Gandhara, Mathura, Taxila from the perspective of travelers and historians - Artistic ideas, economic policies, social organization and architecture and sculpture through Buddhist thought: A study

सार

The artistic tradition of ancient India did not decline with the fall of the Mauryan Empire. Indian art continued to flourish even during the rule of the Shakas and Kushans. Perhaps it was not as widespread as that of the earlier rulers. There was a concentration of art in certain regions. Such as Gandhara, Mathura, and Amaravati. There are many opinions among historians about the origin of Gandhara art. (Chattopadhyay 1985) Percy Brown has called it “Greco-Buddhist” art. According to him, the style was Greek, but the subject matter was Indian. Although Marshall specifically looked at the Greek character, Kumar Swamy also believes that there is an Indianness in Greek customs. Again, according to Roland, he also considers it to be a manifestation of the art of the Roman Empire. Different art critics have expressed different opinions from the perspective of non-historians. The Hellenistic, Parataviyan and Central Asian influences cannot be denied in the art of Gandhara. (Chattopadhyay 1985) Since the roots of Gandhara art are in ancient Greek art, Western art lovers have easily been able to appreciate the beauty of this art. Although Gandhara art had a touch of Greek art, Mathura art maintained its complete Indianness, and Mathura art was not influenced by Gandhara art in any way. Gandhara art certainly touched the exterior of Mathura art, but could not penetrate into its interior. The number of sculptures found in Mathura is about 140 and its construction period is in the Kushan period. (Chattopadhyay 1985) On the other hand, Taxila has created a chapter in ancient Indian architecture and sculpture. This chapter begins from about the sixth to the fifth century. Particularly noteworthy are Sirkap, the second city of the Greek or Indo-Greek period, Sirsuk, the last urban area of the Kushan period, and Vir DP, the ancient city of Taxila. On the other hand, the costumes of the sculptures of Amaravati are seen to have many similarities with the reliefs of Sanchi. (Chattopadhyay 1985). Dr. Nihar Ranjan Roy focuses on Indian sculpture, namely the heavy yet lifelike sculptures of Badami, Ellora, and Elephanta of the 2nd, 6th and 7th centuries BC. A connection of almost a thousand years has been established. He says with pleasure that he listened to the soft and gentle music of Sarnath with deep attention, but the art of Eastern India cannot be called an echo of Sarnath (Chattopadhyay 1985). The philosophy of Indian sculptors and sculptors has touched the hearts and minds of the common man.