Seated Buddha-Katra Mound, Mathura Style (Kushan Period)

4.
Seated Buddha- Katra Mound, Mathura Style (Kushan Period)
Seated Buddha - Katra Mound, Mathura Style
Name : Seated Buddha - Katra Mound, Mathura Style

Place : Mathura, U.P.
Medium : Red Spotted Sandstone
Artist : Unknown
Circa : 3rd Century A.D.
Collection : Govt. Museum, Mathura, U.P.
DESCRIPTION
Mathura, an ancient city and second capital city of Kushans, was famous
for making seulptures in locally prevalent Mathura Style of Art. A large number
of images have been found here which belong to Kushan period.
The sculpture of the Buddha from the Katra Mound belongs to 3rd century
AD. It represents the Buddha with two Bodhisattva attendants. The Buddha was
shown seated in Padmasana (cross-folded-legs) and the right hand is in the
Abhaya Mudra, raised a little above the shoulder whereas the left hand is placed
on the left thigh. The hair knot is shown with a vertically raised projection that
is called Ushnisha. The shoulders are broad, one covered with Sanghati
(garment), but the hand has been left visible. The Buddha is seated on a lion
throne.
The attendant figures are identified as Padmapani and Vairapani
Bodhisattvas and one holds a Lotus and the other one Vajra (thunderbolt). They
wear crowns. The halo around the head of Buddha is very large and decorated
with simple geometric motifs. Two flying figures are also placed diagonally above
the halo. The curvature of the body has been shown directly.
The face of Buddha is round with fleshy cheeks. The bulge of belly is
sculpted with controlled musculature. This image is representative of the
development of Buddha Sculptures in local style near Mathura during Kushan
period.
6. Jain Tirthankara - Gupta Period, Sarnath Style
Jain Tirthankara - Gupta Period, Sarnath Style
Name : Jain Tirthankara - Gupta Period, Sarnath Style

Medium : Stone
Artist : Unknown
Circa : 5th Century A.D.
Collection : State Museum, Lucknow, U.P.
DESCRIPTION
In this statue, Jain Tirthankara Vardhaman Mahavira has been engraved
in sitting position of Padmasana Mudra and both hands are kept upon each
other. For this purpose the artist used red sandstone and carving out this statue
in Mathura style of Art during Gupta period. Heaviness of the figure is the basic
characteristic of Mathura style of art. Hair locks are rounded but other features
like nose, eyes, eyebrows and ears are normally designed with acute curvature
of lines. Tirthankara Mahavira Swami is looking very calm concentrating his
mind in Dhyana Mudra (half closed eyes) to attain enlightment. Some geometric
shapes have also been engraved on the hallo of the statues. The torso of the
images has been shown with enough clarity.
1. What The Art of Ajanta Caves

7
Introduction
Related to Buddhism, Ajanta is the most famous UNESCO world heritage
site and protected by Archaeological Survey of India. It is an ancient rock-cut
caves site which is located in Aurangabad district of Maharashtra state, 60 kms
away from Jalgaon Railway Station. There is a U-shaped cliff of a gorge of small
river Waghora (Waghur) where 30 caves have been discovered. Lord Buddha,
Bodhisattvas and Jatak tales (based on Buddha's life) have been engraved and
painted on the walls, pillars and ceiling of the cave These caves had been
constructed during 2nd century B.C. to 5th century A.D. which are categorised
as:
1. Chaityagrah (Chaityas): Cave Nos. 9, 10, 19, 26 and 29.
2. Viharas: Rest of the caves are the Viharas.
This Buddhist site has been discovered in 1819 A.D. by a hunting group
of British officers. These caves are not in a sequence because they could not be
discovered at the same time.
Main features of the caves are as follows:
i. Cave Nos. 8, 9, 10, 12, 13 and 15A belong to earliest Hinayana phase of
Buddhism which have been constructed during 2nd century B.C. to 2nd
century A.D. in which cave Nos. 9 and 10 are Chaityas (Stup halls) while
Cave Nos. 8, 12, 13 and 15A are Viharas.
ii. The rest of the caves, related to Mahayana second phase of Buddhism, are
Vihara and Chaitya caves. They consist of a pillared verandah, a pillared
hall and cells along the walls. The back wall of the hall has the main Buddha
shrine. Shrine images of Ajanta are grand in size.
iii. Cave Nos. 6, 11 and 15 are very specific because they had been constructed
from 2nd century B.C. to early 6th century A.D. and decorated with both
paintings and sculptures.
Chaitya, Ajanta Cave no. 19
iv. Cave Nos. 1 to 8, 11 and 14 to 29 are concerned with Vakataka Period,

constructed from mid of 5th century to early 6th century. Cave No. 9, 10,
12, 13 and 15A belong to Satvahana Period.
v. Cave No. 26 is very big and carved with a variety of Buddha images. The
biggest and more remarkable one is the Mahaparinirvana image.
vi. Some of the Vihara caves are unfinished such as Cave Nos. 5, 14, 23, 24,
28 and 29.
vii. Ajanta is the only example which has the existence of paintings of the 2nd
century B.C. to 6th century A.D. Many famous paintings, related to the
Buddha's life and scene from the Jataka tales, have their existence in Cave
Nos. 1, 2, 9, 10, 16 and 17.
Main features of the paintings are as follows:
i. These paintings have a lot of typological variation such as outward
projections, rhythm city in clearly defined lines.
ii. Body color gets merged with the outline which creates the effect of volume.
Colours are limited, no over stylisation.
iii. The figures are broad with heavy proportion, events are grouped together
according to space and location.
iv. Buddha figures in Cave Nos. 9 and 10 are different from figures painted
during the second phase of 5th and 6th centuries A.D.
v. The next stage of development is observed mainly in the paintings of Cave
Nos. 1, 2, 16, and 17.
vi. The paintings of Cave Nos. 1 and 2 are very orderly and naturalistic, well-
integrated with the sculptures in the caves.
vii. It may also be observed that various skin colors are used in the paintings
such as brown, yellowish brown, greenish, yellow ochre, etc. which
represent a multi - colored population.
viii. The theme of the paintings are the events based on the life of Buddha, the
Jatakas and the Avadanas.
ix. Simhala Avadana, Mahajanaka Jataka and Vidhurpundita Jataka are the
paintings that cover the entire wall of the cave and Chaddanta Jataka has
been painted with acute details and events.
x. The famous paintings of Ajanta caves Padmapani and Vajrapani have been
painted in Cave No. 1. However, it is observed that the images of Padmapani
and Vajrapani are very common in Ajanta but these are the best preserved
paintings.
Among the important patrons of Ajanta were Varahadeva (Prime Minister
of the Vakataka king, Harishena), Upendra Gupta, Buddhabhadra and
Mathuradasa.
Study of the Paintings and Sculptures of Ajanta
1. Padmapani Bodhisattva, Cave No. 1
Padmapani Bodhisattva, Cave No. 1
Name : Padmapani Bodhisattva, Cave No. 1

Place : Ajanta, Maharashtra, India
Medium : Mural painting, Water colors
Artist : Unknown
Circa : 5th Century A.D.
Collection : Archaeological Survey of India
DESCRIPTION
This painting has been painted on the back wall of the interior hall before
the shrine antechamber in Cave No. 1. The Bodhisattva has been shown holding
a Padma (Lotus) in his right hand. That is why this painting is known as
‘Padmapani Bodhisattva’. His wife and other citizens are looking him in
disappointed manner but bodhisattva is passing through his way without any
disturbance. Monkey and few celestial are also depicted perhaps these are the
part of mara's army which are trying to dissuade Siddhartha from the path of
Buddhism. Main features of this painting are as follows:
i. He has large shoulders which create heaviness but three bents in the body
creating a movement in the picture space.
ii. Outlines are merged with the body volume which creates the softness and
three dimensional effect.
iii. The Bodhisattva is wearing a big adorned crown, his head is slightly bent to
the left.
iv. The eyes are half-closed and are slightly elongated.
v. The nose is sharp and straight, the body color is natural.
vi. The white beaded necklace attracts the attention of people.
vii. The lines are rhythmic, delicate and defining the contours of the body. (viii)
At the places of armlets, ribbons have been tied with special manner.
viii. The thread over the torso is shown with fine spiral lines indicating its
dimensions.
ix. Each and every part of the body is given equal attention.
x. Light red, brown, green and blue colors are basically used in this painting
xi. The eyebrows, nose, lips and chin contribute to the overall effect of solidity
in the figure.

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4.

Seated Buddha- Katra Mound, Mathura Style (Kushan Period)

Seated Buddha - Katra Mound, Mathura Style

Name : Seated Buddha - Katra Mound, Mathura Style

Jain Tirthankara - Gupta Period, Sarnath Style

Name : Jain Tirthankara - Gupta Period, Sarnath Style

1. What The Art of Ajanta Caves

Chaitya, Ajanta Cave no. 19

iv. Cave Nos. 1 to 8, 11 and 14 to 29 are concerned with Vakataka Period,

1. Padmapani Bodhisattva, Cave No. 1

Padmapani Bodhisattva, Cave No. 1

Name : Padmapani Bodhisattva, Cave No. 1

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