Indian cave architecture is unique in concept, diversity, and mastery. The treasure of cave architecture is one of the biggest in India's artistic inheritance and reflects the most refined skills in its three dimensional compositions, figural groupings, bold projections and recesses, and complex interplay of rock-cut forms that take the shape of an architectural plan to make a whole noble building.
Caves have both economic as well as religious significance. Quarrying of stone and extraction of clay can be traced to the very ancient period. During the Mauryan period, caves were generally used as "viharas", i.e. living quarters, by the Jain and Buddhist monks.
The caves during the Mauryan period were marked by a highly polished finish of the interior walls and decorative gateways.
A good example is the Barabar Caves in Gaya district where many "dhyana-mandaps" (meditation halls with cells) are beautifully cut into the rocky hillside.
Ajivika Sect
Ajivika is one of the ancient sects of Indian religion originating in southern India. It was founded by Goshala Maskariputra and was contemporary of Jainism and Buddhism.
Ajivika sect is based on the philosophy that the affairs of the entire universe were ordered by a cosmic force called niyati (Sanskrit: “rule” or “destiny”) that determined all events, including an individual’s fate.
Two of the most famous sculptures of the Mauryan period are those of Yaksha and Yakshi. The torso of the nude male figure found at Lohanipur at Patna. Didargunj Yakshi was found at Didargunj village at Patna.
Pottery of the Mauryan period is generally referred to as Northern Black Polished Ware (NBPW). Mauryan pottery was characterized by black paint and highly lustrous finish and was generally used as luxury items. Kosambi and Patliputra were the centers of NBPW pottery.
The post-Mauryan Indian architecture took on a new look in comparison to the art of the Maurya period. The architecture of the Indo-Greeks was markedly different from that of the Mauryan architecture. They followed a style that was a reflection of the various school of Hellenistic art.
The stupas, pillars and rock-cut caves erected by the Indo-Greeks and Kushanas were testimony to their architectural skills.
The Indo-Greek and Kushana era are also known for their sculptures like those at Sanchi, Bharhut, Amaravati, Bodh Gaya etc.
The construction of rock caves continued as in the Mauryan period. However, this period saw the development of two types of rock caves – Chaitya and Viharas.
Post Mauryan period stupas became larger and more decorative and wood and brickwork were replaced by stone.
Post Mauryan empire three prominent schools of the sculpture came into prominence in three different regions of India namely Gandhara, Mathura, and Amravati schools.
The Gandhara School of Art or Greco-Indian School of Art (First sculptural representation of Buddha in human form) has its origin in Greco tradition (Greek invaders brought with them the traditions of the Greek and Roman sculptors) which was further merged with the regional or local art of the time.
Vitarka Mudra: It indicates teaching and discussion or intellectual debate. The tips of the thumb and index finger touch each other, forming a circle.
Anjali Mudra: Indicates greetings, devotion, and adoration. Both hands close to the chest, palms, and fingers joined against each other vertically (Namaste posture).
Uttarabodhi Mudra: It means supreme enlightenment. This Mudra is known for charging one with energy. It symbolises perfection.
Varada Mudra: It indicates charity, compassion or granting wishes. Signifies five perfections: Generosity, morality, patience, effort and meditative concentration, through the five extended fingers.
Karana Mudra: It indicates warding off evil. The energy created by this Mudra helps remove obstacles such as sickness or negative thoughts.
Vajra Mudra: It indicates knowledge. This mudra signifies the importance of knowledge or supreme wisdom.
Mathura: The sculptures of the Mathura school were influenced by all the three religions Buddhism, Hinduism, and Jainism.
Amaravati: Unlike Gandhara and Mathura schools which focused on single images, Amaravati school laid more emphasis on the use of dynamic images or narrative art (like jataka tales).
