Maurya and Shunga Art c6.12

c6.12

The result achieved by this almost ‘thorough transformation’ is altogether different. The Achaemenian column intended invariably as part of larger architectural conception is composed of much too many component parts presenting harsh contrasts and looking complex and complicated, while the Mauryan column intended to produce the effect of an independent monument, at least in its latest and best specimens, is simpler, more harmonious in conception and execution, and gives the feeling of more stability, dignity and strength, born perhaps of other primitive and elemental origins. The indigenous and original contribution to the creation of this item of Mauryan art is therefore undeniable. Equally undeniable is also the fact that in their lustrous varnish, in their adoption and adaptation of the bell-shaped capital, in the higher plane of conception and driving idea and in the general monumental and dignified quality and appearance, the Mauryan columns seem to reveal the debt they owe to Achaemenian art, also to Hellenistic art so far as some of the crowning members of the columns and part of the general effect are concerned. The twisted rope design, the bead-reel-cable design etc. to mark the transitions, the acanthus leaf and palmette designs etc. to decorate the abacus may have however been derived from the older and common West-Asiatic art-heritage.