GS Notes

Art and Culture Notes 02

4 min read

Prelims Pointers

  • Shramana Tradition: An ascetic movement that arose against Vedic orthodoxy; gave rise to Buddhism, Jainism, and Ajivika school.
  • Mauryan Caves: Earliest examples of rock-cut architecture in India.
  • Patrons of Caves: Ashoka and his grandson Dasaratha dedicated them to Ajivika monks.
  • Cave Locations: Barabar Hills (Lomas Rishi, Sudama caves) and Nagarjuni Hills in Bihar.
  • Dhauli Sculpture: A rock-cut relief of the forepart of an elephant, located in Odisha.
  • Mauryan Pillars: Monolithic (carved from a single stone), highly polished, and freestanding.
  • Pillar Material: Primarily Chunar Sandstone.
  • Parts of a Pillar: Shaft, Bell Capital (inverted lotus), Abacus, and Crowning Animal.
  • Mauryan vs. Achaemenian Pillars: Mauryan pillars are monolithic and freestanding; Achaemenian pillars are segmental and part of buildings.
  • Ashoka’s Dhamma: A moral-ethical code of conduct, not a religion. Propagated through pillar and rock edicts.
  • Sarnath Lion Capital: Commemorates Buddha’s first sermon (Dharmachakra Pravartana). It is the National Emblem of India.
  • Satyameva Jayate: The national motto, taken from the Mundaka Upanishad.
  • Stupa: A hemispherical burial mound containing relics of the Buddha or Buddhist saints.
  • Ashoka and Stupas: Credited with building 84,000 stupas.
  • Stupa Components:
    1. Anda: The hemispherical dome.
    2. Harmika: Square railing on top of the Anda.
    3. Yashti: Central mast.
    4. Chhatra: Umbrellas symbolizing the Triratnas.
    5. Torana: Gateway.
    6. Vedika: Enclosing rail.
  • Triratnas (Three Jewels) of Buddhism: Buddha, Dhamma, Sangha.
  • Jataka Tales: Stories of the Buddha’s previous lives, often carved on stupa railings and gateways.
  • Yaksha/Yakshini: Folk deities of nature and fertility; examples include Didarganj Yakshini and Parkham Yaksha.
  • Mauryan Pottery: Known as Northern Black Polished Ware (NBPW), a luxury ware with a glossy black finish.
  • Post-Mauryan Caves:
    • Chaitya: A prayer hall with a stupa inside (e.g., Karla Caves).
    • Vihara: A monastery or dwelling place for monks.

Mains Insights

  • GS Paper I: Mauryan Art as an Instrument of State Policy

    • Mauryan art, especially under Ashoka, was not merely aesthetic but a powerful tool for political consolidation and ideological propagation.
    • Cause-Effect Relationship: The Kalinga War was a pivotal event that transformed Ashoka’s state policy from military conquest (digvijaya) to cultural conquest (dhammavijaya). This shift is directly reflected in the purpose of the pillars—from symbols of imperial might to carriers of the message of Dhamma, promoting peace, tolerance, and social welfare.
    • Imperial Unification: By using a standardized script (Brahmi) and language (Prakrit) on edicts across a vast territory, and by erecting uniform pillars, the Mauryan state created a visible symbol of a unified imperial presence, binding diverse regions together.
    • Patronage and Power: Patronizing non-Brahmanical Shramana traditions was a strategic move to create a broader base of support and counter the influence of orthodox Brahmanas, thereby strengthening the emperor’s absolute authority.

  • GS Paper I: Historiographical Debate: Foreign vs. Indigenous Origins of Mauryan Art

    • Foreign Influence Argument (Persepolitan Influence):
      • Proponents like Sir John Marshall, Percy Brown, and V.A. Smith pointed to similarities between Mauryan and Achaemenian (Persian) art, such as the polished surfaces, the bell-shaped capitals of pillars, and the idea of inscribing royal proclamations on stone.
      • They argued that the sudden emergence of monumental stone art suggests the import of ideas and craftsmen from the Persian empire, which had recently been conquered by Alexander the Great.
    • Indigenous Origin Argument:
      • Scholars like Ananda Coomaraswamy and John Irwin countered this by highlighting the fundamental differences (monolithic vs. segmental pillars, naturalistic vs. stylized animals, freestanding nature of pillars).
      • They argued that Mauryan art was a culmination of a pre-existing Indian tradition of wood and clay craftsmanship, which, with the stability and resources of the Mauryan state, transitioned to the more durable medium of stone. The Lomas Rishi facade, imitating a wooden structure, is cited as strong evidence for this transition.
    • Synthesis View: The modern scholarly consensus leans towards a synthesis. While the idea of using stone for monumental art and edicts may have been inspired by Achaemenian examples, the form, technique, symbolism, and execution were distinctly Indian and rooted in indigenous traditions.

  • GS Paper IV: Ashoka’s Dhamma as an Ethical Framework for Governance

    • Ashoka’s Dhamma provides a timeless model of ethical governance. It was a secular ethical code based on universal values.
    • Core Principles: Non-violence (ahimsa), respect for elders and all religious sects (tolerance), kindness to servants and slaves (social justice), and promotion of public welfare (planting trees, digging wells).
    • Relevance Today: These principles are fundamental to modern constitutional values like secularism, social justice, environmentalism, and a humane administrative approach. The use of public art (pillars) to communicate state policy directly to the people is an early example of public outreach and administrative transparency.

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