Arts & Culture of Gupta Period

Gupta Period

The period from 320 AD to 550 AD is regarded as the Gupta Age in the history of ancient India. This period is regarded as the ‘Golden Age’ in the history of ancient India as the country witnessed all-round progress during the reign of the Gupta dynasty. The best works in the fields of arts, literature and philosophy were produced during this period. Sri Gupta is regarded as the founder of the Gupta dynasty. However, the foundation of the Gupta empire at Pataliputra was laid by Chandragupta I in 320 AD.

Chandragupta I was succeeded by his son Samudragupta who expanded the empire from the foothills of the Himalayas in the north to the Vindhya Mountain range in the south. The Prashasti (stone inscription) at Allahabad Pillar gives details of the achievements of Samudragupta. The Indian arts, literature and learning reached their peak during the reign of Chandragupta II.

Samudragupta started the Gupta coinage and minted many gold coins. However, the gold, silver and copper coins minted during the reign of Chandragupta II are famous for their artistic brilliance. Skanda Gupta was the last great Gupta Kings. The later Gupta Kings were weak and surrendered to the invasion of Hunas. The Vakataka dynasty came to prominence in the mid 3^rd century AD in central India and Deccan. They had friendly relations with the Gupta rulers. Around the same time the Pallava and the Chalukya dynasties emerged in south India.

These dynasties in the north, central and south India were the patrons of arts and learning. There was political stability and prosperity in India. The circumstances were conducive to the great progress in various arts.

Religious Conditions:

The rulers of the Gupta dynasty were the followers of Hindu-Vedic religion. However, their religious policy was liberal. The Mahayana and Hinayana sects of Buddhism flourished during this period. There were no communal tensions and the followers of different religions and sects lived in perfect harmony.

The followers of the different religious and see resorted to different forms of art for the spread of their respective religions. As a result, great literature and philosophical works like dance and music, painting and sculpture were created. The fame of the Indian arts had reached other parts of the world. The Chinese travelers Hsuan-Tsang and Fa-Hsien had visited India. Their travelogues give very authentic account of the progress of arts during the Gupta Age.

The Gupta rulers were great patrons of learning. They extended patronage to the Buddhist universities at Matura, Pataliputra and Nalanda. A large number of Buddhist stupa, Hindu and Jain temples were constructed during the Gupta Age.

Patronage to Arts and Literature:

The rulers during the Gupta empire extended patronage to the artists and encouraged them to create monumental works. Chandragupta II was a great patron of learning and literature. Great poet Kalidas was in his court who composed the great literary works Abhijnana Shakuntala and Meghdoot. His contemporary dramatist Sudraka wrote the great play Mrichhakatika.

The two great epics Ramayana and Mahabharata were completed during this period. The Gupta period was instrumental in the revival of Sanskrit language. Many great literary works in Sanskrit were written during this period.

Progress of Arts During the Gupta Period:

The economic prosperity during the Gupta period led to tremendous progress in the field of arts. Hence it is known as the ‘Classical or Golden Age’. The highest development in the art of sculpture took place during this period. Fully developed Images of Buddha were carved at Sarnath and many other places.

Political unity of India was achieved in the Gupta period. This paved the way for the unity in art forms, exceeding the regional boundaries. The arts of sculpture and architecture differed only in regard to the type of material locally available. High quality images of Siva, Vishnu and other Hindu deities sculpted in the different regions were very similar. The art of cave-painting and cave-sculpture flourished during this period. The art of temple-architecture emerged during this period. A large number of temples were constructed in different parts of the country. These received royal patronage and encouragement from the rich gentry.

Formulation of Rules regarding Arts:

With a view to standardizing the arts of painting, sculpture and architecture, the veteran scholars laid down the rules and norms in their treatise. The art of Iconology was perfected during this period. The norms regarding the images of deities were laid down. For example, the images of Lord Vishnu had similar physical properties and proportion in the images sculpted in the different regions.

A differentiation in sculpting or carving the images of deities and human being is visible, by putting the deities on a higher pedestal. Norms were prescribed regarding the interior and exterior architecture of temples. Three distinct styles of temple architecture, i.e. Vesar, Dravidian and Nagar emerged during this period. Each of these three types had its distinct architectural characteristics.

The cave architecture made further progress during the Gupta period. A large number of Stupas, Chaityas and Vihars were constructed. They were more refined than those of the earlier Maurya period.

Art of Painting during Gupta Period:

The monumental cave paintings at Ellora and Ajanta in Deccan were the creations of the Gupta and the post-Gupta period.

Ajanta Cave Paintings:

Ajanta village, in whose surrounding mountainous terrain the monumental Gupta period paintings were discovered, is situated near Aurangabad in Maharashtra, India. It is estimated that these paintings were created over a span of 1000 years, from the 2^nd century BC to the 8^th century AD.

This treasure was discovered by V.A. Smith, an officer in the British army, in 1817. There are 30 caves in the area around Ajanta. Many of these paintings have succumbed to wear and tear as well as neglect over a period of about 2000 years. However, we can see unique and extraordinary artistic skill in those paintings that have survived. The cave paintings in Ajanta can be broadly divided into Decorative Pieces and Illustrative Pieces.

These caves have been decorated in artistic manner. The roof, the pillars and the entrance have been decorated with a variety of images of flowers, leaves, animals and birds. Maximum number of images are those of the favorite Buddhist themes-lotus and elephant. The scenes in the Hindu and the Buddhist mythology have been depicted in these cave paintings in multiple colors and multiple styles. Technique of artless and rapid sketching and coloring were mastered by these artists. They had used natural colors-white, black, yellow, green, red and blue. It is assumed that they had acquired blue color by import from other countries.

Here are some monumental cave paintings of Ajanta are as follows:

1. Padmapani Bodhisattva is located in cave no.1
2. Vajrapani Bodhisattva located in cave no.1
3. Skybound Indra and Gandharva located in cave no.17
4. Skybound Apsara located in cave no.17
5. Six-tusked elephant, Jataka Tale located in cave no.17
6. Mahakavi Jataka Tale located in cave no.17
7. Vishwantar Jataka Tale located in cave no.17
8. Buddha facing Yashodhara and Rahul located in cave no.17

The subject matter of the surviving paintings is the various events in the life and incarnation of Buddha, as told in the Jataka tales. The stories are richly depicted in the settings of the artists world. The whole mood is one of life and activity, and a calligraphic live gives a flowering action to the contours of the figure, whose hand position is most expressive.

A brief description of some of these pictures is as under:

(I) Padmapani Bodhisattva:

Padma means ‘lotus’ and Pani means ‘the hands holding the lotus’. In this picture, Bodhisattva stands lazily in the tri-bhanga pose of sculpture, holding a blue lotus. The Buddha-to-be wears a few rich pieces of jewellery, such as an elaborate pointed crown, and a sacred thread (indicating his high caste) which is carefully composed of many strands of small pearl. His expression of remote calm is enhanced by the figures which crowd in from all directions and establish him as a Padmapani Bodhisattva Island of spiritual disengagement, unmoved and inattentive to the forces and sounds of Maya which engulf him. The absence of shadows suggests an unworldly light appropriate not only to the subject but also to its location, deep within the rock.

This light is the result of the technique used by the artist. The artist had used black, white, yellow, brown and red colors. A last burnishing with smooth stone gives a rich shiny surface. The figures surrounding Bodhisattva are proportionate and merge with the theme. This divine painting is a combination of physical and spiritual beauty.

Also Read:

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(ii) Yashodhara and Rahul facing Buddha:

This painting in Cave No. 17 is in sound condition. It is believed to be a painting belonging to the period 5^th century AD. King Harisena had got this picture prepared by a vassal-king.

This picture depicts Bodhisattva returns to his city after attaining enlightenment. His wife Yashodhara (prior to his renunciation of worldly life) and son Rahul come to pay respect to him. Rahul seeks blessings of his father. The paintings are an excellent display of human relations and emotions.

(iii) Technique of Cave Paintings at Ajanta:

The surface of the stone was first prepared by coating of potter’s clay, mixed variously with cow dung, straw and animal hair. Once this was levelled to a thickness of ½ “inch to 2” inches, it was coated with smooth, fine white lime plaster which became the actual painting surface. On the still-damp wall, the artist first laid out his composition with a red cinnabar line and then defined the subject with an undercoat of grey. This was followed by addition of local colors and once the whole wall was completely colored, a brown or black line restarted the drawing to finish the composition.

A last burnishing with smooth stone gave a rich lustrous surface. The colors used were natural and water-soluble. These were black, white, brown, yellow, red, green, blue and purple. This technique is comparable to the contemporary ‘Fresco’ technique.

Distinct Features of the Ajanta Cave-paintings:

The distinct features of the Ajanta cave paintings are stated below:

1. Excellent work of art with rhythmic line.
2. Flat surface painting with limited colors.
3. Conversion of natural objects in ornate patterns.
4. Most effective depiction of emotions such as serenity, joy, sorrow, compassion, etc.
5. Excess of ornate patterns make the painting monotonous.
6. Paintings all around give the caves the appearance of ‘studio’.
7. Application of multiple color patterns of Fresco and Tempera style.
8. Intense awareness of techniques of painting and minute observations.
9. Depiction of mythological stories in the form of painting.
10. Convergence of spiritual and physical beauty.

Some famous sculptures of the Gupta Period:

(I) Varaha-Avatara:

1. In the Cave No. 16 at Ellora, one Varaha-Avatara sculpture is carved.
2. This sculpture features incarnation of Vishnu as the cosmic Boar, Varaha, which is his 3^rd
3. The Varaha sculpture is manifestation of Vishnu as a cosmic savior.
4. According to Brahminical mythology, the earth symbolized by a beautiful goddess, was rescued by Vishnu from serpent-king and she is lifted from the earth by Vishnu in Varaha-Avatara.
5. On two sides of the sculpture are two pillars with decorative motifs.
6. Of the four hands of Varaha idol, one is broken, there is a chakra in the rear hand and the hand in the front has lifted the earth.
7. Lord Vishnu crushed the serpent-king with left leg and the erect right leg shows his strength to lift the earth. This posture is the high point of the Varaha-Avatar sculpture.
8. The sculpture is carved in the living rock. The base is 2 feet and above that the height of sculpture is 10 feet and the width is 9 feet.
9. Along with the image of Vishnu in Varaha-Avatara, small images of other gods/goddesses have been carved.
10. This sculpture displays aesthetic sense of Indian style, knowledge of Hindu traditions and artistic skills of the sculptor.

(ii) Ganga, Yamuna and Saraswati:

From the ancient times, mother symbolized love, care and affection. In a similar mann rivers were regarded as mother goddesses. In the Kailasnath temple at Ellora, the sculpture of the mother-goddesses Ganga, Yamuna and Saraswati as women have been carved. The body language of these three is rhythmic.

The sculpture of Ganga is in the sambhang-equi-body bend-posture. The expressions on her face are pleasant and the movements of hand appear to be rhythmic. She has adorned fine texture saree, a jewelled crown on the head and her body is laden with jewellery. In the background are the images of her worshippers, a decorative arch with the motifs of flowers and leaves. At the bottom the image of her vehicle-Makara.

The sculpture of sacred river Yamuna is positioned to the left side of Ganga. Yamuna is standing in the classic tribhanga three-body-bend-posture. In the background is a decorative arch with the motifs of flowers and leaves. This is an ideal sculpture in the standing position. The sculpture of sacred river Saraswati is positioned to the right side of Ganga. Saraswati is also standing in the classic tribhanga posture. The sacred river is portrayed as an apsara. The facial expression is very attractive.

The painting of this period is found in Bagh (Dhar district of Madhya Pradesh) and Ajanta (Aurangabad district of Maharashtra). The frescoes of the Ajanta are the master piece of the painting of this age.

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