year 32, possibly Kaniska era(ca. A.D. rJ2). Motded reddish sandstone. H: 67.3 cm.National Museurn, New Delhi.

rneans. Indeed, the acquisition of merit (and

the redistribution of it) rnay have been a majorgoal of the donors and patrons who wereresponsible for the creation of works of artthroughout the history of Mahayana Buddhism.Although the inscription is undatep, the imageis generally thought to have been made duringthe second century A.D.

The format of the sculpture is of a type thatbecame standard in Kusala and post-Kuqa4aBuddhist art. A central, large Buddha sits on asithhasana (lion throne) with his feet in vajrapar-yaibasara and his right har'd in abheya uudra.Behind his head is a large halo with scallopededges represcnting fame or light and abovethis is a portion of a precisely rendered ptpaltree. Flanling the seated figure are two standingbodhisattvas, while above, a pair of vidyadharasfly towards the center of the stele, the one tothe left carrying a bowl of gems and the one

NORTHERN REGIONS UNDER THE KUIAI'-IAS IJt

on the right raising his arm in a g€sture of

resp€ct. Serving as attendants, the bodhisattvasare smaller in scale than the Buddha and each

holds a cauri in his dght hand. As in the north-

west, bodhisattvas at Mathura are shown as

princely types, adorned with jewelry and head-

dresses. Although the identification of the two

figures is not certain, they are diferentiated by

their necklaces and turban ornaments. Better

preserved than the Bhik;u Bala image, it exhibitsthe crisolv carved facial features and other

details that demonstrate the high quality of

craftsmanship of the Mathura workshops duringthe Ku:e+a period, though the images are

srylistically very close. The Katra figure has a

shaved head with an u5ryt5a that resembles the

kaparda (a type of sea shell). Because of this,some scholars have referred to this and similar

images as being of the kapadix type.3zA second well-preserved image of a seated

Buddha was found at Ahicchattre but is made

of the reddish sandstone used at Mathura and

is tllerefore probably a product of a Mathura

workshop (Fig. 8.32). Its inscription reveals thatit was the gift of the Bli&pi Virar.ra for the

benedt and happiness of "all teachers togetherwith elderly irawayas and disciples,"33 a less

universal wish than that of the Amoha-asiinscription, but still Mahayanist. The inscriptionis dated in the year thirty-two of what is pre-

sumed to be the Kaniska era. Since Kaniqkaruled for only twenty-six years, this date fallswithin the reign of his successor, Huviska, andis probably equivalent to around a,o. r5z.

The image is similar in sryle and format to

the Amoha-asi sculpture, though the pieces

are clearly not identical. A difference in Bud-

dhological message is suggested by the presenceofa scene, perhaps the worship ofa tree, beneatJrthe seated Buddha. Furthermore, here the twobodhisatwas attending the central Buddha areclearly identifiable as two bodhisattvas whoappear extensively in Buddhist art, VajraPaqi,to the Buddha's right, and Avalokite{vara, inhis Padmapar.ri form, to his left. Each is recog-nized by the attribute held in his right hand,a rajra in the case of Vajrapani (Bearer of theVajra) and a padna (lotus) in the case of Pad-mapani (Bearer of the Lotus). Vajrapaqi is

l ; , 1 P f R T o D o F l H l l A . l l \ L r \ \ A . l l l \

{,

t ;

{1

8.:.1. Li l . Evcnts of Srky.rmuDi Buddha. From R{sh.t, Mdhur.,Utter Prrdesh, Lrcl ia. Ktrsan.r pcriod. Cr. scc.md ccrr lurv. Motr]cdreddish saldstolc. H: 6j .n1. Nfu.hura Muscunr l \ ' l : rrhrrr i .

drcsscd iis xn ascctic! rr ' i th l short kilt entl rvhetippcxrs to bc an lnimll sl i iD riccl lbout hissl.Loulde rs. On his hc,rJ is r u rerdr, thc Hcl-lenistic sr.mbol ofvictor),. tunci t. idc1,v in theart of the northwcst . lthougli r i lre 1n uorth-ccntral :rnLl norlhcrlr Irr(l ir et rhis timc. Peclnre-pati is gerbc,1 rs rn In.l ic princc. cllbor:rtcl1l . ' . r , j , d . ' r r . l r r r r ' L r r r ' . I . l r ' r ' , r ( . , r r ' . , u r er l r . . r l . . r , r l r d i , r . r . . r r r l r , \ j . r r r r . . , . . r , . r .is nonrrellv PlrLllplni rvho is sholrr ls thcilscctic xnLl Vejrapll l i rs thc princc.

\rajrapini is tht- pcrsonihcetion of l ' isdonr(proyra), rvhich is corrc.-ivccl of ,rs onc hrlf ofthc st:Ltt- of l lo.l,. l ]rehoorl. Pldureptnr. lJ l rn:rlr-festlt ior of Avalol<itcir '.rrl. pclsonifies conr-passion (Aorrrrrn), thc othcr helf oi I lLrcLrlhehoocl.Through the ruc,:Lit:rt ionll crpcricnce o{ thcrnily of t irr 'sc t\r 'o conrpoDcnts. thc sr:lte of L'D-helrtcnrncnt (1.,01/ri). or RLrddhrh.oorl. is rchicvccl.Tlrc er:rct rncilnillg of thc lc1ra encl ?dlutt ,1t-' r . L r c . l r , I I I r r r . L ' ' ' . | I ' . ' L r \ . | r . l r o h n r . . . .:rs i i l lv i l l tcrprctxtions nlust bc c\trapolut(]d l iont

rlrrrch nlorc rcccnt btlt corrHictitq rrsegcs. In onelarcr tr:Ltl i t ion- thc lrryrn sr mbolizcs 2rali ia anclrhc lotLrs cl,- 'rrotcs lrrrrlr; i, rvhilc in enothcr, theprrrlrrrrr rs r 'quivelc\1t to fniit j lntl thc r,ryrnrcprc\cnts thc skil l l ir l n1c:iD\ (, lr l.7) of implc-lrrcrtt ing [,]r" rr. i i l Prcrcur Lno\,lc11gc aboutInclic Meharyane tsLrdclhisnr cluring thc I(ns-nlpcriod nrll ics it impossiblc to csr:rblislr lf i ichoi thc-sc urclninqs is prescnt, or rvhcthcl thecollflqulxtioll it thc Ahicch:rttrar stclc cotlvc_vs

] . . ' t " t r . r ' , . r . r r r . ' r r . l r , I r r r i , L J r r . l , l r , r i , ,lhich is bclievcd ro heve ha.l origins et lc:rstxs cuh,:is the KLrsenl pcriod, thc lofra alsosvubolizcs thc nelc nrcnrLrcr', l .hich mrrst bccombincd rvith tbe firnrlc mcrnbcr. thc lotrrs,in orclcr to errriu thc finel rell iz:rt iorr.

The pilttcrn of lrevirrq onc of rhc boclhisetn'lsl lanLirrq e Burlt lha clcpictctl as :r xscetic l ldthc othcr as I rovrl plincc (r-i lrrrrr-r) bccorrrcsstendarcl in Mehat'arre l lLrrlLlhisr rrt f lon thcKus-ne periocl on. Solrictir lcs it is t l i i icLrlt todctcrminc whcthcr' thcsc l igulcs arc botlhi-

sattvas or the two Brahnanical gods, Indra,who is usually shown as a royal figure, andBrahma, who is gcncrally depicted as an ascetic,and who also flank Buddha figures (P1.4, Fig.

7.rr). It is likely that a deliberate overlappingof meaning is intended, for uahasattua bodhi-sattvas reside as kings of heaven prior to theirfinal incarnations, and Indra and Brahma arealso kings of heaven. Furthermore, it is likelythat the dual gods, Indra and Brahn.re, servedas partial protofypes for the paired nahdsattuabodhisrttv.r pattem evidenced hcre.

As in the no.rthwest during the Ku;apa period,liG scenes of Sakyamuni Buddha were depictedat Mathura during the second and third centuries,although in much rnote limitcd numbers. AtMathura, the events are generally shown inhighJy abbrcviared fashion and the repertoire isusually limited to major events rather than themore comprehensive narative treatment that oc-curred in the northwcst. These features are clearlyvisible in a relief found at Rajghat, Mathura,which includes {ive major events in the life ofSakyamuni (F ig . 8 .33) . t hc scenes, o r rangedacross the upper half of the slab and from rightto left, include the birth, the Marcuijaya, thedescent from Trsyastrirh(a heaven, a preachingscene, and tlrc pari irfira. Bclow each scene,subsidiary elements related to the events aredepicted. Curiously, these sccm to be givengreat emphasis in the composition since theyoccupy nearly thc whole lower half of therelief, though this may have been a result ofthc formar of the relief rnd rhc intenrion toinclude all five subjects in a single row. Each ofthe scenes has fewer participants in it than aregenerally included in approximately contem-poraneous dcpictions from the northwcst (Figs.8 . r7 ,82r -4 ) .

A number of specific bodhisattvas arc idcn-tifiable in the art of the Mathura school. In ad-dition to PadrrapSni and Vajrapani, who mayappear il scparate sculptures or as attcndantsto Buddha {igures, as in the stele from Ahic-chattra (Fig. 8.32), Maitreya, the Buddha of thenext age, appears in chc Mathura repcrtoire.One representation, which was found at Ahic-chrtrra. is idcnri{icd as Mritreya by ir. inscription(Fig. 8.3a).s Though Maitreya may be shown

NORTHERN REGIONS UNDTR THE KUSANAS I (5

8.34. Bodhisxttva Maitreya. From Ahicchattra, UttarPradcsh, India. Ku9e4a period. Ca- second century.Rcddish sandstone. H: 67.J cm. National Museun,New Delhi.

strictly as a bodhisattva (Fig. 8.i5), or as aBuddha, in this example he seems to combineaspects of both. The snail-shell-like curls onhis head are a featurc found on many Mathura-school Buddhas and rnay bc an indication ofhis imminent Buddhahood. The absence of aturban or crown may be further indicationsof his Brrddha-nature. However, his attire, in-

I i i J l ) l : R l ( ) l l ( ) i l l i l l \ l l l r , l ) \ l \ r \ l T i l 5

s. j r . .5r i l r r , i r . r r l ing. Fr . i l r !hu-t . i , r r . r , l1 . thLrr , l L l t r . r r l ' j r . rJLsh,ln( i i : r . Ku\ in.r pfr i i t ,d. Cr. scctDdt t u n r r r . l t c d C i t l r s r r r d \ ( o r r c . l l :r r r rnr . Iur l i .ur lhrscLLrr , ClrL l -

s. r . . l i . r r j l , f r3rrr ' , : , r r . t r r i ra r : r i t -r ) 1 , I i r r r , rt , i r , r ! l r r , r ( { . \ I ] . l1rd i , r . Kus.r lu

pL.-LoL1. Cl. sccorLL ccrt,.rrr'. llcri-

rL,s l , , l ,c lsLo:rr . lnJ i l r \1uscLrn1.( l ; r lc l t t . r .

I r ' . t p i r / l l r . ,

.o1rlbi11rrr i .r1 .111.1 rhc pLirposc ,rn.L rur ' ,rrr i l lq ol

, l . , . , 1 - r i ' r i . . , ,

nrcir: hr!c !re\ 'ar Lraar s.Lri \ f :Lcrori l ! c-rf l r l inc(1.

1 )oss ib i r ' . r l r r ' i o . , i r q co , . r p l c . ebovc svn rbo l i ze

1,j i l / rrr!r) Lhc .olrcrepi ol Lrrr iou bcl\vrcrr thc rurl . :

rn(l t ,rnrl l . l r in( l f lcs. cr lLrivr lclrr to (no\-! icdgc

,Ln.i corrr ir ,rssion in l lLrr i . lhist t lLoirglrt . l -hi1c rhc

i inelc i iqLu. 's r lorrc r l iglrt bc "ol l i ' rcci" rs thc

o t l r t - t i r i l f o i d r c L lD i t \ ' . o t he r l c l o t c t . A l t i r ouqh

i]rcrc tr onrcl - i lc clc:Lf l \ . l rot .rsso.:: i l1c(i \ \ . i t ]r

t lcc\, lha! rr 'a renrin;sccrt rr l_ rhc 1,alr-Lis lnr i

1,vl-! .1,/11,,r1,r-r . i l r l )c.1r ' i r)g on c;rr l icI l lLrr lclhist

nla!rLlrn.11ts. rr i th rhcir bro.rd hips. l l rgc roLrr i l. . L . , . 1 . , , 1 , t . r , r . , . ,

ol lLirnrl :rrrr:c .r1r( l ILr i t i l rLl lcss. ! lech srenrls in e

rl iFlrcnr l ,orc rLnrl is cnqrrgcrl 1r1 iur.rct i \ . i ! - \ ' , sLrdl

.rs .rLi jLrst inq .r ncc[]rcc or pl.rvirq rr j t l r ;r bir ' ,r i .

Thc l iEu r t r \ \ . l r v i r t L r r l i \ : no c l o th i r l q bL r r i r r c

.1(l()rn! ' .1 \1ith hc:rvr, qirr l lcs. r lccklrccs- rnklct\ .

.rn, l bl lceletr.

c lL rJ l rq 1 , i . , l , i : r ' . t r t rpLcrL i o i L , r r lh is , r tv r l s .

l h c . . L s : l r . l J i r l r i . l c l t t r . r r i l r ' , r r r t i r l r h , l : , r

. : t r f iL ,L i r fs l l r . r : : , l , n r i l . , i r4 . r i r l c r . r . I h r s t r l c , r i

t l r c l r , i l u i t l r t ' r c t l c : lL r " 1 i ,11- 'o , , , i i c ,1 f iqLr rc

.rl i l -,1r, . ir.r1,hrror:r. c-inrtLrrq .i l- iprrr. rs t lpic.rl

Lr i tLc ' i r i rLrhLr l l la l roal . l \ i r I . r t i l isr , r l t t l t l t r l - lhc l l l

I n , r . i e . i ) t h c l r c e i u L l s . s L r t : i r r l J t h a . t i l i . l l o l t l f . l

l - r ( )st - . r ' . . t l r r l iq l r f hrnr l t l i tcr l JL, i r l r lcr h iqh

i n a l l i , t ) , , i , ' r t t , i r i , . r l r l r l , sc r l lo Icd l r r l . r l i r r thc r

rc|rta i i re \ . , arf l n) I iLt! . t l t .1 1)cri . ' i i . \ tr l lPl!-s

l r on r l \ 1 . r r hL r r ' . r l n r l r cL . r r c , l s i t c s .

Nurrcr ' , ,r1. ot l icr sLi i- . jcctr L,csi,1, 'r l lLrrL. l lns

;Ll|( , | .r l l l ts. l ! i ! r j .r fc ( l i ' l ) i i :1..1 i I Lr i :rr |rrra

s.uLLrt l i r f ol ihr: l iLr irD.r f fr ioLL. At iJl i l rLr i , , .err.

r ) c , r r M .L lhL r i i l . l l \ . . l f i ah l ) ' Jec ( r r r t , ' . i s t o t l e

r.r i . i rLg rrrr f i r- rr l i [ .rsroci.rr io]r 1\ i l l l l !_.1-qlucrl l \

l . r l : ' l

saDir t io l r \ o l_ r 'o i r r l t r tc , i ts 11() l l ra l l i l l c . l rL l i lL

posfs sf. ' . ir( l i irq rtop J\\.rrl l i l . i isurcs ri lr i lc

,1rr!)rr)Lrs .ouIrl( 's .1.rl,r irr brlr,,tt ic-. ,-, l.,r lc iFig-..l ' . j S. l i . jOi. (lrr rh,: l. 'r ' lr-s.r oi t lrc l)(r\ts, ltt i / i ,1

?- ---1:

A number of sculpturcd supports for largestone bowls havc bccn found at Mathuri. As atype of object, they have been little studied;however, imagcs supporting bowls are knownat least since the Sunga pcriod, such as thedwarf from Pitalkhora (Fig. :.1:), although the

NORTHE]IN REG]ONS UNDXIT THE KUSANAS 157

11.37. Rcvcrsc sidc of strpa railing. FrorD Bhiitcivara,Mathura, Urtar Predesh, India. Ku5a4a per.iod. Ca.sccond ccnlury. Rcddish sendstone- H: r5I cr)r. LrdiarMuscurrr, Calcutta.

practicc of uraking thcsc objccts sccms to havedied out by thc cncl of thc Ktsana period.Pcrl-Laps thc boq'ls u'crc uscd to rcceive dona-tions fronr visitors to Buddhist cstablisl.Lnrents,but since nonc of these has bccn lorurcl in con-rext, thcir purposc can oniy be surmisccl. ThcscobJCcts . rc gcnr r ' l11y rbor r t . , r r reLcr n r l r , i s i r rand, if not raiscd on a platforn.L, rvoulcl be at anappropriate level for an alms borvl. Trvo basicformats for such bowi supports arc found atM, t l r r r r : r . rhc l r rs r lL . , r ing . r . r r rq le f ig r r r . c i t l r c rfrcc-standing or backed by a cohrlnn and sup-portiDg x bowl on thc hcad (Fig. 8.38) and thesecond sl-rolving groups of figurcs in tr,vo rclicftforming a front and back to thc objcct (Fig.8 .3 e ) .

Thc rvoman in Figure 8.38 is generally iden-tificcl as Sri Laksm, thc soddcss of rvcalth andprosperity. Indeed, abr-rnclance ancl fertility areclearly suggestecl in thc scnlpture. However,ties to Laksmi arc opcn to qucstion. Thc wonan

. ; . r9 .

lil,

$

I J 6 I I R I O D O | T I ] I I A R L \ 1 ] Y N A S T I E S

l

{];

E

E

s. : S. LJo\11 rut f . ( ! t in rL,r r r r f LcnI l t i l : :Lrrr . l r r u r , rnd b,rck r icr i sl - r , r r1 I l i rhL, f r , r ILLI l ' j r . rL lL,h. Lrdi , r . l i , r . r r r . r pcLiod. C.r . * .cord.L 'ntLrr ! l ,1o( lc , : l ,L.Jc l iJr : :n,L l r t r , , rc l l : L. i , r . \ r r iLr , . r l \ .1uscu,r ,N c r l ) c l h i .

st.rnds or1 t$'o lotus bucls th:rt risc oLrl ol .r r. lscoi lr ldlty \pnrnqlnta). Hcr rpp.rrcrt iccundirr.is indicrtcd br' hcr riqlrt h.rncl. thicli hol.ls etvfc oi ffuit .r1r.l poil l ts rl irccrlr. to hcI qc0irl l: r rc r . r r l i l L 'hc r le f t l i l l nd ho lJs hcr b rc , rs r , rs i ito oll i 'r milk. Shc thLrs beconres l sr rnbol oi

. r , I . r . 1 . t , , , , t l . y t . . r r

o[ ]otLrs b lossorDs umi. l lc lvcs lncl l - .Lr .1s . r r is i r rq

oLrr ol r l ic r. .rsc (Fiq. l .3i i . bick) suggtsts i lbLLrL-,{ lnc,:. rnd probrblv is elro l rcl i .rclcc to rcbir ihrn,.l thc trrusccrrclr-rrt st:rtc.llj I)erc-_ocks trhibitinllt hc l o rus r , i ncs svn rbo l i z c i t uno r t r l i t v , . r n : r s -socirt i()n srLqq('stcr l us c:rr lv rs the protohistoricpcrio(l b\ t l r . i r l rcscrlcar orr l tr [crerv oLrjccrsi]?rn.1 possiblv rfhicd to r l l ' ctr l t of Arnitrbhe/1\nri t .rvrrr. sirrce the pc;rcock is thc la/rorra of

this Buddha, who represents immortality inBuddhist thought.

The double-sided bowl support frorn Pehk-hega, Mathura, shows the 1a&sc Kubera beingserved wine (specifically, grape wine, indicatedby the grapes held by the figure at the left) byfigures in Hellenistic garb on one side (Fig.8.39, lef$, while on the other, an apparentlyinebriated Kubera is supported by attendants(Fig. 8.39, right). Although early scholars foundit difiicult to accept the consumption of winein what may be a Buddhist relief, the Grcck-style garments suggest influence from the wcstand the presence of Dionysiac rites in whichthe transformation of the tclf into an ecst.rricstate brought on by winc was a major elementin achieving transcendcnt realization. Ritualdrinking of wine became iurporrant in ancient

NORTHTRN RXGIONS UNDER TIIT KUSANAS .r 50

India by dre first century a.o. (or earlier), asevidenced in art, and it has continued in somecults to the present day. Its use was not limitedto Buddhism, but is found also in Saivite andother religious sects. Since consumption ofinebriating beverages is mcntioned in the Vcdas,it is possible that the Dionysiac imagery broughtinto thc Indic rcgion from thc wcst during thcpre-Kugana and Ku5a4a periods might haveonly reinforced certain developments that werealready visible in certain segn.rcnts ofthe socicty.Kubera (Fig. 8.39, left) sits in a posture of royaleasc (lalitasau) and is fittingly corpulcnt. Al-though his attendants are clad in foreign garb,they are clearly within the Mathura stylisticidiom, as is seen especially in the method ofincising drapery folds and in the facial fbatures.

8.39. Bowl suppor. in form ofdouble-sidcd rclicl From Palikhert,Mathura, Uttar Pradcsh, India. Kustna period. Ca. second century.Mottled rcddish sandstonc. H: 106 cm. Marhura Muscum. Ma-

N o r . r - B u o o H t s r S c u l p r r - R E A T M A T H U R A

Whilc Buddhist sculptures prcdon.fnate withintl.re material from Mathura, Hindu and Jainirnages are found as well. An image of Kartti-keya, as identified by inscription, also known asSkanda Saktidhara (Skanda, Bearer of the 3atri,

or Spear) from Kankali Til-, Mathura, is datedin the ycar elcven of what is presumed to bethe Kaniska era (Fig. 8.4o).38 In style, clothing,jewclry, and stance, it is virtually identical totypical bodhisattva figures fiom Mathura of

r o J l , t : t U u l r [ ] l l ] l t | \ R 1 \ L r \ \ f \ l l l \

, * " - .

that Sivr .r l l .cers Iopul.ulv ou Kns;rrn coins.FL r r t hc r . by t h . r t i i u r . - . r l e r t o f t hc n r . r i n c l cn ren t sof his rconoqlrpht l ' r ' r- ,r eir ' . : ,11-r u' i l l cstr[ , l is]rc. lin ert. inclLrr l i rrq l l r l . ta syrrrbol isnr. Ir l het l .otLlclL:Lvc bct:u t irc ccutcr oi thc l i rqrrrcrrr l 'horrr}olc i- . e .r i1J,d c(u(i \ t inq of .rr crcct phrl lrrstrr l(Lcr I rr{rc. both oir rr 'hi i :h rr. , sL,r ' l , runclcJ br.e r lr / i |a. Attcn.l i rq dris shrinr: is l qroLrp oflrLnrrerr torsoccl lcogLvphs thet brinq grr l l rncls-

doNc|s- u] lc] pl:Lttcrs oi ol l i ' r i lus. 1'his prrrr icul l l tt1'pc ol r :onrpc'srrc IqLrrc is ulr irrr:Ltcl l dcl ivcrl, " . l r . , r . r 1 t r l l i q . l . '

nrcnicl 9crio11, bLrr br-rbc l(rrs:Ll l pcriorl . rhL:r 'l crc r1r 'ctci1'rtr i rr tcgrl l 1,.Lrr oithi: I t i tLic i(Lio1n.

Fulthcr jnl lur:ncL: l lool fhc rrort ir ! \ 'c\r rcglonsis scL:u irr e r. frcscntrr ior ol- Srrrvn. thc sLrn qocL,

f lorr I i r i .rLal i l i la, Mrthura (Fiq. 8.1:). WIi1c:thc icoroqr:rp1tv oi SrlLl.r is l lor n.\ \ ' tr this t inrc.fot Si i l r .r is krrorirr in l i fcr lrurc sincr: t i r , V,.r l lsl t tcl occrls irr prc-I iusenlr aft . ihis i1l_r. ir lc l1-l i tstr- lr .-s thc colrrr i i rql i l rg o1_ e conrplc. i s.:r ics' ' l ' . r r i : i ' . l l

t ec l r c . cu i i : r n . boo ts o l t h , ' l u r i r u sn1c , : u r c lrrcPrc\cnt] l iol1 oi r i I l r :Lnirn-n' | . : Irc rkar'clrrccl in lol- rcl icf on thc soclc clcrr lr . br-trrvJLuujrr soLrLr:cs. -t \ cLorrblc (ro11r (:or1si\Lirrq oftLc- irTlct -sulrrr,-rturtccL bt. :r n lcerh ol l ictor\. is

_ , . . . . 1 . , , , . . r 1 r , r . .

th.rt ur, loLrbrcclh' \ \ ' r .ra i [ :Lrr inr i f tcd to . lr1cic1]tI ud l rL t h l ough I r r r i : u r i co r rog r - rL I l r i c s o i r l LcP r r rh i l n pc l i oc l . ' l no l r o r ses . onc t o c i t bc r s i c l co i S r i r v r ' s t . c t , s \ ' r r l bo i i . r i l \ ' f . L rL l l r j \ chx f i o r o r ll i s L | i 1 r . mon th l v , : r nc l r r - . u l l j oun rc r s rh r -ouqht[e hcrrvcns. Tl l croLrclr irs p,r ' i t ion oi ihr-cLc-i tv ruqgcsts rh.r i hc is irLrlccd scercr[ ]n hir sLrrrL:herioL. Sculpturel l l , thc inuge l : t1ls r:1,:erl1-

t i rhirr rhc scopc of Kus.r l l -pcr ior l i r f L iLf MxfLur-i .rraL .1 sLr(r iq r!sclt lblxucL- to thc rolei Iorrr.r irsl r I lV l .L \ i r r l r r l5 L \ l l l L l t l

( lot isi , i r :rrbl, . ' cr, ir lcrtcc 6i r trorq J:Lirr 'cl igioLis:rcl i t i t f i l t Mlthrr lr i , : lLr l i lg t ]rc 1(Lrq:rne pcrioriis iourr l in scLrlprLrr.r l ar lrLi i r . !gmlnr:rf \ ' ' i r fal i i tca-turel rL'nr;r irs. TlLc l i ,rnkr.r lr I i l rr t i r p:rtr iculrrsccrls tLr hn'r ' bc.rr rrcrct l to thc J.r ins .rs cri-dcncc r i L r r t l l c n r r t ( r r i i L l s t i r u t l r . r vc con rc t o l i g l r trhcrc, r l t l ronqh Jl iu oLrycctr lnlc b,:cn f irrLrr iLt l r oL rqhoL r t t i r r : Ma rhL r r t r cq ion . A -J l i n scL r l p ru t , r(1i1tc. l l ) t l r( j t ]r i rrr-f i f t1r , . ,clr ol r . , l r :r t is bel icv.:cito ba lr sccold KLrsanl cL.r. givi lg r r ierc oi.rboLrt

!t, \

S . 1 o . K r f r t j k c \ r . F r o r r K i r k a L ' 1 r l a . i \ 1 x t h l r r a , U l l i l rl ' r . rdcsh, 1nJr. r . Kusrn:r l ) . r ' .d. Y! . t r r r : pors iL, l r I ( rn isk.rcrr ( . : l . r . r ) . i l r ) . , \1of t1. .1 reddish s,rn.1sr , rc. l l : f i3cr f . \ L l rur i i t lL :scLrur. Nl . r thur. r .

rborrt t l iL: sunrc t ime. Thouqh l i i r t t i l ,cr,a ' , , ,as

( . ! ' r ' . r r , . - p . r , 1 . ' r i r . r i 1 1 ; 1 . . ' r r r ' . , , 1

: l \ I soiL of Sivl. hc rrr l t ' iuvc hrLcl l sr lr l r l fccLLIL rt r ,his .1etc. pcrlreps rclated to l ,r l i .nl \ \ 'or

ship.Arr rfcl i tLrc:tLlr ir l urqrrr. : l t f i :om lJlu-i teivere,

Mrthurl , ol l i :s i tLn docunrr:ntr i ion c,f phl l l rLs(l i rga) rvorsl i ip. .u1rl i l lLlsLrl tc\ l surcrct isnr oi

\ l .cstcfr1 Asixt i(- l r lcrt i l i rrrr l l rr . l ic rcl igious

ihough t (F ig . S .4 r ) . S in r : e ph , r l l i c cu l t s i u Sou thA , i . r . ' - r ' r . i r l s i L i r .

l i k . l r . r , ' r . . l . r i r ' r . ) ' r " r . r , l ' l

t :LDca 1vls givcrr to Sivl r lLrr irrg thc Kusari l pc-r irxl . Tl i is \Lrqgc\t ior is rcinl-orcccl by t |c l i r : t

,l

-. ,'i ':

' ,1 , ,

NOR'I I ILI IN RLC]ONS LTNI) ] ] I t I I IL I {L 'S,{NAS 16I

, \ . . r r . Archi tcctLrr : r1 1r xgnrcnt sbo\ \ ' inq cf \hr inc.L l i r : { . r . Fro,r 1 l1,LrL. i

lara. MrthLrrr . LLrur I r i rdcsh, l ld i r . I (usrnr fcr i ( id. Clr . \ .c( ! rL1

ccntun. I lcddrsh r l r t lsLrrr r - . r j , . 77 (r l . \ l .1t t rLur NlLr 'cuur, \1: r

s..1r. Si irrr. Fro,r Krnk.h lr1:r. N1:tLhLrl l1, UtLrrPrrdcsh, Inrl i r . Ku\rr ir tcr iod. ( l ;r . scconrl ccnnrrv-l tcddi-dr srrdstolc. l l : . j7 fnr. Nl i ihur. i \ ' lu\c1rr), i \4ir-thrLfu.

A.D. f ,Jj l i rr thc rnraqc.!!) shows iolrr st.ndinq

tl t t l rdl i l :dnt! (Tir ias) olc ou e.rch siLlc of :L cci l l rr l

g. i11.rL (I i iq. s. '13). lhc clorirrg lr trc of rhc irrscri |-

t iorr inr l icl tr :s th,rt t l is rtork ues clct l ic 'rrc,L l i rr

thc happiness etcl ucl i l t . : of eJl crr:rturts, thLts

i lcl icat irrq i1 v( ' Iv closc p.rr: i l lc l i r1 theolct icl l

dr:vclopnrr:rrt , . b,-: twccn l luddlr isrn :rrrr1 - l :r i t t isur.Nudc, iu cl lrr tr i lsr to thc :r lrrels q,rrbcrl

l lLrclcl lr isL 1rgnrc,q, thc ttr thoikarts rrc cl i-rrur-

8.+r. l ' j r lhr n iLh sr . rnr i ing r i i r ld , l l r f . r - r . l r ( i , , , I { i rnkr l ,' l r l l .

\ '1 . r ihLrra, Urt i r f l ' j r rd. \ l r , I r . i i r . Ku\ar : r prno, i .

Y c : r r 3 r ( o i s c c o n d I { u r r n r c r : r ? o f t r . r . r ) . r \ j : )

I l c d d i , h s r n d . t , , r r I I : : ; - . ; c , , r N 1 : r d n , r \ 1 , r i . r u r ) t ,

\ l r r l r n r r .

:,:.

$:

I62 I , I ITIOD OI i TI I I FAII I .Y D\.NASTIES

3.,14. Jiirl tifl,,?rlA,ir,1- Fronl Nlxlhurx resic!), UllllrI']rrdcsh, Lrrlir. KLrsrna pcdod Cr. drird cctltr.rr\,. lvlot-r lcd rcdclsh s. l rdsrorc. H: r ; c , r . NlrdrLrrr i luscunr,

guished primarily by tire cmbli:ms tl lrt appc.rrorr thcir chcsts. Each frirure stands stiifly, rvidrarnrs xt his sit l:s. lhc o\,crrlollg i lrDrs arc xlriconographic icaturc of thc j irras (es rvcll es

BLrclclhas), \1.hosc xnns ,rrc s.tpposc.l to rcachto thcir knccs. Likc Rnclclhas, l/rtas havc rl istcndedcerlobcs, meY hxvc trrr-s :rnrl othcr distinctivettrxrks or cheractcristics. Altholreh thc l iqurcsarc !omc\\:hxt sti l l-end elvkrvarcl, thcy too f^llrvirhir-r thc splr.t. ,rf l(usatra ert of Metlrr ra.1'ossibll. t l ic sDrooth contours of thc bocl,vanticiprltc dcvclopmcnts of thc carly Cupta

l , , . ' , , , r l i ' . r ( r r U r \ . i . , 1 . . l : r L L . t \ . r t r " r . i -t ior:rl phesc bct*ccu thc nrrin Kusanx clcvclop-n-rcrrts l l t l those ofthc Gupta pcriod.

A scarcd irgurc of :r .]:rin ttlltaikara shorvs thcclosc' rclatiorrslrip bcnvr:cn l ' iuddhist anrl Jrinlor-rnLrietiors (Fiq. 8.aa). Esccpr for t l ie nr.rdit lr-ricl thc crublcn that lppcars oir his chcst, drisl r ' ' r r . r ' i g l I L , n . i \ r . . k , r r t " r B i ' l d l r , . l ] r c

posturc, rrrrrrlr-, l iotr t luone, urtl dcvotci 's bclorlrl l nrjght occur in the casc of a lSuclclhist inugc.The closc plr:rl lcl ism scen in thc cloctrincs,l ivcs, lnci rcligions of thc t$o colrfclrporlics,\ . , 1 r . r t r r . . . . 1 I M r l r v r r r . . ( . r l \ l , r ^ r r t r r , r ' .i ' r l . r , r ^ l r , r . r r ' ' r ' 1 , r . . p . . t r r . r , ' i v i ^ r r .rncl thcir ' :r lr tre.l i t ions. Possiblv elso rleti[g Ii-onithc thirt l ccntrrry, this inugc sholvs thc s.nrcstiff ircss errcl rngul:rrit-v of thc pr cct:cling cxlnrplc-WlLile this is in part a rcflcction of stylisticconsidcretions of thc tirrc, rt bccourcs a cher-ectcristic oiJein i irt rn pltrtrcular. Til thc post-U r i t 1 ' r r ' ' r . J t t t i t r . r 3 " . , l t q r r l r ' ' ' , . ' s c o l r ' i ,

siuiplicitt en.l en ebstrlctiotr mtrch grcrtcr th.inrhrr scco ir t irc :rrt of orhr-r sccts in Soutb Asil.

C o x c r - u s r o i . r

'Ihc rcliqior.rs encl artisric . lcvclopmcnts of theKuslnrL period, richlv rurtrLlcd by Inclic andnon-hrclic treclit iols, tredc a l lsLiriq uull i onthc di:vcloprrcnt of SoLrth Asietr crl ltule. Aqrclt vxrict,v of iconogr:rphic tbrmullt ions rrs\ , 1 . r . . l \ t . t r . c . . l i : l . r l . l . . r r . p r r , r ' r i rKusenl art. elrhorrgh thc untlclst:rnclitrq ol thcscr

Jc rc l op r l cn t s i s s t i l l i n i t t i n f r t r cv . Yc t . i t cenno t

bc , lcniL- 'cl thrt both iconogrephr rud stvle ot '

1 . , r . r I r ' , r ' , f f r ^ o l L r ' t l . I r r , r i ' r . t ' p

oi thc l(Lrsine l l r i t .rgc. ls ccft i l i r l pi t tarrn\ xf-

p.rfcrlt fiom th:Lt tirtc tctD:ritictl st.itrcl.rr',.1 \\'hilcr

ot l l r ' fs servecl rs thc sturLitrq poitrt f i rr ' rvhet

*oL,ld br:comc e r ich encl vericd rr lr l i t ion.

.

iI

CI IAPTER N INE

Regional Developments in the Deccan

(ca. Second and Third Centuries)

Tne WrsrrnN Drccew Cavrs

The important artistic developrnents that oc-curred under the aegis of the Kusenas in theBactro-Gandhara and Mathura regions wereparalleled by contemporary traditions in otherparts of the South Asian subcontinent. In thewcstern Deccan, cave rnonuments of considcrablecomplcxity and scale were cxcavated, rcprcscnt-ing a continuation of earlier Indic devclopn.rentswhile adapting new rcligious concepts. Histori-cally, the period is characterizcd by rivalrybetween the Setavthanas (who had recn.rcrgedaftcr a hiatus of scvcral gcnerations followingthe reign of Satakar4i I) and the Ksaharatas(also caled the Ksatrapas), a branch of the Sakasthat had extended its rule deep into the sub-continent. In spite of thc forcign incursion bythe Sakas, however, the monuments associatedwith the Satavdhana-Ksaharata period showlittle infuencc of non-Indic anistic tradirions.

Many of the architectural and sculpturalforms seen at Bedst (Figs. 6.t3 zz) came tofruition in the caitya hall at Kerli (Figs. 9.r-6).An inscription carved on the conplcted facaderefers to Nahapana, one of the Ksahar-tas, whois called a satrap in the inscription.r It is likelythat the epigraph dates from about .a.o. rzo;this date is arrived at by comparison to a similardedication at the site of Nasik, dated the ycar

4z of the Sakn er", *hich is eqrivalent to A.D.rzo.2 Othcr inscriptions inside the hall citingdonations of pillars by satraps who were foi-lowers of Nahapana corroborate a date ofabout rzo for the dedication ofthe cavc.

It is difiicult to gct an overall impression ofthe original appcarance of the exterior of thecaitya hall at Kerli, sincc a modcm shrine ob-scures it and the original facadc has partiallyfallen away; tl.rc form of the cave is perhaps best

164 PIRIOD OF THE EARLY DYNASTIES

g.r: Pl?.n of coitya hall. Karli, Maharaglra, India. Kpaharata Sakaperiod. Ca. A.D. r2o.

studied from a ground plan (Fig. 9.r). The en-

trance to the cave is set back into the side of the

mountain and is shielded by a stone screen. Holesin this screen clearly iirdicate that considerable

wooden architecture was intended to complete

the structure of the facade, although none has

survived and it is therefore impossible to deter-

mine the original appearance. Above the solid

wall of the screen is the remains of a row of

pillars that would have allowed light and air

into the veranda and the hall itsele but this toois in a ruined condition. In concept, the screen

relates to the pillared veranda and stone pas-

sageway that precede the entrance to the Bedsa

cditya hall (Figs. 6.13, 6.14). A pillar to the leftof the entrance is carved from the same matrix

as the cave and is reminiscent of the Mauryalion pillars at Serneth (Fig. 4.5) and Sefrci,although the heavy, thick forms of the column

and the lions are far removed from the gracefulMaurya prototypes. The plan also shows the

9.2. End wall ofverand^, .ditya hall. Kdrli, Maharaglla,India. K$harata Saka period. Ca. A.D. r2o.

large scelc of thc raitya hall aud verrnch (theI(arh cavc is olc of thc lergcst lluclclhistcxcavations in all of South Asie). Thc nrerl1 hallcncloscs a r"tl ld, thc ccntral objcct ofvcncr:rt ion,ud, es in eulier lulls, has r rorv o1i pil larsp:rr:illciing thc slupc of thc c:rvc itsclf enclsepar':rtills the irlterior space irlto a ceDtl]l xlcx:rnd an aislc that surrouncls thc ccntrxl spacc.

Within thc vcrend:r, firrtl.ier perrl1e1s rnay bcrlrervn to thc Bcclse clvc, alrhorLgh the scaleand sculpturel conception rt K-rl i xrc nri lchnrorc .urlbitious. The end l'ell of the verantla[ q r - . i ; r ' r r r r - . r . J r i r ' ' ' r r I r r . r l . i r c l t r ] r ' r :

clrorl.ey arrcl balcon,v lorrns (I'ig. 9.2), "nd lrn

ogec-sh:rpccl lrch ovet the main cntrlrlcc tothe cavc (visiblc lt the l ighr in Fiu. 9.2) is .rg.rinthc domilant nloti l Howcvcr, in contrest rothc Bcdsa vcrancl:r, a rol. of approrirnrtclylife-sizc clcphants is c:uvccl :rs if supporrine thccnti le supcrstrrlctruc on thc two encl lr,alls in rrr r . ' n r r c r r c n r i l i . c , r r r , ' f r l r ' c ' . 1 ' l r r r r r p J r r r l r . r

R lc IoNrL DrvrLopMfNTs IN T I I | DECCAN 165

ll italkhora (Figs. 5.32. J.33). Thc rvall scprrrtingthc intcrior apsicl:rl hail fronr thc vcrancle isbrokcn by:r ccntrxl cloor'\\::ry and nvo sicledoorlvavs. inclic:rting x grcrtcr- sv1rr1[ctry tha]l:rt l lcdsa. Frlfther, rvhilc thc lerlsl rvrl l n'rs un-sculptccl (althorsh possiblv oriqirull,v paintcd),et Karli lxrge r,, lt lr/r in couplcs fl lnk thc doorrvlvs(Figs. 9.3, 9.+). (lt shoLrld bc notcd th:rt thcrcprcscllt:ltior1s oi lJudclhls lr-Lcl bodhis:rttvesor1 this \\':1ll lnd the fir.o cn.1 $'tls \'erc cervccrin thc letc lLfth ccrrtury, rvhcn the icorroerlphicproqllm of thc cevc q,as nLo.lifretl.)

Thonglr larger tiun thc nsurl rtitlttnas a,-Iotn-iDq rhc cloorrv;rvs to rcligious rronl ltcnts,tlreir purposc is probrblv the s:rorc. As synrbolsof urriorr, t l tc rnit lwnu reprL-scnt thc notion ofinclivicluel rcirtcgrlt iorr rvith the Univcrsllpriuciplc, cxprcssccl through thcir :rfic.ctionatesesturcs rncl irr.rplicit scxLrality. E:Lch peir isf r F i , ' r r i . r ' I b y l ' . r d L 1 v . , r i r r i ^ r ' i ncostuDre ind gcsturcs. Yct it is clcu dt:rt thc

1 I l 1 : : t Is a a S -

- , ,

f :

i -

f r/ f': : : g {

ll,1llt,'.:'.'

1.:. ,-1 -, "1-L

9.3. Ver:r r rdr , cnrrencc ual l to ra l r ln hr ]1. Ki i r l i , M.rharasrrr , Lrdia.K;ahrrata Saka per iod. Cl . ^ .D- 120.

. . t

*

,60 I I IRIOD OF TTIT EAII I -Y 1)YNAS]]FS

9.4 Mithunn couplc. vcrard'r l1all lcadnrg, inlo idlrld

l l . r l l . K ) r l j v l - l r r r L r . . I r a l : . . K - l l . r . , l . \ . 1 . 1 l : r . i . l .Cu, A.D, r2o.

artists hrvc not ettcnrPtccl to iDdrviduelizcthc igLrrcs by cletails of pirvsioquoury, lust;Lsherl becn tmc:1t Sailci en.l othcr earlv sitcs.In gcnerll, thc lcnralc figur-es arc voluptrousin thcir amplc proportiorls, rvith v' icLc hips,full thiglis, rncl rouncl, hcevy brc;Lsts. Th.:it:rveists arc srnali encl thcir l iurbs tepcred. Thcvrppcer virrually nudc r-ith thcir jcrr,clt,v coustitutinc their m.lin a(lor-nnrcnts. Uttloltbtcdlt.t l tcsc Nomcn clcrivc fiour t lc fenitrinc iclcll. u L n i r , ( . r r i . r . c . . 1 r r r . r . b r r l L . - . . r l , , r , , r ' , .

have bccoruc niorc l i i i : l ikc incl spontucoos, f i)rtheir smilinq e\pressions en.l rclercd poscs mrkctl-rcm sccrn to havc bccri c:rrLgltt utten'lrc- :ts trra cenclicl prcturc, by thc :rrrisr. Thc nulcs l lcrlso gcncrousll 'proportiorlcd, t lLcir Hcsb l ' bodicsbo1dly revcllccl by thc ucarlv tioncxisturt d/rolis.tlcav-v lolds c,f clotli bctrvcctr the leqs rn,:l

aroun.l thc hips, tLrrbarrs, ind earrings distinguishthcir costurrics. Ihc turbans have a peculiarshepc rvith a higir. nrusiuoorrrliLc portion it thcfront. Stl l istically. Lhc fisurcs (cspcciailv thc\\omc11) sharc r gtcat dcxl \ '_ith (o'lerrpor lLr ycxrvinq\ :rt Mitlrrra (l iqs. 8.q5, 8.36) rndAndhe l 'rrdesh, indicrtinir the prcsetrce ofpln-lncLic t.cu.tls th.oughout thc subcontincntl lonq s.ith the rcgion:rl clcvcloplrcnts.

Thc irrtcr:ior: oh drc Kar]i cai4,a hell i . t lulyspL-cricrlxr (FiS. C.i), lor thc stark sirDplicit,v ofrhc clr'licr l-r:rils hns norv bccr transformcd intor belarrcccl ilrrillr!lenlcnt of sculptural amlerchitccturl] l irrrns on l lerqc scalc- InsrcacL ofthc plain 1:rcctccl shafts without capit;rls rndbescs seen 1n thc l lcclsx caitya h I (Fig. 6.r9),it l(xrl i, ftc sctlftors hrvc incolpor.tc(l thct,vg,c oh pilllr: Lrsecl ou thc llecls:r vcrandl urtorhc schcrnc of t lre hail 's intcrior. 1hc pil l :rrsconsist of lrrgc. thick shefts rising verticellvfto:r atndglnLa t)pc va\cs o1r stcppcd bascs tosLipporr lotos-bcll cxpitrls sllrrior.ultcd by hoti-zollt l l nlenrbcrs. boxccl ribbccl cliscs, ancl anesscnrblv of f iq,-rrcs ricl ir ig eninuls (Fiq. 9.6),u,hich:rr l(drl i arc cxclrrsivclv clcph:rnts. Usurlly,a nelc:Ln.l t i lulc prir riLlc on e;rch elephrnt,. i l thorigh occ;rsionelly nvo fi 'nl lcs .cconrpiurv asrnqle nu1c. Thc pil lers tl irect]v surrouncling thcJfr2d xt thc cnd of thc 1ul1 hevc plail octaqonalslu{is rrl l no l l i lscs or cepit:rls. l l thoLrth tlrcrclsdl l irr rhis is uuknor.n. Scvcr:i l architccturelclungcs hevc trkcn piacc sincc thc cerlicr c,rir lalulls. \)i lhi lc thc loof ovcr thc ccntrrl space issti lL v.rLrftcd l1.l hxs rroodcll r ibs rrching ebovc,thc sidc l islcs h,rvc l let roof.s, as opposcd to thchrlf lr nrlrccl r-\ 'pe irr l icJse (Fig. 6.:o). Lr :rddi-

tior. th,: pll l lrs irrc strictly vcrticrl. in coDtri lstfo thc bxttcrcd ones of thc SLrirqr pcliod (Fiq.

5.:,r). \Vhcther thcsc clunqcs rcHrct l locli l lcr-t ions in roodcn lrchitccturc r,,f thc pcriocl or arc.r shil i eppliceLrlc oniv to c\crvatcd cxlmplcs is[ot ccrt.1in. but 1i-onr this tiDre forrl.rrcl. thcblttcrcrL pil l l l ccrses to bc Lrscd in tock-cLrtlrc]ritccnrre.

Sli.qhrl,v lt lrcf jn rletc thdr the Karli caityahe l l i s V i l i l r r l l l i r t N is ik (F ig .9 .7 ) . T l t i t

" , . c , rv "tion is c.rl leLl the

'GlLrtlrmipurrr" crvc bcclttscit conteins irrscriptions of rhc vc:rrs r4 en.l 2,1,lccolding qrlnts bl Ci:urtemiputru of thc Sartl-

! 1 5

fe

RXGIONAI DEWIOPMENTS IN THE DECCAN 167

9.j. Interior of caitla hell. Ketli,Maharaslra, India. Kpaharata Sakaperiod. Ca. A.D. r2o.

9.6. Pillars in caityd h^17. K:^rli,Maharaslra, Iodia. KsaharSta Sakaperiod. C.. A.D. r2o.

vdhana d1.nasty.3 This king is known to havedefeated the Kgaharata Nahapana in about a.o.rz4,a thercby extinguishing the Saka control ofstrategic passes (such as those in which Nasikand Kerli were located), connecting importanttrade centers of the Deccan with coastal portsand reestablishing the Satavahana power thathad been eclipsed since the reign of Sataka4iI. It is likely that the cave was excavated norlong after Gautamiputra's victory, for it sharesmany features with another cave at Nasik, theso-called Nahapena zilrara (Cave X), which dateslrom around r20.

In plan, Vihara III shows greater regularizationand symmetry in the organization of the uihara(Fig.9.8) tban is apparent in the earlier forms,as at Bheja (Fig. 5.2,f). Iighteen nearly identicalcells radiate out from a central square hall andtwo more open offfiom the veranda. (The oneopening off from the veranda at the left is,oddly, not at the end but aligned with thosealong the left side of the cave.) Precedingthe main hall, the pillared veranda extends ap-

r68 PrlIoD ( ) f T H t t A l ( f f D \ N A S T l l . S

9.7. Viharr I I I ( "a lxurrr11ipLr1rx" c. \ 'e) Nis ik. l \4rhx-

rrst ra, Indir . Sl lavahr l l : l d,vnlst- r" Af tcr ^D. 1;+ (cr '

r2J I o) .

pro\i1n.rcl) ' the *' iclth of thc crr.c (FiS. q.t).

The llcarlc of the "Gltttemtputrx" crlvc is in-

triguirrq lnd lpp:Lrcntlv uniquc. Thc vcrlndl is

.pproachc,l by r short l1ig1rt ofsLcps lcrdir.rg upto tl-rc porch, and thc liotL of thc porch har a

1 , . ' s . ' l l r l . , r . . t r 1 . ' . r , r ' ' b v . ' r . . ' r r 1 - " 1 ,

fiqures bclorv. ThL' lorv r.:Lll is of itrtcrcsr

beclrusc ir appclr-s to heve lucl l very tlucc-

tl imcusionrlly crrvcd prittcl lr ofbosscs or tucdel-l ions on it, ni:rkinq it strikiuglv simil,tr to the

r r . . r | \ ' 1 t " f r ' 1 i l n . I r l , " r l . r ' I _ . ' r r ' ' r l r , . r . , lreprcscDtrtion\ l iour thc A[t]hr;r Prerlcsh rcqiou.Pil lers rise i i-orn this t 'r l l , rvirh drcir thicl.-,

octagon.rL s]rafts siuri lel to thosc.r l(ell i . Thc

bcll crpital lol rclcltcs irs frnel fbrnr cxtrcllrcly ror.rlrcl itr eppc:rlencc rtrd sclttet r:rth.:l-

than high encl springy, echicvitrg .i lurost tbc"cushiou" slupe c,f drc sixth ccntr.rry (Fig. r3.1).Abovc the bcll rs an cnclosccl r ' ibbcd disc tithetl lntir l-typc fiqures et thc r:oLncrs- soL-tno,.rtrlcd

, . ' l i | ! '

9.S. Phn of Vihrrr I I I ("Grutrmipurr;r" crve). Nasik,Xfuhtrxsrr:r. trr i ia. Sarr\al l ;r l r d)rr; trr\ . At ier A.r). I2.t( . x . 1 2 i I o ) .

; i '*--

;1

9.9. Sculpted torafa on entrancc to Vihara III ("Gautaml-puEa" cave). Nasik, Maharastra, India. Satavahanadynasty. After l.o. rz4 (ca. rz5 3o).

9.ro. Figure, possibly r bodhisattva, flanking entranceto Vihara III ("Gautamiputra" cave). Nesik, Maherasha,India. S,tav,hana dynasty. Afcer a.o. r24(c . r21-3o).

by ascending levels and capped by recumbentanimals, including lions, elephants, and bullswith riders. kr contrast to many of the earlierrock-cut monuments, thc decoration of thefacade does not consist of repeating arches andvedika patterns, yet the appearance is highlyelaborate.

The entrance to the cave is also remarkable(Figs. 9.9, 9.ro), for it consists of a sculptedlora4a surrounding the doorway (dudratorana)through which one must pass to enter the cave.The uprights of the torct1a are divided into fiverectangular panels beneath which are figuresof go4as, The panels are scparated from eachother by imitation railings and each panelcontains a ithtfla, a urk5adeuatT, or similarsubject,s Lion brackets serve as a transitionbetween the verticals and the lower architraveof tlle toralla, which is sculpted with a floral,garland-type motif. The upper architrave is alsocaryed with a nonfigruative design but betweenthe two are figures worshiping a stipa, a whee|and a tree. The spiral etrds of the architraves

RXGIONAT DEVELOPMTNTS IN THE DECCAN lOO

seen at Sanci are here modilied into a curvingform. Flanking the door on either side is a malefigure, in cach case standing with his left handon his hip and his right cxtended upward andholding a bunch of fowers (Figure 9.ro). Tradi-tionally, these figures have been assumed toreprescnt door guardians, but as was noted inthe case of the {igures on the tordral of SenciStnpa I (Fig. 6.7), the gestures and peacefulatttibutes contrast with the usual weapons ofguardians and suggest another symbolism. Since,by this timc, the bodhisattva doctrine was wellknown in Kusd4a art, there is little reason todoubt that these too are bodhisattvas, althoughtheir specific identities are not known, Theirpositions flanling a torarle are exactly com-parable to the Saffci scheme. In stylc, thcsefigures relate both to the earlier Sano type andthe figurc style at Karli, although these are per-haps stiffer and more awkward than the Karliexamples. The feshy bodies, heavily empha-sized sashes, turbans, and other details of thecostume are strictly within the Indic tradition.

t70 l ,FRlOD OI THI t r \Rl l DYN,\ST] l :S

() .1r . -Srt !4 p iur . l (n l rc i r r \ \ ' r l l ' \ ' lhrLr I I l ( CrLLLLntr t t ;Lt -

tn ' , . , r0. - ' ' f ; l , l t . \ f t l I .1rr{ r ' r . Lrdi : r ' Si r ' r r 'h . t r l l ! i \ -

nest i . At icr r . r r . I t r4( . : r ' r t r i lo)

i l . r r . h l rer ior o l Vih i r , t l l l ( L i rLr t r : r r rpLrt r r ' ( r fc) Ni ls ik ' N1lhi

rastm, tnc| . r . Sr t ,1\ '1hrn.r .L\L l ] \ i \ ' A l icr r ' r r ' r : ]4 ice ' t zs 3o1

-I

--II I

I '-

----l

L\;

h"

x{*iw. t r

i ), 1

1 [ c i u r c r i o r o f t | c c ' r vc ( f i g .9 . I I ) i s s tuk l , v

p1.r in. irr coutlest to the hcevi lv orn.r l ] lc l l tc(L

crtcr ior ' . in thc cctrtct of thc lcrr u' .r l l . e l ' : rnc' l

1us b.-cr sculptcci ro sho* thc :rr lor 'r t ion of rL

iI t | , i , u'hich rs obviouslr ' r l rcr l l l t t() scive 11s fhc

nreirr cLrl t objccL (Fiq. 9 r-2). St\ l tst ic:r1l\ ' . t l lc

,rnrpl l ' f iqrrrecl icnr,r lc *orsl l ipcrs rusL'rr iblc thc

.r 'or,, . , t , .Lc1,i .r .-r1 rt l ( i r ' l i . Merlrt tre. enrl othcr

virtrr.r l l l contcrtrPor:rncoLts i i r t cc lcl_s.

An chbor, i t ion of r] lc rhcnrc of thc -rt t iPn rs

thc l lLur oblccf ol r 'cncrl t iou. :LlthoLtqh in t lrrcc-

. l i incnsiotr.r l lorur. occurs i i l thc sifc ol Klrcl l in

Crvc VI ( l ig. 9.1-l) . Bcci lusc of t l r is. thc c;rvc

is rrsLrel l t ' cr11cc1 r r,r i ty,r h.r l l , l l thoLrqh i t

. l i t l i -r s f torn thc ru:r jor i t" oi s ch c:Llcs ln thxt

i t is rcct.rtrqulrr 1-rthcr- t l l ln :r lsidrl tu shepc' '

Erccpt ior thc f lct th:rt i t l : rcks ccl ls surLouurltnq

, . . 1 ' I . l . t ' ' 1 l ' l i -

ciprtc Nl,rhrvrnl lJtLLl. lhisr crvc's oi thc t l i th

ccuti trr ' . uhich conrbi l l , ' rspccts () l lhc rcct i l l r-

qu l r r t i / r a r , t - r vpc p l r n r v i t h i c l t ' t r c s o1 - l l l r t

"rc ci.rrL. r lo.ship 1i: t l ls Alr, l thcr Lrr lnsLt 'rL

fc,rturc r, i this cr lvc is thc prcsencc of I stcp or

: t l

i l

i r,.,i l

9 .11. Plan of Ceve VL Kuda, M:rharal f ra, hcl ia. E;rr ly

9.r4. Mithuna couple on $al] preccdinli crlnnce t('

caitya $ea, Cave VI. Kuda, Maharailra, India. Early

g.Ij. lnterior of Cavc VI, rig:ht rear comer of l:rrge

l r r l l . K L r d r . V a h r r r r L r o . L r J r r . L - r l y ' c c " n d ' c n r u r ) .

rl:lrrow pletform rrnlning around thc large rcc-tirnsular lrall (Figs. 9.r3, 9.rJ). Pairs o{ nithuxasdanking thc cntrance to thc antechambcrprcceding the strlpa chanber (Fies. 9.r4, 9.r5)are closcly rclatecl in style anLl costume to thc

REGIONAI- DEVEI-OPMINTS IN TH€ DNCCAN 17J

Kdrli verancla figurcs and suggest a con-rparablcclate in the elrly sccond ccntury A.D. As atKarli, inagcs of Buddh:rs rppearing at the cavcerc latcr additions ancl .lo not rcflcct the originalschcnrc (Fig. o.r s).

' :lt

:1 --1 ,

: : i l -.-.1t

. . . 1

!)I

172 PERJOD OT THE EARIY DYNASTIIS

9.16. Plan of caitya h^11. Kanhe'i, Mahrlaslra, India.Satavahana dynasty, reign of Yajffa6ri Satakarni. Ca.last quarter second centurv,

At Kanheri, a large caitya hall clearly indebtedto that at nearby Kerli was excavated aroundthe last quarter of the second century ,r.o. Twoinscriptions at the cave indicate that it wasdedicated during the reign ofYajnairi Satakarr.ri,the last great Satavehana ruler, who reignedfrom about 17+ to 203.7 In plan (Fig. 9.16), thecave is similar to the Karli caitya halI, consistingof a large apsidal hall (though not so largeas that at Karli) and a veranda, but in this case,the elements of the facade and courtyard arebetter preserved (Fig. 9.r7). A low rock-cutrailing screens off the courtyard, which is ap-proached by a short flight of steps. In form, therailing is sirnilar to that at Nasik Vihara IIIin the presence of roundel morifs (Fig. 9.7), al-though here they are wcll preserved and areclearly foral designs. Again, a relationship tocontemporaneous railing pattems in AndhraPradesh might be noted (Fig. 9.zr). Flan-king theentranceway to the courtyard are standing malefigures, again reniniscent of the pair at Nasik

9.r7. Exterior of caitya hall- Kanheri, Mahele$tta,India. Satavahana dynasty, reign of Yajiairi Sttakar+i.Ca. Iast quarter second century.

IG

- P. E

-+6rlE

I-dlt

rEarFr, +ItiF; r

rt=:-E r =&oL- rC '

- . rq-rh r&ra1rl.& c.ti5acr t \r+TF9e- ! xi cr:.

rl:q

rr-ff(

r*lf l aL & r

E=.r

6c srEq=

r't =a

q.+clc :5-;---!! a:r

E l ' e l

\ i ( a.:--- -:

REGIONAI DEVELOPMENTS IN THE DECCAN 1Z'

9.r8. NujarrJ'a flanking erltlance to cowrtyatd. of caitydhall. Kan}eri, Maherasrra, India. Sitavahana dynasLy.

(Fig. 9.ro). While damaged, these roo seem tohold offerings or symbols in their right hands.The figure sryle is berrer seen in the i.pr.r.nt"-von of a nagar-aja in a niche ro rhe righr of therail ing (Figs. g.r7. g.r8). The squarish body,fleshy but welL-defined musculaturi ofrhe rorso,full arms, and taut legs reveal ties to earlierIndic styles, but relate strongly to figurativeconventions at Mathurt of approximately thesame period, An overall flattening of the formsas seen here dlso appears in many Mathurdimages of this date, indicating a rather wide-spread stylistic preference.

_\Vithin the courtyard 'are two large rock-cut

pillats (stambha), each carved with a differentarrangement of figures and sculpted elements(Fig. 9. r7). The pil iar at the righi of Lhe court-yard is ofparticular interest, for it bears a carvedfigure ofa Buddha fanked by two bodhisattvasnear the bottom (Fig. 9.i9) and four Buddhasabove. There is no doubt that these represenra-tions were part of the original scheme of thecave and belong to the second cen[ury excava-tion, for not only are the flattened forrns,squarish bodies, and orher features stylisdcallvclose ro the figurarive idioms on rhe rail ing andthe resr ofthe starzlf ia, bur they were carvJ outof matdx that had to have been left for them inthe.original planaing ofthe pillar. Their presencerndrcates that stone representations of Buddhasand bodhisattvas were not the sole Dreserve ofKusdna arrisrs or those in Andhra pradesh(Fig. 9.zj) during the second century, but thatsuch images, or particularly simi]ar ones madein other matedals such as wood, must have beenwidespread. It is also important to note tlatwithout this figure group, the cave wouldnormally be inrerprered as being aniconic, sincethe veranda and interior do not bear imaees ofBuddhas. (Some were carved into rhe veiandaduring the late fifth century, but these were notof the original phase.) However, as has beensuggested in previous discussions, the presenceor absence ofa Buddha image is a u.iy .o--plicated problem thar needs tio be .einterpretedin terms of its religious implications, and hereit is apparent rhat rhe presence of a Buddha isnot incomparible with an iconographic schemetnat lrrruts rts use_

9.r9. Piflar in courryard ol cairya hall. Kanheri, Ma_h,ira!!ra.. India.. Saia\ahana dynasty. r<ign of yajr iair i)araxarll, Ua. last quarter second cehtury.

lz4 PFIIOT) a)F l11r | lRLy DyNAS', l t i ls

As rt Kirl1, rlr.rlc-fcrrl le peirs H:nk tl l : en-trlrncclvrys :into rhc hell (Fig. o.:o). WlLilestylisticeliv thcl' sharc ccrteiu cll lr:rctcrisrics \. ithr l : , K r . , ' r , r , l . / l - . ' , . + 1 . r r l . r r . r r r l r ' -f i 'renccs,rrc l lso visible. In plrt iculrr. e gtcetcrhcevincss is secn in rfrc Lodics ofbodr thc mctln.1 thc rvomc-t, rvho secur Lo bc simply tlrr: ithcr Lhln lerlslrous. This thickncss of bodyI I i ' r r ' . , r ' , r ' r . r . , i l t . . r ! , , , - r L r l r

l)cccrn frgural scnlprurc in l lLcr pcrrocls, con-tr';rstirq, ior e\lnlplc- u,it ir rhc slcnclcr bo.11'rvpctlut prcrlolnirlates in thc i:rsrcrn l)eccan rcgLoDsof lrrrl i .r. Thc lr:rlc lLer.lclrcsscs arc rlso clif irrcrrtf iorrr r]re tnrbens:rr l( lr lr. lnd crclr xt Kalrhcricle.rl r l i f lcrcutietioll c\i\rs i;om olrc c\urrrprcto tl lc r1L'\t.

Thc inrcrior oi thc h:rl l elso bc'ars corrprn\onq'ith th:rt et Kerli, rrlt l ioLrqh dris olre rs Less \rcltprcscrved. I lo m;1or clit l ircrrccs rlrry bc l lorcJ.

9.1o. l,lilhrta couples, vcranda\r i r l l l ! ' icLn:r juto.d i r td hal l . Kr11-h c f i , , \ 4 a h a r a , t f r , I L r d i r . S a r r r a -harr ; t dvn:rr tv , rc ig,r of YJjn.r lnSrtrkrr i . Cr. hsL t lLrar tcr second

horievcr. At l{ inhi.r i ruuch qrcltcr variat ioD isqir 'ctr to thc pi ihr ' folnrs, siucc sorrre heve pl:r in,l icetccl shel is rvi th no cepitr ls ol bxlcs; ot l lershlvc c:rpitals but no b;rsr:s; lrrcl st i l l othcr-s h:rvcbrscs and cepitels sinri l rr to thosr: at Karl i .Frrrthcr, thc cepit l l rnoti ls fcvcxl r lLrch qrcxtcr

n)Ll ivi .LLnl i t) ' , containi lg scclcs rvith anirnals,f iqurcs. :r lc1 rcprcsentxt iolrs of devotion to-r l t l , r- ! . At this Ioint, i t is inrpossiLrlr : to s; i l ' r i ,heLxccouuts lbr- sLrch viui l t ion, :r l thotrgh i t isunl i l rclv rhrrL iL irrr l icetes r lrorc rh. i l r onc pcriodol rf f isf ic .ct ivi t \ xt the l ienhcri rarr i , ,r hr1l.M.lrv of thc cervings (cspccir l lv the sccncs orrLhc cepitr ls) shol e rethcr shoJclv typc ofl 'orkrrr:rnslr ip lnt l i t hls bccn srrqqcstccl t lutsir icc Yl j i ieirr Sit lk:rrni was thc last srr.olrgS:Ltur 'arlurrr:L rLrlcr. pol i t ic l l prcssLr-cs lncl dr.:inpcn,r l i rq r l is i tr tcgrrt ion of t i rc cnrpirc tooktlrcir rol l i r tLc ert.

fl

u I

L s r I a s r r , l N l l l c c , t r . ; : T H r A N l u R r \ l ) l r u r s u l l l c t r o xU x o t t r t r l L , \ T E R : i A l A V , \ t r n N A s . { \ l l I K S v a \ K L s

No onc is ccrLrin *hethcr- lr t prodLrct ion in rhc,(xstar 'r1 Daccln. col1lur,.rerl u] l i r i tarrLi j) tc( l frorlrhc cerl icst ph,rsc urrt i l the hcqinninq ol thcscclmd cL'] l tLrrv . \ .D., \ \ .hcn Satevihrne rtr lc irr

lhc rcqion saclrs t() l1r1\1' st irrrrr letcd cxLcrrsivc

ffcir lrct ion. Prob.rbh-, solnc lr t \ \ ork! contiuucJto bc nredc r lurirrg thc t l lst ccnrLLrt. , t .u.- eithrrrr-qlr rhc' f .LI iLr lrctcrs of this "nri11cl lc" plurc

have yet to be fully defined. Evidence from thePuranas as well as inscriptions indicates thatfrom the time of Vesi$thiputra Pulamavi (ca.r3o-rj9), the son and successor of GautamiputraSetakar+i, until the reign of Yajfia6ri Setakarni(ca. t74-zq), a large portion of Andhra Pradeshwas under the sway of the Satavahana family,who made it their capital during this period.Thus, it is not surprising that the artistic styles,while having a distinctive regional flavor, areclearly related to those of the western Deccan,at sites such as Karli. Nasik. and Kanled.

During the second century, the period ofSatavehana forescence, the Great Stupa atAmaravatr achieved its final form, for it wasgiven a veneer of sculpted stone slabs and ahiglrly ornate stone uediha. It is likely that thisproject took place over some period of time,since donative inscrirtions on the monumenr

REGIONAL DIVEIOPMTNTS IN THT DECCAN I7J

range from the reign of Vasislhiputra Pulamavithrough that of YajnaSri Setakar{ri. The appear-ance of the stupa at the completion of this phaseis suggested from the carvings on numerousstone slabs that originally decorated the stupa,thathave been found at the site, and tllat depict stupls(Fig. 9.zi), and by archacological evidence. Ahuge stone uedika, lavtshly carved with bosslikeroundels similar to those seen at Nasik andKanheri surrounded, the stupa. In contrast tothe pattern seen at Stnci Stupa I, the entrancesit the uedika did not have toro1as, nor dld theyform a svastika plan. Instead, each opening pro-jected ourward fiom the railing and providedan uninterrupted view of a niche on the side ofthe stipo cottairing an image of a Buddhaor some other Buddhist subject. Atop the fourentranceway railings were large sculpted repre-sentations of lions, The drum of the st pa utas

9.2r. Slab showing rttpa. From Arnaravati, Andhra Pradesh, India.Sehvehana period. Ca. secorrd century. White rrarble. H: r9o cm.Madras Government Museum. Madras.

,76 TLRIOD or 1r]L l ,ARLy r)\ 'N.1srrfs

9.-r: . l l : r i l i r lq prl l .r l l i th r ' ,r :rndci 'hot;ng dclot ior iorhc |o, l l i l t rcc rnLl i ,rr i , iJc,rd irr D,rd,1 cr\r. l ' ronr Arn.r-x\rr i . Arr.Lirr Pr. l1. ' \ l ) . I :d,,1. S.n\rI lr I l r p.r io. l . (} .

seconcl cenlr\ . \ !hl tc , , ,r : l . lc. Ur: s7 .r)). Brir ishNluscLun, l ,ondon.

. lpp:rrcntl \ x 1)roir in( int pxrt of t j tc t f . l t i tcctr[ l l

contf i L1.t ion. rnLl i iour i t c, l |-- lcir ()1- th. l i )Llr

siclcs oi thc nronLrl(rrt !r , :rs;1 p!r) jcct ion. 1l l l l

so c:r l lc(1 ayrl , l pl l t iortr surr lorir tcr l bv i lvL.

stolc pi l lers. Ihc -vrl1,a ploi i .r \1'r ls dccr.r, i t i :11

lvit i r nuircrou! si :Lrl1.t i :d sl,rbs, lr l r l of lhiclr

del. ictccl sccrcs 1,.r, , , thc l j l i ' ot- (r l-r-rrrLrr i

B i . ' , r i . r . , . . . 1 . r . : . . . l ' , . . . .auci ,r1,1l,rr, :rrt l t rqrinsr t l rc si(LLi oi t l lc jr i r l i . r

i tscl i en o\cct oi !cncf.rt iorr t ' , rr p1ece.i . In

th i s cxe rup l , - (F i g .9 . : r ) . . . , i b , r i s i r , : i nq p : r i dlronr,rqc by e ni lr i rcr ol ( lavolaes.

Nurlctous r ' l iengcs erc virrLrL: i l t l rc scLrlptLrr ' :r l

stvlc ol this fcr io(1. conrl) i1f.(L \r ' iLh e.ul i .r

rcl lLl i i rs l l 'onr t l rr ' r 'cgioD. i I lc ir . :rr i ] , thc det.

l inc,u, sirnplc c.Lrvl l lq! ot t l rc r ist c.:ntLrl l_ Lc.

wcrc sr.rPcIscdc.i bv r iccpiv c.r lv,:d. clo1\_. lcci.

ecl ivc. rn.L rn()rc nraLrrxl i \ t i . l l ) f .xl inq \rork\

bi. t lLc second ccrtnr) ' A.D. hrl lucrrcc fror,r thc

\\cslcnr I)cccln :rrt schools, mrlni icstcd i11 t]rc

c-\cl \ ' . rr io11\:rt Karlr. Nasik. enrl I{aDhcri, r ic-

coLrnfs ior sonlc of f l is clcvcloprncnt. I t is also

l iki : l l rbrt corl fr . t vi th Roman t l lc l i tq colonics

rhrt . \ i \ tccl r lolrg thc Lr:rst corst of hrJi:r l ionr

thr- l i lst ccutur y , t .1. hecl somc imprct on thc

rrt : ls !r( i l l . Most l i rnrous ol thcsc colonics rrc

Arikerrc. lu enrl Meisol ie. lnd. in pert icLrler,rf :r( lc xssoci i l tcLl rvi th Meisol i l xccorrntcd fbr.Ielqc sh,uc of tbc ncrl th oi thc rcqion, lhichc|Jrrtr iburcd to thc frrronxqc of RLrrlcLhist

lror1ir. ! tcr irs et Nigir lulrLkonclrr, :rnc1 probrblvArurr l i \ ' r l i as \1-cl l . Although lul lv intcgrerccLinro rhr: Irrcl ic colrtc-\f . l {o1uru svstLrl l ls ol

I r . 1 r L . ' . . ' r r ' r R . r r r . r t

scrnl lo ha\ 'a h. id l rLircct inf l , .rcncc o r l tc urtoi An,:1lrra l ' r .rc1.:slr

t:

I

ID

I

9.24. Slab showing n|pd, with Buddhas and otherfigures. From Amarivati, Andhra Pradesh, India. Ca.late second or early third century. White marble. H:I26.J cm. B tish Museum, London.

A railing pillar, which is virtually coveredwith sculptural detail, contains a central medal-lion showing devotion to the lolli tree and theuajfisana, the seat upon which the Buddhaachieved enlightenment (Fig. 9.22). Virtually thesame subject is depicted in an example fiorn theearly phase (Fig. 5.37), yet thc two are strikinglydiff-ercnt. In the later example, the circumfcrenceof thc roundel appears almost like a peepholethrough which the viewer witnesses the scene ofdevotion, and the scene seems to extend beyondthe conlines of the circular format. In earlierrelicfs, such as the Bhirhut roundels, no such im-plications existed. Here a greater sense of re-alisrn scerns to prevail. Partially responsible forthis efect is the increased depth of the actual carv-ing, which makes the figures stand out in boldrelief, detached from the backgrounds, but there

REGIONAI DEVII-OPMENTS rN THE DECCAN 177

is also a more unificd pcrspcctivc thxt createsthe illusion that the figures cxist in space andnot in the artificial, airlcss groupings of carlicrreliefs. Each figure has becomc an animatcdform, with an active posture and, indecd, oneof the overriding characteristics of this phaseof Andhra art is the vitality and sense of move-ment in thc rcliefs. All elements of the scencare in rclativcly naturalistic proportions, furthercontributing to a scnsc of actuality. Thc slirnbody type, especially evident in the limbs, ischaracteristic of the Andhra style, but thean.rply endowed women suggest parallels to cou-temporary carvings from Karli and Mathura.

A drum slab from this period shows fourscenes from thc lifc of Sakyamuni Buddha sep-arated fiom each othcr by architectural forms(Fig. 9.23). Maya's dream of hcr conccption andthe dream's interpretation are shown in the topright and left scctions, respectively, and thc birdrof the prince and the prcscntation of the child toa tutelary yaksa of the Sekyas occur in the lowerright and left panels. Again, the figures appearin lively poses and are deeply carvcd, andthe various e]ements are harmonized into abelievable (although not overwhclmingly illu-sionistic) sccne. Considcrable depth is created bythe architectural elements that divide therelief into its four componcnts and in the plat-forn beneath the yak1a at thc lowcr left, andthis emphasis on perspective may bc derived fromRoman teclu-riques. The convcntional manncrof tlividing thc scenes used here will rcappcarin the paintings of Ajanta, where architcc-tural fornr. arc u5cd is a device to jurr:rposediverse scencs (P1. ro).

In rhc latc :crrlpturcs frorn Anrardvltr. parric-ularly tirosc that wcrc made during thc finaldecades of Satavahana rule and thc transition tothc lksvaku pedod at thc cnd of thc second andthe beginning of the third centuries A.D., rcpre-sentations of Buddhas were commonly depict-ed in various rclicf sccncs (Fig. 9.za) as well asin free-standing votive imagcs (Fig. l.z:). Thesedo not rcplace symbolic motifs in the Buddhistart of Andhra Pradesh, for symbols, such asthe cakn, continucd to bc rcpresentcd in sculp-tures of even the latest Buddl.rist phasc, some-times cven in contexts where Buddha inrages are

]7d PERIO]) OF TI IE IARLY DYNASTI] ]S

9.1j . St l l l ld ing Buclc lhr . Fronr Anr i r r tv : r r i , Andhr.rPladcsh, Lrdi . r . Cr. hrc sccolc i r r r e l r lv dr i rd cerrnrr l .Whi tc nnrblc. H: abour r :o cn. \hdras ( lovcmnrcut

Museunr, M:rdrrs.

dcpictcd (Fig. 9.zr). There is lo clcrrcr cxarnplein South Asial :rrt t lut the use of uiconicsynlbols ru.L Buclclha l lgurcs is not necesslri iy. r " r . , r c o f " . i t l . - o L , r r r l r . r l , r \ \ ! r . ) 1 . ( .of rcprcscnr:lt ions coulcl bc cornpltiblc.

St,vlisticaily, thc BLrriclha fisurcs of AndhraPrrdesh hevc rxthcr niLssivc bodies tlurt appcarto be srvathccl in heevv clrepcry rvith prornincnrfolcls. A tosalike garlnel1t sonrclirrcs u,oln bvthc l lucldhas is suegestivc of cont:rct \\ ' i t lr t l lell.onrats, although, as in thc llactro-Ganclhtreregion, it is ulcertein iI t lr is rvas .]r lnclic orloreign style. Anothcr typc of robc', in rvLichonc siioulclcr is left barc (Fig. O.:;), is rlso com-nonly sccn. It is intcrcsting to notc thlt \\,hilct s r 1 , . 1 r . , [ - r r r , ' r ' , r . . t ] r . " p . , p , r r . . r l 1 , r , y r . r , din thc late sccollcl cc-lrtury art of AncLhraD " - . 1 ^ . 1 . t - . . , . i \ ( . . t . 1 , t l l r , ' l t l l . . . l t L )

thc clcvclopnlents at Mathura and ir Ganclhara.

9.26. Bodhiset tv: r I rad,u:rp.n i? From Got i , Andhrrl ' r rdcsh, lndic. Srt rvahanir pcr iod. Cr. sccond ccl tury.\Vhi tc nr lb lc. H r r j5 c. r_ M:rdras GovcmnrcntMuscnI l r , iv l : rdr : r \ .

Although soruc bo.lhisattvas irave bcen for.urdxt Alralivati, a vcry clelr exanlp]c conles fiolnthe -rtu/1.,4 rcnl:rir1s at Goii il1 thc Guntur districtof Anrlhra Pradesh (Fiu. 9.26). In this case, thcfiqurc style is closclv related to tlut sccn ar Nasik(Fig. S.to) :urd at Mathura dnring the sccondceirturr' (Fig. 8.4o), ahhough thc format,drorving thc bodhisattva f,ankcd by amcrrdrnrclu'erves of the typical Ancllrra tvpc ancl bencath. r t t L r r r . b r , l J . ' c . r r , , . d i r r . r n i l i r r r i o n i . r r , n t . . r l r ' r ,

is clistinct. Probably, drc bodhisattva is Padna-pini. rccoqtizccl by $'h:it appcars to bc a lotusrn his riglrt hancl.

The ru:rin pcriod of ertistic activity at Anli l-ravatr $'as probrbly ovcr by drc early part ofthc third ccntrrry, lvhcn Sat:rvihena porvcr bcgento \ralnc. Howcvcr, the eastcnr Dcccan tr'editiondicl not rvcaken, for, under rhc lksvlkrr kings,r h , . ' r ' . , I N - 3 r r 1 r r n . , k o . r J , r ^ \ . r , , p r o n l n ( n \ ( .

{

9.27. Plan of a Donastic unit.Nigarjunako44a, Andhra Pra-desh, India. Ca- third century.

REGIONAI DEVEIOPMENTS IN THE DECCAN 170

help define the various sects and their mannerof devotion. Inscriptions found in the valleyshow that at least forr different Buddhist scctswere represented.8 It has been demonstratcd9that not only did chronological and workshopdevelopments account for the differences ofstyle and forrn seen at Nagerjunakonda, butsectarian distinctions as wcll played an ilnportantrolc in detcrmining the forrn of the individualmonastic establishnerts and thc arr that wasused in the servicc of their religions. However,the full implications of this observation have notyet been explored. Eacl.r raonastic unit seenx tohavc consisted of some conbination of threeelements: sttldr, apsid,al caitya halls, and viharcs,or residential units. When all three elemcntsarc present in a monastic unit, a general pattemmay be discerned (Ftg. 9.27). Often tlrc uiharawill be separated fron the stipa by two uityahalls opposed to each orhcr, one containingan image of a Buddha, the other a -rttpd.This seerns to indicate a kind of equivalencybetween the two concepts, a feature that willalso be seen in fifth-century monun.rents likethose at Aja+te. "fhe stipas vary considerablyin plan; some are solid whilc others have aspoked-wheel plan embedded in their structure(fig. 9.zz). In general, in the case of whcel-planstupas, the smaller the sfipa, the fewer will bethe spokes. The wheel, of course, has Buddho-logical significance, rcpresenting the Buddhist

,!l-r-Li

The Iksvakus came to power when their firstking, Vasi;lhiputra Caihtamula, seized controlfiom the weakened Satavrhanas in thc secondquarter of the third century and established anew capital at Vijayapuri (City of Victory) inthe Nagarjunakon{a Valley. Although Nagar-junakonda (Hill of Nagarjuna) was not theoriginal name for this region, the great acqrydNegarjuna, the founder of the Madhyamikaschool of Buddhism and a proponent of theMahayana doctrine, is believed to have livedthere in the 6rst or sccond century a.o., thusaccounting for the popular name. Certainly,the site of Nagarj unakonda, which housed morethan thirty Buddhist monasteries from thesecond to fourth centuries A.D., was the seat ofmuch irurovation in Buddhist practices, beli€fs,and art forms, From a historical and archaeologi-cal viewpoint, it is a tragedy that this remarkablesitc had to be submerged recently during theconstruction of tlle Nagarjunasagar Dam, thoughthe govemment of India must be commendedfor its efforts to excavate the site and erectreconstructions of the monurnents for latcrstudy.

The Buddhist establishments at Nagarjuna-ko4da are irnportant to the understanding ofboth Buddhist art and changes within the Bud-dhist religion that occurred in the third century4.n., for it is one of the few places in South Asiawhere epigraphical and archaeological evidence

-rd: ill

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E E E E

E E E ] E

E E E E I

i8o PERIOD OF THE IARlY DYNASTIES

dharma, and it is possible that this method ofconstruction served both a philosophical andstructural purpose. Apparcntly, the spoked planis structurally more sound than the solid core,since it allows for natural cxpansion and con-traction of the strllcturc and creares a moreeffective systen.r of intemal support. While ingencral, thc wheel-shapcd forms are pan of alatcr development, thc use of the solid coredocs not necessarily indicate an early date sinccsonc sects preferred the rnore ancient forms.

Something of thc appearance of thc apsidalcaitya halls may be derived fiom examination ofone ofthe few extant cxamples ofa frcc-standingcaitya hall known in South Asia, the templc atChczarla in the Guntur district ofAndhraPradesh(Fig. 9.28). This small structure, measuringonly about sevcn nretcrs in length, is madeentirely of brick and has a vaulted masonryroof built on the corbel principlc. Although thetemple was converted to Saivite use at a laterdate and is oftcn talkcd about as an architecturalcxalnple of the Gupta pcriod, it is clcar bothfrom its relationship to damaged monunentsat NagS{unakotrda and its geographic locationnear thc cpiccnter of Iksvaku power that it isa structure of about the third century a.o.

Thc sculptural style at Nagerjunako4da, liketlut at Anarevati, is known from the carved

9.28. Cairya hall from southwest.Chczarla, Andhra Pradesh, India.Ca. third century. Brick.

stone slabs that were part of the veneer of theto:.a:)ot stupas, as well as from free-standingimages. By and large, the Nagarjunakondacarvings are closely tied to the latest sculpturesfiorn Amaravati in style as well as range ofsubjects. If anything, the compositions of thereliefs are often more animated, the figures morelithe and slender, and the spatial arrangementsmore sophisticated. One sculpted slab is ofconsiderable interest because it is dated in thetwenty-fourth year of the reign of EhuvalaCarirtamula,l0 who is believed to have ruledaround the last quarter of the third century.It shows alternately panels of liG scenes of theBuddha and nithunas, ore unit of which isillustratcd here (Fig. o.zo), and demonstrates thatthc Andhra school remained vital throughoutthe third century. The females of the mithunasarc very similar in form and style to the womenon tlrc Begram ivory cover (Fig. 8.28) andmay be indicative of contact between the twoareas, as suggested also by inscriptional evidcnce.

Although Buddhism indeed flourished underthe Iksvaku dynasty, the kings themselves wereHindus. (Their wives, however, werc apparentlyBuddhists, since many of thc rnajor donationsat the Buddhist monasteries came fron.r theGmale membcrs of the line.) A number ofHindu tcmples were erected at Ntge{unakor.rda

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9.19. l lc t r i l o i t r iczc u ' i .h L i lcEvcnts of S.kyarnLn) i Buddl . r rndrrrirlrurras. Fronr N.r qt r.jLri ) rk.in.L,Alrc lhrr Pr: rdcsh, India. Iksr akupcriod. Yc:Lr :4 of rcign ofElnrvr la C.rhtr r ) )Lrh (cr . l i \ tclu]rtcr tlird ccntur\'). Whjternarblc. L: (of r rholc l i iczc) :59cnr. NrerrjLuukorxtr Sitc Nfu-\cr ln l , L\ r j . r r lun.r [1, rL] . r .

9.ro. I {e l 'c f u. i rh Nrsi rhhr andl ivc, la lc hcrocs (pcrhaps drc f ivc

I ' r rL l rve brothcrs) . Frorr Kondr-

mrm, Ardlr r : r l ' r rc lcs l t , l t tcLi . t . Cl . t .l ; r tc rh i l l <:c 'ntun. Whit ish - . tor)e.H : c : r . 4 6 c r n . A t O l i c e o f t h cI) i rcctor for Archacologt , An-

dlr r . r Pr. rdcsh, Hvdcrabrd.

r t L G i o \ A L D I V l j L O p l l r j N r S l N 1 1 r ] j ] l | a t ( j A N t . t l

' i - , . - , . , . . r . - : : . r . - . r r . r - ; - : : r r i r , : . . : t r r , , . l ; : . . . r . . t s . : : : . , , - -

; . , , . 1 r ' . , ' , - . - : ; , - - - - - , - . * . . . - - , t . . i . . ' , - .

dLrr ing rhc lksvaku pcriocl, elthotrgh nonc hrs

sLrrvivc(l intxct. I t rnlv l tc sl lggrstcrl . holvcvur,t1l i l t dlcsc l l rol lLr l l rc ts corrst i tLrtc !hc crr l icst1r1:r jo. groLrp o{-Hirrclu tcrnplcs thLrr l .rr idcnti f lcLlnr Soutl l Asi ir . l )Lrssiblr ' , thc inrpctus givr:r to this

rc] igion bv r l ic lksvlkLr-s w.rs r l r .r jor I iLctor ini ts subscqucnt p,rpLrLrr iry r lur int thc Guprl

pcriocl. Onc i l rport lnr docLrrrrrrf , ior cranrplc,elthough unlbrturrerc]V lost, u' i ts i t \ \oocicnimege oi ln ciqlrt-rrrrnccl l i rrur oi Visnrr (ca11cdAstrbhLrjrsv. i l rr lr in en rnscl ipt ion) instel lecl ur

A - r ) . ?7E n r e V l i sn rv i t c t c r t r p l i : e t N rq l r r j r u r l -konrl l . l r Not drlv ( lo..s t i rc knol. lcJgc oi thisinrl .qe docunrr:nt thc nsc ol \ \ ' f )()dcn forrnsrlongsiJc srorr.: :rn, l orhcr mntcriels, bLrL i t, 1 . , 1 . . , , 1 r , 1 . 1 J , . ' r r l i , . r , - ' . r .clchnitclr in rct i lc Lrsr rt l rr cl l l r .clet i : .

A ' crrrrrkeb]c rcl ici l i rLrncl rt I(on.l l rnretu,nor I i l r honr Nriqulrrn:Lkonil ] . o11crs furth.:rcr, ir lcircr of Fl irrr lLr clcrclopnrcrfs ( l : ig. 9. lo).()n s\. l isr ic sroLrnds. i t rrur. Lrc t lr tcr l to thclrtc thir( l c:cutLrr\ ' . :rs t i ra l lLnrr ln irqLrrcs cspcciel lr '

l32 PIRIOD OF THE EA] i iLY DYNASTIES

comp;rre rlell to those ofnlorc firmly cstablishcdu'orks of that rirlc. A largc scatccl liorr rvidrr r r o r r l . , ' . C . r r ' ( i r ' , l d i L i o r , ' o r i . l ^ r r r l , : s )hokls e ralr'r enrl r rlacc (?) rnd is flanked byfigrrrcs of frvc male "hc'roes." perheps tl.re iivePtrdeve brothcrs of thc l,,loluLlfirata. Althoughit is rlot possiblc to sry rvhethcl xt tlis tinlc thcrcprcscr-rt:rtiolr ofthc lion is 1l1r inc:rrtutior ofthcHirrcLLr gorl Visnu or q,hethcr it is.r tyulta(crnanrtion), thc l lsurc is i clcrr protot),pc- {brthe later mrtr-l ion (N;siLirha) form of thc god.

Another intriguing ;rspccr of lksv:rku lrt isthc production of "shadc" pill.:.rs (thaya sta6l1-l n ) r , ' , o l r r r , r r . r . ' r , r l r ' d . . t ' r o f . r r i , ' p o r l . ' r r tpcrson:rqe. The practicc o{ electing such me-nlori. l stoncs, usr.rally callcd rrr,rgals (hcro stones),latcr bccanrc r-i,:lcsprcacl throughout thc sor-rth,the Dccc:rn. encl thc rvestern portiqrs of India.These objects proviclc inrportanr cvidelrcc of irdcsirc to rccorcl cvclts in thc tcmporal u,oridin eclclit ion to depictine subjccts of the religioussphcrc. Morc thxn tlventl eremplcs luvc becnfbuncl lt Nag:rr.junekonde elonc lrom thel k r r l . p , r r o d . l ' , ' r ' b J 1 . r l r e , . L . , r ' o r r p -tions rcvceling thc circumstanccs of thcir crcc-tion. and often a datc. Thus, as a body of artisticnatcri:r1, rrrclrlori:rl pillars (rvhich havc bccnlargclv ovcllookeci by schol;rrs) providc inrpor-tant historicll. rtt istic, ancl chronoloqical dataencl miglrt bc Lrscd to hclp rcconstr-uct Icsrcrknorvn espccts oistylc en.l clevclopnrent uirlt inthe r'r-uinstrcem o{ elt.

Onc cxerrple (Fig.9.g r) shos's lvhet havc bccnidcntifrcrl es cvcrlts ir l thc l ifc of thc king Vasis-- , , . , , r , i ' , . . , u \ \ 1 1 l k , \ , . l , L r

Lirrg. Thc i lscriptiorr r-ccorrls rh:rt thc pilhr rv.rssct rp bv thc sisrcrs. rlrotl lcrs, ln(] col)sorls ofthc king, lncl is cl:rtccl in thc trvcnticrh r.clr ofthc rcigl i,f thc king's ,c,n, Mtdh.rrp,itrr SriViri ipulisxclxtti l . l2 :rncl thcrefor c .letcs lrorlaroun.l thc ruiddlc of thc third centur,v. Al-thoLrgh thc crrving on thc pil lrr is vcry rvom,it irrrl icltcs a closc rcllt iorrship to thc rcliqious

' r r l - ^ ' i ^ l , ' " ' , .

' l ' . . ' 1 . t c r r i l t . , , 1

thc courposition uc rnorc l latcncd. hr spitc ofdrc f:rct rhat tlic pcopic clcpictctl in thc rcliclslrc historic:rl pcrsorl. lgcs! thev erc not individu-

: . r . . . - r . r i i n r l r c . . , r -of t l ic corptrlcnt king.

9 t r . l lero stonc sfrorv ing crcDts iD hlc o i Vasi l th i -pLu..r C:ir;rtirn[]r. Fronl Nigarjurl]kotdr. Andhra

l']radesh, Int1ir., Ik:vrku pctiod. Yert :o of rcisn ofMadhariputr:r Srl VirapLrrisadatt:r (cr. midrhird ccn-t l r r ,v) . S(nrc. H: ct r . 27j cn, . Nagrr junekonda Si tc,uuseLrrn, N. girrjun.!kor4.r.

. . i ,

By the end of the third cenrury a.o., variousschools of Buddhist art were well developed innumerous regions of South Asia, many of themrevealing newly developing iconographic con-cepts, otlrcrs perpetuating pattems that hadbeen established centuries before. In addition.

REGToNAL DEvrropMENTs rN THE DEccAN 18,

Concrusror.r

inklings of the florescence of Hindu art yet tocome were already on the horizon. By ttefourth century e.o., when the Gupta rulerscame to power, the stage was set for the burgeon-ing oflndic art that occurred in the fifth century.

' i-:ii9!hi-

,l-ndhra: :eign of

:-=da Site

P A R T I I I

DYNASTIES OF THE MIDDLE PERIOD