Minerals and Metals in Ancient India v1.c28.s1.t2.2

v1.c28.s1.t2.2

One should particularly note the definite Hellenistic influences, found in the Kuṣāṇa and Mathurā art, introducing brilliant sculptures and facial expressions on stone and metal. The exquisite ivory carvings from Begram, Afghanistan (now in Musee Guimet, Paris) resemble in style the Kuṣāṇa sculpture from Mathurā and the Amarāvatī sculptures of the first-second centuries AD for obvious reasons: expansion of the Kuṣāṇa empire and the cultural contact with the Sātavāhana empire through Buddhism. While Begram specialised in ivory, and Mathurā artisans preferred sandstone, there was the dark-mauve sandstone at Bharhut, and we have the master pieces from second century AD Amarāvatī (Adoration of the Buddha’s Alms Bowl) and from third century AD Nāgārjunakoṇḍa (The Nativity and Seven Steps) made in the pale-greenish limestone of Palnad. The medium differed but there was a homogeneity of artistic styles across Greater India. We find similar moonstone doorsteps in Amarāvatī, Nāgārjunakoṇḍa and Anuradhapura at Sri Lanka. The colossal Buddha in Bamiyan, Afghanistan was carved out of a sandstone cliff around fourth-fifth centuries AD and this was reported by Hiuen-Tsang. The Kuṣāṇa bronze tradition was quickly disseminated in the Early Gupta Period.