Mathura, Sarnath and Gandhara Schools – APSC, UPSC and state Exam Notes
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The first century CE onwards, Gandhara, Mathura in northern India and Vengi in Andhra Pradesh emerged as important centres of art production. Buddha in the symbolic form got a human form in Mathura and Gandhara. The sculptural tradition in Gandhara had the confluence of Bactria, Parthia and the local Gandhara tradition.
The local sculptural tradition at Mathura became so strong that the tradition spread to other parts of northern India. The best example in this regard is the stupa sculptures found at Sanghol in the Punjab. The Buddha image at Mathura is modelled on the lines of earlier Yaksha images whereas in Gandhara it has Hellenistic features. Images of Vaishnava and Shaiva faiths are also found at Mathura but Buddhist images are found in large numbers. It may be noted that the images of Vishnu and Shiva are represented by their ayudhas/weapons. There is boldness in carving the large images, the volume of the images is projected out of the picture plane, the faces are round and smiling, heaviness in the sculptural volume is reduced to relaxed flesh. The garments of the body are clearly visible and they cover the left shoulder.
Images of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities and portrait statues are profusely sculpted. In the second century CE, images in Mathura get sensual, rotundity increases, they become fleshier. In the third century CE, treatment of sculptural volume changes by reducing the extreme fleshiness, movement in the posture is shown by increasing distance between the two legs as well as by using bents in the body posture. Softness in the surface continues to get refined. The trend continues in the fourth century CE but in the late fourth century CE, the massiveness and fleshiness is reduced further and the flesh becomes more tightened, the volume of the drapery also gets reduced and in the fifth and sixth centuries CE, the drapery is integrated into the sculptural mass. Transparent quality in the robes of the Buddha images is evident. In this period, two important schools of sculptures in northern India are worth noting. The traditional centre, Mathura, remained the main art production site whereas Sarnath and Kosambi also emerged as important centres of art production.
Many Buddha images in Sarnath have plain transparent drapery covering both shoulders, and the halo around the head has very little ornamentation whereas the Mathura Buddha images continue to depict folds of the drapery in the Buddha images and the halo around the head is profusely decorated.