Image title: Sculptures in Buff Sandstone

Sarnath, Uttar Pradesh, Maurya, 3rd Century B.C.E.—The Mauryan Sculptures are characterized by their distinct shiny polished surface, which according to some historians, is a Western influence. All of Asoka's pillars and their capitals exhibit this feature. However, there is no clear reason as to how they achieved it. While earlier historians were of the opinion that these sculptures were rubbed against with fine grained sand and then buffed with cloth or animal skin, some historians now are of the view that these sculptures were actually coated with a layer of pink sandstone mixed with haematite pellets and then chiselled and not polished. So while the lower surface was rough, its upper surface had a polished, lustrous appearance.

Transcription (not proofread):

पांडु रंग के बलुआ पत्थर की प्रस्तर प्रतिमाएं—
सारनाथ, उत्तर प्रदेश, मौर्य, तीसरी शताब्दी ई.पू.—
मौर्य काल की प्रस्तर प्रतिमाओं को अपनी विशिष्ट प्रकार की चमक के कारण अलग से पहचाना जा सकता है। कुछ इतिहासकार इसे पश्चिमी प्रभाव मानते हैं। सम्राट अशोक द्वारा बनवाए गए सभी स्तंभों और उनके शीर्षों पर यह विशिष्टता दिखलाई देती है। किन्तु, यह स्पष्ट नहीं है मूर्तिकारों ने यह दक्षता कैसे प्राप्त की होगी। पहले के इतिहासकारों का यह मत था कि इन प्रतिमाओं को रेत से घिसा जाता था और फिर उन्हें कपड़े या पशु खाल से चमकाया जाता था। कुछ इतिहासकारों का मत है कि इन प्रतिमाओं पर वस्तुतः हेमेटाइट से युक्त लाल बलुआ पत्थर की परत चढ़ाई गई थी और फिर इन्हें तराशा गया था। इन्हें पॉलिश नहीं किया गया था। अतः इनकी निचली सतह तो खुरदरी है किन्तु ऊपरी सतह पर पॉलिश की गई है।

Transcription (not proofread):

pāṃḍu raṃga ke baluā patthara kī prastara pratimāeṃ—
sāranātha, uttara pradeśa, maurya, tīsarī śatābdī ī.pū.—
maurya kāla kī prastara pratimāoṃ ko apanī viśiṣṭa prakāra kī camaka ke kāraṇa alaga se pahacānā jā sakatā hai| kucha itihāsakāra ise paścimī prabhāva mānate haiṃ| samrāṭa aśoka dvārā banavāe gae sabhī staṃbhoṃ aura unake śīrṣoṃ para yaha viśiṣṭatā dikhalāī detī hai| kintu, yaha spaṣṭa nahīṃ hai mūrtikāroṃ ne yaha dakṣatā kaise prāpta kī hogī| pahale ke itihāsakāroṃ kā yaha mata thā ki ina pratimāoṃ ko reta se ghisā jātā thā aura phira unheṃ kapare yā paśu khāla se camakāyā jātā thā| kucha itihāsakāroṃ kā mata hai ki ina pratimāoṃ para vastutaḥ hemeṭāiṭa se yukta lāla baluā patthara kī parata caḍha़ाī gaī thī aura phira inheṃ tarāśā gayā thā| inheṃ paॉliśa nahīṃ kiyā gayā thā| ataḥ inakī nicalī sataha to khuradarī hai kintu ūparī sataha para paॉliśa kī gaī hai|

Transcription (not proofread):

pamdu ramga ke balua patthara ki prastara pratimaem—
saranatha, uttara pradesha, maurya, tisari shatabdi i.pu.—
maurya kala ki prastara pratimaom ko apani vishishta prakara ki camaka ke karana alaga se pahacana ja sakata hai| kucha itihasakara ise pashcimi prabhava manate haim| samrata ashoka dvara banavae gae sabhi stambhom aura unake shirshom para yaha vishishtata dikhalai deti hai| kintu, yaha spashta nahim hai murtikarom ne yaha dakshata kaise prapta ki hogi| pahale ke itihasakarom ka yaha mata tha ki ina pratimaom ko reta se ghisa jata tha aura phira unhem kapare ya pashu khala se camakaya jata tha| kucha itihasakarom ka mata hai ki ina pratimaom para vastutah hemetaita se yukta lala balua patthara ki parata cadha़ाi gai thi aura phira inhem tarasha gaya tha| inhem paॉlisha nahim kiya gaya tha| atah inaki nicali sataha to khuradari hai kintu upari sataha para paॉlisha ki gai hai|

Automated translation:

Stone sculptures of pale yellow sandstone—
Sarnath, Uttar Pradesh, Maurya, 3rd century BCE—
The stone sculptures of the Mauryan period can be identified by their distinctive polishing. Some historians believe this to be a Western influence. All the pillars and capitals built by Emperor Ashoka have this polishing. However, it is not clear how the sculptors achieved this excellence. Earlier historians believed that the sculptures were rubbed with sand and then polished with cloth or animal hide. Some historians believe that the sculptures were actually coated with a layer of red sandstone containing hematite and then carved. They were not polished. Hence, the lower surface is rough but the upper surface is polished.

Gallery information:

These photographs are from the section “Maurya, Shunga and Satavahana Arts” within the National Museum of New Delhi (India). The Mauryan, Shunga, and Satavahana dynasties have distinct yet interconnected roles in the evolution of Indian art and culture. Throughout these periods, terracotta art evolved considerably, reflecting cultural and technical exchanges, and iconography transitioned from aniconic to anthropomorphic depictions in Buddhist contexts. These dynasties collectively influenced the stylistic and thematic growth of Indian art.