Standing Buddha of the art of Mathura. Gupta Empire period, circa 5th century CE. Rashtrapati Bhavan Presidential Palace, New Delhi, India.
Mathura
Varanasi
Nalanda
Ajanta
Udayagiri
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The three main schools of Gupta art were located in Mathura, Varanasi and Nalanda.[1]
Gupta art is the art of the Gupta Empire, which ruled most of northern India, with its peak between about 300 and 480 CE, surviving in much reduced form until c. 550. The Gupta period is generally regarded as a classic peak and golden age of North Indian art for all the major religious groups.[2] Gupta art is characterized by its "Classical decorum", in contrast to the subsequent Indian medieval art, which "subordinated the figure to the larger religious purpose".[3]
Although painting was evidently widespread, the surviving works are almost all religious sculpture. The period saw the emergence of the iconic carved stone deity in Hindu art, while the production of the Buddha-figure and Jain tirthankara figures continued to expand, the latter often on a very large scale. The traditional main centre of sculpture was Mathura, which continued to flourish, with the art of Gandhara, the centre of Greco-Buddhist art just beyond the northern border of Gupta territory, continuing to exert influence. Other centres emerged during the period, especially at Sarnath. Both Mathura and Sarnath exported sculpture to other parts of northern India.
It is customary to include under "Gupta art" works from areas in north and central India that were not actually under Gupta control, in particular art produced under the Vakataka dynasty who ruled the Deccan c. 250–500.[4] Their region contained very important sites such as the Ajanta Caves and Elephanta Caves, both mostly created in this period, and the Ellora Caves which were probably begun then. Also, although the empire lost its western territories by about 500, the artistic style continued to be used across most of northern India until about 550,[5] and arguably around 650.[6] It was then followed by the "Post-Gupta" period, with (to a reducing extent over time) many similar characteristics; Harle ends this around 950.[7]
In general the style was very consistent across the empire and the other kingdoms where it was used.[8] The vast majority of surviving works are religious sculpture, mostly in stone with some in metal or terracotta, and architecture, mostly in stone with some in brick. The Ajanta Caves are virtually the sole survival from what was evidently a large and sophisticated body of painting,[9] and the very fine coinage the main survivals in metalwork. Gupta India produced both textiles and jewellery, which are only known from representations in sculpture and especially the paintings at Ajanta.[10]
^Mookerji, 142
^Rowland's chapter 15 is called "The Golden Age: The Gupta Period; Harle, 88
^Williams, Joanna (1972). "The Sculpture of Mandasor" (PDF). Archives of Asian Art. 26: 64. ISSN 0066-6637. JSTOR 20111042.
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