The Art of Magadha: From the Sixth Century B.C. to Pala-Sena Period (An Old and Rare Book)

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About the Book The Art of Magadha by Dr. Srivastava, offers a scholarly analysis of the Magadhan Art from c. 6th century B.C. to Päla-Sena period. Dealing with the different dynasties of Magadhan Art, the work consists of four chapters (i) Introduction (ii) Historical Back-ground (iii) The Art of Magadha through the Ages and (iv) Conclusion. The work contains an exhaustive, but selected bibliography and useful index. It is fully illustrated having 55 plates and two maps concerning Magadha empire, apart from an account of a survey of Magadhan His- tory since c. 6th century B.C. The work devoted exclusively to analyse in detail various good illustrated examples of Magadha region; from the sixth Century B.C. to c. 1200 A.D.

About the Author Kamal Shankar Srivastava born at Varanasi, received M.A. degree in Ancient Indian History, Culture and Archaeology, followed by M.A. degree in Museology from Banaras Hindu University, Varanasi in year 1981, and awarded B.H.U. Gold-Medal. In 1985, he was awarded Ph.D. degree from B.H.U. Varanasi.

Author of the books (i) The Elephant in Early Indian Art (From the Indus Valley Civilization to A.D. 650), (ii) Buddhist Sculpture of Magadha (A survey), (iii) History of Magadha (from the sixth century B.C. to 12th century A.D.).

Life-fellow of Numismatics Society of India, Museum Association of India, Indian Social Science Academy, Bihar Puravid Parishad, Patna and an executive member of Centre for Buddhist Culture, Patna. Presented several research papers and Articles.

Submitted the thesis entitled "The Art of Mithila" (from the earliest times to mediaeval period) for the degree of D. Litt., L.N. Mithila University, Darbhanga. At present, he is in Bihar Administrative Service since 1984.

Preface During the sixth century B.C. Indian History emerged from legend and dubious tradition. The rulers historicity was certain and some of whole achievements were known. By now the focus of civilisation shifted eastwards and four great kingdoms outside the earlier area of the Brahmanic culture had eclipsed the old land of the Kurus in both political and economic importance. These were Kośala, Magadha, Vatsa and Avanti. Of the four, we know most about Kośala and Magadha, the Chief Scenes of the activities of the Buddha and of Mahavira, Twenty-fourth Tirthankara of Jainism. Though the name of the ancient Kingdom of Magadha dates as far back as the time of Mahabharata. In the pages of this great, Sanskrit epic (Mahabharata), an account is given of the wars of Bhīma and Krsna with Jarasandha, a king of Magadha; the Kingdom of Magadha comes definitely into history with the King Bimbisara, a famous ruler of its Śaiśunāga dynasty. The line had been founded by a warrior chief, who made Girribraja (Rajgiri) his capital, when Bimbisara ascended the throne in C. 543 B.C. The rise of Magadha was not merely due to the political ambitions of Bimbisara and Ajatasatru for although the latter was succeeded by a series of unsatisfactory rulers. Magadha remained powerful. Magadha was fortunate in that its geographical position gave it control over the lower Ganges plain, including the ruler, with its revenue from river trade.

Introduction The Indian art tradition is one of the oldest living art traditions in the world. But mere antiquity is not its sole merit. The long range of its historical continuity is matched by the profusion of its production which, in spite of the ravages of nature and man, could truly be described as very impressive. Indian art is not only one of the oldest and profusely productive but it also shows a remarkable diversity of forms of expression. The Barhut Yaksi, the Gupta Buddha, and the Cola Nataraja are all specimens of Indian art though each one is so different from the other. But each of them is informed by a spirit that is so essentially Indian. The Yaksī is a part of the animistic-cults, the Buddha figure is an expression of Buddhism, while the Nataraja is the cosmic dancer revealing the dynamism with which Śaivism is so much charged. As cult-objects, the three have little in common with each other. As works of art, they are products of the same spirit and genius, that of ancient India. As we proceed with our survey of the art of ancient India, this point will receive further clarification.