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The Mathura school became one of the two major schools of Gupta Empire art, together with the school of Benares, with Mathura school remaining the most important and the oldest. [225] It is characterized by its usage of mottled red stone from Karri in the Mathura district, and its foreign influences, continuing the traditions of the art of ...
An inscription in Mathura discovered in 1988 mentions "The last day of year 116 of Yavana hegemony (Yavanarajya)", also attesting presence of the Indo-Greeks in the 2nd century BCE. The inscription would date to the 116th year of the Yavana era (thought to start in 186–185 BCE) which would give it a date of 70 or 69 BCE. [ 3 ]
Balarama and Krishna being received at the court of the King Ugrasena at Mathura. Ugrasena (Sanskrit: उग्रसेन) is a character mentioned in the Hindu epic, Mahabharata. He is the King of Mathura, a kingdom that was established by the Vrishni tribes from the Yadavamsha clan. His son Kamsa was a cousin of Krishna's mother, Devaki.
Kamsa (Sanskrit: कंस, IAST: Kaṃsa) was the tyrant ruler of the Vrishni kingdom, with its capital at Mathura.He is variously described in Hindu literature as either a human or an asura; The Puranas describe him as an asura, [2] [3] while the Harivamśa describes him as an asura reborn in the body of a man. [4]
The Lakulisha Mathura pillar inscription consists of horizontal lines across five zones of the pilaster over about 2.25 feet (0.69 m) by 1.5 feet (0.46 m) surface area. The pillar's top and bottom sections are squares, the middle is an octagon. [7] The pillar is smooth on just one top face, one bottom face and five of the eight middle faces.
A partially preserved Sakyamuni statue, also from Mathura, has the date "Year 94", although without mentioning Vasudeva specifically. [ 6 ] The statue, located in the Mathura Museum , is an important example of the art of Mathura .
Kushan art, the art of the Kushan Empire in northern India, flourished between the 1st and the 4th century CE. It blended the traditions of the Greco-Buddhist art of Gandhara, influenced by Hellenistic artistic canons, and the more Indian art of Mathura. [2]
The sculptures and the inscriptions found at Kankali Tila suggest that in that period a clear Digambar-Shwetabar division had not risen. The Tirthankar images are all unclothed and monks are represented as not wearing a loincloth, but with cloth on one forearm as described in ancient Śvetāmbara texts such as the Ācārāṅga Sūtra and the Kalpa Sūtra.