LION CAPITAL, SARNATH

The Lion Capital discovered more than a hundred years ago
at Sarnath, near Varanasi, is generally referred to as Sarnath
Lion Capital. This is one of the finest examples of sculpture
from the Mauryan period. Built in commemoration of the
historical event of the first sermon or the Dhammachakrapravartana
by the Buddha at Sarnath, the capital was built by Ashoka.
The capital originally consisted of five component parts:
(i) the shaft (which is broken in many parts now), (ii) a lotus
bell base, (iii) a drum on the bell base with four animals
proceeding clockwise, (iv) the figures of four majestic addorsed
lions, and (v) the crowning element, Dharamchakra, a large
wheel, was also a part of this pillar. However, this wheel is
lying in a broken condition and is displayed in the site museum
at Sarnath. The capital without the crowning wheel and the
lotus base has been adopted as the National Emblem of
Independent India.
Now kept in the archaeological museum at Sarnath, the
capital has four lions firmly seated back to back on a circular
abacus. The lion figures of the capital are very impressive and
massive. The monumentality of the image is easily noticeable.
The facial musculature of the lions is very strong. The inversed
lines of the lips and its subsequent effect of projection at the
end of the lips show the sculptor’s observation for naturalistic
depiction. The lions appear as if they have held their breath.
The lines of the mane are sharp and follow the conventions
that were in practice during that time. The surface of the
sculpture is heavily polished which is typical of the Mauryan
Period. Their curly manes have protruding volume. The weight
of the body of each lion is firmly shown by the stretched muscles
of the feet. The abacus has the depiction of a chakra (wheel)
having twenty-four spokes in all the four directions and a bull,
a horse, an elephant and a lion between every chakra is finely
carved. The motif of the chakra becomes significant as a
representation of the Dhammachkra in the entire Buddhist art.
Each animal figure, despite sticking to the surface, is
voluminous, its posture creating movement in the circular
abacus. Despite having limited space between each chakra,
these animal figures display considerable command over the
depiction of movement in a limited space. The circular abacus
is supported by an inverted lotus capital. Each petal of the
lotus is sculpted keeping in mind its density. The lower portion
has curved planes neatly carved. Being a pillar image, it was
conceived to be viewed from all the side, thus there are no
boundations of fixed view points. A lion capital has also been
found at Sanchi but is in a dilapidated condition. The motif of
lion-capital-pillar continued even in the subsequent period

DIDARGUNJ YAKSHINI

he life-size standing image of a Yakshini holding a chauri (flywhisk)
from Didargunj near modern Patna is another good example of the
sculptural tradition of the Mauryan Period. Kept in Patna Museum,
it is a tall, well-proportioned, free-standing sculpture in round made
in sandstone with a polished surface. The chauri is held in the right
hand whereas the left hand is broken. The image shows
sophistication in the treatment of form and medium. The sculptor’s
sensitivity towards the round muscular body is clearly visible. The
face has round, fleshy cheeks, while the neck is relatively small in
proportion; the eyes, nose and lips are sharp. Folds of muscles are
properly rendered. The necklace beads are in full round, hanging to
the belly. The tightening of garment around the belly creates the
effect of a bulging belly. The lower garment has been rendered with
great care. Every fold of the garment on the legs is shown by
protruding lines clinging to the legs, which also create a somewhat
transparent effect. The middle band of the garment falls till the feet.
Thick bell-ornaments adorn the feet. The image stands firmly on its
legs. Heaviness in the torso is depicted by heavy breasts. The back
is equally impressive. The hair is tied in a knot at the back. The
back is bare. Drapery at the back covers both legs. The flywhisk in
the right hand is shown with incised lines continued on the back of
the image.
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AN INTRODUCTION TO INDIAN ART
Stupa worship, Bharhut
was collective in nature and at times only a specific portion
of the monument is said to have been patronised by a
particular patron. Traders recorded their donation along
with their place of origin.
In the subsequent century, stupas were elaborately built
with certain additions like the enclosing of the
circumambulatory path with railings and sculptural
decoration. There were numerous stupas constructed earlier
but expansions or new additions were made in the second
century BCE. The stupa consists of a cylindrical drum
and a circular anda with a harmika and chhatra on the
top which remain consistent throughout with minor
variations and changes in shape and size. Apart from the
circumambulatory path, gateways were added. Thus, with
the elaborations in stupa architecture, there was ample
space for the architects and sculptors to plan elaborations
and to carve out images.
During the early phase of Buddhism, Buddha is depicted
symbolically through footprints, stupas, lotus throne,
chakra, etc. This indicates either simple worship, or paying
respect, or at times depicts historisisation of life events.
Gradually narrative became a part of the Buddhist
tradition. Thus events from the life of the Buddha, the
Jataka stories, were depicted on the railings and torans of
the stupas. Mainly synoptic narrative, continuous narrative
and episodic narrative are used in the pictorial tradition.
While events from the life of the Buddha became an
important theme in all the Buddhist monuments, the Jataka
stories also became equally important for sculptural
decorations. The main events associated with the Buddha’s
life which were frequently depicted were events related to
the birth, renunciation, enlightenment, dhammachakra-
pravartana, and mahaparinibbana (death). Among the
Jataka stories that are frequently depicted are Chhadanta
Jataka, Vidurpundita Jataka, Ruru Jataka, Sibi Jataka,
Vessantara Jataka and Shama Jataka.