By G.C. Chauley

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The figures themselves are short, often out of proportion, clad in grotesque, boorish costumes5. The human form which is conspicuously absent in the Mauryan art plays an important role in the art of the SUilgas, but it is accepted and treated merely as one of the many components of nature. Here it is completely catagorised with trees, creepers, animals and hundred and one other objects of nature, not as the main object as in the case of later Indian sculpture. e. the first walk of the Buddha after his enlightenment at Bodh Gaya (Bihar).

The Hindu psychological truth that the human impulse craves for something concrete through which to adore for salvation rather than to explore the void metaphysical subtleties prevailed at last. The belief in a God who could be visualised in the ness of living things created the first � great schi within the Buddhist movement and was responsible for the establishment of the rival Mahayana and Hinayana school. In Mahayanism Gautama, the Buddha was elevated from his position of a teacher to that of God and came to be regarded as the embodiment or incarnation of a principle.

Agrawal, The Stiipas of Bharhut and Sancl serve as the two sparkling eyes of early Indian art through which we become acquainted with the rich work of ancient Indian life relating to the social, religious and artistic traditions of the people. e. the Ramayal)a and the Mahabharata are two Indian literatures, so are the stiipas of Bharhut and Saiicl veritable lithic documents of early Indian life, our knowledge of ancient Indian gods and goddesses, religious cults, manners and customs, domestic and city architectures, fashions and fancies are very much enhanced by these two immortal monumental arts of central India.

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Early Buddhist Art in India by G.C. Chauley
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