Artistic Interest in Post-Asokan Sculpture
By N. K. Tarafdar
Summary
The text discusses the evolution of artistic interest in Post-Asokan sculpture, focusing on the transition from Asokan art's decline to the rise of the Post-Asokan school. It highlights the shift in artistic priorities over two centuries, analyzed through key monuments like the Sanchi Stupa I railing, Barhut, and Bodh-Gaya. The Sanchi railing exemplifies early floral decoration with dynamic scrolls, though human figures remain primitive. Barhut shows a decline in naturalistic plant designs, replaced by human and symbolic figures, with attempts to narrate Buddhist Jataka stories, though the Buddha's image is absent. Bodh-Gaya further illustrates the deterioration of floral motifs and the dominance of human-animal figures. The text attributes the absence of Buddha's imagery to monastic interpretations of Buddhist teachings. Overall, it traces a decline in floral artistry and a rise in figurative representation, emphasizing the artistic and ideological shifts in Post-Asokan sculpture.
Conclusion
This study of Post-Asokan sculpture reveals a dynamic shift in artistic priorities, marked by the decline of naturalistic floral motifs and the rise of symbolic representations. The Sanchi railing exemplifies early artistic confidence through vibrant scrolls, yet struggles with primitive human forms, highlighting a disconnect between decorative mastery and figurative expression. At Barhut, floral elements become stylized and less organic, replaced by decorative ornaments and symbolic imagery, signaling a conceptual shift in artistic focus. These changes underscore the transition from exuberant, life-centered design to more abstract and conventional representations, reflecting evolving monastic patronage and cultural mentalities. The study underscores the importance of analyzing sequential monuments to trace these transformations, offering insights into the artistic sensibilities of a pivotal period in Indian art history.