The Buddhist Art of Gandhara: The Story of the Early School, its Birth, Growth and Decline c17.22

c17.22

Though of much the same age as the foregoing, fig. 148 is of a totally different stamp. It is typical of the large group of which the keynotes are a rather smarmy prettiness coupled with a mechanical perfection of technique. Notable representatives of this group are figs. 116-19 and 124 among the reliefs, and figs. 134, 135, 139, 140, 141, 144-6 among the statues. With the motif of the wavy garland borne on the shoulders of Amorini or yakshas we have already made acquaintance in an earlier example from the Lower Monastery at Nathu (fig. 91), and a comparison of the two gives us a clear idea of the change that came over the spirit of Gandhāra sculpture between the first and second phases of the Maturity Period. While fig. 91 is simple, direct and unpretentious, fig. 148 relies for its charm on its elaboration of decorative detail, its pretty faces and highly-finished workmanship. It is, indeed, about as good a sample of this particular style as could be found. Even when this phase of Gandhāra art was at its zenith such a high standard was exceptional, and in course of time the quality deteriorated more and more. Typical of this large body of inferior carving is the ornamental door-jamb shown in fig. 149, which follows the old Indian pattern but shows little pride of design or workmanship. In this case we are fortunate in having for comparison another door-jamb of the same type (fig. 79) which shows us this same art in its adolescent stage when the Indian and Hellenistic elements were beginning to coalesce. Between the two, Gandhāra art had run most of its course from the first to the third century A.D.