Maurya and Shunga Art c10.8

c10.8

The imperialism of the Maurya monarchs, especially of Aśoka, was a synthesis of Indian, Achaemenian and Hellenistic ideals. It was the expression of an individualistic taste and ideology, not of a collective social will. Aśoka's personal religion, his conception of Dhamma and his policy of Dhammavijaya also reflect the individual ideology and preference of a resolute but intelligent and benevolent autocrat who dominated the Maurya court and administration. Maurya court art also was no exception to this basic and fundamental factor. Nanda-Maurya, particularly Maurya imperialism and Asokan policy of Dhammavijaya drew India out of her primitive local and tribal outlook. Asokan policy in the realm of religion raised Buddhism to the status of an international religion right from the position of a tribal and regional cult. So in the realm of art as well. Individual taste and preference of Maurya monarchs like Chandragupta, Bindusāra and Aśoka for ideas and objects from Medo-Achaemenian and Hellenistic Orient furnished the impetus and inspiration, and Indian art not only came to be fixed in permanent material but it was raised from the position of handicraft and primitive art to the dignity and status of monumental art. One of the important functions of this art was to impress and overawe the populace with the power and majesty of the mighty rulers. To this function have to be traced the compactness of the animal figures of solid stone with no projecting arms and legs, the most durable design for and at once the most dignified though most conventional appearance of them, and the most imposing stateliness of the columns themselves and of the figures that crown them. Maurya court art is thus individualistic in its essential character and ideology. The main lines of this art, just as the main lines of Aśoka's policy of Dhammavijaya, were chiefly determined by individual will, taste and preference. Both lacked deeper roots in the collective social will, taste and preference, and were therefore destined to have isolated and short lives coeval and co-existent with and within the four limits of the powerful Maurya court. This explains why Maurya court art with all its dignified bearing, monumental appearance and civilised quality forms but a short and isolated chapter of the history of Indian art. Like the columns and the animal figures themselves Maurya court art stands aloof and apart.