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The
north-western region gave way to an art form which made a lasting
contribution to Buddhist art and merged Roman with Indian aesthetics
Some
names are lent magic by history. Today, the Kandahar town of
Afghanistan is but a pale rem-nant of the glorious Gandhara that
flourished at the turn of this century. Gandhara was the ancient name
of the entire region lying on the west bank of the Indus river which
comprises the valleys of Peshawar, Swat, Dir, Buner and Bajaur.
Today, most of this rich, area with well-watered valleys, clear-cut
hills and a pleasant climate lies in Pakistan and eastern
Afghanistan. Its influence on art has, however, lived beyond
national boundaries.
Five-six
hundred years before Christ, this area formed part of the Achaemenid
Empire of Persia. In the fourth century, Alexander from Macedona
reigned over the region. Gandhara was not destined to be under any
one ruler for too long, for soon after it came under the rule of
Chandragupta Maurya. The Mauryan empire extended almost across the
entire length and breadth of present-day India. This period was a
significant period both in Indian history and the history of
Gandhara art.
Quickly
tracing the events in the region one finds the Bactrian Greeks (3rd
and 2nd century BC), Scythians and the Parthians reigning over
Gandhara. Once again in the 1st century BC and 1st century AD, it
came under a dynasty ruling India, the Kushanas.
It
is in a region exposed to such divergent influences that Gandhara art
was born and developed. Gandhara art is primarily inspired by
">Buddhism. The form depicts images of the Buddha, Bodhisattvas and
various scenes from the life of Buddha.
The
great Buddhist emperor Ashoka, 3rd century BC, sent emissaries across
the length and breadth of India to spread the message of Buddhism. At
this time, Gandhara was still a part of the Mauryan territory. So his
messengers reached there too.
The
Gandhara school incorporated many motifs and techniques from
classical Roman art, including vine scrolls, cherubs bearing
garlands, tritons, and centaurs. And yet, what singled this form out
was its strict adherence to the basic Indian iconographic details.
Interestingly, this is a remarkable feature of the Buddhist art
throughout the continent. It incorporates local elements to fuse into
the local culture. Delightful results accrue. Buddha was represented
with a youthful Apollo-like face, dressed in garments resembling
Roman imperial statues. The Gandhara depiction of the seated Buddha
was less successful. The Gandharan craftsmen made a lasting
contribution to Buddhist art in their composition of the events of
the Buddha’s life into set scenes.
The
materials used for Gandhara sculpture were green phyllite and
gray-blue mica schist, which, in general, belong to an earlier phase,
and stucco, which was used increasingly after the 3rd century AD. The
sculptures were originally painted and gilded.
Gandhara
art flourished since Ashoka sent it there till the rule of the
Kushanas. At the same time in Mathura, Kushana art was flourishing. A
great intellectual debate that occupied many minds in contemporary
times is the influence Gandhara and Kushana art exerted on each
other. But historically speaking the Kushanas were patrons of art.
Notwithstanding influences the two schools had on each other, the
fact remains that it was the period of glory for both. Soon after
the Kushanas, the white Huns came into Gandhara and a swift cultural
change dealt a death blow to the reigning art forms.
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