MATHURA
ART - ART & CULTURE
News:
An exhibition where code
is used to create art
Mathura
School of Art:
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After the decline of the Mauryan Empire in
the 3rd Century BCE, sculptural art deteriorated significantly. There are not
any examples of great sculptors during the 3rd century BCE and the first
century CE.
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Bharahut,
Sanchi, and some other places are architectural masterpieces
but it was the Mathura art that came out with a special appearance.
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Mathura
was the epicenter of art in the northern part of India. It is located in Uttar
Pradesh near Agra.
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In the Vedic Mahajanapada period, Mathura
was known as Sursena.
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The most crucial time of Mathura art can
be dated from the 1st century CE to the 3rd century CE. Mathura art flourished
for the next 400 years until the Gupta Empire fell.
Developed
by:
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Kushanas
(Mainly Kanishka) were the ones who patronized Mathura art the most.
Uniqueness:
●
All
3 religions – Jainism, Buddhism and Hinduism were depicted in Mathura style.
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Sculptors similar to that of Mathura art
have been found at several places like- Ahikshetra (Ahichhatra), Sanchi,
Sarnath, Kausambi etc.
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The Shalbhanjika, Standing Buddha
sculpture, Shivalingam, Tirthankar and various Yaksha sculptures of Mathura
attract everyone.
Features
of Mathura School of Art:
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The Buddha image at Mathura is modeled on
the lines of earlier Yaksha images whereas in Gandhara it has Hellenistic features.
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It may be noted that the images of Vishnu and Shiva are represented by
their ayudhas (weapons).
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There is boldness in carving the large
images, the volume of the images is projected out of the picture plane, the
faces are round and smiling, and heaviness in the sculptural volume is reduced
to relaxed flesh.
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The garments of the body are clearly
visible and they cover the left shoulder.
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Images
of the Buddha, Yakshas, Yakshinis, Shaivite and Vaishnavite deities and
portrait statues are profusely sculpted.
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In the second century CE, images in
Mathura got sensual, rotundity increased, and they became fleshier.
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In the third century CE, the treatment of
sculptural volume changed by reducing the extreme fleshiness, movement in the
posture is shown by an increasing distance between the two legs as well as by
using bents in the body posture.
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Softness in the surface continues to get
refined.
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Transparent quality in the robes of the
Buddha images is evident.
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The
halo around the head is profusely decorated.