Abstract
Sculptures are representational divinity in India whose origin and end is expressed through the religion and the spiritual beliefs. It is tough to state that when and where the first Buddha images appeared in the sculptural form and scholars have different opinion on this. It has been argued that the Buddha image is of Greek origin and first came into being at Gandhāra or in India proper, Buddha image known to be earlier than the first century A.D. It is admitted that Buddhist figures in Gandhāra are adaptations of western types. With these leading facts established, the narrative of the School’s development automatically resolved itself into three topics: its infancy under the Sakas; its childhood and early adolescence under the Parthians; and its later adolescence and maturity under the Kushans. The most prolific and best known period in the history for producing sculpture is Kushana period. During this period; Gandhāra art was introduced which is basic art of later School of Arts. The first production of Buddha image could be associated with the time of Kushana’s period especially with Kanishka. The purpose of sculptures was to glorify the Buddha. In the Early Indian School there is no clue of the Buddha ever having been so portrayed because of the fact that as per Buddhist tradition, the making of image was prohibited and Buddha himself discouraged the idea of making his image. Lastly to be believed that under the patronage of Kanishka, religious revolution was possible in the form of Buddhist Council. The outcome of the Fourth Buddhist Council was the creation of Buddha images was common under the start of new tradition of Mahayana and this Council sanctioned the worship of the Buddha through his iconic forms. Regarding the origin of Buddha images there are two schools of thought; Produce in Gandhāra area could be associated with the foreign influence of Gandhāra art and the one produce in Mathura area associated with the result of indigenous atmosphere. Even in Kashmiri art style sculpture, the roots lay in the Gandhāra sculptural tradition. It had been a great centre of art and culture during ancient and medieval period. It received the same amount of recognition in the medieval time as a centre of academic activities as Nalanda enjoyed in the east. Kashmir produced a number of Buddhist images in the medieval period. The Kashmiri style was very assorted and attracted many different influences during its development which reflected to a large scale, the political conditions of the time and the relative position of Kashmir. Since Kashmir was once an integral part of the vast Kushana Empire, it is not surprising that the Gandhāra tradition to a great extent formed the roots of the Kashmiri Art style. Ladakh apart from monasteries and picturesque beauty also famous for colossal images located at important ancient routes. The colossal images originated in Ladakh region especially Kargil District are considered to be the second largest sculptures in world after Bamiyan and witnessed the influences of Gandhāra art. The sculptures have been found across the northern region of India from Kashmir Valley to Kargil of Ladakh. The stray Sculptures of Kashmir region and colossal images of Kargil regions are the affluent of Gandhāra which are subsequently influenced to Gupta and Tibetan art. The Mulbek, Apathy and Kartse Maitreya of Kargil District proclaim from their magnificent appearance that it was one of the major trade route from Gandhāra region because reflecting the same art in those sculptures and also signifies that Buddhism was its zenith during Kushana period.