Guptas: art and architecture

The Gupta period is generally regarded as golden age of North Indian art for all the major religious
groups. Most of the Gupta arts were inspired by the religion.

Forms of Gupta art:

Sculpture:

The success of Gupta sculpture lies in its attaining a balance between the sensuousness of the
Kushan figures and the symbolic abstraction of the early medieval ones.
An enormous amount of Hindu, Buddhist and Jain sculptures have been found in several places
Both Buddhist and Hindu sculpture concentrate on large, often near life-size, figures of the
major deities, respectively Buddha, Vishnu and Shiva.
Examples:
Two metre high bronze image of Buddha is recovered from Sultanganj near Bhagalpur.
Fa-hien saw an over 25 metre high image of the Buddha made of copper, but it is not
traceable now.
Three main schools of Gupta sculpture are often recognised, based in Mathura,
Varanasi/Sarnath and to a lesser extent Nalanda.
Mathura School:
This school had started in post-Mauryan period and continued as one of the main two
schools of Gupta Empire art, joined by the school of Sarnath.
Mathura sculpture is characterized by its usage of mottled red stone.
The art of Mathura continued to become more sophisticated during the Gupta Empire.
The pink sandstone sculptures of Mathura evolved during the Gupta period to reach
a very high fineness of execution and delicacy in the modeling, displaying calm and
serenity.
Artistic details tend to be less realistic, as seen in the symbolic shell-like curls used to
render the hairstyle of the Buddha, and the orante halos around the head of the
Buddhas. The art of the Gupta is often considered as the pinnacle of Indian Buddhist
art, achieving a beautiful rendering of the Buddhist ideal.
Gupta art is also characterized by an expansion of the Buddhist pantheon, with a high
importance given to the Buddha himself and to new deities, including Bodhisattvas
such as Avalokitesvara or divinities of Bramanical inspiration, and less focus on the
events of the life of the Buddha which were abundantly illustrated through Jataka
stories in earlier period.
Examples:
 Vishnu statue, 5th century, Mathura
Head of a Buddha, 6th century
Standing Buddha (434 CE), Mathura
Sarnath School:
it was new school emerged in Sarnath during Gupta period.
It was essentially Buddhist sculptural art.
Buddhist theme is reflected in Images of Buddha, Images of Bodhisattavas, scenes
of Buddha’s life.
it was a stone sculptural art.
This school represents both 3D and relief art.
there is refined executions of details of the faces, the halo and the robes.
The halo is highly ornamented.
It shows more elegant, more graceful and sophisticated image.
Buddha is shown in transparent dress-code.
Drapery is too much clinging and having no folds and it reveals the forms of body
beneath and sometimes it gives an impression of having figures unclothed.
Facial features of Buddha characterized by gently smiling expressions and also
expression of peace and tranquility.
It is also characterized by the feeling of introspection and the feeling of
contemplation (act of thinking deeply).
Buddha is shown in various mudras:
Dhyanmudra
Bhumisparsha mudra.
Abhay Mudra
dharmachakra pravartana mudra
It is characterized by its yellowish sandstone from the quarries of Chunar.
It lacks the foreign influences seen in Mathura.
Other areas:
Nalanda:
Gupta sculptural qualities tend to deteriorate with time, as in Nalanda in Bihar in
the 6th century BCE, figures become heavier and tend to be made in metal.
This evolution suggests a third school of Gupta art in the area Nalanda and
Pataliputra, besides the two main centres of Mathura and Vanarasi.
The colossal Sultanganj Buddha in bronze from the area of Pataliputra is a
uniquely large survival from this school, but typical in style.
Udayagiri Caves/Vidisha:
The “first dated sculptures in a fully-fledged early Gupta style” come from the
rock-cut Udayagiri Caves and the surrounding area near Vidisha in Madhya
Pradesh.
Though the caves, all but one Hindu, are “of negligible importance
architecturally”, around the cave entrances are a number of rock relief panels,
 some with large deities. They are in a relatively crude and heavy style, but often
with a powerful impact.
e.g. mukhalinga sculpture, Vishnu in form of Varaha.
Terracotta sculpture:
There are many sculptures in terracotta of very fine quality, and they are similar in style
across the empire, to an even greater extent than the stone sculpture.
Some can still be seen in their original settings on the brick temple at Bhitargaon, where
the large relief panels have almost worn away, but various heads and figures survive at
higher levels.
The very elegant pair of river goddesses excavated from a temple at Ahichchhatra are 1.47
metres high.
Terracotta Buddha head was found at Devnimori, Gujarat.
Sculpture in metal:
The over life-size copper Sultanganj Buddha is “the only remaining metal statue of any
size” from the Gupta period.
It was made by lost-wax casting, is comparable to slightly earlier stone Buddha figures
from Sarnath school.
The Brahma from Mirpur Khas (in Sindh, Pakistan) is a famous bronze image of Brahma
made.
Coins and metalwork:

The Gupta coins are also pieces of art. They are well designed and meticulously crafted. They
carry aesthetically impressive depictions of the activities of the rulers.
The lyrist type of gold coins issued by Samudragupta show him playing a lute(vina). His
interest in music can be detected from this representation.
Gupta coinage only started with the reign of Samudragupta (335/350-375 CE), or possibly at
the end of the reign of his father Chandragupta I, for whom only one coin type in his name
is known (“Chandragupta I and his queen”).
Gupta period in the Indian history saw a considerable increase in the coinage. Trade relation
with Roman empire had resulted in heavy inflow of gold.
Early gold coin of Gupta closely resembles the coins of later Kushanas.
Guptas adopted Kushana coins weight standard, techniques and designs, following the
conquests of Samudragupta in the northwest.
The Guptas even adopted from the Kushans the name of Dinara for their coinage.
The imagery on Gupta coins was initially derived from Kushan types.
Later these coins were completely Indianised. i.e. became more Indian in both style and
subject matter.
The Gupta monarchs were famous for their gold coins. They also issued silver coins. However,
coins made of copper, bronze or any other alloy metals are scarce. The abundance of gold
coins from the Gupta era has led some scholars to regard this phenomenon as the ‘rain of gold’.
 The silver coinage of the Guptas was made in imitation of the coinage of the Western
Satraps following their overthrow by Chandragupta II, inserting the Gupta peacock symbol
on the reverse but retaining traces of the Greek legend and the ruler’s portrait on the
obverse.
Kumaragupta and Skandagupta continued with the old type of coins (the Garuda and
the Peacock types) and also introduced some other new types.
The copper coinage was mostly confined to the era of Chandragupta II and was more
original in design. Eight out of the nine types known to have been struck by him have a
figure of Garuda and the name of the king on it.
The usual layout is an obverse with a portrait of the king that is normally full-length, whether
standing, seated or riding a horse, and on the reverse a goddess, most often seated on a throne
and an inscription in Sanskrit.
The artists depicted the ruler in various poses. There were many types of such coins. e.g.:
(i)Tiger tiger coin (ii)Lyrist type of coin (iii) Asvamedha type of coin (iv) Archer type of coin (v)
Couch type of coin (vi) Chhattra type of coin (vii) Lion Slayer type coin (j)Horsemen type coin.
The gradual deterioration in design and execution of the gold coins and the disappearance of
silver money, bear ample evidence to their curtailed territory.
Architecture:

Temples:
Gupta period marks the beginning of Indian temple architecture. It is for the first time in
the Gupta period that the temples in the form of structures were constructed in north
India.
Gupta period temples laid down the foundation of the Nagara architectural style.
Generally the images placed in the center as a chief deity.
It can be divided in 2 phases:
Features in phase 1: 4th and 5th centuries:
Small structure.
Garbhagriha-Sanctum
Mandapa assembly hall having pillars -> it is open mandapa.
Pillars have bell shaped capitals.
Square plan of the temple.
in general flat roof.
one example of 2nd storey temple at Nachnakuthar in MP.
Absence of ornamentation on both exterior and interior wall.
Examples:
Eran temple, MP.
Sanchi temple, MP.
tigwa temple, MP
Features in phase 2: 6th century AD:
Square ground from.
 Distinct form of square plan known as cruciform.
Mandapa and Garbhagriha.
Pillars
Bell capital
Ornamentation on wall -> generally exterior wall.
Decorated doorway.
Antral (vestibule) e.g. at Bhitargaon temple
Antral is a structure which connects garbhagriha with Mandap.
Tower (aka Shikhar) and because of its typical shape it is curvilinear tower. ->
rekha shekhara
Panchayatana style: e.g. Deogarh temple.
examples are found at Deogarh (in Jhanshi) and Bhitargaon (in Kanpur) in Uttar
Pradesh.
Nagara style emerged in this phase.
Cave architecture:
For reasons that are not entirely clear, for the most part the Gupta period represented a
hiatus in Indian rock-cut architecture, with the first wave of construction finishing before
the empire was assembled, and the second wave beginning in the late 5th century, just as
it was ending.
This is the case, for example, at the Ajanta Caves, with an early group made by 220 CE
at the latest, and a later one probably all after about 460
It is found at following places:
Ajanta cave:
it represents Buddhist cave.
It was constructed in two phases:
earlier under Satavahanas
later under Vakatakas during Gupta period.
Out of total 29 caves, 4 are Chaityas. i.e. cave 9, cave 10, cave 19, and cave 26. Rest
are Viharas.
It has 1 storey cave as well as 2 storey cave also.
Piantings are found in only 6 caves. Cave no. 1,2,9,10,16 and 17.
In some caves facades are ornamented.
Unique feature of the facade in some cave (like 19 and 26) is what is known as
Chandrasala (large semicircular window).
Engravings are Buddhist and folk (nagas and Yakshas).
Image of Buddha,
Image of Rahul,
Events of Buddha’s life,
Jataka scene.
In cave number 26, there is very unique engravings on wall i.e. reclining Buddha
(symbol of parinirvana or mahaparinirvana of Buddha).
 Another unique engraving is depiction of the scene “Maravijaya“.
Mara represents evil spirit which tries to disturb Buddha and Buddha got
victory over Mara.
Earth as a witness of victory over Mara- Bhumisparsh Mudra.
Ajanta art represents a beautiful blend of architecture, sculpture and painting.
Bagh cave and Udaygiri cave:
There are 9 caves in Bagh.
There are simple and plain, ornamentation is limited.
some caves have pillars.
some caves has painting.
There are 20 caves at Udaygiri- some rock cut and some stone built.
These cave are Brahmanical/Hindu affiliation.
caves have engravings of Vishnu, Durga, Varaha etc.
Stupa architecture:
The construction of two Buddhist stupas – Dhemakh Stupa of Sarnath and Jarasangha
meeting at Rajgriha is believed to have taken place during the period of Gupta.
Dhamekh Stupa is 128 feet high, which is constructed on a flat surface without a
platform. To keep Buddhist statues at its four corners are made takhs.
In Nalanda, the Biddhist university was set up in 5th century. It was made in bricks.
Painting:

Painting was evidently a major art in Gupta times, and the varied paintings of the Ajanta Caves,
which are much the best survivals, show a very mature style and technique, clearly the result of
a well-developed tradition.
The other survivals are from the Bagh Caves.
Fresco Secco technique has been used.
Ajanta Paintings:
At Ajanta, it is thought that established teams of painters were brought in when required to
decorate a cave.
Paintings are found in 6 caves. (some chaityas and some viharas)
Paintings are found at walls, ceilings, door-frames and pillars.
There is significant difference between Ceiling painting and door-frames and pillar painting
in format and colors.
White color is widely used on ceilings and not on walls.
Absence of framing. No clear demarcation of scenes .
One scene merges into other.
Some kind of ‘multiple perspective’ and elements of technique of foreshortening is used.
Pattern of highlighting certain parts in the face e.g. nose, eyebrows etc.
This represents highlighting and shading pattern.
Under this, luminous glow is given to certain parts.
Painting exhibit stylistic variation.
 This is indication of painting by different hands.
Paintings are in general multi-color paintings.
6 main colors are white, red, yellow, black, green and blue.
Besides the blend of these 6 are visible.
Buddhist themes depicted into paintings.
They are narrative paintings.
Events of Buddha’s life.
Scenes of Jataka’s.
Depiction of Bodhisattvas and the most common is Avlokiteshwar also known as
Padmapani.
Depiction of yaksha, Yakshini, Apsaras and Gandharvas.
Whole life of ancient India depicted in Panorama.
Depiction of women in homes, workers with loads and peasants cultivating fields.
Depiction of birds, animals, trees, and flowers etc.
Depiction of ascetics performing penance, beggars seeking alms etc.
Human figures at Ajanta painting is slender figure and well proportioned figure.
These figures are high;y elegant and graceful.
Faces of women are marked by highly arched eyebrows and elongated eyes.
costumes depicted are highly refined and sophisticated.
figures are characterized by ornament which also depicts refinement and
sophistication.
Hair style is also graceful and elegant.
Bagh paintings:
Paintings are found in cave number 4 and cave number 5.
Paintings are both religious and secular.
Some of paintings shows processions where people shown riding horses and elephants.
Scenes of princes in grief and a companion consoling.
Scenes of 2 divines and 2 princely figures. Both seated in conversation.
Scenes of flying monks and devotees playing musical instruments.
Some scenes depicts beautiful birds and animals. Some depicts floral decoration.
Other forms of art:

Music: Coin (Lyrist type coin) during Samundragupta period showed he was a good musician
also. e.g. One of Samudragupta’s coin types shows him playing the vina (lyre).
Drama: Various sanskrit plays were written during this period. e.g. Abhigyanshakuntalam and
vikramorvasiyam by Kalidas. Mudrarakshasha by Vishakhadutta, and Mricchakatika by
Shudraka.
Differences between Gupta and Mauryan art

Most of Mauryan sculptures, architectures were associated with the King and court. e.g.
Ashokan pillars, Stupas and Banabar Caves etc.
 While there is no evidence that sculptures, architectures and caves of Gupta period were
constructed at the direction of Kings.
Mauryan arts reflects the transition from the use of wood to stone.
While Gupta arts reflects the transition from the use of stone to bricks.
Mauryan period saw starting of cave architecture.
While temple architecture started during Gupta period.
Large-scale stone pillars were constructed during Mauryan period.
While in Gupta period we find the iron pillar e.g. Mehrauli pillar constructed during
Chandragupta II.
Coin of Mauryan period (only punch marked coins) doesn’t reflect the artistic elegance like that
of Gupta period.
Coin (Lyrist type coin) during Samundragupta period showed he was a good musician also. e.g.
One of Samudragupta’s coin types shows him playing the vina (lyre).
No such tradition of music is visible from Mauryan period.
Gupta arts are generally further evolution of the art forms already exiting from early period
(Mauryan and post Mauryan period).
Mauryan are considered as pioneer of the art form existing during Maurya period.
Brahmanical images are not visible in art form of Mauryan period.
Paintings art is not visible in Mauryan art.
While Painting during Gupta period had reached its perfection.