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Indian Sculpture
Volume
circa
Indian Sculpture
by Pratapaditya Pal
Museum
of Art Collection
Museum
of Art
in association with
London
Copublished by the
Los Angeles County
This project
Museum
of Aft
is
and
respectively,
by
Museum
1986
Museum
diacritical
in
Associates,
representing,
London
In the transliteration of
Illustrations copyright
C and S
of Art.
No part
may
Dimensions
and centimeters
be reproduced
indicated. For
is
the
Mathura,
first
century, S55.
Typeset in
Museum
Garamond
of Art
typefaces
by Continental Typographies,
Data
in Publication
Inc.,
Chatsworth, California
Pal, Pratapaditya.
Printed in an edition of
Indian sculpture.
4, 000 softcover
Bibliography:
v.
1, p.
Includes index.
Contents:
1.
3.
1.
Los Angeles
Sculpture, Indie
California
I.
v.
Catalogs. 2. Sculpture
ISBN0-87587-129-1
ISBN 0-520-05991-3
ISBN 0-520-05992-1
Catalogs.
Museum of Art
Museum of Art.
(v.
(v.
(v.
Catalogs.
II.
Title.
pbk.)
Univ. of Calif. Press)
Univ. of Calif. Press
pbk.)
Contents
Foreword
Earl A. Powell in
Acknowledgments
1 1
Preface and
13
General Introduction
History
24
Religion
32
39
48
Color Plates
65
Numismatic Art
119
67
Introduction
81
Catalogue
Sculpture
Introduction
125
Catalogue
Introduction
155
Catalogue
273
Chronology
275
Bibliography
283
Index
211
Introduction
Catalogue
Foreword
This volume
is
intended to present to the general public and scholarly community the museum's
preeminent Indian and Southeast Asian collections and introduce readers to the
geographical, historical, and cultural milieu in which that art flourished.
The
will
combine
make
to
Not
since
Museum
and
for the
studies on the
works received
critical attention.
Indian Sculpture
numismatic
art.
The chapter
is
is
unique
in that
it
history of the Indian subcontinent as well as for coin enthusiasts. Moreover, in the
introductory essay and individual catalogue entries Dr. Pal examines the influence of
the West, particularly Greece and
West
monumental
art.
development of
sculpture, thereby
The
this very
art,
important evidence.
sculpture collection
is
schools, materials, and techniques as well as geographic areas but also in displaying
a wealth of iconographic detail.
new
700
useful
to a.d.
commentary on
welcome
detail
a very
Earl A. Powell
ill
Director
Museum
of Art
Soviet Central
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Turkestan
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Peshawar
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Parhankot
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PANJAB
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,
j-
Tibet
\*
1/
Harappa
a
V
f"
New
Delhi \
(Ahichchhatra
.\
Mathura
Bhutesvar
HAN
Kausambi\i
Allahabad ^"S. Sarnath
Udaipur
Mandasor
Deogarh
VJ A R
AT
'
Bharhut
y.nJhyaR*''*'
Bhopal
A
A D H V
Bhuvaneshwar
*'Jj
A rabian
Sea
B^l of Bengal
Indian Ocean
Preface and
Indian Sculpture
is
the
first
Acknowledgments
collections
is
is
used here in
its
Thus
it
would
The sculpture
from Afghanistan
state,
entries
moving
to
feel
art.
is
generally do not
the catalogue
as possible.
it
is
has been
my
Throughout
claim to have no
Maker
To better
supplied by the British
Art, and Mrs. J.
am
Museum,
Cincinnati Art
LeRoy Davidson.
all.
Heeramaneck
11
of
Thanks
are also
for
bringing
due to
my
frit
collection, since
doubled. This expansion has been possible due not only to the vigorous acquisition
policy supported by the trustees but also to the generosity of
are
work
closely
with a curator to
my
fill
is
many
the
thanks.
am
indebted to
many museum
colleagues, foremost
all
Much
preparatory
staff as well as
by members of the Department of Indian and Southeast Asian Art and Department
volunteers, especially Ethel Heyer. For their support and encouragement of this
project, thanks are also
due
and
editor, all of
whom
word of appreciation
book. Head Photographer Larry Reynolds and his colleague Jeffrey Conley have
risen to the occasion splendidly, while
Kathleen Preciado,
who
Pratapaditya Pal
Senior Curator of Indian
12
Working with
to be
both
Art
is
an affirmation
To forms hewn from solid stone there has been given the
unearthly intangibility
and lightness
and
such fervor
and
effect
exists
another
to
with
History
The
when
is
a terra-cotta bull
the Macedonian emperor Alexander the Great reached the river Indus in 327
India "had shaken off the yoke of servitude and put his governors to death.
who founded
is
the Hellenized
the
his
The
name
for
grandson
Asoka, the empire stretched from Afghanistan in the north to Karnataka in the
south and from Gujarat in the west to Bengal in the
Bull, Pakistan, c.
By
east.
controlled the northwest. During the rule of the Sungas the stone railings and
at
Antiochus
(11)
1,
local
Greek
rulers of
last
Greek
was
ruler of Bactria,
from
tribes
Central Asia. Since parts of their territories comprised northwestern India, these
later rulers of
Greek origin
C2 5).
The
rule of the
and
religion.
first
trail
took control of the region. These included the Scythians, Parthians, and Kushans.
Fragment of a Pillar, Bharhut,
c.
100
Known as Sakas
B.C., S28.
one of their
rulers,
Azes
I, is
in fairly large
Vikrama
numbers, and
era in
which has remained one of the two most important reckonings used in
second era, begun in a.d. 78, is also associated with the Scythians and
15
58-57
India.
is
B.c
known
as
the Parthians,
government
Pushed south by
today.
Madhya
known
Western
as the
By
Kushans, who
far
first
among
first
century.
At
its
political
Vasudeva
(see
Kushan
in the south
in 176,
the
1,
Deccan
and
II.
provinces until the midthird century. Even as late as the midfourth century, they
as
is
may
known
Andhra
to the
power
political
inscriptions
much
in
as the
tribe,
some of whom
have originally lived in the trans-Vindhya region in central India between Uttar
Andhra Pradesh.
In any event,
expanded
is
today
known
kingdom
at the
Great Stupa
officer of the
at
century,
which they
in present-day Maharashtra,
Andhra Pradesh. An
first
as
Satavahanas
S29 30)
Sanchi (see
sometime about the time of the birth of Christ. The coins of the Satavahanas
C21 24)
later
(see
were brought under the sway of the Satavahanas. By 225 however, Satavahana power
,
Gummadidurru
at
in
built
dominant
feudatories of the
Satavahanas. Although the Ikshvakus were not a major political force, the female
members
for the
building of
Not
many
magnificent
monuments
in
Buddhism and
Andhra Pradesh.
known
as the
By
succeeded in bringing
much of northern
responsible
II,
had
the east as well as the Deccan under their political hegemony. Between these lands,
and
conquer
fell
as extensive as that
when
it
marked the
dynasty encompassed almost the whole of northern India and was also
south.
Not
until the
16
Mughals came
of the
to
power
felt in
was
the
this
By 450
the
The
some
years between
Most
historians characterize
Indian civilization.
Whether
it
as the classical
is
are generally
sometimes extended
it
must be
admitted that the period was one of remarkable intellectual and cultural
achievement.
for
time of the Maurya emperor Asoka in the third century B.C. Archaeological
excavations of the
first
as the
Indus
millennium B.C., have discovered that brick was the major building material
architecture, while terra-cotta and pottery
for
manufacturing
for
both secular and religious objects. Although stone and bronze were also employed,
no monumental sculpture
in either
medium
well of the second phase of urbanization that probably began just before the birth of
Most archaeological
sites
confirm that brick remained the popular building material, and even the great
palace of the Mauryas, according to an eyewitness account
ambassador Megasthenes
left
us by the Greek
and timber. 5
With few
Most
are also
from urban
sites,
such
as Taxila in the
river port in
both
and
cities
at
medium
fairs,
and
made today
in rural areas
and brought
to the cities
during
some
figures, particularly
the realistic representation of the urban upper class and foreigners, was unlikely
achieved by villagers.
Monumental
until the
Maurya
tall
others
may
columns more
as capitals.
While
unaccountable, unless one assumes that they were produced by highly skilled stone
sculptors from Bactria or even Iran. In any event,
monarch known
to support an imperial
first
ivory,
Indian
arts.
to be clay,
art. Less
efforts,
sculptures in the round have been discovered from various sites dated to the
second-first century B.C.
popular
17
evidence
time of the Sanskrit grammarian Panini (active fourth century B.C.). 7 Although no
temple remains of the Maurya period have yet been discovered, the
sites at
reliefs
preserved
clearly
in designing, constructing,
wood
prototypes.
The
lithic
earliest
as
Bharhut, also are clearly based on the traditions of the painter and woodcarver.
While the
second century B.C. was the realization of the material's durability, other factors
must
sudden surge
and
sculpture. Certainly by Panini's time, the earlier Vedic religious system of the
Aryans
(a
who came
branch of Indo-Europeans
its
emphasis on
known
sacrifice,
as bhakti,
was being
which included
worship of images. Not only did the subcontinent witness the evolution of theistic
religion, involving personal devotion to specific deities,
which
later
came
to be
religions as
images. Another
contributory factor was the growth of a capitalistic economy, at least since the time
of the Buddha, and expansion of international trade,
with the
Roman
first
fifth-fourth centuries B.C. at the latest and increased enormously during the
period.
among
the
Gupta
most munificent
The
is
society.
became
With
in India
in
the cities founded by Alexander and the Greek settlers following his conquests.
Alexander himself is known to have built several monuments in the Panjab. Ancient
coins provide prima facie evidence of images of Hellenistic gods introduced in the
region (see
Greek temples
found
earlier
in Taxila
and other
places. Yet,
no
traces of Indian
than the surviving Greek examples. If temples were built earlier on the
made with
temples can be
itself,
if
is
a passage
from the
Vishnudharmottara-
The Indian
Treta, Dvapara,
Gupta
is
we now
live
and
is
said to
have begun in 3102 B.C. The relevant passage informs us that in the Krlta age the
gods had visible forms but no images, in the Treta age images were worshiped
homes, and
in the
Dvapara age,
in forests. 8
Only
The dominant
was
it
in
customary to
18
much
400
B.C.,
when
arrival of the
parts of the northwest were under Iranian domination and after the
Greeks
in
earlier,
in towns.
forests
and
By
villages.
away
and non-
tribes
B.C. Buddhist stupas appear to have been built at crossroads and in rather remote
places, although their monasteries
in
An
added impetus
their
Indian gods on coins are of indigenous origin, these images clearly incorporate
classical influences, as
first
Greek
tradition,
there seems no doubt that although images of village gods and tutelary divinities
Slupa in, Sanchi, early
first
century.
J.
LeRoy
were familiar in ancient India, the impetus to portray and worship the Vedic and
cosmic deities was partly due to the presence of the Greeks and other foreigners
in
Davidson.
10
northwestern India.
More
specifically,
Greek
Hermes,
Tyche, Zeus, and others on various Indian images of the Indo-Parthian and
Kushan
periods.
monuments, known
first
as stupas, as is clear
sites built
during the two centuries preceding the birth of Christ. While only one object in the
collection bears an inscription (S53),
which
identifies the
why
as a confidant of
tells
us
who
art.
donor
at
as far
state of Maharashtra.
The stupa
at
it
Some
Bharhut
attracted
devotees from such distances. Donors to the Buddhist site at Sanchi also came from
various parts of the country and included both individuals and guilds.
dignitary,
who
One
the overseer of the artisans of the Satavahana king Satakarni from the Deccan.
Equally interesting
that
not
is
ivory carvers
have been
piety.
far
During the
earlier
inscriptions in
Gandhara
19
among
strongly
Mathura were
Kanishka
Kushan
built by
as well.
By and
in Peshawar.
Gupta period
or
the donors at
well
in
Gandhara and
known being
that built by
large, however,
arts.
mean
that
were not
Satavahanas and Ikshvakus, document that royal largesse was frequently responsible
for
much
whenever
a piece of land
exempt
image
royal prerogative to
all, his
taxes.
names
was, after
from paying
religious establishments
While the
It
u In any
it
became customary
why
to state
temple was
systems
believed that they were gaining merit by such donations. Buddhists appear to have
been more
An
= A.D.
129?),
on the pedestal
king, includes the following: "By the donation of this sacrifice and pious gift
...
Many
and
Buddhavarman
mother and
father
12
art-historical studies.
to the
brahmins
to
perform Vedic
are available.
let it
13
sacrifices,
Nevertheless
was caused
to be excavated
Balasri.
who
is
desirous of serving his grandmother and pleasing her, adds to the religious
endowments
village
{of this cave], for the bridge of the religious merit of his father," a
rulers in
14
Not
only do
we
Pulumavi's attempt to please his grandmother, but we are also told that a
acquire merit by
making
a donation to a
interesting that a
is
Hindu could
fact
mere householder's
wife,
went
own
religious merit."
15
11
all
was emperor,
the
a lady,
community
who
in
describes
Bihar to a
for the
maintenance
adding to
remained
more
20
A Buddha
donor hoped to
in
Uttar
unhappiness."
all
Vishnu image
[his] father."
in
16
at Bhitari in
17
full
46061
in the year
the
way
who
made
The
led
for
Madra
as a
Hindu
or Buddhist;
interesting that he asserted his affection for brahmins even while dedicating
images of the
five
One
that found in
Mandasor
Madhya
in
19
Pradesh.
The
Gupta period
is
on
47374 during
slab in
as
who
man named
and
in the
known
from Gujarat
their
hereditary profession and prospered, but others constituted themselves into a guild.
In the year
437-38
into disrepair in
fell
the short span of thirty-six years and was renovated by order of the same guild.
Thus,
it is
least
would
act of piety,
or
an act that
from
Markandeya unhesitatingly
in
both worlds.
in this
He
is
the best
worship, one involving sacrifice and the other consisting of abstinence, fasting, and
charitable deeds. Better than either he says
is
to build temples
and "so
is
making of an image of a
the
is its
deity.
is
Meritorious
is
the worship of a
adoration." 20
by the
rituals,
first
Buddhist text the Buddha himself predicts that in course of time the custom of
honoring the
relics,
among members
of the early
Sakyamuni "with
Hindu
text
compiled
in
with
all
and unguents."
centuries,
we
are
hoiy]
Sakyas." 23
21
is
to have venerated
Maurya period. An
how
the
monarch raided Magadha (Bihar) and brought back images of Jinas, which
the
Nandas of Magadha,
a dynasty
fourth century B.C. 24 Evidence for the worship of Jinas during the
period
is
at
Maurya
in Bihar.
Apparently, therefore, as early as the fourth century B.C. Jains in the eastern
region were building temples and installing statues of their idealized teachers; by
the
The
at least as far as
Mathura.
religious purposes.
for secular
and
remained
became the
meant
figures
temples and sculpting religious figures. These sculptures served two primary
functions: as icons
meant
for
as in
the early Buddhist stupas, these didactic elements assumed the form of reliefs.
narrative themes as
much
as
did
Buddhists, and the surviving exterior walls of their stone temples from the
Gupta period
adorned with
reliefs
Buddhists, too,
The Sages Nara and Narayana, Uttar
Pradesh,
fifth
and narrative
reliefs
their early
S122 23).
texts (see
reliefs.
century, Si 22.
architectural adornment.
Most
carved
reliefs
are in the
form of deeply
fact,
whether stone or
terra-cotta,
sculptures,
height at which the sculpture was placed and angle of placement would certainly
have influenced
its
shape, form, and detail. Thus, the breasts from Sanchi (S30)
figure, placed
some ten
viewer at a forty-five-degree angle. The viewer would have had a totally different
perspective of the tree dryad as he or she admired the subject while craning
Bust of a Tree Dryad, Sanchi,
up
to
probably made as early as the Indus Valley civilization, but only examples in metal
as well as
until the beginning of the Christian era, but the total available corpus
is
very small.
including gold,
silver,
22
The
periods.
collection
Although
most
are of
modest
is
as early as the
MayaJai, Mathura,
c.
100, S57.
made ofjewels
Gupta period
it
was
tells us:
size,
life,
fortune, strength,
and
Images made of silver bring fame, while those made of copper cause increase of population. 2 ^
Curiously, nothing
is
much
said of dedicating
images
books
most
is
chapter in
and techniques
regard to stone,
to be observed
by
we
wood, the
is
suitable for
kshatriyas (warriors) with red, vaisyas (traders) with yellow, and sudras (laborers)
23
strictly followed.
Religion
Most sculptures
in the collection
known
Buddhism
religion,
originated with
and Mahavira
religions differ
their
theistic cults,
components
Jainism
best-known
is
an older
teacher.
to use
fairly early,
emphasis on
is its
B.C.).
and teachers
today as
Hinduism
much
as it
is
to
With
assume
many
of
its
its
its
major
Hinduism
and countless
sects
and
is
a blanket
cults. Its
artist
and motifs. The three major Hindu religious systems are Vishnuism (Vaishnava),
Sivaism (Saiva), and Saktism (Sakta) after the principal deities: Vishnu, Siva, and
Sakti, or the Goddess.
came
into
pertaining to each system also began to be redacted and compiled at this time.
the beginning of the
Gupta period
most such
texts
By
known
as
the puranas (ancient lore) and the Mahabharata and Ramayana, two well-known
epics, took their present shape. Alterations, modifications,
as
many more
centuries.
agama, generally
Gupta
Much
The
in the south,
core
and
artists.
Some
iconography and are of considerable help to the art historian. The exact dates of
these texts are often disputed, and a greater diversity
is
24
is
facets.
Kushan
coins, but
on
is
are
conspicuously absent. Even in Mathura, which has remained the most important
center of Vishnuism on the subcontinent, artistic evidence does not allow us to
known
which
later
much
faith
first
as
before the
principal
century B.C.
name
the
is
sky god of the Vedic religion practiced by the Aryans. Whether or not the Aryans
worshiped images, they did believe in gods and goddesses, the former
predominating.
who may
is
that of Narayana,
by the eminent historian of religion Jan Gonda, and who was apotheosized
exalted Being, the Universal Spirit, the ultimate source of the world and
inhabitants." 27
The
third
component
is
"as the
all its
probably of non- Aryan derivation. By the Kushan period, certainly in the Mathura
region, the cult of Vasudeva-Krishna and his half brother, Balarama, seems to have
How complex
demonstrated by
The
God Balarama
or
Serpent-King,
briefly
Hindu
deity
is
can best be
The review
how
the iconographic
Although Balarama
deified heroes of the Vrishni tribe,
major
deity,
he
may
principal attribute
agriculture.
is
five
as a
is
early
images
is
Mathura
as it
Buddha
is
all
it
by Vaishnavas to
worship of the serpent
was incorporated
is
similarly
surmounted by
is
a snake-hood canopy.
Thus, so
far,
some
The serpent
and serpent-god.
He
has also
Siva,
all
and are
still
venerated in v llage
yakshas and their female counterparts, yakshis, but they are addressed by the tern
bhagavata, which also
25
is
deities.
assimilated
one form
in
effort
Significantly, in e
literature this expression consistently
such
Vishnu and
as
was applied
Goddess came
to the
to
all.
Incorporated directly and en masse into the Jain pantheon, they remained
subservient to the Jinas, and contributed significantly to both
pantheons.
wealth venerated in
Hinduism
all
directly, the
more subtle
in a
To return
fashion.
to
all
cosmic gods are capable of assuming different forms to destroy the forces of evil and
From time
to time, Siva,
son of Siva) assume such savior roles to punish the wicked and reward the good. The
When
overpowered by
evil,
Vishnu
is
is
the world
area,
especially
human
forms, are
is
such
cults as
may have been tribal totems or gods, while Rama and Balarama were tribal heroes,
who may have been deified even before their absorption into Vishnuism. The ninth
avatar, the
formed the
Although the
is
of Vaishnava avatars.
list
avatar concept
is
whom
known
as Tirthankaras.
men overcome
by the Jains to be
"ATirthankara
is
shown by
religion
is
to seek
and
(ajiva)
historical personages.
Buddhism,
his teachings
basis of
savior
to
too,
is
a religion of salvation,
and Sakyamuni
is
one of
as
The
c.
400, S99.
not the
last
own
who
has
Buddha and
Buddhism
postponed his
Bodhisaitva. Kashmir,
is
specifically
Sakyamuni
fears
and
all
them
threats.
is
development of
the divinities in India. Assimilation and inclusiveness have been the principal
26
new
locales
which
it
came
The component
lord)
is
also
name means
"lord,"
has the
same function
serves the
as
Hindu
isvara in Avalokitesvara's
common
of Vishnu's.
They
into contact.
akin to that
is
Durga of the
earlier Sri-
Hindus
known
is
as
Brahma cannot be
assume many
mythology, while Vishnu and Siva are the two dominant personalities. Siva
worshiped principally in his aniconic symbol known
pillar linking
several of
cults of fertility
embodied
He
in
also
in art
art,
which
is
earliest
examples of
museum
does not
have any objects dating from the Indus Valley civilization, the collection does
A
related to
is
Goddess, Peshawar
B.C., S6.
goddesses.
The
cult of the
One
as a
major deity
in ancient India
and
still
remains
in the
Hindu pantheon
is
as the
Sri-
goddess of
wealth and good fortune. She continues to enjoy the most adored status virtually in
Hindu household. The cosmic goddess Durga, slayer of the buffalo demon and
embodiment of sakti, the power and energy basic to all creation, is rather a
every
latecomer to Hinduism. Her earliest images are from the Kushan period, and
all
are
at the time.
She may well have been a composite of various concepts, both native and foreign,
a cosmic
magna
mater.
As with other
devotees by the
Gupta
Demon, Mathura,
c.
the Buffalo
200, S72.
divinities of
member
is
role.
the two
common names
Hinduism, such
all
active
(spirit).
first
as
Vishnu,
is
is
came
a wife, but
Samkhya,
a philosophical
Purusha
to her
Uma,
supreme goddess
sun god), Kumara (the divine general), and Ganesa (the universally
the goddess
absorbed
period.
became
deities, she
Purusha
principle.
27
is
is
the
a bodhisattva
may
goddesses were created to help the adept along the path toward enlightenment.
The
principal text of
all
deified as a
or "knowledge,"
as
is
embodiments
of prajna. Jains, too, accepted yakshis and goddesses into their pantheons, and,
although generally they do not enjoy the importance accorded their counterparts in
less
Buddhism was
The
a simple,
for
mound made
of brick and rubble that symbolized the faith, the Buddha, and the cosmic
mountain, which was piously circumambulated by the devotees, both lay and monk.
first
him began
earlier, it
was not
to appear simultaneously in
Mathura and the northwest. Not only had the Buddha become
a transcendental
being, but the introduction of the bodhisattva was also a major concession to the
with
rituals
and esoteric
practices.
is
Buddhism, Jainism
smaller one of
pacifism
monks
common
is
(yati)
is
to both.
life
(srdvaka).
all acts
Extreme
of
insistence
religion
it is
temple
temple building among Jains. The primary objects of worship in the Jain religion
are representations of the twenty-four Jinas.
Shrine with Fourjinas, Uttar Pradesh,
c.
subservient to the Jinas are also included in the pantheon. Images of these subsidiary
600, S134.
underwent a schism
clothes,"
Digambaras portray
is
pertinent for us
is
among
and
many
reliefs in
purposes.
recipients of offerings as
at
is
home and
a central
in a
is
image
temple by
installed in a
ritually
the morning; allowed a siesta in the afternoon; entertained with music and dance in
28
annual
rites
to sleep.
On
clarified butter
as
much
a part of
Hindu
as
vermilion,
the Buddhist and Jain. Jains, too, wash their images and apply sandlepaste, offer
them
them with
food, fan
The
common
is
Such
cults,
and some gods may have been represented theriomorphically before they were
depicted anthropomorphically. Thus, Siva came to be associated with the bull;
is
lion.
especially important for recognizing the Jinas. Indeed, but for their trees
and
animals, the Jinas are often indistinguishable from one another. Trees continue
to be sacred,
and
in
earliest
tree quite
set aside as
Hindu and
While
the bull
known
in
Kushan
art
as
rarely
portrayed with their animals. By the Gupta period, however, the lion was included
in
Dinar of Vasudeva
142-76),
03b
I (r. c.
images of the Goddess with some regularity, but Garuda was not found
is
in
described
reverse.
with considerable
fluidity
of Vasudeva, or Vishnu, in the early coins, artistic evidence indicates that by the
second century A.D. both Vishnuism and Sivaism had become the most important
Hindu
Buddhism appears
represented on
is
in the
Gupta
tribes in
when
period,
periods.
As
in the northwest,
Buddhist communities
also prospered
in present-day
have gained an edge over Buddhism and Jainism, both continued to thrive
the subcontinent during the
Gupta
all
over
period.
from the chain of rebirth, the concern of the average person then,
today,
was to ensure a
life
as
it is still
and tutelary
divine entities are the numerous terra-cotta figures of astonishing variety that are
distinct strength of the
museum's
collection.
ground
for
rivers
29
and
in the
to be
for
fertile,
protection at childbirth,
home
prevention and cure of diseases, and ensuring the welfare of the family and
general.
Most such
among
Hariti
deities
became important
is
become
to
who
at
periods. She
a protective deity.
who populated
the gods,
Buddha
Kumara among
the
Sri-Lakshmi and
cult figures
Although Sri-Lakshmi
Buddhist
as
in
many
Buddhists, although very likely she was feared and appeased by the population in
general.
Another such
ancient Bihar, as
A
c.
250-300, S50.
is
figure,
known
known from
was worshiped
as Jara,
the Mahabharata In
.
home
in every
in
with the male consort Panchika, a general of Kubera. In point of fact, however, his
representation does not differ from that of his overlord.
and he
adored by Hindus, Buddhists, and Jains alike. Before being adopted universally
the
also
came
spear,
which he
carries frequently in
city.
As
a guardian he
and
not as
is
as
to be regarded as the
was given a
is
origins
this
popular with
later artists.
Gandharan
figure,
remained
is
frequently
came
to be
Vishnu. The god of wealth curiously was not represented on any coin of the period.
is
Kushan
became
came
Kumara, known
also
variously as Skanda, or
much
before the
Gupta
period.
known as Kumara.
group
Even on
merged
later into
Kumara and
his
By
Head of the Buddha
the
Kushan period
of the Yaudheyas, a militant tribe from northwestern India famous for their fighting
Vedic god of
fire,
however, as the
born.
From
and
Siva.
His
six
the Yaudheya territories in the Panjab the cult of Kumara spread rapidly
periods.
were ardent devotees of this god. In post-Gupta India his cult enjoyed greater
popularity in the south than in the north.
Lakshmi, has remained popular with followers of all three religions and
countries where Indian religions have spread.
head
(his
generally
most distinguishing
adored
is
gana denotes
Siva's
for
human
has a
body, elephant
Ganesa
Kumara, he came
He
in all
is
his elephant
head may
and
refer to a tribal or
such
The
seventh
as a
and auspicious
deity.
century. Si 06.
is
included in every
Hindu
temple, whether dedicated to Siva, Vishnu, or the Goddess, and the devout are
obliged to
visit it before
Finally, a
cult
in the
He
is
may
god, Surya.
Revanta, and
is
is
He
which there
is
shown
no precedent in India.
whom came
is
is
most of
a tradition in India
that a form of sun worship was introduced into the northwest of the subcontinent
Samath
dress.
is
why
in north Indian
images
More
the hunter-king,
likely Revanta's
who
figures
image
as a
hunter
is
an adaptation by Indians of
secular images illustrating the prowess of the Sasanian monarchs, these hunting
motif
may
Gupta monarchs
selected the
theme of the
motif could
easily acquire
It is
Gupta
The iconography of
god Mitra, wearing Central Asian costume and Phrygian cap, may also
have contributed to representations of Revanta. Certainly in the museum's relief
his attendants wear Phrygian caps as do some of Surya's companions in Guptathe Iranian
period
reliefs. 31
31
Greco-Roman
forms of Indian gods are notably different. While the Greek idealization involved
the perfecting of the
human
is
retains the
sinews and muscles, however idealized, but a mass of curves and swelling volumes
spirit that
by integrating the
tree
plenitude
is
woman
as the
is
branch of a tree
Her
life.
secular,
is
compared with
full jars
woman
is
overweighed by
its
is
ripe fruit.
essential for
(divyandri)
and
a full jar
is
(purnakumbha)
A synonym
used
payodhara meaning
"container for milk" (the word cannot be applied to male breasts). Milk nourishes
life
and
is
considered the food par excellence for both the ascetic and the god.
features in an otherwise
stability
flux,
made
is
of stone or bronze.
The
tastes
persistence of such
and
styles provides
is
is
one of constant
inevitability of death.
"immortal adolescents,"
Few
divinities are
rarely the
sage-god Narayana in the Hindu pantheon are depicted with beards to suit their role
as elder statesmen.
Even the
32
all
is
a youthful figure of
as eternally
sixteen years old. Jinas, whether or not they were historical personages, are ageless
as
is
man, although he
known
is
Buddha assumed
historical
is
shown
as a
young
body
Although the
by
achieving nirvana he transcended both old age and death. Moreover, the sacred
image symbolizes the idea or essence of Buddhahood rather than the Buddha
himself.
When
Buddha, unlike
his counterpart in
artist
an ideal yogi with matted hair and seminaked body seated in the
combined
modeled
in this
classical posture
image, that of a yogi and a monarch. All divine images in India are
s5 8
Two
Buddha
receiving homage,
figures
on Indus Valley
seem
seals
to be
Indian art, however, the image of the yogi does not occur until almost the birth
Among
of Christ.
images of a yogi are found. The colossal figures of yakshas, which are often
cited as prototypes for later
yogi.
By
gods
Siva,
the
first
Hindu
as well as the
primarily as yogis or ascetics with matted hair and smooth, supple, relaxed
bodies.
While
in
Buddha or
meet with
a far
more
whether
god
abstracted, simplified
in sculptures of the
body with
flexible, plantlike
Through
we
limbs
mind and
body, and, hence, the ideal yogi was considered an appropriate model for the gods.
The
sculptor's task
formless.
The
scatheless,
Isa
was not
easy, for
evil." 32
or stand
the
on
Buddha
lion thrones.
himself, and
some Jinas
first
are
as
like the
Buddha,
tiaras.
Kushan
period. In earlier Indian art as, for example, at Bharhut, the divine yakshas and
mortal kings wear turbans, and the turban embellished with gems remained the
basic headdress of royalty in India until recent times.
generally
the
Kushan monarchs
headgears, which
may
on
some
tiaras.
While
peaked
and Gupta
33
are
are depicted
represent
who may
is
have
described
as
wearing a
crown. Thus,
tall
it
seems that,
it
was customary
for
crown was
diademed monarchs
to
on such thrones. Tiaras are frequently given to female deities of all three religions.
on coins, the
first
to establish
some
sort of
and
sacrifices. Similarities
royal
symbolism
is
an
royal
consecration ceremony and the lustration of images in Hindu, Buddhist, and Jain
rituals.
emblems
proportions. Like the gods, royal images should display the same signs of the
that "universal
monarchs
The auspicious
curl of hair
of
C27C
reverse.
Samudragupta
(r.
c.
33576),
Buddha. The
is
webbed
to be
fingers
shown
and
toes.
in its place." 33
These
kings, gods should have hair only on their heads, eyelashes, and brows; no hair
for the
by sculptors
literally
they should be adorned with diadems, earrings, necklaces, armlets, and bracelets
exactly as a king
is
ornamented.
is
five
adjusted
according to that of the corresponding male category. In each category the female
should never be
taller
narrower by two units, and her hips should be wider than the male's by the same
measurement. Yakshis and courtesans are given the same proportions and are to be
"attired in flamboyant dress that
early yakshis
from Mathura
In
(see
most appropriate
is
mood." 34 The
Kushan Mathura
courtesans, and throughout the period courtesans were very influential in society. 35
Literature also informs us that artists and courtesans lived in the
city,
many
courtesans
came from
with
different
parts of the country and abroad, including girls from Iran and Bactria. Foreign
may
close observation.
or jewelers. In
most such
details
Idealized
an understanding of the
human
The
Sy8a f).
all
it
to "the
outward form" of
divine images, the texts clearly enjoin the artist to follow the prevalent custom of
Human
Heads,
And where
else
but in his
d.
women adorned
34
Not
arts.
nymphs
but even
pose.
same
as those
emotions. Indeed, no other tradition has united the arts of sculpture and dance so
joyously and with such confidence as has the Indian. Again,
how could an
artist
confined to his atelier have depicted the various postures and gestures of the dance so
skillfully
who,
finest dancers,
and
art
if
in fact,
forms simply by
lively
fifth
Who was
Such
loveliness, the
theology
artists
were expected to
know
the
movements of the
is
This text on the visual arts forms part of an entire section devoted to dance, drama,
and rhetoric,
all
must
first
Markandeya
monarch
that he
learn the art of dancing before he can be instructed in the arts of painting
the objects in the three worlds (trailokydnukriti), and hence, the various moods,
gestures, and postures depicted in dance also
artist's repertoire.
Since dance appears to have played a greater role in sculpture than in painting
must assume
them
is
the
common
arts
each
poem
its
was expected
to,
or song, has
its
own
rasa,
which
are derived
The word
is
rasa
is
as
seems to imply
understanding of which
is
and the
control, are
it.
since they
35
an
Ingalls:
and the
is
all
difficult to
cruel, the heroic, the terrifying, the horrid {or loathsome], the marvelous,
emotion
in
An
and
painter,
we
is
interrupted, frustrated,
forgotten,
purified
and then
the emotion
emotion
the
is
be
one ofpersonal
all
loss.
mood
But when
this
may
artist,
be
When Rama
loses
Sita in real
life his
well. 39
stated:
It is
an
created by
be characterized by
.
universal.
is
Ananda K. Coomaraswamy
a whole must
it is
is
mood embraces
Or, as
A mood,
resumed.
and not
"informed by rasa" :
may
mood
its
be
gained from
it.
40
the primary concern of the Indian artist. Just as there are rules in poetry and
emotions, so also in the visual arts precise instructions govern the expression of these
moods. In an image of Durga (S105) the goddess primarily expresses the heroic rasa
by destroying the buffalo demon. At the same time, however, her opulent form
conveys the erotic mood, whereas her calm demeanor expresses the peaceful rasa.
are classic
as the
compassionate and the peaceful. The heroic and the terrifying are combined in
representations of the wrathful aspects of divine nature
the Buffalo
moods
when
through militant
rolling eyes.
The
texts also
depicted in residential buildings; only in the temples of the gods and in public areas
of the palace, such as the audience hall, can
lofty
and
nine
moods be portrayed. 41
fact that
strict
spiritual the
all
never ignored. In
all
among
is
it is
the
has received the greatest attention in the literature on aesthetics. Thus, the erotic
whether religious or
flavors all
Indian
an Indian
known
art,
solution
write the
of
human
and
it
would be inconceivable
nature. Artists
seem
is
very high."
let
women
for
to have
42
and with
secular,
in
hesitate to
describes the
down under
her girdle partly seen she seemed like the night with the lightning flashing. Some
so as to
make
36
their hips
and leaned so
as to
Mathura
as well as the
is
yet another
mood
of paramount
when
downplayed,
is
or
is
made
as in the reliefs
Narasimha's
effect of
less severe
by the intentional
By and
large,
however, most figures seem to combine two moods: the erotic and the peaceful.
many
surprisingly
viewer.
that
meant
dog
toy
is
in
known
by selecting
to express beauty
(Si 9)
may
Not
comic.
as the
deformed,
like
also be expressed
through comically awkward gestures and postures. Dwarfs were often introduced
in relief sculpture not only to
principal figures but also to add a comic element. Thus, in a terra-cotta plaque of a
dancer, her subservient
companion
is
intentionally
(Si 28)
is
made
known
among
hunchbacks
may be
Siva's
attendants,
them
and
c.
or
mortals and immortals. Five different sets of proportions were devised for the male
500, S128.
and female
parts to
others."
all
conform
44
Most
to prescribed lineaments
which captivates
their heart
of canonical proportion
likely
is
is
But
not beautiful."
for those
45
By
the
who know,
that
of all
images must
lovely.
whom
which
falls
that
short
sculptors
these are yet to be tested thoroughly against existing sculptures. Such studies greatly
would contribute
in
determining how
far differences in
canons of proportion
influenced stylistic variation in space and time. As the art historian Erwin Panofsky
stated:
Not
to
only
adhere
is it
to
significance.
important
know whether particular artists or periods of art did or did not tend
system ofproportions
For
constantly one
to
it
but the
would be a mistake
and the
to
assume that
theories
of treatment
is
of real
same. 46
Indeed, the sculptures here illustrated clearly reveal the degree to which
stylistic differences
37
as
in the
same
The
stylistic variations
heads of the
largely to
between contemporaneous
may
be
attributed in large measure to the distinct canons of proportion current in the two
centers.
The
measurements have
indicated and from
states,
to be provided
one's
own
The
artist
lines
specifically told
is
own
Not only
too easily
is
little
or nothing
is
all
the differences in the forms of the gods and mortals are justified explicitly.
artists also
demonic
invented other
creatures),
were often
provided with multiple limbs and heads to indicate their various functions and
cosmic natures. They were most commonly given four arms or four heads, probably
to symbolize the four directions. Early stone
cosmic nature of their gods by representing them with multiple heads and limbs.
The
earliest instance
Kushan
period.
Vishnu, Balarama, and Durga were frequently given four arms in contemporary
Mathura
sculptures. Late-Kushan-period
six instead of
Indus Valley
is
On
some
the cross-legged posture appear also in Celtic art in the early centuries of the
art.
it is
civilizations share an
cosmic nature
of the gods with multiple heads and limbs was inspired by the Vedic conceptual
figure of Purusha,
who
is
legs.
Thousand eyed
(sahasrdksha)
also a
common
deities
were not
is
Although these
represented in art at the time the Vedic culture flourished, the anthropomorphic
descriptions
artists
Greek iconography or
is
it
became necessary
Hindu
to give
theologians and
form
earlier
indigenous
to the gods.
artist
from
concept established a link between the cosmic gods of later Hinduism with the
visions of the ancient Vedic seers.
38
ib
is
and of consciously
is
Nothing
directed feeling.
ideas in comprehensible
and
is to
present concrete
50
Coomaraswamy
though
it is
sculpture
is
and
own brand
its
is
image, including the various emblems and symbols, whether attributes or gestures.
Every symbol
is
myth
is
The
myth.
lotus
by
is
far
By
the
second century B.C. the lotus was not only the support of the goddess Sri-Lakshmi,
but
it
was
become
as the
By
steps to
announce
as
soon
by seven
lotuses.
By
the
Gupta
period the lotus had become the principal support for most deities of all three
religious systems,
and
in
many
instances
it is
came
motif on
to be held
deities.
It is
all
The hands
Crossbar,
Mathura, first-second
in the
mud
water on which
of wisdom
who
is
and
is
it rests.
was chosen
yet untouched by
lives in the
39
feet of the
as the flower
grows
The
The
described variously
is
is
it,
nor
its
is
physical properties.
The
lotus
metaphor
for purity
its
and hence of a
man
Just
is
as, Brethren,
lotus,
so,
Moreover, the lotus blooms daily with the rising of the sun and closes
evening. Thus,
it
it
petals each
its
life
extension the cosmic cycle of the birth and dissolution of the universe.
therefore natural to select
It
was
as the
Gupta period
and
surface
and is
rises to the
why many
below their
feet.
and
this
As Coomaraswamy
behind
brilliantly
observed, one symbolizes heaven and the other earth, "the two flowers, one behind
the 'head' and the other beneath the
is
of existence in extenso
At another
it is
and each a
'feet,'
Sun the
is
54
personifying
possibilites of existence
all
is
described as
is
as the
is
shown
is
synonym
also a
for Sri-
being bathed by elephants symbolizing the sky, which showers rain, thereby
fertilizing the earth represented
of the Buddha,
womb
as a
a kind of conception
is
who dreamed
white elephant. Immediately after his birth the infant and his mother
were bathed by two nagas (the word ndga in Sanskrit means "serpent" or
"elephant").
The
The Lustration of Sri-Lakshmi
Kausambi
S17.
(?), first
(antariksha),
which
middle space
one reason why the gods are frequently placed on lotuses. The
is
century B.C.
idea
is
expressed
first
fire
god,
Agni, and sage Vasishtha, which the gods are said to have watched while seated on
lotuses.
later
seated on a lotus springing from the navel of Vishnu, or Narayana, while he reclined
on a couch of serpents
is
the center of
the universe, and the navel of the world form of Prajapati (an appellation of the
Supreme Being)
"All birth,
and
he
all
is
coming
to be 'established'
who
stands or
sits
into existence,
is
to stand
without parallel
abode of the
lives.'
(prithlvi) or
platform of existence;
" 55
deity.
is
Coomaraswamy,
again, to quote
on any ground
is
Once
the primary
its
eight petals
representing the four directions and four intermediate points of the compass.
eight-petaled lotus
40
is
which
later
The
came
to
symbolic meaning
this
all
three religions.
is
summit of the
skull being
where
(Si 29),
The
vary according to
a lotus
who
is
holding
extension, Vishnu
The
or sixth century.
The
it.
came
it
is
On
one
lotus
is
fifth
(lotus naveled),
level the
is
hand can
Buddhist savior-god
Avalokitesvara.
a midsixth-century
close association of
Padmanabha
epithets as
on
to the
By
fertility.
as lotus
to the Buddhists
Narasimha
known
his
association with the waters as both a fertilizing agent and a cosmic symbol.
The
conch and lotus are among the most auspicious symbols, and by themselves are often
painted on either side of the entrance to a domestic building.
is
emblem
The
lotus also
of the universe.
it is
especially
The
Vishnudharmottara specifically states that the lotus emerging from Vishnu's navel
symbolizes the earth, while the stalk represents the cosmic mountain, Meru, the
axis of the universe. 56 In Vishnu's
hand, wealth.
When
The
hand
it
signifies prosperity.
universe and
The
all its
an emblem held by a
may have
first
Mathura
by
as
art historians.
Buddha
By
the second
himself, certainly in
Buddhist monuments of
in
as well as in the
it
Buddha was adapted from Vedic mythology and the early association of the
flame with the Buddha is an attempt to identify him with the Vedic fire god, Agni,
the reason the flower was given to Avalokitesvara as an emblem is not explained in
early Mahayana texts. Avalokitesvara's concept was greatly influenced by the more
for a
ancient ideas of a solar deity. Both the sun god, Surya, and Vishnu, originally a solar
god, also hold the lotus. Moreover, in early Buddhist literature the lotus
metaphor
Mahayana
texts
early
is
is
used as a
called the Lotus of the True Religion, or Lotus Sutra. Thus, in the
faith itself
and would be an
is
emblems such
as the
thunderbolt or
book, while the most widely uttered incantation associated with Avalokitesvara
Om
"Om
Buddhist
deities of
41
wisdom such
as
as in representations of the
Manjusri or Prajnaparamita, or in
itself
and existences
to beings
Word
Zimmer,
in
all
57
common
motifs are
tree,
it
is
by no
Many
symbolizing nature
itself
fertility,
itself,
Buddhists
it is
Mathura, first-second
Samudragupta
as
who
sermon
first
at
Sarnath near
literally
wheel of the
presumably of a chariot,
is
three beliefs.
all
is
it is
Among
Crossbar,
pillar,
itself is the
word
is
the
in early
Buddha
Buddhist
the
the
mover of the
set in
art,
the very
is
Hindu art
Vasudeva-Krishna,
as a
metaphor
who
for the
the wheel
uses
it
is
chiefly as a
is
often used
to
is
is
symbol.
Its fiery
it
was made
of the eighth part of the sun's rays as were the chief weapons of the other gods, such
as the trident of Siva
weapon
concepts, such as the seasons and time, both of which depend on the
The Vishnudharmottara,
the sun.
which
are
It
weapon)
fly
of
the
Wheel
thirdly, the
is
wheel
is
Wheel
The
section
more
on images
we
of Time
instance,
moon
of
symbolized by the wheel and the mace respectively"; elsewhere, the wheel
(pavana)
movement
many
images.
With
ornaments and
garments, have very precise symbolic meanings. His garment represents ignorance
{avidya), the
gem
The
world, the conch represents both the sky and the waters.
42
We
form of Vishnu
is
as
considered the
at the
The
Narasimha
or impurity
generally applicable to
all
Durga and
is
tears
of three kinds
This
all three.
demons destroyed by
when he
destroys ignorance
interpretation
Samkarshana,
the buffalo
demon
the
latter signifies
Many of Siva's
abstract ideas and virtues. His five faces are said to represent the five elements:
or light, wind, and sky or ether. His
earth, water,
fire
moon, while
universe.
The snake
two eyes
and
which subdues
the three worlds, and the tiger skin represents the variegated world of desire or
The
craving.
other explanations are also possible, while his matted locks represent Brahma, the
Ultimate Being. The rosary and waterpot are emblems of his ascetic nature; the
beads of his rosary also represent the letters of the Sanskrit alphabet. The lemon
often carried by Siva
is
symbol
atoms that
modern
is
Samkhya system of
Samkhya,
god
is
is
The
physics.
known
qualities (tamas).
is
These three
which, according
as Prakriti,
The power
(rajas),
or sakti of a
asks
by the Vishnudharmottara
how
Purusha,
who
is
typical justification of
as follows.
is
Markandeya
the
noumenal
As
which
is invisible,
when Purusha
is
and
Vikriti or
state,
61
replies:
as
he be worshipped
When
image worship
It is
is
completely
on
actual contact." Purusha "is in the world but not of the world."
This also
is
in
the
principal characteristic of an ideal yogi, and the interaction of Purusha and Prakriti
43
is
known
as
union between husband and wife, each representing one half of the whole,
it
can be interpreted also from the viewpoint of Samkhya. Although the two are shown
in close proximity, each
is
is
in such
Parvati
shown
Moreover,
which
is
is
who
is
in this
especially in
Goddess,
its
who
in
many
ways,
most
is
white, Mahalakshmi
is
qualities.
Or
his active
it is
Even more
specifically
power
It is
(tattvas).
so profound an
to Vishnu's twenty-four
ten,
{ichchhd-
power
{kriyd-sakti) or will
when
number
Mahakali
indirectly
is
rajas,
is
comparable in
Buddhist iconography
five,
emphasis on categories and numbers in the pantheons of all three religions seems to
occur during the Kushan-Gupta ages, precisely
first
its
apogee. Most important exponents of Samkhya flourished during the third to sixth
centuries, and, indeed,
time
is
its
clearly indicated
importance
by the
in the religious
and
Sdmkhyakdrikd of Isvarakrishna, was translated between 557 and 569 into Chinese
(c.
500570?).
generally in the middle with the lotus and throne and everything below symbolizing
god
is,
in fact, the
cosmic
regions. In the case of Sri-Lakshmi (Si 7), the elephants showering her with rain
elephant to send
and
down
itself
with
its
in spraying
below a throne or
nether world.
at the feet
When
it
represented
forms a couch
44
when
water on
The
for
deities,
the seat also symbolizes the Vedic sacrificial altar on which oblations were offered
into the
The Vedic
fire.
was called
altar
vedi,
itself,
where the
kindling Fire, the messenger of the Gods united the Earth and the Heaven." 61 This
unshakable
known
altar,
Hindus and
influence of Samkhya,
it
(adamantine
as vajrasana
came
Buddhists, came to be
seat) to
And
Jains.
image
are united
is
the linga
One can
Prakriti.
is
see
how easily
A god may
was
is
support
itself
its
container or
is
evenly placed feet {samapada) or seated in meditation like an ideal yogi. Early
shown
are invariably
in
The
verticality of the
image
image
is
important
as a
cosmic
in a
temple
for several
pillar
connecting the three spheres. Here again, one can discern the influence of the
is
and unshakable,
is
artist
Even
senses.
in
fully outstretched
which
are,
if
the representation
to be
is
for didactic
in the lap
side of the
gesture universally
Buddha Sakyamum Bodhgaya area
,
(?),
is
body
to
other.
Common
arm
and
400-600, Si 36.
the
charity {varadamudra)
hanging down and the palm facing the viewer. The gesture of charity did not
become popular
Kushan age
until the
Gupta
common
gesture symbolizes
teaching (vyakbyanamudra), with the right hand at shoulder height and the palm
facing outward with the index finger and
thumb
third century, if not earlier, Buddhists adapted this gesture to signify the
it
remained the
By
classic gesture of
wisdom
in
the
first
Buddhist
sermon
art.
Certain trees and animals are associated with the major divinities of
all
three religions.
While
second symbol
ancient
is
one
level,
animals
known
as
mounts
or vehicles {vahana)
added
West Asia
at
Egypt and
Zimmer, "in
these
is
somewhat ambiguous;
its
reference
65
or parallel symbol added underneath."
45
becomes
specified
by the determinant,
earlier,
sacred
fact, their
theriomorphic
representations. In another sense they also emphasize the powers and characters of
their respective divine masters.
with
is
fertility
also regarded as a
The gander
is
is
known
as Pasupati, "lord
as a
is
might
of animals").
The animal
is
the vehicle of Brahma, and one text informs us that the seven ganders
that pull the god's chariot represent the seven worlds (also symbolized by the
The gander
(see
Hence,
its
Harwan,
back
as
it
however,
like
is,
glides
it
free
mount
is
Garuda, originally
a bird associated
detail),
all
attachment are
Vishnu's
its
S98
for a preserver-deity,
who
Between the third century B.C. and third century A.D. Buddhists
made much
life
of
reliefs,
A few fragments
Buddha Sakyamuni
it is
To
cite only
buffalo
known
literature.
one instance, although the motif of the goddess Durga destroying the
demon was
frequently represented in
Kushan
Gupta
period.
all
art, the
subsequent
literary versions of
the myth. Thus, the artistic evidence compellingly demonstrates the presence of
other, earlier recensions of the
monuments through
the
early
narrative or
their
myths
as
Hindu
as varied
and prolix
46
up
in the next
volume of this
and
series of catalogues.
Notes
i.
Majumdar 1968,
p. 58.
book provides
2.
this period,
also
is
30. D.
278-81)
The
P.
57.
Zimmer[i946] 1963,
Honor
in Gatherings in
2: p.
185.
p.
100.
1973
for a
thorough
McCrachen,
L.
M.
H. Randall,
Jr.
(Baltimore: Walters
Randall, and R.
59.
P.
Shah 1961,
2: p.
141
and Begley
(ibid., pp.
tar
38-39-
on the
An
Shah
96 1,
61.
P.
62.
G.J. Larson,
2: p.
139.
controversial.
Shah 1961,
56.
Medieval Islamic
in
Iconography"
Daimabad bronzes
1975.
covers the
B.N. Sharma
and Hunt
p. 71.
55. Ibid., p. 19
Age. Chronologically
by Coomaraswamy 1935,
For instance,
Jain iconography.
Majumdar 1968
54.
to
see
3.
good introduction
1),
p. 66.
ed.
Majumdar i960.
(New
Classical
Sdmkhya, 2d
Delhi: Motilal
6. See
S. P.
Gupta
1980.
8. P.
9.
Shah
96 1,
2:
35. See
pp. 1-2.
Narain 1985.
11. Mirashi
38.
P.
Shah 1961,
3: p. 3.
40.
Coomaraswamy 1923,
41.
P.
12. R. C.
Sharma 1984,
p. 199.
Shah 1961,
2: p.
p. 39.
135.
Study in Ideal
1956), p. 29.
43. E.
H. Johnston,
Buddhachartta
17. Ibid., pp.
ed.
(New
and
trans.,
The
Delhi: Oriental
52-56.
2:
P- 49-
44
19. Ibid., pp.
As quoted from
79-87.
Platonis
by
P.
Shah
21. Pal et
al.
96 1,
Placita Hippocratis
E. Panofsky,
20.
(New
Meaning
1984, p. 147.
45.
P.
Shah 1961,
2: p.
p. 64.
137.
p.
et
in
York:
2: p. 2.
48. Ibid.
181.
Majumdar 1968,
p.
214.
An
27.
Gonda 1970,
50.
p. 30.
Coomaraswamy 1923,
p. 38.
Coomaraswamy 1935,
52. Ibid., p. 20.
47
65.
Zimmer[i946] 1963,
66.
P.
p. 71.
Banerjea 1956.
10. See
M. Chandra 1973a.
p. 21.
Shah
96 1,
2: p.
140.
Color Plates
Dinars of Kanishka
Vasudwa
(Cioa)
(Ci^b)
Samudragupta (C2jb)
Huvishka (Ci2a)
(C25)
Chandragupta
Chandragupta
II
(C28C)
48
l/j
*****
anas
fig
S23
]j
S2C,
52
Two Addorsed
Tree
Dreads
(side
a)
_aHB
*>'"
S$5
54
*&.-
^S?SK?
S91
56
Head of a
Bodhisattva
&rV
-'A
W.r&i*.'>c
S129
58
IC-*.T
Si 3 1
60
Buddha Sakyamuni
mm
Si 34
62
ym-
raft
Introduction
While some
for the
is
yet to be fully
knowledge of
iconography and the history of early Indian sculpture, most art historians have
generally ignored this material.
on coins
norms of a given
representations of gods and goddesses, important as they are for the study of
religious history, are
no
an analysis of the
sculpture. This
is
which
are often
stylistic
Gupta period
architectural
development of
(c.
320600),
monuments
of that age.
Moreover, since the coins were designed and manufactured in royal mints, they help
us determine the aesthetic inclinations of particular monarchs on the assumption
that they exercised
The
some
coins in the
museum's
collection are
made
of gold,
silver,
and
for
The
generally as a
made
of silver and
is
known
is
its
The
up
occasionally, circular shapes. Neither the shapes of the coins nor their
bits
number of
coins conform to a standard weight, but even in this there are notable divergencies.
coins,
probably held religious and cosmic significance, their exact meaning has not been
ascertained. Generally, these coins circulated over a large area of the subcontinent
from about the sixth century B.C. until the second century a.d. and even
some
later in
Cast and die-struck coins bearing images, symbols, and legends were
introduced to India about the middle of the third century by the Indo-Greek rulers
of Bactria. Occupying present-day Afghanistan, Bactria
67
is
the ancient
name of th
327-326
it
under Diodotus
was only
after the
Amu
became
who had
Known
Greco-Bactrians or
as
Indo-Greeks, these rulers of Greek origin held power in the region until about the
middle of the
first
century B.C.
It
this period
and their
was
that there
control the entire northwest of India (including present-day Pakistan, Kashmir, and
Jammu
regions).
Coins meant
and copper
silver
issues
and
differ slightly
the reverse were written in the Prakrit language with Kharoshthi script, the obverse
being reserved
Greek deity
some
is
tribal
royal portrait
divine figure on the reverse, at least until A.D. 600, through the
Greek
invariably a
is
Gupta
period.
letters
as the
Scythians, or Sakas, Parthians, and Kushans, but rulers of Indian origin, such as the
wielded power mostly in the northwest. The collection contains no coins of the
Parthian monarchs, but the
coins
(C5 7)
and are
museum
artistically different,
While
At about the time of the birth of Christ the Scythians and Parthians
were replaced by yet another Central Asian tribe,
known
Kushans. After
as the
conquering Bactria the Kushans advanced south and by the end of the
first
century of
the Christian era had consolidated a vast empire stretching from Soviet Central Asia
in the north to, perhaps, the
Deccan
in the south
and Bihar
in the east.
Although
the political power of the Kushans declined during the third century, their coins
continued to be imitated in the northwest long after the coinage of the Guptas had
become current
in northern India.
new motifs
more
first
dynasty to
Kushan
many
much
the
political
power
in northern India,
Satavahanas.
known
as the
Empire
was derived from foreign commerce. While the Kushans controlled the land-borne
trade between
of the sea trade through the great emporia of both eastern and western coasts of
68
peninsular India.
The
well-known
Satavahana monarchs (C21-24). The Satavahanas did not issue gold coins.
The
dynasty.
largest
Gupta coinage
is
in the collection
is
not only rich in artistic imagery, but as the early coins are
firmly datable they are especially significant for establishing the chronology of
contemporary sculpture. Although the early Gupta monarchs adapted Kushan coin
types, they also were responsible for the Indianization of the coinage.
No
longer
does a preponderance of foreign deities appear on the reverse of the coins as on those
of the early Kushan monarchs. In the presentation of the obverse royal portrait
the
Gupta
artists
introduced
many
monarchs' ambitions and personalities. These ruler portraits are often comple-
letters
characters
further testifies to the greater Indianization of the coinage system. Although the
much
also
is
aesthetically superior.
Royal Portraits
Of the
may be
first
a larger nose,
(C3C),
wider eyes, sunken cheek, and furrowed brow. Indeed, in one example
King Menander
is
No
doubt the
engravers responsible for these Indo-Greek coins were familiar with their subjects.
realistic portrait
of each coin
is
predominantly
depicted in a
made
to distinguish the
much more
two monarchs.
figural representation
is
On
the reverse
figures are
While
still
is
its
emphasis on modeled surfaces, naturalistic draperies, and elegant postures. The two
animals on the copper coin of Azes
11
forms. Thus, while some engravers associated with the Saka mints continued to
work
were others
who
with sketchy, almost caricaturelike forms. Indeed, the royal equestrian portraits
anticipate by
European
region.
art.
It is
many
centuries the
To date, no
in
treatment were themselves Scythians familiar with the animal style generally
associated with their culture.
69
A wide
is
Vima Kadphises
as
Although some
Vima's solitary coin in the collection not only displays the bust of the king but
represents a unique type: the bust
window
to appear as a
is
The
or imitate a bas-relief.
coins
is
Kushanshahr
Vima Kadphises
all
which came
Kushans
to be
rulers
known
as
its
use on
Kushan
coins, the
who
as
cult probably
fire
fire
fire altar is
clearly
more
state
faith. In
fire altar as
a principal
impressive figure.
The head
hieratic frontality
is
is
Kushan monarch
cuts an
its
life,
just as
were
Pradesh.
Kushan
artists
tall
tunics (also evident in the stone portraits at Mathura), columnar legs, and splayed
feet placed firmly
royal portraits
symbols, such
as the
represented by various
artist's
float or
emerge from
portrait
at
Mathura
a sea of clouds.
clearly
demonstrate the
work
in isolation.
On
The
full-length coin
stylistic
One
and
can be certain
a close relationship
Greek or Scytho-Parthian
age of Indian coinage.
70
a great
Of particular
Kadphises
is
shown holding
generally
Kanishka
Kushans
among
With
his right
is
it is
Vima Kadphises
which there
is,
is
left
is
is
the prominent
is
emblematic of
also
is
portrayed with
The
commemorate
Indeed, considering that the horse must have been the principal animal
weapon
a fire altar,
elephant.
image,
coins.
in the elephant-rider
emblem was
This
after their
and
staff,
Vima
the kings.
a club or
emblems held by
emblem
the divine
latter,
for a
Kushan king.
spear continued to be held by Huvishka (Ci2b) but was replaced by the trident
in the coins of
standard
Vasudeva
emblem
held by
In the
When shown
full
is
a soft,
tall
round
felt
is
generally
monarchs
are
usually attired in
is
displayed.
also
Vima wears
was
fire altar.
taken by scholars to
it
for
Vasudeva
and
is
variations,
was used
(03a b).
Standing figures
Even
distinctly depicted.
prominent warts on
their faces.
rather
unkempt
beard, while
The
is
shown both
is
fairly
as clean
the
many
is
nimbus
beh;
71
Among
Although
long and
portrayed both as a youthful and elderly figure. Thus, these portraits are
for their variety
two have
Not only
at least
Vima Kadphises
is
and
Kanishka
it
was Huvis
is
image with
Romans, pronounced
rulers,
such
his bust
Interestingly,
and
heads of the deities on Indo-Greek coins, except on certain images of Zeus and
Apollo or Helios with a radiating nimbus. This seems to have been the
prototype for the standing Zeus in Azes's coin (C6), where the halo appears as an
aura of flames.
It also is
is
Kushan sculpture
the halo
is
03a).
common
is
In
to the three
major Indian religions, although the flame-bordered nimbus does not appear
until the
Gupta
period.
some
Kushano-Sasanian coins but was not used by the Satavahanas. The Guptas,
however, continued to use the halo on most of their royal portraits.
state,
Kushan engravers
why
Even
Mathura.
The Kushan
the larger-than-
rulers obviously
as veritable colossi,
and so the
and
hieratic.
carving
From
at least the
Kushan
figures
art.
may
monumental
is
royal
employed by Kushan
to
hieraticism of the
wanted
feet, a
is
convention
much more
is
ubiquitous in
found only in
Kanishka's statue at Mathura. In Huvishka's portrait the feet are placed quite
normally, while in the fragmentary statues recovered from Surkh Kotal (the Bactrian
royal gallery or shrine), the splaying
is less
pronounced. 6
artistically.
the
first
a vast
with royal portraits. The use of only the mature Brahmi script and Dravidian
language
is
also interesting
and
reflects the
Satavahanas.
The
their clarity
on Satavahana coins
are
remarkable
for
and articulation. Facial features are distinct and well modeled, allowing
a clear differentiation
72
among
have worn any elaborate headgear, neither crown nor turban, which
surprising.
and
all
seem
to have
worn
their foreheads
with a round,
is
rather
much
sharper, bolder,
The
Chandragupta
introduces a
1,
first
the
obverse (C25). Both the king and his queen are represented together and are
earrings.
soft
is
The
tall,
significant.
The
worn by Kushan
rulers
Kushan
as well
hieratic
stiff,
are represented
still
Kushan
splayed as in the
Kushan
royal cult.
(the mythical
particularly
is
There are
attired in
replaced by a close-fitting,
interested in the
is
postures assumed in
types both
fillet.
is
a different tunic.
conical hat
The
it is
unlikely
Two
is
some of the
artistic
on the obverse
is
replaced by a
origin,
social
i's
and
was necessary
for
Chandragupta
political pedigree.
What
better
among
media
to
man
to
members
of
lyrist
coin
type Samudragupta eschewed Kushan dress for the simple Indian dhoti. In the coins
of his successors the monarchs are dressed in Scythian costume or wear the dhoti
instead of trousers. Boots also are dispensed with, except, perhaps,
when
Kumaragupta
I,
clearly distinguish
11
the king
is
and
them
for their
physical prowess and intellectual acumen. Still other examples announce their
military and political achievements and are as artistically imaginative as they are
historically important.
One
The
73
Gupta gold
11.
The
collection contains
fire altar
issued by
fire altar
some Indo-Greek
was a
this
the portrait
bow and
bow
may
in his left
be seen in
arrow.
No
its
popularity
among
successive
likely, the
image
was selected because of its association with Rama, legendary hero of the Indian epic
By
the Ramayana.
the
popularly used to describe a lost golden age. Ardent Vaishnavas, the royal
idealized
and
literary evidence,
it
it
to
it
on the
Rama,
model
Rama
presented
is
and
stylistic affinity
with
The
knew
II
it is
Gupta images
Gupta
are aesthetically
Kumaragupta
animals
is
shown
in
fights
an elephant.
to
a
draw
a parallel
hunting
theme on such
rulers of Iran.
plates,
The
royal
silver plates,
is
shown on
a horse
hunting scenes not only symbolize the king's courage and prowess but also had
cosmic significance. As Prudence Harper has written:
Representations of the hunt on silver plates are more than reflections of court
allegories for
human
sent to rulers
and allies
where as
official
to
reliefs.
Many
life.
They are
and
74
Even without
the western
as
II
Afghanistan, which would imply a conflict with the Sasanians. In any event,
Divine Images
Images on the reverse of most coins in the collection consist of divine
Indo-Greek drachma (C4) has animals on both
One
figures.
sides: a bull
elephant on the obverse. Similarly, on both sides of a Saka copper coin (C8) are two
animals: a bull and a lion. Satavahana coins have only symbols on the reverse, while
Animal symbols
mount
it is;
drachma
is
Garuda (C31).
a highly stylized
may
Begram
issue
deities.
silver
in eastern Afghanistan).
Animals may
also
nobility of the monarchs: the bull, lion, and elephant are often used as metaphors for
regal qualities in Sanskrit literature.
The
divinities represented
from the Greek pantheon. Deities depicted on coins in the collections include the
Dioscuri (C2), Pallas Athena (C3a-c), Zeus (C6), Nike (C5, C7), and Tyche
is
Asvins. In entry
well
known
they are
in classical art.
also familiar
from Greek
her thunderbolt.
aegis.
C2
An
is
in
a warrior herself
It is
is
is
is
about to hurl
her snake-frilled
understandable.
Menander's coins
As Athena was
as the
art.
known
as Hercules,
Menander
some
is
influence
upon
so also
Greek
Indo-Greek
The
fully
Nike holds
a diadem. In a
somewhat
Maues
different
form
in Azes's coin
winged
holds the thunderbolt prominently with his right hand. Indeed, this parti
representation of Zeus
is
is
quite unlike
slightly effeminate
75
much mor
sculptors.
noteworthy
is
hand. This implement in later Indian art became a well-known attribute of the
Hindu god
Indra, with
Vajrapani. Certainly in
is
whom
Gandharan
art the
common, and
in
god
derived ultimately from the thunderbolt held by Zeus or Athena (see S84). So
may
The goddess on
basically of Greek origin
is
the Buddhist
identified as
who used
Olympian.
and appears
to have
is
on
classical version
Maues's coin (C5) reveals not only iconographic, but also strong
stylistic differences.
symbolizing, perhaps, the Iranian concept of royal glory. Thus, she could be a
syncretistic deity
Stylistically, the
religious concepts.
robust and fully modeled figure on Maues's coin has been replaced
pronounced
is
volume and
in Indian
modeling
Although Greek
is
plasticity so
totally absent.
same
is
figure
Iranian
was
also used
god personifying
Miiro or Ashaeixsho
known
in Sanskrit as
royal glory.
was
radiating
nimbus
whether
of
The engraver
was probably unfamiliar with Iranian images of Miiro and Ashaeixsho and so
employed
a familiar
Greek model. In
to
make
the figure
more
its
Iranian.
for
Sanskrit cognate
is
manner
Kushan engravers
to represent
coins
is
deities.
is
to
may
although
Roman
divinities
seem
some extent
on Kushan
to have relied
coins. This
dependence on
classical
76
on
imagery
1),
in a dhoti.
Kushan
Mihira
image type of
other Iranian deities, such as Ardoxsho (Ci2b) and the wind god (Ci
the latter
clothing
changing
political world.
more
It
It is
most
popular divinity to the complete exclusion of Vishnu. While neither deity was
predominant
in the
Vishnuism was
onward,
all
to
Vima Kadphises
Vaishnava name
Yet from
Vasudeva, represented Siva on their coins. Very likely the Kushans placed such
whom
came
as the
Audambaras
after his
on
his coin
god
is
Whether
symbols (such
or not
somewhat
It is
territories.
in Siva, his
is
mount
conquest of their
the
they
is
Kushan
all
the
most
Kushan
known by
coins
In the
in front of his bull
formulated by Kushan engravers. Generally in such images he has two arms and his
attributes are the trident
and
fillet
or noose. In
some
waterpot instead of the noose, imitating, no doubt, earlier tribal coins. While the
noose
may
is
it is
diadem held
common
and
so frequently by
Hellenistic deities. This image of Siva standing against the bull remained the
him
(see Si 14).
is
endowed with
is
among
is
more Indian
the earliest
representations in India of a multilimbed god. Objects held in the four hands are the
left
is
left
are here.
some
texts.
Of particular
interest
is
is
a prescribed
emblem
of
the engravers seem to have used the type of thunderbolt held by the bodhisattva
Vajrapani in Gandharan art rather than that held by Zeus or Athena in earlier coins.
Like the trident, the waterpot, symbolizing Siva's ascetic nature, has remained a
popular
the
emblem
Roman
as if
is
or Iranian vase held by the four-armed Siva rather than the usual
down
something
is
is
arm with
the
mouth
pointe<
symbolize the investiture by the god of the king, whose effigy occurs on the obverse,
77
and
is
which
perhaps an attempt
a deity offers a
at
diadem
some Kushan
been given three heads, but the representations are not very
deities depicted
clear.
are Skanda, or
still
separate entities
who were
Yaudheyas,
Skanda
who were
areas of Rajasthan
The iconographic
Both seem
are interesting.
for the
Yaudheyas,
troublesome
politically
to
two
features of the
around the
on Huvishka's coins
deities
attached at the waist, a feature seen in Gandharan images of Skanda rather than
in those created in
knob
at the top,
imagery.
spear
is
monarch Diomedes
Greek
cult
earliest
two
known
museum
at
By and
deities face
cult
is
skill
1080
B.C.),
in the
in Indian fashion
Mathura.
Ardoxsho (C14),
on Kushan
= A.D.
89?),
differ
coins,
modeled on Hellenistic
figures,
are elegantly
effigies imitate
12
Some
The
of the diecutter.
not known.
11
art.
in the
c.
(r.
tied in the
is
from the
now
is
with a
modeling
like a staff
figures.
The
clarity of
such
as the
1),
Siva
(Ci3a b), or
is
derived from the Hellenistic repertoire, are rendered in a more abstract and linear
style reminiscent of Scythian coins.
Most Kushan
coins were
minted either
Greco-Roman
By
much more
style.
Kushan
frontally, seated
on a
are
shown
more
than Indian.
Indian in
diversity of the
styles
in
to the
artistic ingenuity.
She
wicker seat (C2yb), or in the meditation posture on a lotus (C28a c). She usually
stands in a lively and graceful posture, either alone (C26) or in the
company of a
dancing peacock (C3oa b). In some coins she wears Hellenistic dress (C25), but
generally she
is
The
left
78
is
bare.
With few
usually identified as a
flower.
is
Gupta
coins
coins.
Whereas
a continuation of a
is
Kushan
in
goddess identified
form
is
different
Gupta context
is
Ardoxsho
in later
Kushan
as
emblem in slightly
name Ardoxsho
the same
Although the
is
Roman
is
goddesses of abundance and royal fortune and are closely related to the Indian
in the
Sri-
numismatic
tradition,
represent Sri-Lakshmi or
fortune.
more
specifically
in using the
Ardoxsho
figure to
problem, of course,
arises
it
as if she
The
is
as a
were offering
I3
it
diadem symbolizing
to the king,
which
is
royal
how
goddesses were represented on earlier coins. The early Gupta engravers probably did
not consider
it
as
may
Kushans. Obviously, the designer of the early Gupta coins could have replaced
familiar,
did not do so, perhaps to ensure both continuity and stability in the
Some comments
first
issue of the
mount
represented as a
association
on a lion
mount
became
as she is
Kushan
art of
on Chandragupta
is
on
a lion.
Chandragupta
II
i's
shown
14
is
definitely
is
seated
Gupta coins
the goddess
and cornucopia,
representations and
Except
is
sides.
sits
of Nana. In the
new
image
in
form of Sri-Lakshmi
Kashmiri
Goddess
which the
deity of the
first
is
called
lion
all,
the presiding
Mahalakshmi.
Equally difficult to identify precisely are two other figures: a
com
The former
figure
may
79
Greek Nike.
a victory
Kumara. Certainly
whose mount
who
goddess
is
in
emblem
also the
is
the peacock.
personifies
The
is
Kaumari, the
it
(sakti).
Kumara,
to
suggest that both broadly depict different aspects of the tutelary goddess of the
imperial Guptas,
There seems
little
Sri-Lakshmi.
commensurate
with the aesthetic norms of the Gupta period. The engraver of Chandragupta
i's
coin
(C25) has taken particular care to reveal the physical charms of the figure beneath
Kushan
sits
With
much more
gracefully in lalitasana as
do goddesses
in
Gupta
coins,
sculpture.
her narrow waist, wide sweep of the hips, and exuberant posture, the figure on
Kacha's coin (C26) definitely represents the Indian ideal of feminine beauty rather
Whether standing
or seated
is
even more
contemporary Gupta
sculpture. Typical of Gupta sculpture, the swelling masses and elegant curves of the
body
are
emphasized, while
at the
shapes restrains the exuberance and vegetative abundance of the form. Indeed, the
general quality of the figures on both sides of Gupta coins
must assume
who
Notes
I.
and
Ibid., pis.
found
at
19-20. Splayed
feet are
we
new and
so consistent that
kingdom worked
is
varied
style.
1968-72;
2251-54
cf.
tetradrachmas of Azes
for
(tf.
Bharhut
4.
5.
7.
13.
M. Chandra 1966.
14.
Williams 1982,
Barua 1979).
Argonaut, 1964),
Interestingly,
i759-6i-
sculpture around
not compare
fig.
80.
Williams dates
it
this
with the
8.
Harper 1978.
9.
Shepherd 1980.
15.
Gupta and
for the
Afghanistan
is
slim, recent
published,
may
indicate a greater
Kushan
80
period.
60-61.
Catalogue
Ci
Punch-marked Coin
Ci
C.
Punch-marked Coin
5OO-3OO
B.C.
Silver; /i x V2 in (1.9
x 1.2 cm)
Holmgren;
M. 75. 89.
Ci obverse
Ci
a standard weight.
dumbbell
in diagonal squares;
tree
known
as
with
marked coins
six-armed symbol;
unexplained.
Two symbols on
circle
shaped in form of
human
face (?)
on
right.
form of
left
blank or
remain
this
example, the
on the
Punch-marked coins
reverse
seals
those
fifth
81
in
C2
Coin of Eucratides
C2
171-155 B.C.)
cm)
Purchased wirh funds provided by Anna Bing
Coin ofEucratides
Bronze;
(r.
c.
C2
10.4
C2
obverse
reverse
The high
Mounted
and excellence
was meant
from
relief
its
for the
Indian possessions
is
it
evident
reverse,
Eukratides).
standard.
began
by usurping the
his career
was
killed,
kingdom
as far
south
Leda.
They
for
(great)
was well
justified; the
him
Justin considered
to be
Roman
historian
Indo-Greek monarchs.
Csa-c
C^a-c
(r.
155-130
B.C.)
Silver; diameter,
c,
Vs in (1.5 cm)
a, Indian
a, obverse:
M.81. 154.5
bc, Purchase with funds provided by Anna Bing
Arnold and Justin Dart; M.84. 1 10.5-6
soteros
savior).
left
hurling
b,
savior).
left
left
shoulder, thrusting
as a.
c,
Legend: Same
82
left
as a.
as a. Reverse:
Same
as a.
C3b
reverse
C}a obverse
C3C obverse
C^a
revei
C3C
greatest Indo-Greek
probably penetrated as
far into
He
ruler,
the most
who was
remember him
memory
they are
much
one strand
down
philosopher-king,
in almost
fall
extensive Indo-Greek
diademed, the
India as the
in bc are
rev
from the
as a
deeply interested in
flies
in the
The
the neck.
king's
name
is
falls
separated
rest of the
c it is
running inscription
of king Milinda),
is
Menander.
usual weapon.
portrait busts in
a and
whose weapon
diademed
[see C2}),
as in b.
whereas in
he
83
is
not
is
The
the thunderbolt.
180-165 B.C.)
10- 1 1). While
is
is
is
c are
substitution
The
as
I.
(see Lahiri
1965. P
'
nos
the representations cf At
(r.
similar in a and
b.
c,
In both a and
figure. In
the crest
somewhat
is
the helmet
is
she
left,
crested, although
is
in c
In b
in b.
Although
clearly a militant
is
prominent
less
sees
is
all
it is
in
dered in
portrait,
(Larousse Encyclopedia, p.
two
in
arm. This
is
is
all
with the
The
is
is
king's face
dominated by
is
contrast to ab, in
an older king
is
both a
nude Zeus
defined.
By
is
is
or Apollo
The
c.
does
seem
left
by a
less
C4
Drachma
of Apollodotus
C4
Drachma
Silver;
%e
of Apollodotus
in (1.4
(r.
c.
115-95
B.C.)
cm) square
M. 81. 154.6
nviM
*
C4
:tr
C4
obverse
'<
reverse
among
Apollodotus was
monogram
Humped
king Apollodotus,
savior).
Indian
Menander
(see
84
is
modeling
characteristic of
art.
The
bull
is
on early Indian
Scholars disagree about the
naturalistic
The
closely associated
is
a frequent device
on coins
is
representation of the
god
himself.
The elephant
kingdoms
The elephant
Audambara
Panjab, the
(Marshall {195
1975,
1]
2: p. 158).
and Kapisa,
cities located
tribal territories.
According to Sivaramamurti
Significantly, coins
metaphors
C5
in
any given
class.
Drachma of Maues
C5
C5 obverse
C5
Drachma
Silver;
Maues
of
Vs in (2.9
(r.
c.
75-57
reverse
B.C.)
cm)
Greek gods.
his
10.7
own
portrait
left,
wearing
in right.
fillet in left
standing right.
hand, beribboned
Monogram below
Moasa
to have
employed
this type
bulkier.
Nike
The
figure
first
Saka
may
4).
it is
until 57 B.C.
On
his coins
around 75
Maues adopted
85
as far
the
Zeus
scepter also
was very
coins of Antialcidas
is
of standing image of
king of kings).
Maues
Zeus.
outstretched
is
Winged Nike
kings). Reverse:
shown
is
likely
(r.
is
figure
stocky and
held differently.
The
15-100
B.C.) in which
Zeus
is
Nike
right hand.
Nike
is
won many
who must
have
Saka kingdom.
C6
Drachma o/Azes
C6
Drachma of Axes
Silver;
diameter
57-35
(2.6 cm)
B.C.)
I (r. c.
in
'/i6
M.81 154.3
.
C6
reverse
16 obvers
couched
representations of a
spear.
basileon
hand, scepter in
leg;
left.
left
coins
is
in
notably different.
Indo-Greek coins,
The
slim, abstracted
arm. Legend,
as
and
his steed.
The
its
may
He was
more
have
also
thunderbolt
figure, as if
is
legs,
classical
The
Indus.
that
the effigy.
but he
is
considered by
the era of
Vikrama
5857
B.C.
known,
era in India.
with
whom
86
Ci
Drachma ofAzilisa
Cj
Drachma of Aziltses
C. 50 B.C.
Silver;
diameter
V\6 in (2.6
cm)
>
M.81 154.4
.
C7
verse
couched
spear.
monogram above
horse's head.
Legend, Greek:
flanked by two
Nike standing
reverse
burn
who
left
was
in
to
first
adopted by Azes
I,
The type
glory.
appears to have
fire vessel.
In
shown holding
is
special significance
left
fire
thus
by Azes
may
was
a coruler
joii tly
type.
with Azes
Once
He
issued
and
some coins
type and
is
The
It
The
attire
consists of
and peaked
hat.
More
interesting
is
the
same
is
identified as
Nike and
is
the
here she
is
containing
may symbolize
The
flames
is
p. 199), "the
87
fire
which
stylistically
of his predecessor.
It
displays the
to that
same cursory
reflects the
of Azilises reveal
much
C8
Coin of Azes
C8
II
C8
obverse
C8
Coin of Azes
Copper
alloy;
II
(r.
c.
diameter
201
reverse
B.C.)
cm)
V\e in (2.7
this
10.8
is
the
mount
Monogram
above.
basileon
Monogram
Two
earlier in a
is
drachma of Apollodotus
(C4).
above.
kings, Azes).
Azes
11
was very
likely a
He
son of Azilises.
grandson of Azes
C9
first
and
last
two
century B.C.
Co
(r.
A.D. 1-50?)
M. 77-56-5
Maharaja
rajatiraja
Vima Kapisasa
(of
two
Vima
The
in a frame.
is
This framed
88
image looks
pi.
like a
the
11,
Vima
no. 27). In
framed painting
among
coins "are
or square,
on the
rest
which has
represents a
window
Although such
imperial
Roman
unknown
not
Minor
a device
(P.
in
is
monarch.
earlier
is
3334,
is
emblem
pi.
II,
nos. 1927),
to Siva.
most
is
somewhat
more
be discerned.
can
C9
C9
obverse
89
on
may be
it
Vima
(Rosenfield 1967,
seems reasonable to
Although
By
common emblem
pi. iv,
encountered neither in
an
much
is
The
trident
medium"
led
reverse
Ciou-i
Color plate, p.
oa obverse
90
49
b ob
Ciob
reverse
loc reverse
of Kanishka
nose,
in (1 .9
cm)
probably
The
portrait
reflects the
M. 77. 56.4,
not
M. 77. 56.7-8
b-c,
a-b
clear, that in
worn by Kanishka's
a, obverse:
altar,
left
before
helmet rounded
Three vertical
at
tall
lines,
is
pi.
11).
The
superhuman
is
Vima
predecessor,
in c
stature.
Kanishka
left.
letters:
is
remembered
in the Indian
and
armed
the
Siva,
nimbate, standing
wearing
left,
extensive,
to the
left
left
hand.
Monogram
Deccan
in the south.
Kanishka
is
said to
may have
b:
Same
as a.
what
are
known
as the
obverse: Similar to
a b,
nimbate, standing to
left,
arm
Monogram below
(?)
Kanishka
arm
resting on sword.
is
9i
The
The
is
He
is
than
certainly the
deities represented
coins.
more generalized
seems to have
Buddha on
monarch
most of Kanishka's
also
characteristic of
wearing long,
The
facial
on
and Iranian
ab the deity
In
the legend
referted to in
is
synonyms of
who
Siva,
first
pi.
II,
nos. 18-27).
his
head
is
not
is
VIII, nos.
is
is
some)
actually
engaged
surrounded by a nimbus.
act
shown with
his bull.
a novel feature
is
is
in lustrating the
Of his attributes,
was important
Kushans and
for the
a deity presenting a
ceremony would
initiation
The
vase or waterpot
is
left
may
it
among
and
interesting
the vase.
the
is
It is
manner
in
More
left
is
it is
name
is
is
of
used in the
The
icon, however,
is
image
Greek
ruler Philoxenus
(r.
125-1 15
As
B.C.).
normally held
hand. Rather,
doing here.
is
consist of lustration
if
century, then
first
The
hand
Iranians
wreath ot diadem
their
Romans and
showing
a tall vase,
implies that he
investing
is
him with
regal splendor.
Ci
Coin of Kanishka
Copper
obverse
water pours
that Siva
and
1 1
he were pouring a
as if
Moreover, he
upturned
it
liquid. In
clearly
is
and
Coin of Kanishka
different, the
Cn
like
holding
alloy;
diameter
'/i6
78-102)
I (r. c.
in (2.8
cm)
10.9
reverse
1 1
left
figure
remaining
as in
letters appears to
Cioa c.
running
left
Reverse:
Man
is
The
Indian wind god, known
wearing dhoti,
on
classical imagery.
as
Vayu
in the
armed,
the scarf
inflated
his
for
and
is
"two-
woven by him,
his
garment being
by wind (vdyyapuritavastra),
emphasizing
description of the
open and
his swift
1956,
although occasionally he
the
wind but
also to ask
it
for wealth.
92
power of
The
running
is
shown holding
(.
12U-C
Color plate, p.
Ci2a-c
(r.
4')
106-38)
c.
in
(1.9
cm)
M. 77.56. 1- 12,
a-b,
c,
M. 77. 56.
Ci2a obverse
2a reverse
C12C obverse
Ci2b
reverse
a, obverse:
2 c reverse
left,
c,
left,
emerging from
bird head
shoulders. Short
goad
(?), earflaps.
mace
in left.
let-
ters:
nimbate, standing
left
Mon-
fingers raised.
ab,
hand brought
weapon not
47-48) instrument
be an elephant goad. Legend: Same as
(Rosenfield 1967, p.
a b, rounded helmet
appears to
Ill,
nos.
monogram as
in
a b,
on
Ashaeixsho.
ogram below
hand held
b,
obverse: Similar to a
except headgear
is
ferent
flaps.
Weapon
in left
hand seems
dif-
ear-
name
is
Monogram
in front as
staff
letters:
Although rhe
Huvishka appears
is
for
which
known
to have succeeded
93
One
to be a spear rather
at hip, other
in a topknot.
Kanishka
unknown.
It is
was a grandson of \
1,
With
The
image on a
devices, the
identified in the
who
legend as Ashaeixsho,
is
is
(see
Known
Amesha Spentas, he
Although the
face in a,
probable that
it is
helmet cover
Regarded
his
the
is
Bright Asa, he
as the
also as
embodiment of truths
illness."
closely
is
this, too, is a
Notwithstanding their
notable differences
features are
much
among
the coins.
as gracefully aquiline
and the
face in general
is
slightly
seems somewhat
halo
absent in
is
less
a sizable
in b.
in
extended right
wart
The
a and
attire in c
It
image
is
investiture.
is
c.
A
the ruler
and movement of
attire differ in
worn
is
classical elegance
hieratic image.
and the
is
personality
much younger
in
a b than
he
is
in c
cornucopia and
is
modeled
fortune.
An
important figure
Tyche clearly
simple
little
c,
are clearly
is
may
individualized likeness
(c).
a less formal,
is
reticent about
This
is
announcing
his
it
known
as Karttikeya, the
An ancient
tribe,
It is
as the
Kushan
rule.
Kanishka
divine status.
known
clearly not
own
divinities
Yaudheyas.
is
Huvishka was
Skanda, but
Kumara are
be considered
and
identified as Skanda, or
interesting.
the
is
Kushan
in the
after
of the monarch
is
is
image of Ashaeixsho
clearly
more
The
fire.
I,
may have
but they
created trouble
may
them by recognizing
Of these,
only
The
flames were
meant
coins.
Whatever the
to
I.
who
fire
predecessors
employed
it
is
on
representations of deities on
94
shown
also have
in the
Mathura
in
been a
during the
their coins.
not always
some of the
been
Kumara
to have
youthfulness of
The
nos.
1,
14).
first
pi.
vm,
on
(.
;a-b
Color plate, p.
Ci^a-b
(r.
c.
49
142-76)
b,
M. 77. 56.
14, b,
M. 77. 56.
16
obverse
03b
3a reverse
a, obverse:
reverse
Vasudeva
left,
With
right
at fire altar
left.
Monogram
near
left
letters:
relationship
1
is
not known.
The
reign of Vasudeva
64 or 67 to 98, presumably
The most common device
god
is
with the
altar
hand, trident in
shoulder.
left.
Monogram above
right
is
name Vasudeva
event, Vasudeva
assume
is
is
a Sanskrit
is
name.
It
may
well reflect a
obverse. According to
this coin
monogram on
Gobi (1984,
belongs to Vasudeva
II.
no. 642),
this
95
on
this coin.
word Oesho
in
Greek
When
it
becomes
dominated by
is
face. In
a strong aquiline
bull
on the
reverse.
full
his
is
garment
two-armed
much-
not as
is
turned to
hands.
waterpot
noose
is
in
trident
is
held in different
is
Vima's coins
is
diadem or
difference
is
Huvishka)
on Vasudeva's coins
is
Vima's coins
deities appear
common
do other
is
often the
Vima Kadphises
is
stands gracefully en
issues the
who
articulately rendered
dhoti
figure,
modeled
better
It differs
prominent moustache,
Vasudeva's
in
Kanishka and
(as also in
Siva's hair
those of Kanishka
is
and
Buddha heads
(see S61).
C14
Dinar of Vasudeva
09a b).
(?)
C14
Dinar
of
Gold; diameter
Vasudeva
/s in (2.2
(?)
(r.
142-76)
c.
cm)
M. 77. 56. 20
C14
C14
obverse
reverse
left,
wearing
With
What must
have been
at
obverse and
1984,
pi. 3, nos.
is
figure of
Greek
filled
letters:
Gobi
first
to be discovered
Ardoxsho
this coin
11.
If it
may
this coin
is,
both hands.
with
in front.
(cf.
Monogram
the reverse
belongs to Vasudeva
Cornucopia
monogram on
fruit in
In
Ardoxsho.
some
(Gobi 1984,
pi.
is
Vasudeva
I.
is
unique coin
The
fire altar
Nana
on the
artistry
is
figure of
Ardoxsho on
Huvishka's coin.
96
The
this
Ci5
Com
of Vasudeva
C15
Coin
Copper
oj'Vasudeva I
alloy;
(r.
diameter Vi6 in
l
C16
The
142-76)
(2.
cm)
Vasudeva
to
M.75.89.
monogram
C1 5
obverse
C16
i's
Holmgren;
is
in
prominent on the
reverse.
reverse
I or II
I or II
Second-third century
M. 77.56.19
C16
obverse
long hair
down
is
to be filleted
03a b.
gram: Same
as in
as
and placed
6 reverse
While most
larger coins.
soft
that king's
mono-
230 Vasudeva
03a b.
The
coin
in
is
likely sent
China.
most interesting
for
assume
97
this
2: pis.
91,
93)-
in the first-century
pi.
he plays the
flute,
this posture
when
although in a well-known
cover). It
is
(P.
unlikely
must
as his
model.
C17
Dinar of Kanishka
III or
Vashishka
C17
Dinar of Kanishka
Second third century
Gold; diameter
111 or
Vashishka
left,
wearing
15
/i6 in (2.4
cm)
trousers,
With
behind head.
right
beside trident in
as
The
basic type
is
Brahmi
letter
left
Same
Reverse:
fillet
03a b.
that of Vasudeva is
Oesho
who
is
particularly
vi) considers
is
it
to be
one of
uncertainty regarding
ill's
79-84)-
No
there
later imperial
these coins
C17
C17
obverse
reverse
bull
on the
much
is
prominent
Vasudeva
Kushan monarch.
On
modeled
fillet
i's
who
the ruler
Dinar of Vasudeva
'-
II
<
C18
'
Dinar of Vasudeva
Gold; diameter
15
II (?)
/i6 in (2.4
(r.
c.
230-60)
cm)
M. 77. 56.
erse
17
C18
98
reverse
Characteristic of
in
Vasudeva
i's
coins.
is
The
coins,
C18
is,
reverse.
better
matter
is little
The
iconographic element
differences will
i's
The
flan
is
The
figures are
modeled
finesse of those
appearing on Vasudeva
coins.
i's
more
in shallow relief
is
The
king's head
Siva's
them
correct.
The
Kushano-Sasanian coins
(09a b)
i's.
cm)
M.77.56.22,
b,
M. 77. 56.
09b obverse
9a reverse
99
been struck
and crude
I.
those of Vasudeva
b,
later
C 1 <)a-b
god
be noted here.
crudely.
for the
to
than to
The
in left
With
left,
at fire altar.
coin
Trident
b:
Bo oroh{?}rono
trident in
Diadem
left.
had
a short reign,
who
II,
(see
The
well apart.
portrait in
on the
ruler represented
Kushanshah);
is
one
his
in the
British
The
Siva
c.
350).
image on the
also varies
Legend of each:
Illegible.
other in the
b probably
reverse
in Vasudeva's coins.
coiffure
may
known
hair,
as Bactria,
dynasty of Iran.
It
and
hieratic,
is
more
static
taste.
newly
Kushanshahr
known
as
recent theory
them
as
independent
rulers.
The
coins issued by
coin type
(03a b)
much wider
flans
i's
Oesho
is
not as
refined.
C20a-b
Va in (1.9 cm)
M.84.110. 10
a,
Anna Bing
left,
With
right
b,
a, obverse:
Brahmi
at fire
letters: Illegible.
Reverse: Enthroned
left
hand.
b,
obverse: Similar to a
{?};
legend, right
letter,
field:
near
left
Shaka.
goddess similar to
large
a.
100
Kushan
dinars, with
some notable
differences. In
Brahmi
letter
None
below the
left
arm
of
Brahmi
is
rather
or
Shka
been recognized
(see
Gobi 1984,
Gupta
(Gobi 1984,
location of the
follows the
name
Brahmi
letters
minted by
but
still
may belong
to
in
Gupta Empire
C2oa
C2oa obverse
C2ob
101
reverse
least
Brahmi
Guptas
composed of at
it is
in the
pi.
is
reverse
C21
C2 1
(r.
c.
<
?)
108-32)
Silver;
diameter Va in
( 1
cm)
C2 1
C21
obverse
reverse
prominent jewel
crest
Gotamiiypui??}
individualized.
letters:
monarch has
surmounted by
As
(C22 24)
is
clearly
As was
shows
distinctly
of
also usual
is
flaring
with Satavahana
with Tamil-Brahmi
are naturalistically
letters:
Following
fig.
36), the
monarch
102
sea.
modeled.
C22
C22
(r.
c.
132-59)
Silver;
diameter Vh
in (1.6
cm)
C22
obverse
The symbols on
Brahmi
letters
(several letters
{VajsithTputasa
siri
Pulum{a}visa
Same
C2 1 Legend,
.
letters:
{Vd}hittimakanasha
Pulam{d}visha (of
tiru
(in
Pulumavi,
([of]
as
Of these,
it first
Arahana{sha}
by the Satavahanas
after they
conquered the
if
directions, then
hill (first
appearing
empire
may
all
solar
collectively
directions of the
known
is
attempt
at portraiture.
dominated by
a strong nose
is
The
The head
is
idealization; otherwise
is
a mass of knoblike
more aquiline
portrait
is
may
103
in the
reflect a certain
we can assume
a reasonable likeness.
snake).
that the
They may
also have
had a cosmic
who
and thick,
Rather interesting
today as Andhra.
C2 3
C23
(r.
c.
159-66)
Silver;
M. 81. 154.2
C23
reverse
ruled over
Andhra Pradesh
after the
death of his
siri
Brahmi
Prakrit with
Reverse:
letters:
D{i}th{i}putasa
few Brahmi
letters
remain: Arahanasha
is
Vasishthi).
new king
during the
981).
He was
or Satakarni
last years
may have
ruled as regent
Rudradaman
Pulumavi.
(r.
c.
13050). Rudradaman
were related.
Not much
is
may
4041)
104
C24
C24
Silver;
diameter V%
in
( 1
.
(r.
c.
174-203)
cm)
10.2
ornament from
Deccan.
knotted string or
tassel
He
Although
as
C21.
Not only
it is
remarkable realism
Dinar of Chandragupta
C25
delineated with
the distended lobes in
Color plate, p.
Dinar of Chandragupta
I (r. c.
32030)
C. 320
Gold; diameter
Gift of
}/4
in (1.9
cm)
M. 77. 55.
C25
is
(cf.
is
15
obverse
105
Dart;
not as
nonetheless an individual
likeness.
is
(Mirashi 1981
Legend: Illegible.
C2 5
this portrait
known examples
49
King wearing
tunic,
forming
circle.
Right hand
Queen wearing
otherwise
sari,
hip, left
Sanskrit with
Brahmi
letters:
Legends:
side.
Chandragupta,
unique.
coins of
the
first
in
Noose
hand, cornucopia in
in right
left.
instance in
was very
tiara.
likely
vm). The
with Brahmi
greater plasticity, as
letters:
are
sometimes portrayed
Lichchhavis).
C29a-b). Although
scarf, pearl
its
Chandragupta
is
reverse.
The device on
The legends
as
Chandragupta
Chandragupta
I,
first
uncommon
p.
is
rarer type in
54; also
pi.
lion
on a Gupta coin
Durga. Thus,
the cornucopia
composite figure,
king
many
dressed in
is
it
several
nevertheless
is
is
who
Kushan pantheon
(see Si 03).
Kushan costume,
she
his headdress
this figure
may
Some
Lichchhavis.
C26
Dinar of Kacha
C26
The
Dinar of Kacha
Gold; diameter Va in
(1 .9
cm)
identification of
Gupta
M. 77. 55. 18
ruler, his
dynasty.
position in the
left,
wearing
is
name
surmounted by wheel
placed above
altar.
in left hand.
Legend, under
Right hand
left
arm:
for that
differs
None
many
in
two significant
ways.
karmabhir-uttamair-divam-jayati (having
Samudragupta grasps
an emblem. Thus,
left
Cornucopia
Brahmi
with
emperor.
from
standing
scholars
if
left
a staff or standard
hand
without
may
indicate that
it
is
was
may
He
106
crse
Gupta genealogy. It is
however, that Kacha was the given
altar has
possible,
is
name
when
his conquests,
was
the
new standard
coin type
on the reverse
Kushan
hieratic
The goddess
coins.
is
also devised.
The
representations on
it
Guptas
as it
form
is
not very
is
if
the
clear,
the
the prototype.
C2ja-
C2jac
fc c.
Color plate, p.
b,
right, sitting
335-76)
49
lyre (vina),
cm)
Mrs. A.
J.
tight-fitting cap
Montanari; M.84.
Small
Legend, partially
Maharajadhiraja
10.
in front.
sri
Samudraguptah
left,
left
on wicker
which
seat or
hugs
stool,
Chandragupta
oblations at
I's
fire altar
standard in
left
arm
wearing
sari,
blouse,
closely
left.
Noose
in
Standard or
victories
on
hundred
battlefields
c,
platform before
sacrificial
left
on shallow
of horse's mouth.
feet resting
hand, cornucopia in
left.
107
in right
Upper
at
about level
head.
Pennon
fluttering
behind the
vijitya]
divam
who
wins heaven
is
is
Woman
is
festooned spear
Kushan
identified
left at
held at waist
sari
coins.
The goddess
left
side.
Legend:
who
has
usually
is
in
as the
shoulder,
is
Gupta
Samudragupta's
asvamedha coin types are
among
lyrist
and
sacrifice).
is
radically different
from the
known
king
and asvamedha
The
standard type is clearly derived from Kushan
coins. Not only is the king shown offering an
(c)
oblation into a
like a
fire altar,
in that order.
but he
is
also dressed
device
altar.
left
obverse
108
C27a
reverse
C27b
reverse
sits in
couch
as
a relaxed, informal
manner on
A human
The
low
and
The
effigy of the
is
also
ism.
The goddess
throne.
reveals a
is
full
and
much
apparent in the en
and
svelte plasticity
goddess
(b),
whose body
performance of a horse
sacrifice.
slim
The
make
her a
much more
is
decorously draped
mode
as in
Kushan
coins.
not
to the
ture
is
One
manner she
face representations.
announce
sits
fleshy
reverse
of a
as
hand
commemorative
silver coins
with representations
its artistic
is
more
quality and
propaganda.
craftsmen.
Not
reverse
is
109
fingers),
of her
and wears
may
left
(articulately
in front
column.
Sa-c
Tbne Dinars
of Chandragupta 11
C2 8ac
(r.
c.
Color plate, p.
c,
II
376-414)
in (2.4
C28
a, obverse:
(1 .9
cm),
cm)
C28b
obverse
C28b
revers
C28C
arm:
is
remembered
also
as a
Bow
reverse
left,
in left hand,
49
Many new
was
reign, and he
to issue
both
silver
Gupta monarch
is
an
Indianization
sitting en face
position.
on
Diadem
left.
Symbol near
coins.
is
now
only
on
is
is
bare.
Adorned with
ends
at
father's coins
Not
beaded border.
in
a the king
suggested and
it
appears as
if
is
the
only vaguely
monarch
is
bare
are of
hand of the
On
Same
it.
sits
While
obverse: Similar to*/, except that king's jacket
for flaring
b,
II,
apparent in Chandragupta's
is
is
placed
sinuously
Not
only was
rises.
The diadem
or noose
is
no
held
Such minor
j^a-b
Dinars of Chandragupta
C2()a-b
(r.
II
II
376-414)
c.
in (1.9
cm)
(,29a obverse
C2cjb obverse
C29a
C29b
reverse
a, obverse:
horse.
King riding
right on caparisoned
in
left
but
in
Dart;
Legend
reverse
animal.
not a
The
common
device and
is
(C25).
may symbolize
the rising
The
reverse device
is
lyrist
clearly
type
Paramabhdgavata maharajadhiraja
s'ri
left,
similar to
C27b. Diadem
left.
Legend:
time.
much
difference
and she
(C6 7). On
is static,
common
II,
new
although
to Saka kings
the representation
the animals are
is
in
is
how
garment completely
coins
The
first
is
is
reminiscent of the
it
is
represents a
offers to the
monarch
C}Oa-b
C$oa-b
(r.
c.
414-55)
Gold; diameter *A
in (1.9
cm) each
Gift of
a,
C30D
a, obverse:
obverse
Of the two
reasons.
minor
new
variations
nimbate, sitting
sari
in
left
on wicker
Goddess,
stool,
bun
at
With
nape of neck.
left
right
hand holding
wearing
hand feeding
Legend:
lotus.
It
obverse:
King riding
(cf.
Altekar 1957,
1954,
pi.
XXX,
sari
and
scarf.
is
hand placed
at
The
fleshier forepart
The
and
but the
unknown engraver
skill
important both
for historical
12
and
artistic
one of
has
shown
is
accommodated
arm
as a
combative
raised (probably
is
clearly
animals.
The elephant
front left
is
majestic as
it
arched body
issue a
is
lion,
in b
image
royal
the occasion
II
quite
succeeded Chandragupta
is
so
Gupta and
Kumaragupta
is
Illegible. Reverse:
different
on elephant while
right
a completely
coins (C29a).
b,
is
peacock, with
type.
raises its
tense,
in
and generally
is
peacock. In
some other
xin, nos.
reads:
The
distinctive innovation of
a very
mount), and
Kumara. In contemporary
art,
Kumaragupta's mint
as her
it
Drachma
0/
Kumaragupta
(r.
c.
for coins.
with Brahmi
4M-55)
Silver;
shown
Drachma of Kumaragupta
C3 1
is
C31
the
is
On
is
is shown
The goddess has
his
mount
letters:
10.
in center.
letters:
Parama-
m Kumaragupta
This
is
Kumaragupta
by
conquered by Chandragupta
11
1981,
pi.
C3
obverse
"3
some
idea of
what
monarch looked
the
hairstyle, however,
rather than in
representation
like.
is
Gupta
is
The highly
Garuda
The
is
is
an innovation of the
Gupta
bird
such coins.
is
represented
with Brahmi
C32
abstracted
less
symbolically.
Greek
The Guptas
letters of the
Saka coins
letters.
Dinar of Prakasaditya
C32
Dinar of Prakasaditya
Dart;
Gift of
C32
C32
reverse
obverse
Prakasaditya's coin
Illegible. Reverse:
on
lotus. Filleted
lotus in
left.
Goddess Sri-Lakshmi
diadem or noose
sitting
in right hand,
mounted
more innovative
prakasaditya
is
The
(see
in that the
epithet
generally regarded as a
Legend: Prakdsadityah
is
Gupta
identified
B.N. Mukherjee,
"An
obverse
is
The
Gupta and
The
known, but on the
reconstruction.)
not
Prakasaditya.
It is
name
is,
therefore,
is
given
as
II
(died
c.
is
lion-slayer
introduced by Chandragupta
king's
Interesting
l's
is
shown
11.
Bulletin:
motif was
In
Kumaragupta
who
is less
linear abstraction,
a dragon.
114
like
C33
(r.
c.
M. 77. 56. 24
Gold; diameter
/t in
(1.9 cm)
obverse
510-32)
reverse
remembered
turned
left,
presumably before
fire altar,
which
is
Bow
in left
Sanskrit with
Brahmi
letters: Gre;
lotus. Filleted
Bihar.
Bdladityah.
Brahmi
Narasimhagupta Baladitya was probably the
of the
Gupta dynasty
extensive empire.
He
last
letter
royal image.
is
The
Why
this
sole
of the
also a generous
diadem
Legend:
left.
He was
below
sitting
Huns, who
traditionally
decline.
C34
C34
M. 77-55-1
Sixth century
C34
C34
obverse
reverse
on arrow.
Bow
in left
s'rf
(Altekar 1954,
Reverse:
left
arm.
in center.
pi.
xxxi, no.
14).
below the
The
left arm
is
not
reverse seems to be
considered to
unknown king, is
ancient imitations
many
be one of
14-15).
It
may
"5
pi.
sides.
Ci^a-b
C35a-b
l3
/i6 in (2.
cm)
035a obverse
035b
obverse
C35a
C35b
reverse
reverse
in abstracted design.
Brahmi
some
script:
Sri Yasa.
known. While
is
issued
much
them
to have
been
later.
The
on both
Kashmir sometime
after the
The
most of whom
known from
the ancient Kashmiri histories. The name given
in these two coins is Yasa, which may be an
various kings,
IK
are not
The metal
locally.
\6
Dinar
of
Khingila
C36
Dinar of Khingila
Sixth century
(?)
Gold; diameter
in (2.5
cm)
M. 77-56-3
obverse
6 reverse
wearing Sasanian
left,
down
hand hanging
(?) in left
hand.
The
and Kushano-Sasanian
coins.
The
awkward
Kushan
been found
in
Afghanistan.
is
that he
may
usually identified
as
Narendraditya, a
117
is
in
royal
Age
of the Mauryas,
Introduction
As surviving evidence
Maurya period
(c.
324187
the
more extensively
medium during
as architectural
wood
(r.
c.
273236
B.C.).
first
tall
sites
now
is
Museum.
Rather, they reveal a greater degree of abstraction in rendering plastic mass, whether
of
human
capital
may
in the collection.
sculptures, they are nonetheless equally attractive both for their simplicity and
sandstone. Sarnath
century B.C.
whimsy. Both the naturalistic and abstract traditions of representing animals can be
Museum.
traced to the
much
earlier
latter
seals
mostly in terra-cotta.
Ramanagar.
last half
millennium B.C.
is
the
legs,
stumps
for
in
similar figures of the earlier period. Such figurines symbolizing fertility continued
to be
and
inscription,
produced
in the region well into the early centuries of the Christian period.
Indus
Valley civilization,
1500 B.C.,
2500
steatite. The Cleveland
121
A far
more
Maurya
molded
period. Partly
which appears
slip,
standing and seated (S9 12), and a partially restored elephant with riders (S13).
The
legs
is
more
is
fully
breasts
clear
is
1),
columns. The ladies invariably wear short skirts and are richly adorned with
heavy appliqued jewelry. The most intriguing feature about these figures, identified
generally as
Mother Goddesses,
is
overwhelm the
generally
face. In
ear ornaments,
is left
which
plain thereby
indicating the frontal viewing of such figures. Their exact function remains
some would
indicate that they were not objects of regular worship but were probably buried in
is
no
may
figure
is
known
for
important
as it
is
may
one of the
It
became
both gods and kings from the Kushan period. Despite their stumpy and
are
pralambapadasana or bhadrasana.
later as
and
feet, the
This
fields.
is
human
evident in the modeling of the animal's body, but the head and trunk
is
more
naturalistically
in
as a
not
Asokan columns
richly carved
is
prominent architectural
is
Madhya
Pradesh.
figures, animals,
collection
style, the
carving
is
monument.
in the
sculptors used earlier scroll paintings or murals as their models for the rich array of
narrative themes they were required to execute along copestones
of railings.
figures that
adorn the uprights and columns and perhaps because of their smaller
size are
crossbar (S28)
on the Asokan
is
rendered in a
capital.
122
far
lion
on the fragmentary
all
over northern India, including the northwestern part of the country, were employed
at the site.
somewhat
is
if
tentative.
in ancient Bactria
and Gandhara
The engravers
for the
Indo-Greek monarchs,
as
clearly
is
is
which the
royal
who
origin
that
the engravers,
all
aesthetic
who
Greek period
what seems
in
imagine
difficult to
significant
is
but sculptors
coins,
would be
It
were of Greek
and religious needs of the people of these regions, were imported from the
matter,
artists
at
or, for
that
classical
Bharhut
Hellenistic forms.
gateways and railings around their stupas and excavating monasteries and shrines
zeal in various
India. Sunga-period
(187-75 B.C.)
terra-cottas were
Many
relief. If
with
much
made
primarily from
they are objects in the round, such as toys (S18 19, S26), they
were generally made from two separate molds and joined together.
Significantly, while terra-cotta figures of the earlier periods bear little relationship to
a closer affinity
developed. For example, the enigmatic narrative scene on a small terra-cotta plaque
(Si 4)
is
on the Bharhut
are far
more
railings.
The
naturalistically delineated
graceful postures.
a distinct
change
in aesthetics occurred
in
to
Chandraketugarh
in the east.
may have
representation
in the west
lively
and
realistic school
of terra-
Most
from either
is
fine toy
more
Although not
from the
as majestic, the
earlier
is
(S26),
123
which
Mathura
elephant
close observation
West Bengal
3).
emphasis or
Indeed, the group of terra-cotas from West Bengal, most of which are
from a
site
which
is
known
as
variety,
may have
flourished
from the pre-Maurya through Gupta periods. The ruins have also proved to be a
remarkably rich source of terra-cotta
medium
at the
time in
this region
art,
and
in
Madhya
artistic
northern India.
most important
is
considered to be stylistically coeval with or earlier than Bharhut, the gateways of the
Great Stupa were erected between 50 B.C. and 25 a.d. The museum's examples of
sculptures (S29 30) that once adorned one of the four gateways demonstrate an
of North Gi.
Stupa
i,
Sanchi, 50
eschewed
for a greater
flat
much more
plastic
form. In the lavishly carved gateways of the Great Stupa at Sanchi the early Indian
sculptural style reaches
its
not evince the same interest in the luxuriant and lively narrative
reliefs
of their
forebears at Sanchi, they did continue to delight in the Sanchi artists' impulse to
imbue the
sensual rhythm.
124
Catalogue
Si
Pakistan
Bull
Si
Red
Museum
Bull
Pakistan;
300
c.
terra-cotta; length
From
4 Va in (12.
cm)
Trubner 1968,
Heeramaneck
fig. 4.
Collection
modeled,
is
The schematized
preserved.
its
remarkably well
bull
plastic qualities
tail are
strip.
is
strongly
emphasized by the
legs.
The dewlap
The hump
is
unnaturalistically placed
The
significance of the
known.
In the rear
is
two
broad nose
rump and
125
Associates Purchase;
Literature: Rosenfield et
B.C.
thigh.
is
not
down
al.
M.73.4.4
1966,
p. 4, fig. 2; Pal
p.
26;
1985a,
p. 68,
half of the
it
from Bihar
terra-cotta
toy.
Stone chips
when
first
(third
millennium
much
seems to be a
some
similarities
Fish
52
Fish
Gray
schist; length
Vs in (4.2 cm)
M.84. 105.
The
mouth,
eyes,
clearly delineated.
fins,
and
The
tail
The
object was
28, 109; pi. 179, no. 79; pi. 181, no. 197),
where the
jewelers.
was
fish
From
a popular
motif among
and
is
group.
126
in Taxila
which
is
one of
S2
sites in
3: pi.
much more
When
first
pi.
xxxvi,
1).
p. 73,
S3
S3
diameter
!/>
in (8.9
cm)
M. 83. 255.
S3 detail
known
significance
particular example
Gandhara, to Patna,
in
to have
been
at
Gandhara with
Bihar.
made during
Most
the
Around
circle of this
honeysuckle
The
variety.
The female
figure
pis.
such a
by traders
fertility
as
some
sort of
her cult
form
is
ornaments
large solid
Her
An
identical
for her
charm. That
may have
down. Except
examples have
carried
a mystery. This
some of which
are said to
containing two
arc-
may
127
in
s4
S4
Gift of the
cm)
A
Honorable David Salmon;
in (3.2
M.84. 105.2
The
practice of
during the
first
was quite
human
common
feet
of this
is
well preserved.
Although she
fully
shown.
An
the torso
is
prominently
(cf.
S7).
unusually small.
S3
Elephant
Elephant
S$
Pakistan, Taxila
Red
4
(?); c.
200 B.C.
Vi in
( 1
1.4
cm)
128
M.83.24
is
plain
The
are
stylized
conforming
Taxila,
example
is
2:
pp. 454-55,
3: pi.
less naturalistically
trunk
is
stamped
[1951] 1975,
Of the
comparison.
design
Marshall
as well (cf.
3: pi.
three well-preserved
mound from
period ([195
1]
1975,
The
3: pi.
legs
Maurya
short
S6
tail is
is
Goddess
S6
Goddess
figures
Red-brown
From
4 V4 in (10.8 cm)
Museum
Heeramaneck Collection
Associates Purchase;
Literature:
p. 13;
terra-cotta;
M.73.4.3
Larson et
al.
1980^.41.
division of Pakistan.
Known
as Pushkalavati in
number of such
eminent archaeologist
as
to the
was found
century A.D.
Both
this
and
made
companion
in three parts:
The
and waistbands,
belts (channaviras)
The
figure
is
are incised.
peglike legs.
from the
left
A cross-
shoulder
The
two arms
cowrie-shell eyes.
129
is
is
not modeled.
*7
Goddess
Sj
Goddess
Red-brown
cm)
Gift of Jane
Literature:
1.
in
The
breasts
is
fluid definition of
remarkably
flat.
The
torso.
and three
to the back.
The neck
is
is
some
ears.
The
sort.
Four incised
lines
down
the
When
was considered
civilization,
first
but
it
undoubtedly
is
of the same
Not
pi.
xxvi, nos.
level,
130
S8
Head of a Lion
S8
Head of a Lion
Red
terra-cotta;
From
diameter 2 in
(5.
cm)
Heeramaneck
Collection
Museum
Associates Purchase;
M. 7 2.
1.3
Rosenfield et
1985,
al.
35;
Czuma
p. 124.
modeled
is
decorated with a
The
lion head.
from deep
cavities.
row of
The
partially
lion
masks in
vessels.
emerging
be included a
number of small
sites,
and are
of Parthian date
That
they mere
made with
furrowed brow
modeling
is
is
remarkably
skillful
and animated.
to
Empire
no doubt that
(first
now seems
belongs to that
2: p.
436):
131
while
it
matrix,
vessels
Evidently
(see Literature).
of the
was
is
and
their
of
Dharmarajika
eyes are
In Class
piece
which they
and cannot
blob of clay
was worked
still wet,
moulded
into the
into shape
the
wall
with the
Uttar Pradesh
s9
Head of a Goddess
S9
Head of a Goddess
The
oval face
is
eyes.
M. 73. 46.
The
hair,
of the forehead.
The
monumentality of the
differentiated,
figure.
The neck
is
not
hung
The
elaborate
is
decorated
coin (Ci).
which appears on
punch-marked
The back
edges.
S10
is
completely
flat.
Goddess
Sio
Goddess
cm)
head
M. 82. 18.2
is
is
stumpy
legs
effaced.
The
feet
and toes
earrings, bracelets,
and
buttocks.
An
flat
is
spread
and anklets.
simply a piece of
now
elegantly tilted
much
The goddess
The
fully
is
rest
modeled by hand
also of
132
mark
Sn
Goddess
Si i
Goddess
c.
200
(Gupta 1980,
B.C.
pi.
78a-b). Indeed,
Mathura
stylistically,
Although the
same doughnutlike
made from
legs are broken, this
is
a standing
may
have been
ear ornaments,
and the
is
flaunts
the
middle and
is
Three
hair
is
parted in the
to indicate
example mentioned
pendant
breasts.
rests
The
seem almost
the body.
on the ample,
slightly pointed
to
The
form
flar
a circle in the
stomach
is
midregion of
dominated by
below which
is
Although she
related to
two others
is
stylistically
is
number of similar
black.
133
Sl2
Goddess
S12
Goddess
Gray-black terra-cotta;
c.
200
B.C.
9I/2 in (24.
cm)
M. 85. 72.
figures
high,
this
is
one of the
and
full breasts
for the
naturalistically delineated
is
shapes.
feet are
mere amputated
fully
rounded.
and other
strips
is
sumptuously
it
The
figures
is
Her bearing
is
rendered on the
flatly
134
an important goddess.
a sense of
late-third early-second-
1980,
forming the
is
the
and
is
example
form
in this
pi.
Mathura
(S. P.
Gupta
fig.
10).
Si3
S13
Gray-black terra-cotta;
1 1
in
(28.6 cm)
M. 85. 72.
Of the many
without
riders, that
Mathura,
this
example
is
one of the
largest.
is
Although
not
stylized, this
The
component of
Maurya
somewhat
is
is
not
of a
ears, those
by holding
The elephant
is
gaily
135
processionals.
as a toy.
collection includes
The
which
exact function of
Maurya sculpture
is
not known,
were used
for
domestic decoration.
S14
S14
Uttar Pradesh;
Red
terra-cotta; 2 V% in (6.0
Gift of E. Sham;
Whatever the
100 B.C.
c.
exact
cm)
M. 80. 156.3
figural
form,
mode
columns with
a pot
support a plain
slender
capital
Two more
rosettes are
left
He
is
added
Of
the honeysuckle
human
apparently
is
another
One
what appears
to be a basket
tray
He may
use of
is
although
at
Amaravati in
Museum
now
in the
attributed to
Kausambi
which
in Uttar Pradesh,
may
his palace
Kala 1980,
figs.
from Kausambi,
146-47.
S15
The
North.
of
represents either a
in the
tics
The
common symbol
head.
He
on
is
and
and animal
the
the well-
abundance
capitals.
is
honeysuckle motifs.
known roundel
over which a
lintel or crossbar,
to the
Two
and human-head
closely
of delineation, and
is
on
his shoulder.
Divine Figure
Si 5
Divine Figure
Uttar Pradesh;
Red
c.
terra-cotta
cm)
3 in (7.1
Gift of E. Sham;
100 B.C.
M. 80. 156.21
a dhoti
and turban
is
position
jewelry
is
held in
The
right
arm
is
what appears
136
to be a spear.
left
hand holds
The gesture of
meant
may
whom
Generally, however, in
Gandharan
art
weapon.
Kubera or
spear,
and
this figure
identification with
is
to portray a divinity.
refer to either
(see S64),
while
figure
is
among
is
Kumara
not.
is
Thus,
if
an
may simply
number
earthly general.
large
portray an
of similar
from Kausambi
Kala 1980,
(see
14245).
figs.
emblem
is
more commonly
5/6
associated with
is
generally obese
S16
Uttar Pradesh;
Red
terra-cotta;
100 B.C.
c.
'/s
in (15.5
depicts a well-proportioned
cm)
M. 83. 22 1.2
legs
and
is
secured
is
Her
left
hand
a pair
deity's torso
This figure
is
and arms.
a fairly
common
Kausambi
in
Chandraketugarh
pi. XLV).
One
in
known
in
scholar (V.
as
an ancient goddess
is
an Indian
is
is
the
fish.
A pair offish,
also a
fish is
love,
signifies fertility
and
it
seems
emblem
fish
Indian
wealth, but
is
137
later
as Varahi.
Sn
Si 7
Red
(?); first
terra-cotta; 5 Va in (14.6
century B.C.
cm)
M.85.62
Except
for the
damage
is
and
a fine
first
century B.C.
depiction of a shrine.
and central
that the
The surrounding
railing
demonstrate
a fairly
right
plain,
flat
left
hand
hand
rests
hips.
creator of this
Not only
is
The
artist
was
is
framed by
Two
The animals
are bathing
The goddess's
The unknown
outdoor shrine.
is
on a
known
in Sanskrit as
The theme
Gajalakshmi,
138
as well
preserved or as
the
museum's plaque
is
so similar to
they are
that
is
not
Si8
S18
Uttar Pradesh
(?); first
Buff terra-cotta;
From
century B.C.
5 Vs in (14.3
cm)
the round.
rocking
Associates Purchase;
M.80.6.3
1979, no. 4;
Czuma
1985, pp.
form
a sculpture in
Heeramaneck
Collection
Museum
to
in
31;
toy.
in
as a
made
may have come
still
Kausambi
area,
enormously popular
Deccan.
in the
The elephant
16-17.
with a
frilled
is
caparisoned
more
the
and
mahout bringing up
The turbaned male and female in front
coarsely delineated
rear.
seem
carries a pot,
to hold the
straps,
which
it
should be an
elephant goad.
The
with riders was a
representation of elephants
common
motif
in the art
and
who
have come to
first
belong to the
first
century B.C.
it
The
could well
riders are
139
to
Bihar
S19
Toy
Dog
Dog
Si 9
Toy
Bihar
(?); c.
200 B.C.
Museum
Associates Purchase;
Literature: Rosenfield et
Wheel
axles
M.73.4.5
1966,
p.
26,
toy.
The
snarling expression
amusement of a
body with
be a dog howling
at
the
He might
also well
representation
or, in fact,
a depiction of a type of
140
at stylization
dachshund.
is
possible source
may be
Bihar,
where
stiff legs
number
and holes
may be an attempt
spirited canine
remarkably
The
mobile
legs of this
al.
West Bengal
S20
An
Earth Goddess
S20
An
Earth Goddess
c.
100 B.C.
al.
wide apart
is
M. 77. 36.
1980, p. 41,
no. 2.
nude goddess
is
which
raised).
She wears
a bouffant hairdo,
and her
With
right shoulder
is
a sprig
with a star-shaped
is
The
on
from Harappa
(c.
2500
B.C.),
a seal
which depicts
female figure with legs placed widely apart issuing a plant from her sexual organ (Vats 1940,
pi.
2:
meant
to represent an earth
springs
all
goddess from
whom
O Ye Gods,
shall
which
shall
as
shall gain
Sakambhari" (Pargiter
nourisher."
who
sit
similarly
and
stylistically
is
141
The plaque
S2I
S2 1
The
c.
100 B.C.
cm)
Va in (4.5
identification of this
The
above the
figure's
and hole
Lakshmi, and
(see S22).
Distinguished by
called
goddess
last identification
discovered near a
fire altar
during excavations at
between
The
chief distinction
this
of the period
is
emblems on
palm fronds on
the
left.
the
The emblems
S22
nymph
all
which
other examples.
Among
trident,
and arrowhead.
Kausambi
122).
fire altar.
Ganges Valley
is
life
of
later
concept of Durga.
A Winged Deity
A Winged Deity
West Bengal, Chandraketugarh; c. 100
Buff terra-cotta; 3 A in (8.2 cm)
S22
B.C.
six inches
may
When
probably wore a dhoti.
The
left
likely placed
The
That the
Chandraketugarh,
figure
is
from
two holes
function
as
probable
showing
man,
elephant (Ghosh i960, pi. lxvc), and lotusbearing goddess (Ghosh 1973, pi. XLVa).
Indeed, the three plaques stylistically are so
similar that they
same workshop.
142
in the
richly attired
of this figure
is
showing
nature.
1973,
a richly
pi.
The
XLvd).
moon,
exact identification of
males
may
which case
Color plate, p. 31
5 V in
(13.0 cm)
1
is
While
his lower
garment
and
worn by children
With
a bird,
his right
hand he
in ancient India.
The
The
flat
them but no
his
to almost black
on the right
in a
is
remarkably
well preserved.
The
charms
boy's
slightly rotund
He
hand he holds
a shawl.
left
century B.C.
is
could be Soma,
this figure
the
S23
more
is
The females
S23
Chandraketugarh
is
not certain.
The round
is
face,
characteristic
(Biswas
98 1,
pis.
and
at least
1981,
143
pi.
xxxvb).
$2-4
S24
Red
(?); first
terra-cotta; 5 in (12.7
century B.C.
cm)
A slim,
M. 85. 35.
identifies as
first
with central
crest.
gesture and
much
who
Her
holds a mirror.
figures
from Kausambi
1980,
fig.
115).
The
is
distinct styles, at
is
is
a dancer
examining herself
before a performance.
An
Noteworthy
mirror,
is
The
far
from
close stylistic
to the other.
Buddha and
dates
suggestion
is
correct.
He
144
in
as far apart as
and transported
S2$
Corpulent
Male Figure
J25
Corpulent
Male Figure
to
by
done
later
century B.C.
Buff terra-cotta; 4 Vi in
From
(1
cm)
1.4
Seated on
Heeramaneck
haunches and
its
is
Collection
Museum
Literature:
Heeramaneck 1979,
no. 10;
the waist
is
wrapped around
no. 6.
is
girdle around
his
shawl
is
closely akin to
one found
(Biswas 1981,
pi.
dates
all
in
is
Chandraketugarh
pi. xvi).
Biswas
down
to his
ments
ample
is
is
even
An example from
pi.
Harinarayanpur,
hollow with
It is
a plain
rattle,
it
at the
is
bottom.
was used
as a
tall
ritualistic gesture,
left
The
taller in the
Harinara-
left
hand
not
is
Lxxxivb).
tassels.
in favor of
also
(Ghosh 1958,
fall
thumb and
3).
with
distinctive of
CLV, no.
and
belly,
are embellished
headdress
is
Kubera,
hand simply
rests
all
hand holds
in
Whether
tified as
in later
one
been
a flower. It has
is
iconog-
at least regard
them
as
is
better preserved
is
is
superior.
Not
145
make
526
Toy
Ram
S26
Toy
Ram
century B.C.
'/s
in (15.9
Shaped
in the
M. 84. 220.
which a
smooth back
stick
is
Through the
necklaces.
is
above
to
The neck of
Ornaments
also
commonly used
(in
Gandharan
shown riding
in
many
reliefs
the young
Buddha
drawn by rams),
a cart
were
carts
is
often
this
another hole
little
Although ram
this
into
cm)
West
p'-
particular example
is
found
at
xivb).
The
with
this
head with
(the one
museum's
animal
toy,
on the
left is
broken)
is
Most such
first second
century B.C.
carefully
artist's
pieces,
146
pi.
found
perceptive
at
Madhya Pradesh
S27
From
Madhya
Pradesh, Bharhut;
Rust sandstone;
1 1
c.
in (28.0
100 B.C.
cm)
Heeramaneck
Collection
Museum
Associates Purchase;
Literature: Rosenfield et
al.
M. 76. 2. 29
This
relief
whisk
in
Madhya
Pradesh.
Bharhut
Bharhut remains
monuments
landmark
now housed
One
in India,
in the history of
(a)
in the Indian
The
The fragment
also
nymphs.
The
awkward
depicts two
One
(a)
with
faces
flaring
and somewhat
sculptures.
joined
naturalistically.
The other
(b)
fly whisk
in the
makes the
typi-
less
is
When
gesture, a
draped with a
at the waist
chain girdle.
A shawl
many
is
is
adorned with
her posture a
little
shown making
when
a sculptor deviated
pi.
1979,
this
with a
is
Not only
(b)
hands
is
hair
which
The
celestial
Museum,
Her long
fly-
remaining sculp-
its
Calcutta.
S28
P.
is
Chandra 1970,
pi. XXXII).
Fragment of a Pillar
S28
Fragment of a Pillar
Madhya
Pradesh, Bharhut;
Rust sandstone; 13 Vs
c.
100 B.C.
cm)
in (34.5
M.85.39
When
part of a railing
been
a favorite
complete,
as the
Animals seem
pillar.
theme
half-moon
upper
to have
this
example only
back
is
is
seen quite
commonly
(Barua 1979,
the lion
is
pi.
Bharhut medallions
representation
from
in
is
quite
lively. If
may
148
pi.
lxxx,
(see
Barua
tree).
which
S29
Two Addorsed
Tree
Dryads
S29
Color plate, p. 53
Two Addorsed
Tree
Dryads
as
an end bracket
gateways of Stupa
Collection
subcontinent.
Museum
(b only);
23-24;
Angeles County
Trubnet 1968,
Museum
Heeramaneck 1979,
no. 3;
fig.
Newman
(b only).
p.
of Art
p. 71;
1984,
on one of the
lintels
1,
p.
on the
sites
at
Sanchi are
all
possible to be
more
bracket sculpture
It is
not
as,
still
in situ,
On
Sideb
Side a
149
to
left.
Her
left
arm
is
raised
is
flowering tree. If
pineapple, but
a fruit,
it is
if it is
meant
The
it
looks like a
to be a flower
it
may
is
draped,
under which
tree
Both
figures introduce a
theme
Known
left
arm
is
if
is
conveyed by
also
falls
between the
bracelets
and anklets,
as sdlabhanjika,
relationship between
transferring
its
it
woman and
nature, each
and modeled
S30
S30
breasts
two miniature
is
Collection
arm
Museum
1950b,
p. 12, fig. 7;
Heeramaneck 1979,
This almost
life-size
Trubner
no. 2.
(see S29).
Each gateway
When
Both appear
tree.
to be standing
is
with the
left
is
What
much more
While
seem weighty
in
among
unknown master
in
The
them
150
at the
1966, pp.
waist.
broken
is
Age
Introduction
During the
first
medium, although
centers of the riverine plains. Images in gold, silver, copper, and bronze were also
produced
in quantities,
Two
which
at its height,
as
Kushan Empire,
in northern Afghanistan
known
in northern India.
is
Kushan
One
period.
in
Mathura,
the
Kushans, thrived on
foreign trade. Rich traders seem to have been the principal patrons in both
its
activities.
Not
only
did their strategically located monasteries in Gandhara and further north in Central
Asia and in Mathura and on both the eastern (along today's Andhra Pradesh)
but they
in
and only
Hindus
in
art
merchants,
produced
is
Buddhist,
and
as well.
Continuing
its
and Parthian
While other
as well as Indian,
aesthetic
contributed to
its
Kushan Empire,
they, too,
classical aesthetics,
West
as buffers
between
Roman West
Roman
as the
although
much
as the
Asiatic sites of Hatra or Palmyra reveal their eclectic style within the broade
combined Hellenis
artistic ideas to create
hybrid, but recognizably Indian school of sculpture to meet the local religious
needs.
Whatever the
first
style.
There
of course,
are,
more
sculptures.
example, the
(see, for
northern
the
made from
period and
archaeological excavation in
sites
Gandharan
those
much
The problem
later.
is
compounded
Kushan
inscribed and dated sculptures. These dates, however, do not mention a specific era,
led to
Some
much
must be regarded
five
The
as tentative.
Mathura
artists at
Gandhara, those
in the environs of
completely different style of art developed at the same time. Unlike the
somewhat
controversy.
at
it
itself
mottled
contributed
styles.
of Mathura, the harder schist of Gandhara allowed the sculptors to carve the folds
of garments and details of features and jewelry
The
greater volume.
distinct aesthetic
much more
norms preferred
crisply
in the
and with
two centers
also
were more concerned with naturalistic modeling and the rendering of garments
and embellishments
in realistic detail.
They
faithfully reproduced
human body
Mathura
as
an aggregate
of swelling forms and sinuous curves. Realistic modeling was eschewed for abstraction, without, however, sacrificing the sensuality of the form. In this
artists
Mathura
were clearly expressing the same ideals and formalistic approach to the
body evident
in
Mathura (S54)
human
styles,
whereas a
comparison between the Mathura Balarama (S59) and Gandharan bodhisattva (S45)
reveals the striking variation
styles.
palpable figure and, except for his broken halo and idealized features,
been modeled
after
healthy body.
By
idealized form,
an aristocratic nobleman
contrast, the
is less
figure seems to be
naturalistically
at depicting spatial
and
joie
tactile
by
classical sources,
realistic
were adept
de vivre.
Noteworthy
on the
its
well have
Although Gandharan
who
may
is
monuments,
largely Buddhist,
which appears
to
have been a hallmark of Kushan Mathura (see S55). Similar figures had also been
used in earlier Buddhist
152
monuments but
in a
more
restrained fashion. In
Kushan
Mathura
as a devotee
endowed
and indulging
in frivolous conduct. It
expected to pass through the world of mundane passion before entering the calming
spirituality
Asvaghosha
The prince on
and to
arouse in
Each one
its
Buddha):
(Life of the
were ineffectual
the
moon Deva
to
to
pay him
court;
design.
brow,
to
lovely.
body not
All looked
1894) 1968,
p. 38}.
Similarly the devotee circumambulating the stupa was very likely not expected to be
affected by the
as well as
more than
Gandhara or Mathura
images were
first
Mathura
is
art
fifty
remarkably varied
for
Mathura continued
sculpture during the
Kushan
as prolific as
have existed
at
The museum's
until the
Mathura
are
cities, terra-cotta
period.
collection of early
It is also
seem
local school
to have
became so
may
imported
Most Kushan-period
medium
of sculpture
sites,
Jain
Gupta
Hindu and
north Indian
which school
Gupta
best claim.
Bihar was
carved
artists
celestial or mortal,
Gandharan counterparts.
Although
whether
pillars.
Because Mathura
Hindus,
ladies,
to specific
style
and
Kausambi, however,
Mathura
are
many
The smaller
figures, especially
from
those from Kausambi, Ahichchhatra, and other sites reflect a greater sensitivity in
Much
sculpture
must
also have
Gold was
popular metal with the Kushans themselves, particularly because of their Scythian
Whether
in the
silver
for
worship, not
much
early
metalwork has survived because of the general practice of melting the metal and
reusing
it
to cast
i53
new adornments
of ritual unguents causes the metal images to become effaced, thereby requiring
their replacement
from time
to time.
This
is
particulary true of
images, and hence very few early figures have survived. Excavations in Taxila and
other important
Kushan
sites in
amounts of gold ornaments, and both gold and bronze objects of diverse types
demonstrate the popular use of metal during the Kushan period. Recent political
events in Afghanistan have caused a good deal of small metal objects to enter the
is
who may
it
reflects
styles.
less
1045,
l x
is
(S57). It
is
5)-
known
(see
Czuma
1985, pp.
it is
also an
A
flourished in the
Guntur
district of
Andhra Pradesh
first
Krishna Valley,
important ancient
is
cities
referred to as the
Nagarjuna
in
town
in
itself, it
after
Andhra Pradesh
likely
from Gummadidurru
for
along the
sites
Amaravati school,
its
Gandharan
like
Amaravati
Roman
artists,
artists,
art, for
Roman
traders
technical artifice of
Roman
to have
While the
seem
reliefs
of the
is
distinctly Indian.
Although
characterized by broad, heavy shoulders for male figures and large breasts and wide
hips for females, Amaravati sculptural figures are extraordinarily supple and
where
at
is
if
human body
in every
conceivable posture and in constant motion. Indeed, of all schools of early Indian
sculpture that of Amaravati
is
art of Amaravati) as if
,
Indian art had taken leave of this world with a tumultuous feast before deliberately entering
,
154
Catalogue
S3 la-c
S3 iac
Steatite;
Marshall ({195
1]
1975,
2:
pp.
493-98) noted
S3ia
155
Kushan
The
strata.
in Taxila
not
is
is
background
it
demand
century
(first
design.
The back
(see
Czuma
no example has
While some
substances.
a toothed
is
ment
is
filled
floral
If the object
two or
may have
edged with
Much
is
petals.
Kushan period
The
is
related to a
Buddhist
ritual.
may be
as fine as in tray a.
many
with
are
com-
figures.
c, first
illus-
trated
as lids
of
century
patina;
those without
closer to b.
The sunken
center of this tray
is
is left
The
compartment
tions
The space
floral petals,
on such
unadorned, which
is
is
also
are
tray b.
have rubbed
Each
also
off.
and
hand
left
are
is
an unlikely subject
tray.
their
form and
attire
diameter
for a
period.
cosmetic
much
first
The
effaced,
to those
tray
may
century B.C.
in (13.3
156
at least
do not conform
Kushan
identical couples
religiously
century
schist;
Almost
in tray b.
three individuals
figures are
Gray
all
significant,
to be male.
garments
details of the
mostly
is
hand
b, first
as it is
it is
rather
are Indian
example
right
a rarer
section in the
decorated with
unusual.
is
decorative.
border
a solidly cast
cm)
M. 85. 224.
1 ]
1975,
is
3: pi-
144,
so close to
the metal tray that very likely the artists used the
same model.
S32
Gray
schist; 5 Vs in
century
(13.0 cm)
is
decorated
Its
it
it
man
design
is
3: pi.
I43n).
S33
or Fortuna
S33
or Fortuna
Copper
alloy; 2 Va in (5.7
cm)
157
abundance,
who was
sculpture
very popular in
is
solid-cast statuettes
1975,
became
closely identified
(Ci2b) and
"The
pp. 604-5; 3
pl-
1]
i86a-e). As
2:
{195
vast majority
Roman
1] 1975, 2: p. 575),
were copies of Graeco-
contemporary
not
at
Most
likely
such small
S34a-b
S34a
S3 4 b
S3 4a
Pendant
among
discovered
(.3
cm)
M. 85. 224.
The
pendant
The
exact provenance of this gold object
known. Very
once used
as
likely
it is
not
an ear pendant; or
16667).
is
3: pis.
at Taxila
190-91).
An
158
in
may be
is
a leaf,
a stylized acanthus.
is filled
Chandra and
P. L.
Gupta 1962-64.
M.
it
S3 4^
The ornaments
Earrings
disks
Va in (5.7
cm)
is
is
also
unknown. Their
them
style
at
pi.
190).
III,
and tech-
195
Sirkap in
first
3:
stratum
century. Thus,
for
realistically delineated,
tortoise
The beauty
workmanship, and
fine state
of perservation are
ornamental
art.
S35
buds by
1975,
clasps.
closely to jewelry
shape of a turtle or
rings
in the
means of hinged
The
hammered
two
consist of
in India.
S35
Gray
schist;
Gift of
is
represented by uneven,
6 V2 in (16.4 cm)
row of vertical
incisions.
attained
The
relief
The
principal scene
is
at the top.
Buddha Sakyamuni
on a
159
seat covered
is
with
seated
a
mat,
him by a
Buddha's bath
feet are
a shawl, a part of
which
in a river.
nimbus
grass cutter
is
The
completely covered by
is
held in his
left
hand;
is
fairly substantial
bun
at the top.
who both
and
He
is
a turbaned figure,
are adoring
flanked on
is
a flying
The scene
been modeled
Mathura
after early
If
van Lohuizen-de
early
this
figs.
artists
(Lyons
Gandharan
reliefs
such as
reliefs,
S3 6a-b
may have
doubtlessly repre-
mat covering
of this theme
is
for
some
accept-
unlikely.
very
Two Lions
S^6a
Two Lions
Pakistan;
first
century
copper alloy; 2 in
(5.
cm)
its
M. 81. 153.2
tail is
objects
may
also be
strata
and
than the
first
compared with
Mathura.
The
lion
may have
served as a
The former
may have
sits
column
et al.
1984,
p. 136).
b,
Gift of James
H. Coburn
in;
M. 85. 279.
I *K
by a cherub or yaksha,
to another in the
is
Peshawar
museum
(Lyon and
boy
is
bowl remain
is
in this example.
The
is
Only
how
it
was
and mane
are
is
to a larger composition.
[60
tongue
animal
S36b
lion's
square aperture
lion's right indicates
affixed to a relief.
S37
Moid for a
S3 7
Terra-cotta Figure
Buff terra-cotta; 2
/s in
(7.3
cm)
M. 83. 252
positive impression
show
the
The
terra-cotta
said to have
is
come
1]
may be
how
figures were
made
The
later.
folds of
mold demonstrates
in sections
and joined
together.
mold
showing
from Kausambi
M. Chan-
S38
P.
L.
Gupta 1962-64,
12a, 13a.
figs.
Female Figure
S38
Female Figure
Pakistan, Bajaur
Brown
terra-cotta; 5 in (12.7
century
(?)
cm)
M.76.117
is
footlike projection
is
The broad
enormously
nostrils
face
is
distinguished by an
above
naturalistically
lips;
down
to the ears.
The urna
The back
is
is flat.
said to
same
cylindrical
body
have been found in neighboring Dir (S48). Terracotta figures of this type are in
museums
in
161
its
small breasts,
in entry
sites in
ancient
is
unusual and
is
is
9)-
completely
figures,
millennium B.C.,
reminiscent of clay
fig.
56).
S39
said
Votive Stupa
S39
Votive Stupa
Gray
schist; 5 Vs in
(15.0 cm)
finial
M. 85. 224.6
shaft,
of this stupa
is
unlikely that
it is
principally because of
Whatever
example
its
Although the
its
was used
as a reliquary
diminutive
exact function,
it is
size.
an attractive
design and
fine
craftsmanship.
sections: a
finial
meanings
for this
essence
it
It is also
162
religion.
is
the
S40
S40
Gray
schist;
24
in
(61.0 cm)
a dhoti, shawl,
lotus calyx.
indicates that he
is
his
head
likely flanked
for his stance
folds of his
garment,
is
is
typical of
Gandharan
curls.
art,
The
appearing
The
Ingholt 1957,
163
several
complete
254-57).
S4
S4 1
The
God Kumara
gods
Gray
Gift of James
H. Coburn
Although small,
this
is
cm)
Hi;
who may
West
The cock
Asia.
or rooster
M. 85. 279.
young boys
mail, and
is
The
emphasized by
bow slung
martial character
He
wears a
The
emphasized by
human
which
is
further
naturalistically
tive attribute
on
by Kubera, or Panchika,
has
is
is
among many
it is
who announces
spear, too,
the
would be
Kumara.
a rectangular pedestal.
art
boots.
Roman
god's paradise,
be wearing
in
The cock
He may also
an
leggings or pajamas.
is
included in
is
of the figure
yet
is
representations of a warrior
in
It
form of Kumara
in
Gandhara bears
close resemblance to
a healer
god who
is
He also
left
that
hand
as
does Kumara.
It is
possible therefore
were modeled
after
enced by
Kumara
in his
fig.
249).
carries a
arrow of love.
A
Kumara's
noteworthy feature of
is
similar
weapon
is
held by
the Karachi
The
is
museum
(Rosenfield 1967,
them
reliefs.
in
62).
figures
164
fig.
museum's
identical
and
S42
Bachanalian Scene
S42
Bachanalian Scene
Gray
schist; 12 Va in (3 1.
cm)
A couple standing
engaged
in
in conversation.
particularly
young and
man
is
Each holds
old, bearded,
and not
human. Bachanalian
attractive.
He
below
is
ample
belly.
His attitude
wine cup
The
is
in
Gandhara
to a Dionysian theme.
is
Priapus in a first-century
(Bandinelli 197
column
arch
is
S14).
rises
from a pot.
165
397-98;
The arch itself represents the chaityawindow motif and was a popular element in
embellishments
figs.
and
of the arch.
indicate that
as architectural
Dohanian 1961,
may
1, p.
Roman
107,
fig.
relief
96).
S43
Eagle
S43
An
Eagle
Copper
alloy;
which
V% in (3.5
cm)
uneven
and
is
found
in
mounds. This
2:
3: pi.
596;
1975,
1 ]
fig.
much
is
S44
A Tutelary
Couple
S44
A Tutelary
Pakistan;
Gray
Couple
100-150
schist; 12 in
left leg
(28.4 cm)
staff,
left
hand
rests
on
The woman,
his knee.
A couple sits
conversation.
in a relaxed
The
manner
as if engaged in
divinity of both
is
hair,
on a footstool Her
emphasized
Her
man
sits
feet rest
hand
left
who
sits in
her lap
is
no longer
recognizable.
common
as
(cf.
identified
is
S64). She
is
always
and leggings,
is
like a
Roman
He usually carries a spear or staff and money
is
bag.
the
god of wealth.
Gandhara
among
was intended
for a
relief,
however, probably
domestic shrine.
The
with
is
of Hariti compares
house
1965-66,
at
pi. xvi).
The
Kanishka
(c.
78-102). Thus,
[66
later
a date
than 150
S45
Bodhtsattiu
S45
Bodhisattia
Gray
schist;
From
68
in
(172.7 cm)
Heeramaneck
Collection
Museum
Associates Purchase;
Literature:
Heeramaneck 1979,
1985a, p. 71,
fig.
Wearing
a dhoti
with his
left
10.
M.83. 105.
more elaborate
pedestal.
inserted into
The Gandharan
around
a strand of pearls
his right
arm.
cord
in the
shape of a lion
his
designs.
He
is
decorated with
bejeweled turban,
now damaged,
the design of
which may be reconstructed from the better preserved head in the collection (S46).
nimbus behind
He
broken.
The
circular
left
hand.
is
represents a bodhisattva
is
uncertain, that
Gandhara, but
in
most
it
sites
arm
is
hand holds
showing
Ingholt 1957,
a preaching
fig.
the
left
usually
vara,
Buddha
in such reliefs
whose emblem
is
Avalokitesvara.
Stylistically, this
image
is
bodhisattva
more than
now in the
museum (Lyons and Ingholt 1957, fig.
With its halo, the Los Angeles bodhisattva
Lahore
289).
167
The turban of
even more
tall.
is
modeling
is,
perhaps,
somewhat
in the
and
drier
less sensitive
two that
flank the
the year 5
which
Buddha
is
in a relief dedicated in
if
more
solid evidence
is
later
More
offered by the
monarch Vasudeva
(Dani 1965-66,
S46
Head of a
pi.
xix,
between 142
Bodhisattva
S46
Head of a
Bodhisattva
Gray
From
schist;
Heeramaneck
may have
The head is
tall.
Collection
Museum
Associates Purchase;
M. 71. 1.45
in
left),
century.
[68
pi.
147, top
in the
displays a
second
more
The
two
is
principal
in the presence of
museum's head.
device;
it
was used
not a decorative
Its
makara pendant
or meditating
bodies
for
the back to
The form,
fit
onto
a tenon,
were discovered
at
The bodhisattvas
oval face
is
lion's
dragon.
body may
reflect
flat
The elongated
S47
to attach a medallion
Buddha
containing a tiny
is
most prominent
made of
S47
is
wavy
Relics
Although
Relics
cm)
Purposes Fund; M.84.
schist;
Greenish gray
in (10.8
preserved. Moreover,
it is
is
relief
Buddha Sakyamuni's
Behind
a rectangular table
is
seated the
On
earliest representations in
tables,
reliefs
further
tables.
table.
Drona
and three on
is
his right.
At the extreme
still
broken
left
right a
be seen on the
off.
Attired in
Drona
is
about to distribute.
169
relics,
the
the
is
design variation. In
to distribute
all
figs.
This small
fig.
which
Such
reliefs
should be of
S48
Male Figure
be shaven, except for a substantial tuft extending
down
The
The
piece
is
supposed to have
is
similar to
The
described by Piggott:
is
slightly splayed,
only, raised
is
from
and no
indication
of the mouth.
The
figures
is
S48
Male Figure
Pakistan, Dir;
Red
Gift of Wallace
While not
c.
terra-cotta;
female.
4 Va in (12.
cm)
Thompson; M.70.95.
demonstrates the
It is a
The manner
in
which the
legs protrude
from the
graphic
as the
eyebrows are
S49
fairly heavy,
The
to
the Rocks
S49
the Rocks
(?);
Gandharan
(39.4 cm)
From the Nasli and Alice Heeramaneck
Collection
Gray
schist; 15
Museum
in
Associates Purchase;
Literature:
Zimmer [1955]
pi.
was living
M.73.4.6
i960,
artists
Unlike their
70;
al.
1966,
12;
Czuma
down from
The
monkeys, goats,
deer,
170
animated
tivity
lot.
The scene
is
remarkably
much
as
making
the forms
more
articulate
lively.
if
13031).
would correspond
much
is
figs.
to A.D. 167.
The carving
is
171
reliefs
reliefs
Gandharan
of the story
1-2). To produce
While most
earlier
Orpheus theme.
thereby
and
Ingholt 1957,
such
charming
Czuma
(see
may
in
relief.
55
S50
Gray
phyllite;
43
V2 in
250300
(no. 5 cm)
c.
255.
is
worn
is
pearls.
Her
Her
hair
finely
is
left
more
at
left
feet.
(cf.
and
feet
after the
woman's grapes.
In the context of Gandharan
Buddhist
Hariri,
goddess
art, this
who may
identified as
is
be represented independently
Both
figures
150,
2: pi.
left
shoulders.
left
Although the
on their
feet
left
still
feet.
There
differences.
is
evident.
are,
however, stylistic
Hariti
fully
is
disrinctly
is
more
rigid.
treatment of
much
is
found from
1962,
somewhar
flar
and
left
garments
Butkara sculptures
are,
The
would make
and the
Vikrama
era of
is
This date,
57-58
B.C.
23334
(see
(see
Czuma
172
if
S3'
Bocibisattiu
S51
Copper
Bodhhattva
6 V2 in (16.5 cm)
alloy;
Gift of the
Literature:
rendering of volume,
12-13.
is
characteristic of
He
Unusual
is
characteristic of
as the
front and
down
his shoulders
clasp,
He
the legs.
somewhat
also
Mathura yakshi
ornaments include
(S70).
arm
by
breast
left
bracelets,
The
left
is
figure
is
without
hand held
left
can
a waterpot, as in
to
figures,
circular, flat
more
such
torque
is
more
typical of Mathura.
is
The
also
Mathura
peculiar capelike
found in Mathura
trait is reflected in
who seem
it is
to the
to turn the
is
Mathura Buddha
Gandharan bodhisattvas,
palm completely toward
finished.
any emblems,
common
(S58) than
Mathura Kushan
is
Gandharan stone
reliefs
Maitreya
is
frequently
flanked a central
by the waterpot or
Buddha image
173
in a triad.
body
Gupta
modeling
is
more
characteristic
typical of
been created by an
may
Mathura.
have
by
S$2
S52
Copper
alloy; 5
in
is
said to have
been found
is
in
ears.
like
it is
plaited hair
is
form, as
treatment of the
if
emphasize
flat
its
two-dimensionality.
The
relatively
Another curious
to the back.
function remains
its
exact
broken.
is
down
her face
it
as
described:
is
usually
the
a disproportionate
are broken.
hand
feature
right
arm, which
left
The
falls in six
one
on the
bracelet remains
Her
Nothing quite
at
16
Only one
This figure
hem
M.85.
is
(13.3 cm)
figure
race,
to the rules,
and a
Ardvi Sura
tightly, so
may
breasts
She
is
may
82-83}.
2: pp.
that her
be tightly
crown with
"fillets
young beaver
An
animal skin.
the relief of
heavy folds of
may
her garment
it is
interesting parallel
made of
offered by
is
investiture scene at
Naqsh-i-Rustam
in Iran
lively
rendering of the
may
of the
feet
relief.
The
relief of Shapur
(Goddard 1965,
pi.
ioi)and
in
pi.
136).
much more
closely to
contempo-
raneous Naqsh-i-Rustam
The
relief.
constricted
relief
is
made
which
physiognomy
is
full breasts
and
1979,
fig.
169), the
bronze
174
is
tentative.
Uttar Pradesh
S53a-b
S53a
\"J^^">,
/I.,,
>
S 53 b
Museum, New
S$3a-b
Museum
fur Indische
50 b.c.-a.d. 5
Mottled red sandstone; height 6 Vi in (16.5 cm)
fragment
(?);
From
1979, no.
1977
M.8i.90.2ia-b
Heeramaneck
(b only);
in
two
is
is
forelegs
seem ready
carved. Generally
different
from a
fotmed parts of
railings for
Hindu
temples.
The
is
a strong possibil-
175
is
The
ity.
carved
modeling
is
is
5.
Although now
Heeramaneck
Associates Purchase;
Literature: Hartel
V2 in (64.0
Museum
(b),
cm)
,25
Collection
Delhi, and
to pounce.
in alternate representations. In
and curl up
at the
curl
up
at the
row
frieze is a
may
be seen in
Suryamitra
as a
kingdom with
its
is
first
Kausambi
(P.
Chandra 1970,
p. 59).
The incomplete
copestone
Brahmi
b,
inscription on
script,
can be read:
"Ramno Gopalya
The
first
(see Literature)
be
adorn copestones
at
the confidant of
S54
Nature Goddess
S54
Nature Goddess
first
century
From
Associates Purchase;
Literature:
1985a, p. 69,
figs.
closed
fist
is
is
indicated by the
M.86.21
Heeramaneck 1979,
its
Heeramaneck
Collection
Museum
hand with
6-7.
arm
is
is
fully
attached to
identification, the
raised,
figures.
are
damaged
condition, she
is
monumental
figure
her importance
it
so that
recognition.
The
worn by females
hair
style
The
176
The
figure
is
stylistically
The
falls
flares
almost
out rather
The abdomen
swelling volume.
The back
is
restrains the
summarily
tree.
is
177
S55
S55
Color plate, p. 55
first
From
and other
in (53.3
cm)
itself
is
Most of the
Heeramaneck
pillar
was once
Collection
Museum
The
places.
century
Associates Purchase;
Literature: Rosenfield et
al.
now
M.85.2.2
right hand.
The bejeweled
1;
The
balcony.
is
pillars
are
p.
40;
woman
at the left
companion
tree in
lips,
the
perhaps a princess,
lady,
rite
known
as
meaning "milking"
and antiquity of
sport,
is
or "to yield."
The popularity
is
and provided
a frequent
theme
for sculptors
commented upon
representation.
He
young
girl
wine cup
to
make
when
who carries
is
its realistic
It is
the trunk
cup
also necessary
believed that
is
kicked by a
when
a girl attempts
tree
flowers
on
of bakula.
As the
its
with beautiful
activities appears to
Kushan-period architecture
at
Mathura.
lady,
Men
to
178
3:
556
Crossbar
S56
Crossbar
V-i
cm)
in (24.7
M. 85. 224.
Crossbars were used in railings as in two
sculptures in the collection (S29). Carved on
example probably
is
shrine in Mathura.
On
one side
(a)
is
wheel
is
may be
is
The
unusual,
more
specif-
at
On
which appears
motif
in early
Mathura
the reverse
to have
(b) is
the lotus,
Buddhist
art, especially in
As on
the
Side a
20-25.)
Sideb
179
_..
figs.
Mayadevi
S$ 7
Mayadevi
ioo
c.
/s in (7.3
cm)
M. 84. 169.2
Literature: Pal 1985a, p. 71, fig. 9.
as
Whatever
Mayadevi, mother
When
viewed
vertically,
assumed by
recumbent
hand behind
in fact, a cushion
nimbus
is flat
not only
rests,
is
is
evident by
its
form.
in
slightly varied
form of the
is
coque de chevelure of
some
worn by
I
made
is
Among
1984,
al.
comparison
The
Buddha
exact identi-
(S54-55, S70).
figure, as in early
its
more commonly
fication, the
979.
a tree dryad
figs.
31, 59).
is
identical to that
certitude, be assigned to
Furthermore,
rather mediocre
from the
seams
center, a
is
necklace slips
is
lying
down
is
also suggested
down
her
left
showing
a female lying
on
a cot
The
who would
enter her
womb
in the
form of the
elephant.
180
later.
figs.
with
its
crafted in
form and
detail.
is
superbly
The unknown
Kushan Mathura.
S}8
**
S58
The two
Sakyamuni
for a
From
Heeramaneck
Museum
Associates Purchase;
Literature:
his left
M. 71. 1.44
2; Montgomery
et al.
no. 19.
behind
arm wears
a turban
Collection
figures
The other
stele.
He
ornament. His
in his right
left
hand he holds
edge of the
left ear
is
Buddha Sakyamuni
is
hair
characteristic of
in the lotus
The disproportionately
is
c.
W.
Alsdorf, Chicago.
arm
are covered
clenched
knee.
fist
The
by
garment,
left
shoulder and
his left
hand with
right
arm
is
The
figure
is
is
supported
floral
design.
The
manity.
181
spiral
(see Si 10).
With
his
The upper
Sakyamuni
a scalloped
nimbus. Three
head on the
left.
was fashioned
likely
Mathura, and
tors at
it
principal attribute
by sculp-
Leeuw's suggestion
is
that Indra
is
well
examples remain
1984, p. 192).
minor
variations.
is
all
prominent
usually with a
The small
figures
and
a few other
known being
crest rising
Buddhist
The
dants generally
is
reliefs,
is
always
as an
is
often clad in
fig. 54).
his
The
thunderbolt
is
who
Vajrapani,
The
While
period.
yet to be established. In
may
attendants as bodhisattvas
is
dressed, both in
identity, however,
some
on Jina
latter serving as a
a short skirt
from the
is
crown, the
tall
other
center.
turban or
not be certain,
pi.
whom
who
is
was
at
Buddhist tradition
in the
known both
is
as a
figures,
his
Coomaraswamy sought
hand.
to identify this
whose
in
Gandhara nor
Buddhist
(see S84),
art of Andhra
more
Pradesh
is
quite different
with
three prongs.
S59
or
Serpent-King
S59
or
Although
Serpent-King
all
Collection
deified heroes
Museum
Associates Purchase;
M. 73.4.
left
larger-than-life
if
The
in the
Kushan
group by the
identification can be
whose hood,
as a
The
worshiped
Vrishnis at Mathura.
is
figure
drinking and, in
fact,
The
lowered
left
legs.
and
Cord
tassels
right hip.
which can
still
The
his left
1966,
fig.
hand
raised
38).
Stylistically, the sculpture is
left
hand holding
his right
monumental
figure
monarch (chakravartin)
in ancient India.
Kushan
182
This Balarama
stylistically
parallels
is
a sculpture
vitality.
of
Noteworthy
is
the
Kushan-period feature.
museum's example,
dated to the
183
first
18.
The
S6o
!/ in (36.2 cm)
From the Nasli and Alice Heeramaneck
Collection
Museum
Associates Purchase;
Literature:
Glynn 1972,
fig.
M. 69. 13.9
well-known
monk
Bala
2.
83).
well preserved
is
is
The
oval.
and
The
The urna
is
The
The
now
hair
spiral topknot,
broken.
On
the hairline usually
(see
S58)
delineated by a straight
temple rather
is,
therefore, interesting as
is
broader lids
open
make
as in other faces,
the countenance
the facial
The
eyes
and the
more
Buddha images
(see
is
may
indicate the
56/
more
ears are
M. 82. 230.
spiral
topknot
still
The
remains.
Of
Buddha image
that
domestic shrine.
smiling countenance,
to
S60).
it is
piece, however,
The nose
no
The eyebrows
flares rather
are simple
and lack the modeled articulation of
184
is
less
disproportionately.
incisions
is
it is
head than
it
Generally, no attempt
Buddha.
more volume
in
made
in
most other
is
Once
again,
we
see an
known
in Sanskrit as
shell." It appears to
is
Buddha images,
often characterized as
is
was
tradition, the
Buddha
According
a later invention.
Buddha
his short,
to
tonsured
monk
after his
enlightenment. Early
him as
tonsured monk.
represent
S62
Head of a
Bodhisattva
S62
Head of a
This
Bodhisattva
V2 in (1
.4
cm)
little
is
M.76. 147.2
complete
Literature:
Czuma
relief
is
Known
most images
appears as a dot.
it
to an
image of
is
more
likely.
Stylistically, the
head
is
very
by
Kushan
The
period.
it
generally to the
bow
lotus
significantly
differs
held
crest that
turban.
The manner
in
is
shown
is
(Rosenfield 1967,
this
head
museum
is
closely
figs.
(Rosenfield 1967,
bodhisattva in
fig.
49), a meditating
fig.
depend
160).
The
would
1 1
of the
among
185
scholars.
S63
Male Head
S6}
Although only
Male Head
Vi in (17.
cm)
back of
is
M.85. 1592
monumental head
National
also
an
more
(P.
in the
Chandra
rare
is
no
rendering, perhaps of
less a sensitive
seem
modeling
is
sufficiently particularized.
especially refined,
The
and various
is
if
is
lively
eyes.
is
The design of
different.
This figure
186
S6 4
The
S64
Vi in
(16.5 cm)
M. 85. 72.
The small
rectangular relief
front with
is
on a base decorated
Both
graphically this relief
in
commonly
earlier of the
stylistically
is
and icono-
is
hand cannot be
1966)
The
abraded,
is
object in his
may
left
it
be the point of a
as
can be
companion seems
to
represents a lotus.
weapon
is
(Pal 1977). In a
is
also associated
Hindu
is
shown with
also a prescribed
texts Kubera's
ever
certain,
S44), while in
damaged
is
generally
seen
The
Kubera
is
hand, although
may
Kubera
a child.
Thus,
(ct.
companion
none of whom
if
is
the goddess
we must
reliefs
were used in a
Mathura
the
187
56 5
S65
M. 85. 212.
This broken
three figures as
right
arm of a
is
now
The
arm
of each
seems to
rest
each goddess
on the
is
left
arm
and
clearly
human, the
(cf.
188
reliefs.
are
may have
S66).
in
unknown
in
also
depicted in groups of
figure in this relief
serving as a
may
common
do
Kumara
who
who
later
came
Saptamatrika group.
566
Fertility Couple
566
Fertility Couple
headed god
M.85.212.
is
of
ttadition,
The
transferring the
raises his
woman
right
arm
very likely
closed
it is
fist is
of a goat. His
left
intriguing question.
arm with
in a shallow basket,
baby
companion
lies
On
Her
tassel or bag.
left
is
to
a small boy.
embryo
Who exactly
is
is
an
his female
is
N. Sharma 1979,
Naigamesha
is
is
pi.
fanning
24)
him with
shallow basket.
flanked
woman
Whether
Naigamesha on
determined.
189
for
protects
this relief
who
in early
children and in
Although fragmentary,
Ramesh Kapoor;
is
holds an infant in a
a second female
his left
cannot be
S6 7
The
God Kurnara
56 7
The
God Kurnara
domestic shrine,
'/>
cm)
in (14.0
is
an extremely rare
representation of the
Although there
is
god Skanda,
Kushan Mathura,
M. 85. 213.
in
or Kurnara.
He
is
usually
C12C)
as
left in
indicated by his
features
bun
and
plump
hairstyle.
figure
we
who
a child
is
are
yet
is
is
and boyish
His hair
is
gathered in a
at the
a locket,
which
left
more complete
1 1
(Rosenfield 196.7,
fig.
49).
plain cir-
S68
Mother Goddess
S68
Mother Goddess
Red
terra-cotta; 14 Vi in (36.8
cm)
al.
M. 81. 269.
identified as
children,
their
The
right leg
is
held in the
left
hand
is
The
S74).
The modeling
is
rendered.
The
navel
is
some
are
benign
carry
(Thapar 1981,
object
(cf.
awesome nature by
figures have
broken, the
this
commonly
pi.
at
Agrawala 1947-48,
Kausambi
pi.
sites in
2-4; V.
xxxix). Some
figures, characterized
by hollow,
cylindrical bodies,
crudely delineated.
hair, is
190
for the
pi. 47).
i9i
S6 9
569
lion.
same posrure
in
lion
is
is
The back
erect.
is
An
Some
shown
is
plaque.
well
cylindrical base
is
as in
possible
and served
as a toy or
mobile
votive object.
interesting feature of the
is
is
Vishnu
avatar of
Andhra
(see Si 29).
From
the
is
is
the
An
erect phallus
is
not incompatible
is
1:
An
1).
earlier tradition of
is
Lucknow museum
6).
now
in the
fig.
Narasimha
is
seated exactly as he
is
in the Los
Gupta
Thus, there
the lion in these
Kausambi
ithyphallic lion
explain
if it
the other
.S70
interest
figure of the
An
animal
Of particular
Narasimha.
figure as
ancient city of
but
representation in the
ram
the toy
Andhra Pradesh
is
a possibiliry that
terra-cotta plaques
An
would otherwise be
Kausambi piece
difficult to
toy.
Kala dates
Female Figure
S70
Female Figure
200
c.
From
Stylistically,
as a yakshi.
however, she
is
Heeramaneck
Collection
which
Museum
Lirerature: Rosenfield et
al.
p.
no. 26;
Czuma
in the Bharat
Krishna
p. 108;
971,
fig.
118),
and
Heeramaneck 1979,
now
several other
Mathura generally
1985,
103.
New York
is
dated
section
as a railing
1984, pp.
8-9), while another, offering perhaps the closest
to the other
back
to
slab,
however,
accommodate
possible that
it
is
thinner and
is
nor recessed
is
most of which
is
are narrower.
pillar,
no doubt that,
the
svelte
unacceptable, he
fourth-century date
is
when he comments
that this
examples recovered
pis.
is
correct
charming female
and that
it
time."
make
is
mons
and
tassels
are unusual.
two fingers
The
are still
articulately carved
Another uncommon
thigh
left
element
is
the
and
is
hem
is
The
faint
left
shoulder.
Few female
Roman
West
as early as
somewhat more
Kushan
in the
full.
what enigmatic
193
figure
some-
S7*
Female Figure
S71
Although rendered
Female Figure
Red
terra-cotta;
From
6 Vh
(?); c.
200
M.72.
garment
1.2
Czuma
is
Her ornaments
1985, p. 125.
left leg
Her diaphanous
Associates Purchase;
this
very similar to
Heeramaneck
Collection
Museum
is
in (16.2 in)
medium,
in a different
consist of bangles
and
a necklace
The
figure,
is
not modeled.
is
may
be found
among
at least
two examples
is
encountered a similarly
(see
Kala 1950,
for similar
proportions). Thus,
hanging
pis.
xxi, xxvb,
modeling and
Kausambi remains
Czuma
suggested a Mathura
194
is
it
SJ2
S72
the Buffalo
Demon
The goddess
the Buffalo
Demon
buffalo
c.
200
Vi in (24.
cm)
goddess.
The theme,
therefore,
as
M.84. 153.
Czuma
Kushan-period
are small,
Standing
in dehanchement
may
left
carries,
along with a
be represented by the
The
sun and moon,
known
usually
it
is
typical of
reliefs
all
in
Kushan period
clearly
The
is
Literature:
is
the
is
artists
known
fact, in
form and
style the
goddess
very similar
is
As with
left
consists of a crescent
and
circle.
Kushan-period sculpture.
The manner
in
which the
The
is
unique to Kushan-period
reliefs.
him
totally
The
as
Although
is
demon with
ease with
effectively expressed
is
by contrasting her
hanging out.
In textual descriptions of the
theme,
all
artistic configuration
obviously
now
lost.
In
trident. Instead,
two attributes
are introduced
emperors. The
her bare hands
mode
is
of killing the
Kushan
demon with
literal
195
in the
S73
Sj3
in
(30.8 cm)
Uma)
in
androgynous form
who
is
(or
combined
are represented in a
known
as
Ardhanarisvara
(lord
M. 85. 213.
is
deity
is
Siva
and the
known
representations are
Czuma
[see Literature
and
flat at
The slim
the back.
figure
is
is
The two
hip.
left,
female. Beginning
on the
left
which
is
is
seen only
considerably
is
mouth on
The
the right.
without any
is
added above
left side
displays
woman. The
is
tilted
is
manner
half in a
Kushan-period Ardhanarisvaras
characteristic of
much more
erect
left
much
is
broader.
Common
to
left
hand
is
is
raised to the
and holds
a flower.
But
back, the figure
The
is
first
figure
is,
Parvati's voluptuousness
brazenly displayed.
less
The form
is
not
in general
is
as in early-
196
Gupta
sculptural style.
S?4
Mother Goddess
S74
Mother Goddess
circular
Buff terra-cotta; 12
face
/4 in
(32.4 cm)
M. 83. 2 2 1.5
is
The
hair
is
pulled back
is
hand and
arm
is
left
arm
is
more
sparsely
is
strangely
and very
likely
differ.
The
a rather
breasts
and
much
the
too high.
The
are
197
!
S?5
S75
overburdened with
had sunk
evil,
to the
bottom
From
the
1 cm)
Heeramaneck
Associates Purchase;
1974b,
Literature: Pal
Czuma
period,
fig.
M. 72. 5 3.8
myth of
museum
this
is
known
In the
in
many
different versions
is
(Gonda 1969).
in
as a
woman,
to the
monumental
Vishnu
in the
several
by Mathura
when
representations of the
Collection
Museum
Gupta
is
artists.
The
relief in the
inscribed and
Mathura
is
may
human with
on
a boar's head.
Kushan-period male
is
usual with
is
known
The
as a
vanamala, a
resolute posture
is
further emphasized by
on a
lotus.
left
hand. She
right elbow,
which
is
supported by Varaha's
bud with
his left
effortless deed.
rescue are
even
taller if
it
in its
own
temple.
modeling, with
musculature,
is
its
emphasis on
reminiscent of the
Ardhanarisvara (S73).
The
capelike treatment of
Vishnu image
for
which
also seen
a fourth-century
While
is
fig.
72).
Gupta
style, this
198
Sj6
The
God Sua
Wearing
(?);
a dhoti
with his
erect
feet placed
third century
Museum
He
M.69.
in
15.
Literature:
1972,
5;
fig.
Harle 1974,
p.
18;
Glynn
fig. 7;
Around
his waist
is
tied
is
pearls
The
cord.
his torso
the sacred
is
The
principal
right
rosary, the
corresponding
The upper
left
left
hand
hand grasps
form of an
may
While
with Siva
figure
represent an unusual
without doubt,
is
provenance
its
Mathura than
to
is
more
Kushan-period sculptures of
Gupta
representations. In
columnar
its
legs,
is
left
left
Kushan-period
characteristic of
Gupta
prongs
sculptures.
is
not
tridents but
pillar
is
its
figures, the
in
is
form
frequently encountered in
is
Mathura
fig.
16).
As
Mathura or Ahichchhatra.
199
$77
Male Head
Male Head
Although
(?);
third century
!/
in (15.9
group of heads
cm)
is
site, it
mouth
The
a perfunctory
oval face
well
is
and
at least
make
in
Sj8a-f
Six
The
commonly
seen
Human Heads
Sy8af
Six
Kushan-Gupta
Human Heads
levels (G.
museum
b, 3 Vz
in (8.9 cm);
(7.3 cm);
e,
c,
2 Vs in (6.7 cm); d, 2 Vs in
Vim (6. 3
cm);/, 3
9/i6in(9.o
cm)
Humann;
67-68).
Of the
six terra-cottas,
These
six
human
Kausambi, where
female
(a).
The remaining
The
also have
may
Hellenistic physiognomies.
and one, a
e-f) cannot
and modeled
{b.
site, are
cylindrical bodies.
three
two
are
among
a and
modeling strong
The charming,
200
headgear worn by
e is
strongly reminiscent of a
sense of observation.
Maurya period.
S78b
St8c
S78e
S 7 8d
201
. __
much
earlier
A Buddha
S79
A Buddha
c.
300
is
M. 84. 227.
clearly indicated
forms a
shawl fully
The
in entry S58.
left
was attached
certainly once
The
nimbus almost
to the head.
parallel folds
Buddhas
are
around the
left
arm
(see S58). In
heavy garment,
Gandharan
artists
it is
Buddha with
portraying the
believed that
were naturalistically
a
wool shawl.
When
to imitate this
became a formal
design.
In the
Mathura museum
are
Buddha
which
Sharma 1984,
(R. C.
figs.
12224),
suggested.
The
figure certainly
is
f r
been
much
earlier
form
collarlike folds
as the
prominent
volumetric
as in
greater emphasis
left
is
not
is
The proportions,
too,
Buddha of the
fifth
this
also
be
in the
Sharma 1984,
202
fig.
134).
S8o
Male Head
S8o
Male Head
Buff terra-corta; 10
Gift of Mr. and Mrs.
'/_>
c.
in
300
(26.6 cm)
life-size figure.
human
is
Whether
difficult to
the head
divine or
is
determine. The
would indicate
hairstyle, however,
may
is
The
tuft of
is
is
it is
so unnaturally
meant
to represent a
The
but
it is
likely to
Pradesh or Bihar.
203
is
moustache.
is
not known,
.,..
Andhra Pradesh
58
S8i
Muchalinda
White limestone; 16
V2 in (41.9
cm)
M.71.54
Literature:
pp. 30-31;
Newman
204
9.
Carved
shallow
in rather
broken
off.
is
when
occasion
molded border
The scene
sculpture
relief, this
photograph
Buddha,
at
Bodhgaya,
enlightenment
below
muchalinda
coil
below
after his
sat
meditating
A violent
tree.
represents the
the
storm broke
Muchalinda appeared
by
and 197
when
the
museum
The
acquired the
relief.
is
The
formed by the
whose
Two
relief,
nimbus
lightly etched
was also a
tree.
arms
are free
from
hair
is
framed
On
to embellish a stupa,
published
first
Buddha
The
feet
the
Mitra 197
coarsely rendered.
garment
The manner
in
1, pi.
126).
somewhat
are
which part of
is
rather unusual.
is
for
remarkably similar to
is
(cf.
Most Buddhist
Nagarjunakonda were
at
during
the' rule
built
figure
is
was
it
from Nagarjunakonda,
is
monuments
When
an epaulet
his left,
not known.
at
is
may have
portrayed another
such figure.
S82
S82
Buddha
Buddha
(?);
third century
White
sun's heat.
limestone; 15 Vz in (39.4
et al.
The
been
fairly
versions.
depicts one of
of the Buddha,
Siddhartha.
Known
(wood-apple)
of
it
in
when he was
as the
life
the young
miracle of the
Buddhist
still
Jambu
for
plowing
festival.
He was
left
under a Jambu
tree
began
the
and
The Buddha
body
a sick
205
must be
is still
left
nimbus
is,
encircles the
included. She
no doubt,
his father.
left
hand
is
is
not
(?)
Two
young man
as a
shown
Siddhartha
is
shadow of
Jambu
right
literature.
fig. 5.
other version.
32-34; Pal
1985a, p. 68,
Jambu
Gift of the
1984,
cm)
The
life. It
dead
railing or trellis
is
a depiction of Siddhartha'
is
is
As narrated
framed
is
not
accompanied
carries a
streets,
middle of the
Jambu
tree, or
is
not
uncommon
in the early
in the
represented below,
reliefs
likely are
site.
once served
as architectural
embellishments
may
for
stupa "with
without a
may
The
rider,
its
drum veneered by
A damaged
although Siddhartha
is
a splendid
third century.
The
reliefs are
in the
similar to other
from Gummadidurru.
Jfe
206
and Animals
and A nimals
Andhra Pradesh, Gummadidurru (?);
S83
third century
Gift of the
Museum;
1880,7-9,79.
207
33-34.
Buddha on
the
still
the
This
left.
is
Although damaged,
arm clothed
in a
garment
of rags was
church
recommended
for all
Buddha
in the early
rarely
Buddhist
is
Museum
arm
is
slab.
is
the animal
is
who
finally
is,
the
is
The Los
at
in the
of his
left
Of particular
arm.
interest
is
the
broke loose
Amaravati
slab.
in the streets of
which
slab of a
in the
perhaps,
tamed
is
(see illustration).
his
this
are filled
head of another
engaged
S84
British
drum
with a
it
the
left
by comparing
this piece
it is
still
remaining, appear to be
in conversation.
S84
Cincinnati relief
(?);
third century
p. 212). If
White limestone; 17
must
in (43.1
cm)
it is,
also be
is
from that
are
What
this piece
like
when
qualities of the
Cincinnati Art
flesh in the
it
fragment.
still
The two
this
rides a lion.
pronounced
roll
of
male body
in early
Andhra
god
its
relief.
with Vajrapani
sculpture.
seat
remain attached to
does not
it
it
Vajrapani as
empty
they
man
or
pillar
pillar
and
with lions
may
clearly
shows that
retained
it
as
its
Buddha
in such scenes
potency
for a
much
The
symbol
208
I
Relief,
209
S8$
S85
(?);
third century
This fragment
is
part of a
rail
that from
rail
coping that
originally
like
wide panel
much
carving
most prominent
on the shoulders by
lively yakshas,
210
who
with
is
the head
dwarfs.
typical
still
The
floral
yaksha
is
is
adorned
Age
of the Guptas
(fourth-seventh centuries)
Introduction
With a new
at once serene
beauty of definition
and energetic,
definitely crystallized
variable in the
the
Ganges
it
{Gupta art)
spiritual
and universally
and
voluptuous.
and compositions,
valley,
and of which
the influence
taste are
now
still
but far beyond the confines of India proper, surviving to the present day
{Coomaraswamy
period was one of high intellectual and cultural achievement and, artistically, one of
the most creative.
The
ideal
artists
of the
Gupta
period served as paradigms of beauty for successive generations in India and the
various countries of Asia where Indian religions and cultural ideas were
transplanted.
Whether
it
spiritual than
any
vigorous commerce, especially with Southeast Asia, and cosmopolitan attitudes and
refined aesthetic tastes.
New
ideas introduced
previous Kushan age were absorbed and molded, and probably for the
first
time in
the subcontinent's history a kind of pan-Indian spirit prevailed across the country
inspired by cultural rather than political ideas. Both religious and artistic ideas
seem
vast oceans
group of sculptures
is
this
and metal
as well as
by gold coins.
medium during
first
century at Taxila,
it
in
became popular
wide area of Gandhara only during the Gupta period. Because of the
fall
across a
of the
found stucco to be cheaper than stone. Since stucco was colorfully painted or
211
gilded, the
Kushan
of the
during the
age. In his accounts of his travels through the region during the
decade
first
fifth
condition of the monasteries and waxed eloquent about the stupas and devotion of
the populace.
observed,
"Of all
intact,
still
but
monk
as the
journeyings, there was not one comparable to this in solemn beauty and majestic
p. 34).
By
first
in the region
were destroyed largely due to the invasions of the Huns during the previous century.
The museum's
Gandhara
sires in
from ancient
is
The
is
in
Hadda
(S91), remains one of the finest such heads recovered from the region. It also
Hadda
style
noted for
"moving, spiritualized
its
number
to
Gupta
temple,
Deogarh, sixth
Apart from
its rarity, it
Hellenism
in
The
collection not
Buddha but
is
much
also probably
a seated, headless
The naturalism
Kushan-period sculpture
is
that
now eschewed
for a
simpler and
at
times
LeRoy Davidson.
is
less
feeling
and
in aesthetic intent
doubt the
result of influences
The
up
as follows.
artists
but largely
it
was no
essential features of
Gupta
itself,
Gupta
summed
had inherited. Rather, they combined the plasticity of Sanchi and Mathura with the
linear elegance of
is
Mathura
artists of the
Kushan
is
replaced by a
The dynamic
more
volume and
vitality
and heroic
ideal
and depth
to elicit
universal admiration.
Buddha head
clear
Gupta
by comparing a Kushan
during the age of the Guptas, although other regions, too, became highly creative.
212
Mathura
At
least
with the
other important school of sculpture that developed during this period at Sarnath.
This interaction
also reflected
is
While
the collection, there are several other significant sculptures from Uttar
Most
borrowed from
Many
earlier literature.
much
Hindu
puranas and Buddhist canonical literature and were widely diffused not only across
the subcontinent but to other Asian countries as well. Such systematization was
largely responsible in providing a
images
more
became more
rigidly
all
Some iconographic
Kushan
period, were
expanded and elaborated further during the age of the Guptas. Thus, Gupta
gave shape to
them
in
new
many
Hindu
guises.
deities
artists
and represented
Vishnu, the Krishna legends, the two major epics, the various myths related to Siva,
the
The age
the
Kushan
further adhered to
period,
significantly in creating
Gupta period
artistic repertoire.
more uniformly
than had their forebears. All this systematization no doubt somewhat restricted the
artist's
freedom of expression,
Although
is
much
of
Gupta
sculpture,
regional differences are distinct and easily perceptible. Thus, although the stucco
Gupta
period,
works rendered
in
century Mathura
Uttar Pradesh.
is
Or
again, a
Buddha head
Sarnath (S126) and another made from terra-cotta at Devni Mori in Gujarat (Si 37).
Notwithstanding such
and seventh centuries across northern India and the Deccan share certain essential
qualities that
may
harmonious balance between form and movement, compact, but elegantly modeled
plastic mass,
and a predilection
for
in the guise
reliefs
213
less lively
human
forms.
While
are
probably of Mother
With
their elegance
Both the
plastic
is
are expansive
utmost economy.
Especially appealing are the radiant faces with their delicate features and expressive
freshness.
While
Harwan
of the third fourth century (S98) presents a uniquely expressive and enigmatic
style,
perhaps derived more directly from earlier Parthian traditions than anything
Kashmir
Gupta age
Gandharan
art.
Very
little art
Kashmir
seventh
fifth to
art.
Many
of the
visit to
the
as a place for
Buddhist learning by the year 400, when the famous Buddhist translator
kingdom of Kucha
for his
his
was from Kashmir that Tibetans adopted Buddhism during the seventh
picture,
it
century.
to have
been a
cosmopolitan and hospitable valley during the period and was occupied by both the
is
too,
found patronage
at the
Kashmiri
already
214
Catalogue
S86
S86
Afghanistan
Silver;
(?);
diameter 2
Va in (5.4
cm)
The
said to
is
figure
what look
His
like epaulets.
adorned
left ear is
The handsome
with well-
face
moustache
shown
is
in
While
With
its
may have
in the
and icono-
1rs&
middle
group of
V-
-~
_;
W4
figure in the
> *fc
The
Tehran bowl
is
solitary,
female
shown smelling
iSf>.
those
worn by princes
1967,
pis.
The Hatra
in
is
very similar to
Hatra (Rosenfield
fig.
is
dated
Thus, an
215
23).
is
not
2
3
S8 7
The
God Kumara
S8j
The
Gtay
schist; 5 in
Gift of
At
God Kumara
Mr
(?);
earlier statuettes of
fourth century
known
(12.7 cm)
two other
least
similar, but
fig.
are
15; Marshall
M. 85. 212.
is
Gandharan
Skanda, ot Kumata.
With
god stands
fit
mly and
He
is
eattings,
and
clad
with them
image
cult
Noteworthy
are
tiara,
plain, circular
surrounded by a
nimbus.
to
child-god
from the
Only minor
is
fly
tiara.
for
is
is
rendered more
all
The
more
not as
is
eyes of this
somewhat
carelessly.
Kumara image
youthful god
plump and
is
S41) the
(see
is
childishness
was popular
that
deity's
stocky proportions
(cf.
S67). Also, he
S88
cm)
M. 85. 213.
Gandhara. Before
his final
enlightenment
at
which he
left
on
extreme
him
and
later
all
The
number of stone
The emaciated
Buddha
elsewhere in India.
sculptors
may
Its
theme
theme
with
in stucco
its
subtle
sunken
eyes,
216
is
is
more
usually encountered
S8g
cm)
Collection; 50.25
Literature:
With
its
cranial
bump
intact, this
head would
itself,
tall,
Buddhas
from Hadda
is
where
some Buddha
figures
lips
is
and half-shut
The Gandharan
artist preferred to
wavy
hair,
which
is
bump.
as in
at
217
$9
Male
S90
Male
Gift of Ravi
Kumar
Prakashvati Jain;
in
memory
M. 85. 288
cm)
of his mother,
may
If preserved, the
have
S94-95). Very
likely, the
The
in conversation.
ascetics in the
of one of the
Nara-Narayan panel
frequently seen in
engaged
Gandhara
for
(Si 22)
and
is
meditative
(Rosenfield 1967,
was
figs.
99a, 100).
The posture
contemporary and
his right
later
The
prominent
on the
folds
left
and
is
indicated by
arm and by
shallower
adornments
is
which was
seated on a lotus,
The
on both
left
hand
hand
with closed
around his
fist is
unusual gesture
feet.
is
of teaching or conversation.
The
sculpture
is
Guimet,
Paris
Museum
(Rowland 1966,
figs.
um
where
it is
attributed to
1975,
1 ]
3: pi.
150b),
more
Head of a
Bodhisattia
Color plate, p. 57
S9 1
Head of a
Bodhisattva
From
Heeramaneck
Collection
Museum
Associates Purchase;
M.80.6.4
Literature:
al.
Czuma
218
1985,
p.
222.
much
of
its
band cascade
down
tilt
The
is
neck,
lips,
winged lion-shaped
lines
on the
ornament on
ear
The moustache,
The
painted black.
-XJfc."
is
hair
was very
likely tinted
blue-black or indigo.
Two outstanding
qualities of a
human
frailties
Hadda
in Afghanistan,
While
it is
extremely difficult
is
At
least
3: pis.
S92
S92
is
characterized by a
The
pupils are
hair.
Hadda
figures
(Barthoux 1930,
pis. 5,
[1951] 1975,
it is
3: pi.
219
it is
from Hadda.
S<)}a-b
S93ab
cm) each
S93b
S93a
demeanor
is
different
expressed
Although the
lips.
While the
face of a
ever,
among
Museum,
as
lips
of b are
lip
wider
lid,
more
slit
eyes.
whether
in
The
Whatever
by a substantial band.
Kushan
are of grieving
If,
women, then
Buddhist
Buddha
220
made
in stucco,
two heads
sensitively
few
women
Such
sites in
many show
1930,
pis.
a similarly furrowed
may
brow (Barthoux
An
almost
be seen in a female
period. Representations
fication, it is clear
from
is
rather similar
sculptors of the
however, the
not to be interpreted
that the
idealized in a with a
broader, resulting in
If,
is
Nara National
is
The
how-
3: pi.
cannot be certain.
43
S94
Head of a
Bodhisattva
S94
Head of a
Tilted to the
Bodhisattva
left, this
classicized head
is
M. 84. 220.
head
is
is
its
adheres to
still
The
fillet.
hair,
irises are
painted gray-black.
The
one of which
and
is
in
waves on
retains
still
down
its
ring.
The
fillet
is
is
S95
Head of a
Bodhisattva
S95
Head of a
Bodhisattva
is
meant
M. 84. 220.
to be
is
not as strongly
The eyes
is more
are
left is
damaged. The
molding with
place by a shallow
rosettes.
The
rest
fillet
rosettes.
still
is
held in
of the hair
is
gathered in a
221
hair
crest.
The pupils
Sg6
Male Head
Male Head
S96
Stucco; 6
Gift of
Despite
its
An
left ear,
is
earring
broken.
tuft rising
among some
i6oh;
3: pi.
also
cf.
M.
597
hairstyle).
Contemplating Bodhisattva
S97
Contemplating Bodhisattva
Pakistan or Kashmir;
fifth
Copper
(10.8 cm)
alloy;
Va in
primary task
century
is
to save suffering
M.85.9
humanity. In the
such contemplative
with Maitreya
wicker
One
seat.
bodhisattva
left foot;
raised
is
The
at
The
earlier
abdomen,
The
and loops
body diagonally
encircles the
shoulder.
left
face
also
from the
much
left
effaced;
behind the
ears; additional
stem on which
object.
The
rests
right elbow
is
left
arm holds
a lotus
an effaced, unrecognizable
is
is
may
The
is
figure
is
certainly
not
is
(Pal
pp. 84-85).
the shawl
is
98i,
characteristic of
1957,
figs.
the stem
Another
is
also
later versions
realistic representation
is
is
Gandhara
the
is
around the
wicker seat
seat,
is
which
is
is
repeated
More
3 35)- The
is
fig.
Gandharan sculpture,
this
Kashmiri provenance
for
222
Kashmir
S98
S98
This
terra-cotta;
Given
in
20
memory
Va in (52.7
cm)
Humann
of Christian
that
tiles
Red
is
by
monument
site generally is
has been
it
in this
iconography of the
tiles is difficult to
explain in a
Buddhist context.
The museum's
others of this type,
At
the
is
bottom above
tile, like
most
simple molding
is
row
its
Above the
frieze
are written in
raised divider
and
three, seven,
behind a balustrade
Kushan
to be
engaged
in conversation
left is identical
who
is
a lock of hair.
At the
The second
first,
plain earrings.
different faces
The
and
features.
Curved
the seated ascetic
is
like a
^
223
is
The
importance given to
hardly
is
in
he
may be
likely,
The geese
at the
principle of asceticism.
bird
metaphor
also a
is
usually
The
bird can
swim on
homeless
who
is
gander).
and wander
he can also
it,
S99
at the forehead.
art.
While
Harwan
is
assumed
tress at the
freely like a
ascetic.
Some
to represent foreigners.
third-fourth century
is
Central
Bodhisattva
S99
Kashmir;
Copper
From
Bodhisattva
c.
400
alloy; 10 V2 in
(26.7 cm)
Heeramaneck
Collection
Museum
M. 69. 15.2
Associates Purchase;
Literature:
fig.
fi
g- 3;
10;
fig.
4;
pi. vi/7;
G.
von
Salter 1982, p.
Kushan
period.
emblem
of an ascetic,
The antelope
skin, a typical
is,
century was
Huntington
Glynn 1972,
fifth
fig.
Brahma. Certainly
Brahma
is
fifth
Hindu god
frequently represented, he
is
where
seldom
most intriguing
collection.
figures in the
While most
museum's
Kashmir
Gandhara
to
right
hand
palm
is
turned
likely
is
Kushan
The
this figure are to be
is
emphasized by
his
cord.
Otherwise the
224
Buddha image,
found
an
period.
Swat
as
necklace with a
left
is
in
his hairstyle
and Brahma
art.
as
to Maitreya
to Swat.
waterpot in his
common
him with
while
is
Gandharan
Huntington
is
in
Gandhara
Of these
rather
three regions,
Buddha probably
made in Gandhara (Pal 1975b, p. 193, no. 72).
The treatment of the dhoti is remarkably similar
early-fifth-century bronze
to that
left
(Huntington 1970,
fig.
now in Karachi
2). The peculiar
also
encountered in
of the
Buddha
in a stele
is
ear ornaments,
in Kashmiri-style
seventh-eighth-
more
generally
much more
in this
example are
Gandharan
all
the waterpot
is
is
figures
placed on the
palm
more frequently
Kashmir,
is
the
in
Swat or
lotus
(Huntington 1970,
fig. 3).
Thus, the
Kushan
period.
late-fourth- or early-fifth-
225
this fascinating
bronze
its
is
strong
(cf.
contemplative
Gandharan sculptures,
held in a distinctive
reflect the
hand
naturalistic
Sioo
Sioo
Copper
fifth
over the
century
alloy; 2 Vi in (6.3
No
a topknot.
Kashmir;
left
Although the
cm)
M. 85. 73.
hair are
is
flung
no longer recognizable,
and
Both
and iconography
in style
bodhisattva
fifth
this seated
is
He
is
reveal the
below the
lotus.
may
have
facial features
can no longer be
same type
is
is
the
held in the
is
seen in the
as
manner
in
hand.
left
The
therefore of the
right
hand
is
and thumb
is
arranged in
S101
Kashmir
(?); fifth
century
4 Ve
in (1
226
cm)
M.84.226
At the center
is
beaded
in his right
his female
It is
this
hand
left
figures,
even
precisely
facial outlines
in their
figurines" (Dani
1965-66,
is
p.
where
high
third century, as
pi.
In the
is
stamped, a
as early as the
Harwan
is
On
xxxi).
medallion enclosing
relief.
Kashmir
familiar technique in
be
"emblemeta
47,
arm.
fragments in
for
a flower (?)
companion, who
known
The models
period.
stamped with
tiles
figural designs
of both
Tapa
arms
S102
Personified
Wheel
Si 02
Personified
Wheel
earlier
Copper
cm)
alloy; 2 Va in (7.0
clasped.
in
M. 82. 95.1
movement.
indicate
This
With
tiny,
as
an
Chakrapurusha
(Si 17).
his
overhanging
is
figure, however,
to a larger
The
tilt
of the
Vishnu.
He wears a
He
earrings.
The
is
later
than 600
Two
away.
is
toes
those on the
belly,
figure's
left foot
features of the
charming
is
were once
nimbus with
His hair
is
filled
with
silver; his
nose
is
effaced.
and
in later
An
earlier
example
found
in
1977,
fig.
manner
10).
in
is
the
such figures
Chakrapurusha
Gupta
is
One
sculpture.
of the
a representation of another
in a fifth-century
Mathura
now known
is
not
Kashmiri
feature
is
artists.
fifth
to be popular
Another possible
early
somewhat
227
with
earlier.
may
for this
artists.
bronze seems
made
5/oj
Syncretic Goddess
S103
Syncretic Goddess
or
From
(14.0 cm)
5 Vi in
and Fortuna
Heeramaneck
century, had
Associates Purchase;
is
The
appropriate.
lion in the
Collection
Museum
Roman
M. 7 2. 53.6
become
goddess Durga,
closely identified
it
with the
probably
11-12.
domestic shrine,
crescent
a fascinating
is
example of the
moon
also
is
on
A goddess
wearing a chiton
Nana
Gupta coins
an attribute of
is
shown
similarly
cornucopia, which
is
left
hand holds
a strange
broken
off,
composite of
of
Indian religions.
a single icon
Although
its
provenance
An
is
made
in
Kashmir.
her a crescent
part of the
is
nimbus
animals above,
is
carved as a lotus.
The
now
almost
hand and
Gajalakshmi
illustrates a small
chiton, a legacy, as
Romanized
is
art of
Gandhara. In Kushan-
is
who
is
is
Kak
its
forelegs crossed as
its
lion in the
is
64) also
type
original location
Kak
museum's
The
with
(p.
relief of the
dated by
century.
is
to the sixth
relief is seated
a lion in a frag-
228
Vijayakshetra or
earlier
as
p. 39).
Sio4
Male Head
Ushkur
Male Head
Si 04
name of a
the
is
village near
Baramula,
where the
cm)
river
Jhelum
Kashmir,
M.85. 193.
is
at
rich in archaeological
The
is
village
Kushan
to have been a
is
identified with
Kashmir
(see
as the
Ci2a-c). Akhnur
amount of Buddhist
fragmentary,
Most
sculptures.
and
Although an exact
identification of this head
is
not possible,
may
it
Ushkur
their
artists
Gandharan
colleagues. Nevertheless,
and
features.
The cheekbones
are
more
and
fleshy
became more
characteristic of eighth-century
lips are
somewhat more
The
upward
slant,
rise
more
apparently a characteristic of
Ushkur
figures.
made from
lumps of
S105
Demon
the Buffalo
What
Demon
damaged
is,
Si 05
Dark gray
Christian
schist; 5 Va in
the Buffalo
(14.6 cm)
Humann Memorial
plain
nimbus
looks like a
down on
One
upon the
front
and
sides.
ornaments include
down
a large garland,
two
to her thighs,
is
Two
additional
229
which loops
side bouffants.
Her
two ornamented
floral
left foot,
majestically
ornaments
buffalo's nose.
tail,
down
hands carry a
bell
Her
left
for the
good condition.
the
is
The crouching,
posture of the buffalo with
all
many
flying sideways in
helpless
theme discovered
distinct
reliefs.
Afghanistan and
in
is
quite
Unfortunately,
all
in the
tail
of the buffalo
A close
schist
is
and
back
The
is
pi.
relationship
is
to the
least three
is
characteristic of at
moon
example
differs
demon
of the
tradition.
Kumara
figure
found in Kashmir
writes:
"The
230
goddess's
chiton,
impressive
The
15, 21-22).
figs.
in this
at the
human form
Sto6
The
God Ganesa
Si 06
The
God Ganesa
Copper
alloy; 3 V\ in (8.3
cm)
M.84.67
his
He
bracelets.
He
holds in his
in his
lower
down on
a
upper right
left
hand
his
left
hand
is
broken
off.
The back
is left
sophisticated.
Other examples
Afghanistan
(Kuwayama 1976,
may be
figs.
seen
46).
all
Kashmir, or
Pradesh.
Chamba
in
Himachal
nimbus was
separately
attached.
moldings
is
rather plain.
figure
is
is
stylistically
slightly raised in a
may be
more
is
ship here
The bronze
231
tury
Buddha
in
p. 65).
Haryana
S107
The
God Rama
Sioj
Haryana, Nacharkherha
Brown
He
century
(?); fifth
terra-cotta; 18 V2 in
(47.0 cm)
has
M. 83. 22 1.6
image of
Rama.
thigh identifies
him
as the
god
to be regarded
by the Gupta
of the
in the art
His
left
which
was addressing or
composition.
Themes from
were quite popular
the
Ramayana
Of all
is
at a site called
one of these
reliefs
were used,
inscribed.
ago
the brick
reliefs
Nacharkherha
in Haryana. In
part of a couplet
is
written
is
Nacharkherha.
Rama
stylistically is similar to
Lakshmana
strikes
identical posture
His
face
is
(see
an
hairstyle.
Rama's
face
is,
232
Uttar Pradesh
S108
Goddess
Si 08
The
Goddess
is
similar
to those seen in
Gift of Paul
F.
Walter;M.83.2i9.i
The two
hand
left
is
With
to be placing a garland
far,
is
an
has been
demon
engaged
to her
in placing
on her head
given
a garland
demon. In
this
must
may
demon
victory,
it
Durga
herself
is
goddess of
form of Durga,
to identify
who
is
The
is
in outline
The
slightly
open mouth
is
quite large,
apronlike garment
appears to be nude.
233
is
Sioy
the Buffalo
Demon
The Goddess Durga Killing
Si 09
the Buffalo
Demon
3/4
cm)
in (24.7
M. 84. 220.
rigidly stands
on a shallow
wearsa short
and
Her elongated
hand holds
the
is
in the
corresponding
With
recognizable.
ornamented,
not crowned.
a short trident
weapon
by
skirt, indicated
a necklace of three
left
hand
not
is
tail.
To
my
knowledge,
shown holding
in
is
no other
the goddess
it
if
is still
may
why
explain
she
The
is
eyes
do not protrude
as
was daubed
feet,
and
it
in vermilion
still
powder
until recent
times.
Si 10
Buddha Sakyamuni
Si 10
Buddha Sakyamuni
The
right
is
The head
raised in the
gesture of reassurance.
M. 82. 165.4
is
hips,
it
may
garment
is
be assumed that
it
would have
The sculpture
unusual as
Gupta
2 34
it
styles.
in the
fig.
33).
stylistically is
The
facial features
and expression
boyish face, as
a youthful
Kushan
left
rather than
of the nimbus
fifth-century
shoulder
is
depicted in the
is
Buddha
figures but
with third-fourth-century
is
steles.
Si
consistent
Perhaps the
is
the rather
Head of Siva
Si 1
Head of Siva
Red
terra-cotta;
From
4 in (10.2 cm)
Heeramaneck
Collection
Museum
Associates Purchase;
Literature: Rosenfield et
235
al.
M.73.4.8
1966,
if
Buddha.
adolescent face
may
be seen in an inscribed
69).
The
Sharma 1976,
designed. This
may
is
fig.
similarly
in fact be a representation of
When
published,
head
An
first
it
this
Allahabad
Mathura and
museum (Ghosh
now
is
1961, p. 69,
The head
is
pi.
tilt
of the
made from
in the
the
same mold.
distinguished by a
tempted
to identify the
is
head
eye
is
220-21,
figs.
15, 17).
The best-known
eye
uncommon
ruff.
At
first
glance, one
may
be
belonging to an
Elizabethan
as
is
to see Siva
fig.
31). It
is
not
Si 12
Male Head
Si 12
Male Head
Red
terra-cotta;
Gift of Eleanor
3/4
in (17.2
cm)
Abraham; M. 82. 2
slip, the
head
is
as a
hollow
at the
mask. Both
were framed by
flowing curls.
at either
meant
is
may
The
manner (Si
damaged
13).
The
its
236
temple figures
(cf.
S107, S122).
Si 13
Female
Head
Si 1 3
Female
Uttar Pradesh
Head
fourth century
(?);
this
head
M. 8 1.269.
(V. S.
modeled
hair
is
bun
at the
tive,
is
in the
round.
is
doughnut-shaped
prominent.
An
ear
237
precisely identified.
The
however,
is
left
known
No Mother Goddess
hairstyle
would
is
and the
although suitable
for a yogini.
Si 14
Si 14
Uttar Pradesh
(?);
Buff sandstone; 14
cm)
in (36.1
is
the placement of
fourth century
l
M.85.8
matted
hair, partially
is
distinguished by his
what appears
basically
novel
to be a
hand
is
The
two
in the earlieV
may be
a book.
Siva's powerfully
its
The
interesting sculpture
to have
come from
not
known, but
said
it is
Pakistan.
to
The
buff
Madhya
in Uttar
Pradesh. Apart
The
Ganges
Valley, while
Unlike Gupta-period
figures,
Within the
may
It is
probably
later
(Williams 1982,
Mathura
1982,
Si 15
fig.
fig.
77).
Buddha Sakyamuni
Buddha Sakyamuni
Si 1 5
350-400
is
M.83.8
worshipers.
abraded,
The
headless
Buddha
is
two
lions, in the
middle
a meditating
is
intact
like.
The
eyes seem
undergarment
seat.
His
left
is
crowned with
is
also
garment
is
arm and
is
Sakyamuni.
238
Buddha
is
image
the sculpture
was made
in
is
it is
an important
it
at least
Sharma 1984,
Although the
from
figs.
have
is
at least
come
to light that
The museum
figure
figs.
135,
is
which
a divine figure
invariably
is
is
is
symbol,
represented, he
meditating bodhisattva
usually
is
Maitreya.
The concept
also
rendered
mode
Buddha,
was prevalent
in
is
a bodhisattva
is
rather
Buddha
(Si 20).
standing
garment end
several
in the left
hand
is
encountered in
55).
portrayed both as a
this attribution
is
Buddha and
who
bodhisattva. If
may
be one
Sharma 1984,
Buddha.
1982,
fig.
figs.
22).
239
Sn6
Head of an
Ascetic
Head of an Ascetic
Uttar Pradesh, Mathura (?); early fifth century
Reddish brown sandstone; 9 in (22.9 cm)
From the Nasli and Alice Heeramaneck
S1 6
Literature:
1950b,
While
it
Collection
Museum
Trubner 1950a,
106; Rosenfield et
al.
Heeramaneck 1979,
p.
290; Trubner,
is
pi.
in several parts of
Madhya Pradesh,
The range of dates
Uttar and
including Mathura.
falls
between the
however, can be
made with
1978,
p. 20).
sensitively
are
smiling expression
much wider
is
The
lips
hair
is
in the collection
ascetic's hairstyle as in
contemporary Siva
240
Si ij
The
God
Vishnu as Vamana
Si 17
Uttar or
Madhya Pradesh;
Dark brown
Christian
c.
400
terra-cotta; 7 Va in (19.8
Humann Memorial
is
cm)
heads.
no
circles,
of
as characteristic
Clad
images.
Among Vishnu
(cf.
S140).
is
The elongated
Vamana
an
avatar of
images,
Vamana
means
literally
wears
when
the gods
subdued
representations, no
crown adorns
this figure,
shown
ambition.
Bali's
as a
Vamana
hair as befitting a
Pradesh, he
(K.
is
and
Madhya
S.
is
attributes
generally
75). In such
fig.
is
meant
to represent
Vamana
as
one of
would
is
not
depicted as a dwarf.
In material and form this
plaque stylistically
Durga
(Si 09).
is
figures
with
Madhya Pradesh
may
or
Pradesh.
made
good deal
plaque, which
later
may be one
of the earliest
emanation.
were
in stone
Vamana
as
an
Buddha
or twenty-four Jinas
is
found
in
Lakulisa.
241
is
also
Sn8
Buddha Sakyamuni
Sn8
Buddha Sakyamuni
400-425
When
on a plain base
in slight dehanchement
Museum
Council;
M.79.83
complete, the
left
more
Unlike that of
Mathura Buddhas
familiar
the upper
any folds
although
garment
His right
as in a similar,
later
in the gesture of
(see Si 20),
is
as
is
nimbus
originally
left
thigh.
shoulders.
Although
carved slightly
later,
it
may
also be
compared with
Buddha
is
(Si 15). It
several other
is
figs.
135,
century
1984,
fig.
The sculpture
attributed to the
century.
242
to be
first
is,
somewhat more
therefore,
quarter of the
fifth
Si 19
This
450
c.
finely
From
Heeramaneck
C.
Collection
Museum
Associates Purchase;
Literature: Rosenfield et
Beach 1967,
p.
Trubner 1968,
M.82.6.3
Heeramaneck 1979,
p. 8, fig. 6;
century.
details, the
al.
is
fifth
no 30.
may
head.
Buddha images
Typical of
of
The
lips are
prominent.
Among
the
superhuman
signs,
bump, and
substantial cranial
articulately
The
hairstyle
characteristics of the
bump
now typical
Gupta Buddha as is the
and cranial
are
S120
Buddha Sakyamuni
Si 20
Buddha Sakyamuni
Typical of
Red sandstone; 10
Gift of
Vi in
fifth
figures, the
(26.6 cm)
begin in a V shape
they
This
is
a rare
Mathura Buddha
century
rings
fall
to the
at the
formed when
a stone
is
dropped into
of water.
of the
for
must have
and
may
for
figs.
Thus, despite
diminutive
243
relief
Mathura Buddha
148
illustrates a similarly
figure closely
139-41;
fig.
museum's example).
p. 67).
this
The missing
1978b,
hand would
damaged
damaged condition,
left
its
a pool
right
pilgrims to
as sacred souvenirs
carry
The
is
Sl21
Head of Bhairava
S121
Head of Bhairava
Uttar Pradesh;
fifth
century
John
L.
M. 82. 220
This
finely
form of Siva.
is
clearly
marked on
commonly represented, in
few Bhairava images is the mouth depicted so
angry eyes are quite
widely open, as
if
is
laughing aloud to
When
exactly images of
One
is
not known.
Ahichchhatra
lxiii).
(V. S.
Agrawala 1947-48,
Xx
244
if
is
pi.
shown
he were howling.
Sl22
Uttar Pradesh;
Red
fifth
22 V2 in (57.2 cm)
terra-cotta;
1975, p. 16,
fig.
century
1970-71,
p. 77, fig. 3;
9; Srinivasan
fig.
location of
M.69.38
Trabald
1978-79,
pi. iv,
which
is
fifth-
21.
engage
in discourse.
emaciated figure
a
sits
on
faceless,
represent
Nara
He
is
also
(literally,
is
identified
equated with
Both
sites are in
stylistic relationship
to the
same region
No
arms.
'
m^Tt*
Gupta
------- .._,.:.
temple,
Pradesh,
fifth
245
,iSSi
Bhitargaon, Uttar
century, brick.
..
J.
LeRoy
Si2j
Although regarded
S123
Uttar Pradesh;
fifth
as a planet,
century
M.83.221.1
Rahu
really
The thick
in clawlike strands
Two
is
terrifying
mouth, angry
or band.
Rahu,
well-preserved,
forehead.
is
made
moon by
A demonic
is
and
and lined
and
identical
is
fifth
to place
century
it
lintel
within a shrine. By
had become
common
practice
to
pierced earlobes.
demon
or
more
specifically
represent a
ward
off evil.
246
....
S124
Si 24
Uttar Pradesh;
fifth
century
lines
rolled
M. 74. 40.
foreheads.
Two
left
by side
the
more
left
and
Each wears
garment.
they appear to
as
side.
The other
left
figure
While
One garment
is
decorated with
circles
hair of both
seems to be
feet are
rendered crudely as in
The
The
is
not certain. In
may
(cf.
woman
247
all
V. S.
is
is
is
a strong
from Ahichchhatra
Agrawala 1947-48,
Sl2$
to
Indra
c.
Indra
450
Cream-colored sandstone; 18
Museum
to
in (46.4
cm)
Literature: Pal
teaching, specifically
known
as
turning the
flying celestials
now
crowned
The
monks.
248
Notwithstanding
its
iconic
Buddha Sakyamuni's
life
Magadha
this
sermon on the
To date,
is
Buddha,
is
the
compelling
is
One
The
story
in the
example occurs
known Gupta-period
Kanheri
is
lifelike studies
near Bombay.
S126
c.
475
From
Heeramaneck
is
fifth
century.
The
outline of
Collection
Museum
Buddha image
Associates Purchase;
M.79.9.2
smooth
36-37;
Heeramaneck 1979, 31a b.
the
surfaces
is
Compared with
Mathura Buddha head of about the same
more
linear but
There are
also obvious
suaver and
in its expressiveness.
Sarnath head
is
hair.
two
faces
The bump on
the
Sarnath
norm,
Buddha
is
supposed to
249
Si2ja-b
Two Columns
V>
Si27b
Si:
Detail, Si
27a
Si2jab
Two Columns
c.
500
Cream-colored sandstone;
57 V2 in (146.0 cm) each
From
Heeramaneck
Collection
Museum
Associates Purchase;
Literature: Rosenfield et
al.
M.83.
.a
Carved
in the
Hindu temple.
Similar columns
fig.
still
234),
somewhat
exuberant vegetation
size
is
rich in chiaroscuro.
The
The
base of each
column
is
At the bottom
250
Detail,
Derail, Si
Si27b
27b
Some
lance-bearing males
The
may
two
represent guardians.
assume
Gupta period.
of each column is
The
shaft
Some
of the foliage
The
may
simple square
figures represents
other
is
with foliage
Ganesa seated on a
lotus; the
is
seated in a relaxed
is
bowl
obese and
head
stomach
251
left
The other
are broken.
S128
A Dwarf Drummer
A Dwarf Drummer
Si 28
Madhya Pradesh;
Uttar or
From
500
c.
3/4
in (62.9
cm)
Heeramaneck
Collection
Museum
M.69.13.10
Associates Purchase;
Literature: Pal
1978b,
Heeramaneck 1979,
no. 33;
Kramrisch 1981,
p. 84.
who form
"multitude" or "people"),
(literally
and
belly.
performing
his wife.
ample
figures,
drum
tied
around
is
his
is
naked, displaying
Bathed
is
in a
framed by
Gupta
is
period.
The well-modeled,
expressive face
cheekbones.
That
it is
Gupta period
is
provenance
not known.
is
a sculpture of the
undoubted, but
It
its
exact
Madhya
Sl2C,
Pradesh.
Color plate, p.
Si 29
39
Collection
M. 81. 90. 20
1978b,
p. 102;
as the
Vishnu descended
to earth
myth
a follower
definitely reflects
sectarian bias.
and
252
human,
lion head.
is
a female.
wheel
a circular
nimbus
(see Si
02)
is
is crowned by a lotus
grow out of his rich mane.
The broken right hand of
Narasimha probably would have been extended
that seems to
myrobalan
as in a
corresponding
left
hand holds
a conch.
The two
is
a powerfully
figure
somewhat disproportionately
limbs, and
its
almost a
is
The
expressive exaggeration.
columnar stance
rigidity of the
A Jain
modeled
his
S130
Narasimha
and held
left
is
is
is
relieved by the
attributes.
personified as
Family Group
Si 30
A Jain
Family
A couple
G roup
550600
M.77.49
is
on top of which
on
his
his right
hand on
hand.
left
The
hand
sits a
left
hand.
left
to be
climbing the
leafy
The
the parents of a
difficult to
represented here.
The
little
is
boy seated on
his
whereas
all
more exact
is
identification
is
The
provided by
determine. These
reliefs
is
obviously are
such
as those representing
found on Buddhist
rams are
also
reliefs.
The sculpture
from the Varanasi area and
is
is
very likely
closely related to
It
may also
fig.
amid
253
clouds.
fly
Si
Buddha Sakyamuni
Color plate, p. 61
Si 3
Buddha Sakyamuni
Uttar Pradesh
Coppet
alloy
(?); late
sixth century
with color; 15
Vi in
(39.4 cm)
M.70. 17
Literature: Los
Museum
Angeles County
of Art
1978b,
p.
p. 201.
its
for the
broken
is
little
to
from which
it
emerged
The
flares
the
out considerably on
with three
The
left
hand gently
The neck
is
marked
lines,
the urna
is
bump.
of Gupta-period Buddha images,
surface,
is
treated as a plain,
in casting
and
ancient repairs.
is
not known,
it
relates to
its
more
typical of Sarnath
face
traits
of
S132
The
Kushan emperors
and tunic,
cm)
1974b,
Literature: Pal
p. 18; B.
M.73.87.
N. Sharma
is
Surya, and
horse traders.
worshiped
He
this relief, as a
as the
generally
is
patron deity of
portrayed, as in
254
as
he
sits astride a
Phrygian cap.
hand and
is
Revanta
cup
He
is
He
left
presumably
flask.
of the horse,
The
points to Iran.
element
booted
is
dog licking
Along the bottom is a
the hunting
foot.
his master's
including cymbals,
flute,
and conch.
is
this
among
the earliest
known
in Indian art.
He
is
halo,
and
Why
hunter
is
a mystery,
and
is
it is
its
graphic
iconography, the
on two
Not only
it is
Apart from
frieze of
relief provides a
levels
without
much
foreshortening, the
rendered than
is
more
realistically-
moving
shown
to the right.
artist
altogether the
This
is
placement of the
255
lively
group.
S133
Sim's Family
Si 33
Siva's
Museum
Family
Uttar Pradesh
(?); c.
600
From
Associates Purchase;
Heeramaneck
256
Museum
of Art
Heetamaneck 1979,
pp. 58-59.
Collection
M. 7 2. 5 3.
fig.
22;
members
family generally
of their
Uma-
referred to as
is
Mahesvaramurti
Uma
provenance
is
Siva
is
(lalitasana),
on her
whose head
lion,
more formally
sits
is
is
Siva's hair
Parvati's coiffure
forming
ear
in her
a long tube.
left
embrace
his
arm
lemon symbolizing
is
outstretched to
Uma's
grasps a mirror.
plain circular
hand
right
arm on
her
hand she
nimbus
head up
at
Uma's
lion
is
beneath them
is
lively tableau
interact
who
looks
up
at
Siva as he dances.
ensemble
is
of Siva's family
life,
when he and
The
representation
is
unusual
below. Siva
is
while Uma's
sternly dignified
facial
and majestic,
unknown
to
Uma. The
Siva's
she
generally
is
shown
257
in
such compositions.
is
work
it is
as a stylistic
Maharashtra.
On
monuments
is
of
somewhat reminiscent of a
terra-cotta
Agrawala
worn by female
at the
in the
Gupta-period temple
(Williams 1982,
cylindrical ear
fig.
is
at
figures
Deogarh
ornament
is
more commonly
is
Markandi temples
faces are
is
bun
Maharashtra
ornamented.
are elaborately
in
Markandi
is
more
likely source
S134
Color plate, p. 63
S 1 34
Uttar Pradesh;
c.
600
7273,
figs.
13, 15.
Sideb
Side a
is
all sides)
known
as
Sarvatobhadra
is
surrounded by the
The other
three Jinas
or rosettes.
shrines
may
serpent canopy
figure,
The
a pedestal
He
shrine
and
a
b,
each Jina
and
serpent,
his
which plays
hairstyle
is
Adinatha,
is
regarded
which
is
known
hair.
One on
are
side b has
as
Siva's
as
known
Rishabhanatha, also
who
cranial
the
Siva's,
is
is
tiered structure.
who
the seven-hooded
Parsvanatha, a historical
Jinas,
who
is
mount
is
reminiscent of
emblem
as well.
as
is
the bull,
He alternatively
is
epithet of Siva.
down
a single tree,
on side
which forms a
is
leafy
protected by
canopy above;
The
258
Ife
Sided
Side
one
is
in various regions of
Jinas are
Mahavira
is
it
is
a stele representing
which a date
in
fig.
230).
and
for
Pradesh. Stylistic
discusses in detail
Jina
Madhya
may be
parallels
little
is
unknown,
a master.
there
He
has
is
instance, however,
is
meant
it
which came
to
P.
67-71).
The
sculpture
is
from which
not known.
it is
259
sensitive
in
images of
Bihar
S135
Female Bust
Si 35
Bihar
The
Female Bust
(?);
terra-cotta bust
distinguished by
is
fourth century
distended earlobes.
From
Heeramaneck
Collection
Museum
very thin.
Associates Purchase;
Literature: Rosenfield et
its
al.
M. 84. 32.4
1966, p. 37.
The
flat
is
are
band pierced by
a hole,
The
hair
is
held by
widely open.
in the collection,
(S80).
Bihar provenance
is
also suggested
by a
Belwa heads
are characterized
fig. 3).
by thick
lips
Some
and
example.
260
Si i6
Buddha Sakyamum
S
Bihar,
Tan
Buddha Sakyamum
Bodhgaya area
(?);
400-600
261
cm)
M. 84. 227.
Buddha Sakyamuni
is
two
legs
is
engaged
a pedestal
figures (Asher
1980,
while more
pi. 29),
is
pis.
in preaching
on
(Asher 1980,
Bihar (Rosenfield et
1966, p. 41,
al.
29).
fig.
Finally, in
Buddha
probably somewhat
inscribed
from each
is
Buddha
is
These
the
pi. 62).
may
have been
folded legs
The
is
Both
than an
parallels notwith-
circles of
and a motif
earlier
broken.
is
in
iconography and
is
undoubtedly related
= A.D.
384) as well
as
Neminatha
from Rajagriha
interesting
legs, the
is
supported by similar
also
is
is
first
sermon
in the deer
park at Sarnath.
consists
winged
as in the
Sarnath
stele.
fly
While
lions
and
their
forms are
delineated.
The
much more
perfunctorily
nimbus
Only the
scallops are
common
Even more
of the Buddhas.
facial features
this
image
broader
is
face.
to both.
rarely, if ever,
in
period images.
Gupta
common
a carryover, as
from Kushan-
art
The flame
this
image
generally
Gupta
is
is
not
period,
added to the
of the
fifth
unusual. In Gandharan
is
most
Buddha images
flames
Andhra Pradesh
Buddha (see S84).
modeling, and
The Buddha
is
in
The
ears are
Buddha heads
elongated as in other
as
(Si 19,
et al.
somewhat
sketchily.
is
and when
is
unique feature of
This
more
is
and
emanate from
aureole
the
(T Akiyama and
S.
Matsubara, Arts of
left
Buddha image.
The most likely place of origin
intriguing Buddha is Bihar, perhaps the
for this
Bodhgaya
from that
brown
chloritic schist.
figures
in
halo
is
which the
lotus
on the
262
fig.
147).
Gujarat
Si 37
This
375400
Mori
Stead;
is
from
a stupa that
was
Paul E.
Buddha head
M.79.8
in
all
remarkably uniform
style.
Only minor
Buddha
some disagreement among
There
is
of the sculptures.
monument
While the
No
half-
The
less precisely
Mori Buddhas
reflect influences
is
some Devni
from
more
to the later
is
Buddhas of Uttar
Devni Mori
are of great
Rajasthan
S138
Si 38
In this elegant
450500
Rajasthan, Tanesar-Mahadeva;
30 in (76.2 cm)
Heeramaneck
Her head
From
Collection
Museum
breast. In addition,
50,
fig.
M. 82. 42.
Associates Purchase;
a floral tiara,
p.
pl-
306,
p.
xxxih,
1985a, p. 72,
fig.
covered by her
which seems
be the immediate
to
He
obviously
231; Pal
p.
12.
moment
sculpture
Udaipur
in
city of
in the
group represent
expression
clearly derived
is
left
There
in their plastic
his mother.
As with
this
Whether
the
depicted in
all
Matrika,
is
more
when accompanied by
hieratically,
children. In this
even
group of
is
If
shown
they represent a
must be
identified as Parvati
Skanda, or Kumara.
264
is
a refined simplicity
as
fluently
represent different
representation, in
much more
us such
softer.
a divine
is
the modeling
most sculptures
is
fleeting a
to a
is
55;
is
Schastok
fig. 8;
fig.
example the
265
St 39
Tantric Goddess
Si
,'
This
Tantric Goddess
450500
Rajasthan, Tanesar-Mahadeva;
is
Tanesar
who
is
may
30 in (76.2 cm)
From the Nasli and Alice Heeramaneck
Collection
Museum
some goddesses
Associates Purchase;
Literature: R. C.
197
M.82.42.
Agrawala 1961,
Heeramaneck 1979,
no. 44.
fig.
16; Pal
is
pregnant. In point of
fact,
texts describing
as potbellied (ghatodart).
Agrawala 1963b,
description
the goddess
is
is
258). But as no
determine.
hand
Gupta-
is
-p.
Among
in
one right
The
tail
it.
flies
had
the spear,
her as the
personified energy of
Kumara
(see S142).
traits,
Most
however, are
awesome
is
serenely radiant.
is
as
and cosmic
Chamunda, who,
is
an unusual manifestation of
is
one of the
earliest
is
266
I73>-
Madhya Pradesh
S140
the relief
altar,
is
a typical
for a
example of
M.84. 153.2
the
modern
states of Uttar
including
several
Pradesh of the
(Harle 1974,
seem
(cf.
is
first
figs.
in
itself
to point to a
S142).
and
tall
crosshatchings.
his
plain, circular
nimbus
is
on
pedestal.
upper
left
fully outstretched
a club
and
The conch
is
at the
elbow
wheel placed on a
held vertically in the
offsets
arms
267
ornaments,
is
S14I
Si 41
in)
his
The broad-
placed his
bow
left
at the left
bracelets, necklace,
The
right
hand
and
rests
large,
open earrings.
on top of a thick
staff, as is
Mathura. The
is
face
is
half of the
jamb
is
Gupta
period.
hairstyle
The upper
is
iotuses.
and
as the Parvati
temple
at
all
built probably
1982,
figs.
guardian figure
is
Nachna. The
the
left
row
is
on
Gupta
ornamental motifs.
268
common
stock of such
S142
Si 42
Known
also as Karttikeya, or
Skanda, Kumara
in
northern India
first
era.
tribe
Gupta emperors,
Kushan period
that he
Although
his pedigree
he generally
fire
became
closely
disputed, in mythology
is
is
Parvati.
In this cult
image Kumara
is
left
may have
is
who
figure,
which
hairstyle
stands behind
is
was fashionable
for small
influences.
charms
Kumara's divinity
is
to repel evil
emphasized by
The
nimbus was
the
characteristic of
Mathura images of
also continued
more
later.
is
and scallops,
as in this
example,
is
the
in
somewhat
Although Kumara
is
war god, he
is
depicted
handsome
is
the stylish
similar
garment occurs
269
in a
Vishnu
195).
Northern India
S143
Lion
Si 43
Lion
Copper
alloy; 3 Va in (8.3
cm)
M. 84.
1 1
stylistically
can be upheld.
It is
the
same treatment
as
on the
temple
animal
is
at
fig.
Tigawa
130). In
powerfully modeled
naturalism than
is
apparent in Gupta-period
may
Whatever
its
exact provenance,
it
remains an
it
270
in
S144
Si 44
Northern India;
late
Removed from
M. 73.87.
cm)
certainty. It
p.
original
seventh century
Beach 1985,
its
Chandra 1985,
no.
p.
to a
much
larger
The cowherder-god
is
may have
shown
animals. The
often
relief
in delineating
in
Chandra
empathy. Indian
artists
this delightfully
The
in
which her
tail is
its
curled
tail
indicating
close observation
its
powers of
subject.
271
dated
it
is
suggested
sixth-seventh century.
it
to the
Beach
(see
Chronology
B.C.
25001500 Indus
c.
are
active centers.
Afghanistan and
20001000 Aryans
Lanka,
erects
c.
Sri
1500500 Vedic
his laws.
and philosophical
256255
Aryan-dominated
society.
Second century
eastern coast.
483.
c.
historical founder of
c.
Jainism, dies.
and Afghanistan.
Grear conquers parts of
First
northwestern India.
c.
400 Grammarian
first scientific
grammar
subcontinent.
of
5758 Vikrama
Sanskrit.
Azes
I.
reaches Indus.
Stupa
at
Sanchi are
constructed.
Panjab.
302 Chandragupta
Megasthenes
as
composes Buddhacharita
(Life of
Greek ambassador.
the Buddha). Greek and
Roman
traders learn to
navigate
2 73
.,
c.
52550 Cosmas
Indicopleustes, an
Alexandrine Greek,
visits
India
50 Apostle Thomas
India
78 Saka
c.
visits
and dies
in
c.
c.
(?).
in
in
Tamil
Haryana)
(in
begins-expanding in
Pradesh.
Nagarjuna
c.
is
active.
60647 Harshavardhan
Lanka,
of Thaneswar reigns,
ends
Sri
Banabhatta
600.
c.
composes Harshacharita
c.
dynasties reign
(Life of
Harsha).
is
founded by
Durlabhavardhan
c.
visited
Kashmir.
Hsiian-tsang
(Xuanzang)
empire
in
defeats
11
visits India,
and described
spends
dominions of Harshavardhan.
(Faxian).
c.
are
active.
c.
is
image
colossal
excavated and
Bhopal.
400425 Gunavarman
goes to
475500 Buddhist
invade subcontinent.
reigns in the
Badami
in
Bijapur
disttict (Maharashtra).
500600 Hindu
Bombay,
is
excavated.
is
active.
c.
reigns,
274
naval raid at
mouth
660.
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A. 1961. Terra-cot ta
Indian Coins.
Art.
Delhi: Indological
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1985. The
Studies. Calcutta:
Indian
Museum.
House.
Sivaramamurti, C. 1956.
Leiden: Brill.
Paul,
G. 1981. "Some
P.
Amaravati Sculptures
Schroeder, U. von. 198
Swat-Indus Region:
Known
Little-
Visual
Dharma
Indo-
1.
Hong Kong:
Tibetan Bronzes.
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Publications
1970. Sanskrit
Ltd.
Literature
in the
Shah,
P.
96 1.
Visnudharmottara-Purana:
Indian Culture.
New
Lakshmi Book
Store.
Delhi:
Third Khanda, 2
Paulson, J. 1977 From River
Banks and Sacred Places: Ancient
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1978. Chitrasutra of
Oriental Institute.
the Vishnudharmottara.
Shah, U.
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pts. Baroda:
P.
Delhi:
1955. Studies in
Kanak
New
Publications.
1979- Sources of
Cultural Research Society.
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Piggott,
India.
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1972. "Western
Harmondsworth:
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Publications.
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Called
Pope J
,
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New York:
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Gupta
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Coins:
4448. Leiden:
M. K. 1972.
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280
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1978-79. "God
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ed.
39-54-
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Museum
of
The Arts of
1968.
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India and Nepal
Bulletin of Museums
and
Rotunda: The
5-6: 5-6.
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Lucknow: State
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no.
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2-14.
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Leipzig: E. A. Seemann.
M. 1970.
India.
Manager of Publications,
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and Symbols
Andhra Pradesh.
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Tapa
in the
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203-13.
by G.
J. B. Lawson.
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University Press.
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32:
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Chdrsada.
University, Northridge.
1-16.
1979- "Early
M. 1962.
Index
abhayamudra 45
sculpture
94
consecration ceremony
Bali,
182, 183
of,
241
Baramula, 229
94
agama, 24
Agathocles, 83, 85
asokadohada
asuras,
of,
17, 121
Barbaras,
234
Belwa, 260
178
bhadrasana, 122
38
Asvaghosha, 36, 153
bhagavati,
Asvins, 75
Bhairava, 244
Atar,
Bhaja, 98
Ajanta, 41,
Atharvaveda, 122
ajlva,
249
26
94
Athena.
223-24
Ajlvika,
bhagavata, 25
bhakti, 18
See Pallas
Athena
Athena Parthenos, 84
Attic coin standard, 68
Akhnur, 229
Alexander the Great, 15, 18,
68, 71
Audambaras, 77, 85
Avalokitesvara, 2627, 4 l
167, 222, 224
avatar, 26,
26
3536
bhava,
,
Bhir,
129
Bhita, 192
Ambika, 28
252; sculptures
Bhnngi, 257
of, 1
ananta,
14
Avesta,
44
anda, 162
Andhra
58, 59,
16
of,
74
animism, 29
Bhitari, 21
198
Bodhgaya, 205, 216, 261-62
174
avidya, 42
tribe,
antariksha,
of,
Azes
I,
Azes
11:
86
88
87
40
bodhi
tree,
Antialcidas, 85
Antiochus
(11)
Theos, 15
40
apara,
inscriptions
Aphsad, 269
on coins from,
Apollodotus: coin
apsaras, 142,
of,
84, 85
144
Arachosia, 86
196, 238
Greek period
Bajaur, 161
Arjuna, 245
artists'
period
bowl: example
157
Brahma, 27, 32, 40, 43, 46,
of,
224
Brahml: inscriptions on coins,
98, 100, 101-4, 113-14,
bakula, 178
116; inscriptions on
Bala, 184
68-
69, 72
manuals, 213
Aryans, 1819, 25
283
17-18, 22,
brick: temples,
courtesans, 34
Buddha: sculpture
also Maitreya,
pillar,
bronze: coin, 82
202. See
of,
Sakyamuni
cow: sculpture
207; sculptures
27/
of,
example
crossbar:
of,
128-29,
of,
179
Buddhamitra, 21
Buddhist: honoring of
relics,
dance, 35-36, 45
Eros,
Dasapura, 21
78
DattadevI, 109
Deogarh, 257
Devi, 266
fire
Mahayana
Buddhism
buffalo demon, 27, 43;
of,
dharana, 67
Fyzabad, 192
dharmachakra 42
234
dharmachakrapravartanamudra
Dharmarajika, 222
dhyana, 45
dhyanamudra 205
125
Digambaras, 28
dinar, 67;
of,
138, 228
capitalism, 18
gaaa, 253
Gajalakshml: sculptures
248
of,
126
dharma, 46
26; in
Dhanabhuti, 148
in
70
cult,
fish: as avatar,
bull: as
46
Emeshi-tepe, 158
Buddhacharita, 153
examples
of,
48, 49,
95-
also harhsa,
paramahamsa
Celtic art, 38
of,
31;
of,
224
15, 214,
chaitya-vriksha,
259
41-42
chakra,
Diodotus
of,
170
of,
gandharva, 251
140
Ganesa, 3
dohada, 178
22J
chakravartin, 42, 182
Chamba, 231
Chamunda, 266
doorjamb: example
Chandragupta
I:
Chandragupta
coins of,
1
patronage
also
II,
112 13;
10-1
of,
82,
145-46
drum
slab:
of,
25 1
237;
of,
29,
on coins, 73,
of,
20
Balasri,
207,
of,
208
5;
233-
chhatra, 162
Garuda: significance
GautamI
1024
in sculptures,
46; symbol
Drona, 169
Chandragupta Maurya, 15
Chandraketugarh, 124;
Gardez, 230
Dravidian: inscriptions on
coins, 72,
268
of,
170-71, 211-12,
Diomedes, 78, 94
Dir,
Chakrapurusha: sculpture
15, 68
1,
of,
paramahamsa
GhatodarT (the goddess), 266
gold: coins, 16, 68-69, 73,
China: art
of,
218; cave
temples
of,
217; visitors
Chitrasiitra,
34-35, 37-38
columns: examples
of,
250-51
Durjanpur, 269
Dvapara, 18
also abhisheka
'75-76, 210
earrings:
examples
157
Earth, 198
Ekajata,
166
of,
58,
159
period
266
Gummadidurru:
sculptures
254, 270
20910; stupa, 16
cosmetic
trays:
examples
of,
155, 156
284
.
Gupta
period,
aesthetics,
16-17,211-14;
196, 198, 212-
248
Indrasala,
81,
inscriptions, dedicatory,
investiture ceremony,
21
},
266
bamsa,
See also
Harappa
1921
7778,
92
See also
Madra,
Krlta, 18
Knttikas, 188
Magadha, 22
Mahdbhdrata 24, 30, 42, 46,
44
23
245
ha
Isvarakrishna,
44
Mahesa, 92
Mahesvara, 27, 257. See
of,
Karttikeya, Skanda
Heliocles, 15
28-29
24,
Gandharan
Hatra, 2 15
Helios, 76, 92
Mahalakshml, 44, 79
Mahakall, 44
mahdpurushalakshana, 34
Mahasarasvatl, 44
ivory carvers, 19
religion,
of,
Vaisravana
Upanishad, 33
kriya-s'akti
of,
92
Vasudeva, Vishnu
223
25
concepts
Sutra), 41
harmika, 162
Haroa, 144
kirttimukha
Siva
Mahishasuramardinl, 195
of,
218, 226
Kumarajlva, 214
Jambu
kundika, 226
Jara,
Kunindas, 77
Malavas, 77
mandala,
art,
205
tree,
30
18 19.
building,
See also
Greek
of,
22,
Tlrthankara
26
Justin, 15, 82
Hermes, 19
Hindu: deities, 2526, 31;
Kacha: coin
of,
106, 107
also
Mahishasura, 195
Jaisingapore, 192
Hellenistic:
179
of,
16
kshatriyas,
19; horse
of,
Kidaras,
46; sculpture
domination
paramabamsa
Harappa, 17,
lotus: as
21
249
Lohanipur, 22
82-89, 223
68-69, 73~75>
j;
78-80, /05, 106, 707-/5,
coins,
Kharavela, 22
of,
4041, 127
Mandasor, 21
Marhia, 268
Kushan
Kali, 18
Kusinagara, 169
100,
Kalinga, 22
Hiranyaksha, 198
Kalpasutra,
Kama,
17; rulers,
Kamadeva
Kama
Lakshmana, 232
Lakullsa, 241
Kamadeva, 137.
kamandalu, 92
lalitasana, 80,
Kanheri, 249
Kanishka
LichchhavT, 106
109,
12
I:
See also
Huvishka: coins
of,
of,
48, 49,
monastery
Kanishka
ill:
of,
coin of,
44
lilakamala
257
212-13
Matrika. See Mother Goddess
253
20
98
259
sacrifice,
70
lion:
126-33
Kapisa, 75, 85
karma, 26
Megasthenes, 17
karshapana, 67
no
Katra, 234
Kausambl:
KaumarT,
Uma,
city
goddess
of,
Menander: coin
mithuna, 137
Mitra, 31
285
of,
84
Meru, 41
69, 85
of,
mlechchhas, i8
pana, 67
Rahu, 246
Mohenjo-Daro, 127
railing pillar:
moksha, 26
mongoose:
of,
161
symbol, 30
as
of,
Muchalinda:
in sculpture,
204,
Panchala, 19
Rajagriha, 208
rajas,
Kubera, Vaisravana
of,
Pandya, 109
18-19
Panini,
40
See also
gander, hamsa
Parnasabarl,
Nacharkherha, 232
nagapushpa, 127
266
258
208
255
Rigveda,
40
Rohtak, 78
Rome:
empire
68
18,
of,
royal glory,
namaskdramudra 224
94
Rudradaman, 104
Nandi, 29
pendant: example
Naqsh-i-Rustam, 174
Peroz
Nara, 245
coin
of,
11,
II,
of,
158
99, 100
of,
Vishnu
84
Sakyamuni
phyllite:
pitha,
plate:
268
45
example
226, 227
188
of
relics, /
2/6; head
Nasik, 20
222
79
43
Buddha), 24,
Pleiades,
nidhi,
(the
24
/72
Neminatha, 259
Western Kshatrapas
Philoxenus, 92
Pipariya,
Sakambharl, 141
pindika, 45
114
SahriBahlol, 168
Saka: era, 1516; rulers, 15,
Pharro, 71, 94
Phidias,
1:
115
Narasimhagupta Baladitya
donors
253
Narasimhagupta Baladitya
228;
Pathankote, 85
254,
Riddhi, 30
of,
35-37
151
Nagaraja, 182
Nalagiri,
rasa,
Ramarajya, 74
Nachna, 268
^46
.sculpture of,
Paramartha, 44
38,77
43
54,
Rajatarangini, 117
Pandrethan, 228
para,
205
Mughals, 16
of,
55, 178
142
mold: example
example
69; emaciated,
of,
184-85, 217
Jambu
Poseidon, 89
miracle of the
numerology, 44
of,
128
Prajapati,
Muchalinda 23,
sheltered by
40
Oado, 92
Ocean, 233
prajha, 28
Prajnaparamita, 28
s'alabhanjika,
150
samapada, 45
Samkarshana.
See
Sarhkhya, 27,
4345
204
Pallas,
PrakritI, 27,
42-45
pralambapaddsana
33
83
Pulindas, 234
punch-marked
example
of,
of,
81
(texts), 24,
Sandrocortus. See
46
286
Sdmkhyakarikd 44
Samudragupta, 16, 7374;
coin
purana (coin), 67
puranas
Balarama
122, 136
Priapus, 165
84
tree,
Chandragupta Maurya
233,238-40, 242-43,
248-33, 254, 235-56,
258-59, ^67-69, 277, 272;
234,
Tigawa, 270
also lihga
example
223
six-armed symbol, 81
tiles:
Skandagupta,
Kumara
269
158
examples
toys:
SarasvatJ, 28,
Southeast Asia, 18
trailokydnukriti, 35
248-31, 233
Spalarises,
258-59
99100;
motifs, 31,
74-75
Sringaverapur, 190
stater,
sculpture, 154
sattva,
67
155
43-44
bodhisattva
21622
Gupta,
122
Bharhut, Sanchi
See also
Subrahmanya.
sudras,
See
Kumara
Suhga period,
148
15, 123,
Surkh Kotal, 72
15-16, 75.
territory,
See also
254
216
4344
Tamil-Brahml
letters,
702
Shadrafa, 164
Shahabad, 262
Tapa
Tara,
Shapur
tattvas,
174
I,
silver: coins,
/02-5,
!53- 215
simhakundala
Sinivali,
266
227
Sardar,
26-27
167
142
44
Vonones, 86
ushnishi,
236
Vrishabhanatha. See
Rishabhanatha
utthanapdd, 141
vdhana, 45
ijiiha,
241
Wei court, 97
West Asia, 18, 34, 127
23
Vajra (in
Western Kshatrapas,
104,
43
208
Scythian
209
262; sculptures
varada, 241
varadamudrd, 45
Varaha: as avatar, 26; sculpture
798
Kushan
794, 797,
Maurya
of,
III,
100
200207, 203;
sculptures, 125,
736
Vasudeva
vedi,
287
I,
II,
coin
Vasudhara, 137
Vayu, 92
39
45
776
28
269
yoga, 33, 192
yogi, 33,
yoginl,
of,
43-45
237
yupa, 107
97, 98
yatt,
of,
703
sculptures, 767,
Mahesvaramurti
40
704
Vasudeva
97-98,
192, 195
705
210
of,
Varahl, 137
Varahram
building material,
Indo-Greek sculptures,
779
45
Vamana, 241
as
yantra, 127
232
of,
wood:
Yasavarmana, coin
16, 73,
Vasishtha,
Uma-
263
Vashishka, 98
29, 131,
Mahesvara, Pasupati,
Vishnudharmottarapurdna, 18,
See also
Narayana, Vasudeva
ushnlsha,
of,
Siva, 24,
Varahamihira, 23
vajrdsana,
tamas,
40-
44
See Parvati
Uma-Mahesvaramurti, 257
vajra (thunderbolt),
702-4
Vishnudharmottarapurdna),
Svetambaras, 28
Swat
vaisyas,
227
Kubera, Pahchika
23
Scythian: animal
88, 89
162.
of,
of,
145
Ushkur, 229
district,
254, 263
17-19, 22-23
24 Parganas
Uma.
Srinagar,
94; coin
Karttikeya, Skanda
Ujjaini symbol,
223
Satakarni, 19
91
86
Treta, 18
era, 15,
vinayahasta,
symbol, 29, 42
tree: as
28
srdvaka,
154
150
tree dryad,
Sraosa, 164
Sarvatobhadra, 63,
Sasanian: coins,
739-40, 746
86
Vikrama
228
Vijbror,
125, 126,
of,
Saptamatrika, 188
Vidisa, 19
Soma, 143
Sonkh, 180
106, 107-17
)im
torana, 148
sculpture,
Sogdiana, 100
of,
See
84, 83-86, 92
82
F.
Board of Trustees,
Schabarum
Julian Ganz,
Museum
of Art
Fiscal Year
198687
Mrs.
Jr.
Howard Ahmanson
William H. Ahmanson
Chairman
Chairman
Michael D. Antonovich
Daniel N. Belin
Howard
Allen
P.
Robert O. Anderson
President
Deane Dana
Roy A. Anderson
Mrs.
Kenneth Hahn
Edmund
D. Edelman
James C. Hankla
Daniel Frost
F.
R. Stanton Avery
Chairman of the
Norman
Executive Committee
Ducommun
Charles E.
Dr.
Chief Administrative
Jr.
Donald
and Director
Barker,
L.
Bren
Vice President
Officer
Robert
F.
Maguire
III
Hans Cohn
Vice President
Eric
Edward W. Carter
David Geffen
Lidow
Arthur Gilbert
Treasurer
Stanley Grinstein
Armand Hammer
Dr.
Secretary
Felix
Juda
Mrs.
Howard
Donald Spuehler
Mrs. Dwight
Keck
B.
M. Kendall
Counsel
Steve Martin
Director
Dr. Franklin D.
Murphy
Sidney R. Petersen
Henry C. Rogers
Richard E. Sherwood
Dr. Richard A.
Nathan Smooke
Joseph B. Koepfli
Ray Stark
Ellis
Simon
John Walker
Mrs.
Herman Weiner
Simms
Kamp
Hal B. Wallis
Weisman
Weisman
Frederick R.
Walter
L.
David
L.
Wolper
James R. Young
Julius L. Zelman
288
Jr.
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Pratapaditya Pal
The breathtaking
Indian subcontinent
Angeles County
is
Museum
2, to
it
covers an
1,
enormous
small
human and
animal figures from the pre-Christian era served both secular and religious purposes.
The
periods.
Monumental
styles are
first
created
stone for their religious sculptures, followed a century or so later by the Hindus.
Most
fertility
for
as a result
Kushans,
One example
is
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latter,
Pratapaditya Pal
Angeles County
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Museum
is
of Art.
Known
on
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Art of Tibet
A Catalogue
The
J scholarship
Museum
lent, the
explanatory
make
it
of Art Collection
a model for
is
quite detailed,
and the
relationships elseuhert.
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