Model Answer
0 min readIntroduction
The Sunga dynasty, established by Pushyamitra Sunga after overthrowing the Mauryas, is often portrayed as a period of Brahmanical revival, leading to the assumption of hostility towards Buddhism. This narrative stems from literary sources highlighting Pushyamitra’s *ashvamedha* sacrifices and perceived persecution of Buddhist monks. However, a closer examination of the art and architecture flourishing during this period reveals a more complex picture. The artistic developments of the Sunga period, particularly in the realms of sculpture, stupa construction, and cave architecture, demonstrate a significant degree of Buddhist influence and patronage, challenging the simplistic notion of the Sungas being unequivocally ‘anti-Buddhist’.
The Context: Religious Landscape of the Sunga Period
The Sunga period emerged after the decline of the Mauryan empire, which had been a significant patron of Buddhism under Ashoka. While Pushyamitra Sunga is described in texts like the *Divyavadana* as persecuting Buddhists, the extent of this persecution is debated. It’s likely that the conflict was more political and economic, involving land disputes and control over monastic resources, rather than a systematic religious purge. The religious landscape was characterized by coexistence and syncretism, with Brahmanism, Buddhism, and Jainism all vying for influence.
Artistic Patronage at Bharhut
The Bharhut stupa (2nd century BCE) is a prime example of Sunga artistic patronage that contradicts the ‘anti-Buddhist’ narrative. The stupa’s railings are adorned with intricately carved sculptures depicting scenes from the Jataka tales, the life of the Buddha, and various Buddhist symbols. These sculptures, though exhibiting a degree of Hellenistic influence (likely due to contact with the Indo-Greek kingdoms), are unequivocally Buddhist in their subject matter. The emphasis on narrative representation and the detailed depiction of Buddhist stories demonstrate a clear commitment to Buddhist iconography and artistic expression. The use of sandstone, a departure from the Mauryan polish, also marks a new stylistic trend.
Sanchi Stupa: Continued Buddhist Development
The Sanchi stupa, originally commissioned by Ashoka, underwent significant expansion and renovation during the Sunga period. The addition of the *vedika* (railings) and gateways, adorned with elaborate carvings, showcases the continued importance of the site as a Buddhist center. The sculptures on the gateways, like those at Bharhut, depict Jataka tales and scenes from the Buddha’s life. The Great Stupa at Sanchi, therefore, stands as a testament to the Sunga dynasty’s continued support for Buddhist institutions and artistic endeavors. The Harmika and Chatra were also added during this period.
Vidisha and Other Sites
Vidisha, the Sunga capital, also reveals evidence of Buddhist patronage. Archaeological excavations have unearthed Buddhist relics and sculptures, indicating the presence of a thriving Buddhist community. Furthermore, cave architecture at sites like Karle and Bhaja, though initiated earlier, received significant contributions during the Sunga period, with the carving of *chaityas* (prayer halls) and *viharas* (monasteries). These caves served as important centers for Buddhist monks and demonstrate the dynasty’s willingness to support monastic life.
Hellenistic Influence and Artistic Synthesis
The Sunga period witnessed a significant influx of Hellenistic artistic influences due to contact with the Indo-Greek kingdoms. This influence is evident in the realistic depiction of human figures, the use of drapery, and the incorporation of foreign motifs into Buddhist art. However, this influence was not simply adopted wholesale; rather, it was skillfully integrated into existing Buddhist artistic traditions, creating a unique synthesis of styles. This demonstrates a degree of artistic openness and adaptability rather than religious antagonism.
Analyzing the Evidence: Beyond Literary Bias
It’s crucial to critically evaluate the literary sources that portray the Sungas as anti-Buddhist. These sources, often written by Buddhist monks, may be biased and exaggerate instances of conflict. Archaeological evidence, on the other hand, provides a more objective assessment of the Sunga dynasty’s relationship with Buddhism. The sheer volume of Buddhist art and architecture produced during this period suggests a level of patronage that cannot be easily dismissed.
| Site | Sunga Period Contributions | Evidence of Buddhist Patronage |
|---|---|---|
| Bharhut | Construction of stupa railings and gateways | Sculptures depicting Jataka tales and Buddhist symbols |
| Sanchi | Expansion and renovation of the Great Stupa; addition of vedika and gateways | Elaborate carvings on gateways depicting Buddhist narratives |
| Vidisha | Buddhist relics and sculptures discovered | Presence of a thriving Buddhist community |
| Karle & Bhaja Caves | Carving of chaityas and viharas | Important centers for Buddhist monks |
Conclusion
In conclusion, while the Sunga period may have witnessed a revival of Brahmanical traditions and occasional conflicts with Buddhist institutions, the artistic and architectural evidence overwhelmingly suggests that the dynasty was not inherently ‘anti-Buddhist’. The flourishing of Buddhist art at sites like Bharhut, Sanchi, and Vidisha, coupled with the integration of Hellenistic influences into Buddhist iconography, demonstrates a complex and nuanced relationship. The Sunga period represents a period of religious coexistence and artistic synthesis, challenging the simplistic narrative of religious antagonism and highlighting the dynasty’s significant contribution to the development of Indian art and culture.
Answer Length
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