Maurya and Shunga Art c12.5.1

c12.5.1

In the art of the Śuṅgas, the human form which is conspicuous by its absence in the hitherto known examples of Mauryan art plays an important role; but it is accepted and treated merely as one of the many components of nature, not as the main pivot as in later Indian sculpture. Here he is completely at one with trees, creepers, animals and hundred and one other objects of nature. The method of narrating the stories is the simplest, the most direct, and the language most unaffected. Indeed, men and women of Barhut have almost a primitive and tribal simplicity. Since they are fully co-ordinated with and apprehended as part of nature itself they have no special emphasis or accent and are in no way different from animals or plants. They do not express any emotions nor are they idealised in any way. Now, these are characteritics also of the Jātaka stories themselves, and indeed of all tribal and primitive folk stories of the world. Besides this tribal and primitive character of the human figure as seen in Barhut, its comparative disregard in Mauryan court art but exuberant wealth in that of the Śuṅgas calls, I think, for an explanation. We know that Northern (i.e. Nordic of which Indo-Aryan is but a facet) art is characterised by its logical and abstract, rhythmical and disciplined designs and patterns but is conspicuous in its disregard of the human figure.