Maurya and Shunga Art c6.10

c6.10

There can be no doubt that the impetus came from outside. The very sudden use of stone and that at once for monumental art of large designs and huge proportions, the quick process of evolution from primitive to conscious, civilised and sophisticated from and appearance, from tribal to imperial outlook that is evident in the total effect of the columns, point unmistakably in that direction. It has been repeatedly suggested, not without reason, that this extraneous impetus and inspiration came from Iran of the Achaemenid emperors; some have even suggested that Mauryan columns are but Indian adaptations of the Achaemenian prototype. As repeatedly attempts have been made to deny the alleged extent of debt, again not without a certain amount of justice; but few have seriously doubted that West-Asiatic art forms and inspiration indirectly and in general and Achaemenian impetus and inspiration directly and in particular were at work at the root. Nor against the background of what we know of Mauryan relations with Hellenic East and Mauryan court ideology and tradition deeply tinged with Achaemenian ideas were such impetus and inspiration unlikely, especially when we take into account the extent of Achaemenian influence on Asokan epigraphs, his imperial ideal and policy and the conception of the Maurya Pillared Hall referred to above. But the differences that separate the Mauryan columns from the Achaemenian ones are also considerable and must not be lost sight of.