Practice Questions

The Lion Capital found at Sarnath, near Varanasi, is commonly known as the Sarnath Lion Capital.

Built in 250 BCE from polished sandstone, it is considered the finest example of Mauryan sculptural tradition and serves as India’s national emblem today.

Commissioned by Emperor Ashoka, the capital was created to commemorate the Dhammachakrapravartana—Buddha’s first sermon.

Originally, the structure consisted of five key components:

Pillar Shaft – A smooth, polished stone column.

Lotus Bell Base – An inverted lotus-shaped element.

Drum (Abacus) on the Bell Base – Features four animals (a bull, horse, elephant, and lion) moving clockwise. The abacus also includes four Dharmachakras (wheels), each with 24 spokes, symbolizing the Wheel of Dharma in Buddhism.

Four Majestic Addorsed (Back-to-Back) Lions – The lions are grand and imposing, positioned on a circular abacus, symbolizing power and dignity.

Crowning Element (Dharmachakra) – The original Dharamchakra (Wheel of Dharma) once sat atop the structure but is now missing.

This remarkable sculpture embodies the artistic excellence of the Mauryan period and remains a significant symbol of India’s heritage.

It uses gold inlays and intricate paintwork to depict royal life.

It demonstrates advanced ironwork techniques developed during Ashoka’s reign.

It showcases polished sandstone craftsmanship, symbolic iconography, and balanced composition reflecting Mauryan artistic excellence.

It was the first sculpture in India to depict human figures in naturalistic proportions.

The crowning Dharmachakra (Wheel of Dharma)

The Drum with four animals and Dharmachakras

They move clockwise around the abacus, symbolizing the spread of the Dharma across all directions.

They represent the four directions of the Mauryan Empire's expansion.

They symbolize different stages of Emperor Ashoka’s life.

They are mythological creatures protecting the Buddha.

The Sarnath Lion Capital was built from marble and depicts only a single lion symbolizing the Buddha.

It was commissioned by Emperor Ashoka to mark the site of his coronation and represents royal authority.

It serves as India’s national flag and was constructed during the Gupta period.

The capital features four animals and four lions symbolizing the spread of Dharma, and originally had a Dharmachakra crowning the structure.

The earliest known historical sculptures in India date back to the Mauryan period (4th–3rd centuries BCE).

This artistic style is characterized by its bold, massive forms and a high degree of realism, incorporating influences from Achaemenid Persian art.

Mauryan sculpture can be broadly classified into Court Art and Popular Art.

Court Art includes monumental pillars and their intricately carved capitals, while Popular Art comprises sculptures such as the Yakshas and Yakshinis, created by local artisans.

A notable example of Mauryan Court Art is the Ashokan Palace at Kumrahar, renowned for its elaborately decorated walls featuring carvings and sculptures.

Pillars during Ashoka's Reign

During Ashoka’s reign, pillars were constructed and inscribed as symbols of state authority, to commemorate military victories, or to disseminate his sermons.

The primary purpose of Mauryan pillars was to inspire awe and reinforce the power and grandeur of the rulers.

This is reflected in the solidity of the animal figures, their exaggerated forms, stylized appearances, and the towering, majestic presence of the columns.

Notable examples include the Lion Capital at Sarnath, the pillar at Vaishali, the Ashoka Pillar at Allahabad, and the pillars at Lauriya-Areraj and Lauriya-Nandangar.

Court Art was created by local artisans, while Popular Art was state-sponsored.

Court Art includes sculptures of Yakshas and Yakshinis, while Popular Art includes monumental pillars.

Court Art includes elaborately decorated structures like the Ashokan Palace, while Popular Art features locally crafted figures like Yakshas and Yakshinis.

Popular Art was limited to painting, whereas Court Art was exclusively sculptural.

To serve as boundary markers between kingdoms

To display the artistic talents of foreign sculptors

To inspire awe and reinforce the authority and grandeur of the ruler

Mauryan Popular Art consisted mainly of royal monuments and state-sponsored inscriptions.

The Mauryan period saw the decline of realism in Indian sculpture, influenced heavily by Chinese art.

The Ashokan pillars served primarily religious purposes and had no political significance.

Mauryan Court Art includes monumental pillars with intricately carved capitals, such as the Lion Capital at Sarnath.

The origins of stone sculpture in India date back to ancient times.

The Indus Valley or Harappan Civilization thrived between approximately 2500 B.C. and 1500 B.C.

The discovery of statues, figurines of men and women made from terracotta, stone, and metal, as well as seals, suggests that the people of this era possessed a vivid imagination and a deep artistic sensibility.

The sculptures found from this period can be categorized into three types: stone sculptures, metal sculptures, and terracotta sculptures.

Male Torso: This sculpture, made of red sandstone, was discovered in Harappa and is the only significant artistic artifact found at the site.

It features socket holes in the neck and shoulders, indicating that the head and arms were originally attached separately.

Although the legs are broken and the figure is in a damaged state, it still showcases remarkable craftsmanship, exuding vitality and grace.

It is made of bronze and depicts a standing figure.

It is carved from red sandstone and has socket holes for attaching the head and arms.

It was discovered in Mohenjo-Daro and is completely intact.

It is a terracotta sculpture representing a deity.

### **Seals of the Indus Valley Civilization**  

A large number of **seals** of various shapes and sizes have been discovered from the Indus Valley Civilization. These seals were primarily made of **steatite** (a soft stone found in riverbeds) but were also crafted from **copper, faience, terracotta, chert, ivory, and gold**. They often featured intricate carvings of **human and animal figures** and were mainly used for **commercial, identification, and educational purposes**.  

**Terracotta seals** were also produced, often depicting **peepal leaves, female figures, deities, and animals**. Many of these distinctively shaped seals were likely **enshrined and worshipped** during that time. Some seals even depict a **harp-like musical instrument**, confirming the existence of **stringed musical instruments** in the civilization.  

These seals offer valuable insights into the **culture and lifestyle** of the Indus Valley people, reflecting:  
- **Clothing, ornaments, and hairstyles**  
- **The artistic skills of sculptors**  
- **Trade and commercial relations**  
- **Religious beliefs and practices**  

### **Seal of Pashupati Mahadeva**  

One of the most significant seals, the **Pashupati Mahadeva Seal**, was found in **Mohenjo-Daro** and is made of **steatite**. It depicts a **human figure seated in a cross-legged position**, surrounded by animals. On the **right side**, an **elephant and a tiger** are depicted, while on the **left**, a **rhinoceros and a buffalo** are shown. Additionally, **two antelopes (deer)** appear beneath the seat near the figure’s feet. A notable feature of this figure is its **three-horned head**.  

This seal is believed to provide insights into the **religious beliefs** of the **Harappan civilization**. Most of these seals have a **knob at the back with a hole**, suggesting that they were used by **guilds, merchants, and traders** for stamping purposes. When not in use, they may have been worn around the **neck or arm as an amulet**.

The figure is depicted with a three-horned head and seated in a cross-legged position.

It shows a warrior holding a sword and shield.

It portrays a king seated on a throne with attendants.

The seal features only inscriptions without any figures.

Elephant, tiger, rhinoceros, buffalo, and antelopes

Bronze Sculptures of the Indus Valley Civilization

Bronze casting was widely practiced across nearly all major sites of the Indus Valley Civilization. The Lost Wax Technique or Cire Perdue was the primary method used for creating these sculptures.  

- **Bronze Dancing Girl**: This **4-inch** bronze sculpture depicts a **female dancer** standing in a tribhanga pose. One of her arms is adorned with multiple ivory or bone bangles, and she wears necklaces. Notable features include braided hair, a slightly tilted head, a flat nose, and large eyes.  

Bronze Buffalo & Humped Bull: These sculptures represent animals with remarkable detailing, showcasing the artistic skill and craftsmanship of the era.

Stone Sculptures of the Indus Valley Civilization

Priest-King

This sculpture is carved from steatite and is believed to depict a priest or nobleman.

The figure is draped in a shawl that passes under the right arm and covers the left shoulder, adorned with trefoil patterns.

The sculpture features a short, neatly trimmed mustache, a short beard, and whiskers.

The hair is parted in the middle, with a plain-woven fillet encircling the head.

Additionally, an armlet on the right arm and small holes around the neck suggest the presence of a necklace.

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