GUPTA ADMINISTRATION

The two hundred years of Gupta rule may be said to mark the climax of Hindu imperial tradition. From the point of view of literature, religion, art, architecture, commerce and colonial development, this period is undoubtedly the most important in Indian history. The Guptas inherited the administrative system of the earlier empires. The Mauryan bureaucracy, already converted into a caste, had functioned with impartial loyalty under succeeding empires. Under the Guptas we have direct allusions to viceroys, governors, administrators of provinces, and of course to ministers of the imperial government. The Mahamatras or provincial viceroys go back to the Mauryan period and continue, in fact, up to the twelfth century as the highest ranks in official bureaucracy. The position of Kumaramatyas, of whom many are mentioned, is not clear as we know of them in posts of varying importance. The gramikas or the village headmen formed the lowest rung in the ladder. Uparikas or governors were also appointed to provinces. In the Damodarpur plates we have mention of an uparika named Arata Datta who was governing like police chiefs, controller of military stores, chief justice (Mahadanda Nayak) leave no doubt about the existence of an organized hierarchy of officials exercising imperial authority in different parts of the country.

1. Monarchs took high sounding titles - Supreme Lord and Great King of Kings - the empire had a philosophy called imperialism but unfortunately it only touched the social and cultural fields it had no political objectives.

2. King was at the apex - princes often Viceroys. Queens were learned. Kumaradevi of Chandragupta I and Dhruvadevi of Chandragupta II appear o the coins.

3. Council of Ministers were often hereditary - Harisena and saba of Chandragupta II were military generals. Very often, ministers combined many offices - some ministers accompanied the king to the battles. Chief Ministers headed the Ministry.

4. Central Government - each department had its own seal - number of Mahasenapatis to watch over feudatories - foreign ministers like Sandhi proably supervised the foreign policy towards the feudastory states.

The whole organization was bureaucratic as in the case of Mauryas. To some extent, the adminstration mellowed with the Guptas - Police regulations were less severe - capital punishments rare. Glowing tributes were paid to the Gupta administration by Fahien. There was no needless intereference of the government in the lives of people. It was temperate in the repression of crime and tolerant in matters of religion. Fahien could claim that he pursued his studies in peace wherever he chose to reside.

Provincial administration - known as Bhuktis or Deshes. Officers very often of royal blood - maintained law and order and protected people against external aggression - also looked after public utility services.

Bhuktis were divided into groups of districts called Pradeshes. Pradeshas were divided into Vishyas or districts. The head of the districts was Vishayapati. Probably the provincial head was assisted by various officials.

Damdoar plate inscription mentions number of functionaries - chief banker, Chief Merchants, Chief Artisan, Chief of the writer class etc. Whether they formed part of the non-official council of the districts or were elected is not known.

Districts divided into number of villages - villages being the last unit. Villages looked after houses, streets, tmples banks etc. - each village had its own weavers, black-smits and gold-smiths, carpentaers etc.

Village headmen known as gramike was assisted by a council called Panchamandali. Each village had its own seal.

Towns looked after by Purapalas - town councils.

A very revealing feature of the administration was the payment of grants in land instead of salaries. Only personnel of the military service were paid cash salaries. The grants in land were of two kinds. The agrahara grant was only to brahmins and it was tax-free. The second variety of land grant was given to secular officials either as salary or as reward for services. Both these practices were widely used as the time passed by. These grants definitely weakened the authority of the king. Although technically the king could cancel the grants, he could not do so as the time passed by.

11. Not enough evidence on taxation. Officials on tour were provided free rice, curd, milk, flowers, transport, etc. Perhaps they were like modern day officials at the districts level, Local people paid the expenses for apprehending criminals. 12. Three varieties of land - waste land belonging to State which was donated very often. The crown land war rarely donated. The third was the private land. Land revenue and various taxes from the land and from various categories of produce at various stages of production. 13. Administration was highly decentralized - police, control of military stores, chief justice, etc. Probably, recruitment ceased to be based on merit. 14. Parallelism of power - highest concentration and extensive decentralization. Such an administration required a good standing army and complicated system of checks and counter-checks.
GUPTA SOCIETY

1. The Gupta age saw the acceptance of the Aryan pattern in northern India. The key status of the Brahmin was established. Good number of books re-written incorporating the view-point of the brahmins confirming the view that the status of the Brahmin was effective and powerful. Added to his, the increased granting of land to brahmins strengthened the pre-eminces of the Brahmin in society. The Brahmin thought that he was the sole custodian of Aryan tradition. Not only, this, the brahmins also monopolized knowledge and the education system.

2. Also, in the Aryan pattern of a society the master of the house occupied higher status. This indicates the disappearance of the indigenous pre-Aryan culture. Luckily this patriarchal Aryan society did not spread to all parts of India as conflict between Aryan and non-Aryan cultures continued. Al though the patriarchal stamp of Aryan and non-Aryan society, as revealed by the low status of women, became increasingly evident, the opposite also appeared in the form of increasing worship of Mother Goddess and fertility cults. In a way, the imposition of Aryan pattern of society on classes other than those of upper castes was incomplete and uncertain. In the post-Gutan era more and more concessions were made to popular cults as borne out by the spread of Saivism and linga worship. Thus, the Aryan pattern of society could not take routes in the whole of India. Al though women were idealized in literature, they definitely occupied a subordinate position. Only upper class women were permitted a limited kind of education and that too only for enabling them to converse intelligently. Occasionally there are references of women teachers and philosophers. Some of the later day evil practices began to appear in this age. Early marriages appeared, and even pre-puberty marriages. It was also suggested that a widow should not only live in strict celibacy, but pre-ferably burn herself on the funeral pyre of her husband, according to Thapar evidence shows that this practice dates from 510 A.D. as stated in an inscription at era. It gradually came to be followed by the upper classes of central India to begin with and later in eastern India and Napal.

3. Some of the towns of South Bihar were large like those of Magadha. People were generally rich and prosperous. Charitable institutions were numerous. Rest houses for travelers existed on the highways. The capital itself had excellent free hospital endowed by benevolent and enlightened citizens.

Interestingly Pataliputra was still a city which inspired awe. Fahien was impressed by it particularly as it possessed two monasteries of interest. According to him, the monks were famous for their learning and students from all quarters attended their lectures. He himself had spent three years in the study of Sanskrit language and the Buddhist scriptures in Patiliputra. Fahien was tremendoulsly impressed by the palaces and halls erected during the time of Asoka in the middle of the city. According to him the massive stone-work adorned with sculptures and decorative carvings appeared to be the work of spirits beyond the capacity of human craftsmen.

4. Fahien also recorded that on his journey from the Indus to Mathura and Yamuna he saw a large number of monasteries tenanted by thousands of monks. Mathura alone had 20 such institutions.

5. It is said that people generally observed the Buddhist rule of life. The Chandalas or outcastes lived outside towns and cities. They were required to strik a piece of wood on entering to town or a bazaar so that people might not become polluted by contact with them. This particular observation shows that the manners and attitudes of people and government underwent a great change from the days of the Mauryas. It may be remembered that earlier the people of Taxila offered herds of fat beasts to Alexander to be slaughtered. Even Asoka did not forbid the slaughter of kine. Fahien observed that through out the whole country no body except the lowest out castes killed any living thing. Drank strong liquor, or ate onions and garlic. Probably this view of Fahien has to be taken with a pinch of salt. What all his remark conveys is that the sentiment of ahimsa was probably very strong in mid-India. Possibly, Fahien was only remarking on Buddhists.

,6. In the field of education the sciences of mathematics and astronomy including estrology, were pursued. The famous writers of the day were Aryabhata, Varahamihira, and a little later Brahmagupta. The first two writers definitely absorbed some Greek elements relating to their respective sciences. By the end of the sixth century India had devised the decimal system for the notation of numeral and employed a special sign for zero. This contribution of India to the world in the sphere of practical knowledge was used in inscriptions only a century after Aryabhata.

7. The university at Nalanda became an educational center of international fame. Founded in the fifty century by one of the later Gupta emperors, it was endowed munificently by monarchs and rich men frol all parts of India and the Hindu colonies. Both Yuan-chwang and I-Tsing have left detailed accounts of their observations. We have also sufficient epigraphical and archaeological records to know more about it.

8. Formal education was imparted both in brahminical institutions and in Buddhist monasteries. In the latter pupils lived for 10 years but those who sought to join the ranks of monk remained for a longer period. Nalanda was the premier canter of Buddhist learning.

9. Primarily formal education was limited to grammar rhetoric prose, composition, logic, metaphysics and medicine. It is interesting to observe that detailed works on veterinary science appeared and that too they primarily related to horses and elephants.

10. Most of technical and specialized knowledge remained with guilds. Unfortunately, this knowledge was transmitted to younger generations on hereditary lines. This knowledge of the guilds has no contact with Brahmin institutions and Buddhist monasteries. Exceptionally the only one subject that brought the guilds and others close was mathematics. Understandably great advance was made in the field of mathematics.

11. Dramatic entertainment was popular both in court circles and outside. Music concerts and dance performances were primarily held in well-to-do house holds and before discerning audience. The generality of people derived pleasure in gambling and in witnessing animal fights specially those, of rams, cocks and quails. Athletics and gymnastics were the well-known sporting tournaments of the day. At various festivals both religious and secular amusements of various kinds were witnessed by people. The festival of spring was an important event for merry-making. Al though Fahien says that vegetarianism was widely prevalent meat was commonly consumed. Wine both local and imported was drunk and chewing of beetle leaf was a regular practice.

12. Caste and occupation were related although it was not very strictly maintained. There appears to be some improvement in the status of the shudra as compared to the Mauryan times. There was a clear distinction between shudras and slaves in the legal literature of the day. Also the term 'dvija' came to be restricted to Brahmins. The inscriptions of the day, however indicate that there was social mobility among the sub-castes.

13. The legal text-books primarily base the mselves on the work of manu. The writers of the day were Yajnavalkay, Narada, Brihaspati, Katyayana. Joint family system was well-known.

14. The first major works on astronomy were compiled earlier. Some of the fundamental problems of astronomy were tackled by Aryabhata. It was primarily because of his efforts that astronomy was recognized as a separate discipline. Aryabhata also believed that the earth was a sphere and the shadow of the earth falling on the moon caused eclipses. A near contemporary of Aryabhata was Varahamihira who divided the study of a stronomy into three distinct branches - astronomy, and mathematics, horoscopy and astrology.
GUPTA ECONOMY

1. Trade reached its peak during the Gupta period. The annexation of the territory of the Satraps brought areas of exceptional wealth and fertility into the ordit of the empire. The State gathered abundant revenues in the form of custom duties at the numerous ports on the western coast like Broach Sopara, Cambay and a multitude center where most of the trade routes converged. The city of Jjjain is even now regarded as one of the seven sacred Hindu cities, slightly lower than that of Benaras in sanctity. The favoured position of the city made a succession of rulers embellish the city with various religious establishments.

2. Guilds continued to be the nodal points of commercial activity. They were almost autonomous in their internal organization. The government respected their laws. The laws governing the guilds were made by a corporation of guilds in which each guild had a member. The corporation elected a body of advisers who functioned as its functionaries. Some industrial guilds like that of the silk weavers had their own separate corporations. It is also interesting to observe that the Buddhist Sangha was rich enough to participate in commercial activities. At places the Sangha acted as the banker and lent money on interest. This was in addition to their returns from land. They too took one sixth of the produce just as the State.

The rate of interest varied. Very high rates of interest were no longer charged for overseas trade showing that there was increased confidence in that form of trade. Generally the rate was 20 per cent as against 240 of the earlier period. This lowering of the interest rate also reveals abundance of goods and conquest decrease in rate of profit.

3. Textiles of various kinds were manufactured. The domestic market was considerable. They had also markets in foreign countries. Silk muslim calico, Linen, wool and cotton were produced in great quantities. Western Indian was known for silk weaving. By the end of the Gupta period there was an eclipse of this industry. Possibly the in creasing use of the central Asian route and the sea-routeut China might have caused this eclipse.

However, ivory work remained at its peak and did stone-cutting and carving. In metal-work copper the chief items of production were those of copper, iron and lead. Bronze also began to be used. The pearl-fishers of western India reaped huge profits in foreign markets. A great variety of precious stones like jasper, agate quartz and lapis-lazuli were exported. Pottery indeed remained the most important part of industrial production although the earlier elegant black polished were was no longer produced.

For carrying goods pack animals and ox-drawn carts were used. In certain areas elephants were used for transport. The Ganges, Yamuna, Narbada, Godavari, Krishna and Kaveri were the maij waterways.

There was some change in the items of trade as compared to the preceding period. Chinese silk was imported in great quantities. So was ivory from Ethiopia. The import of horses from Arabia. Iran and Bactria increased during this period.

Regarding over-seas trade ships regularly crossed to Arabian Sea the Indian Ocean and the China Seas. Indian trade contacts with East Africa were continued.

It is strange to observe that in the period when commercial activity was at its apex the law-makers declared travel by sea a taboo and a great sin. Ritual purity became an obsession with both brahmins and upper castes. It was held that travel to distant lands would lead to contamination with the mlechhas (impure and non-caste people). Thapar observes that this ban had an indirect advantage to the Brahmin in the sense that it curbed the economic power of trading community.

4. It is generally held that the peoples standard of living was very high. The prosperous urban dwellers lived in comfort and ease. Indeed there was a wide variation in the pattern of living. Out-castes were made to live on the out skirts of towns. Also there was no change in the standard of living of villagers as known from the accounts of foreign travelers.

The daily life of a comfortably well-off citizen in towns is described in the Kamasutra. The citizen led a gentle existence devoted to various refinements of life. in social gatherings poetic recitations and compositions were heard. Music was another necessary accomplishment particularly the Playing of veena. The sophisticated townee has to be trained in the art of love and for this purpose the Kamasutra and other books of the same kind were written. It is also said that the courtesan was a normal feature of urban life. According to the Kamasutra the occupation of a courtesan was very demanding profession. "She was often called upon to be a cultured companion like the geisha of Japan or the haetaere of Greec".
GUPTA LITERATURE

Out knowledge of the development of Sanskrit literature in the early centuries A.D. is based on writings from the Gupta period. However, tradition associates the work of Ashvaghosha and out-standing writer and play Wright, one of the founders of Buddhist Sanskrit literature and a major philosopher- with the reign of Kanishak (the early second century AD). Many of his works remain unknown, but fragments of the following poems in Sanskrit have been preserved: Buddhacharita ("A life of the Buddha") Saundarananda (Sundari and Nanda) and the drama shariputraprakarana. (A drama dealing with Shariputra's Conversion to Buddhism). In ancient India these works of Ashvaghosha had enjoyed wide popularity and the Chinese pilgrim I-tsing who visited India in the seventh century wrote that the "poem" so gladdened the heart of the reader that he never tired of repeating it over and over again.

Although the Buddhacharita and the Shariputraprakarana treated only Buddhist themes and propagated the teaching of the Buddha they possessed artistic qualities. Ashvaghosha adheres to the epic tradition and his characters lives are filled with drama and rich emotional experience.

In his plays Ashvaghosha lays the foundation of ancient Indian drama which was to come into its own in the works of such writers as Bhasa, Kalidasa and Shudraka. Thirteen plays are attribute to Bhasa but it is as yet difficult to establish which of these early were written by this remarkable dramatist. Bahsa also made use of the epic tradition, although his plays were constructed strictly according to the laws of classical drama. Some modern scholars maintain, and with ample justification, that a number of the plays attributed to Bhasa are the most ancient moderls of Indian tragedy. This was, there is not doubt a bold innovation on the part of Bhasa who thus defined established artistic canon. This trend in ancient Indian drama was developed by the Shudraka, author of the play Mrichhakatiak (The title Clay Cart), which tells of the ardent love of an impoverished merchant for a courtsan.

Possibly the greatest in ancient Indian literature is the work of Kalidasa, (late fourth-early fifth century), poet and dramatist, whose wrirtings represent an illustrious page in the history of world culture. Translations of Kalidasa's works penetrated to the West at the end of the eighteenth century and were well received.

There is good reason to believe that Kalidasa was native of Mandasor in Malwa. It is, therefore, argued that he was brought up in close touch with the court of Ujjain, an active center of commercial and economic activity in western India. Kalidasa's early descriptive poems, the Ritussamhara and the Meghaduta probably belong to the reign of Chandragupta-II, and his dramas to that of Kumaragupta.

It appears that Kalidasa was a prolific writer but as year scholars have only discovered three plays : Shankuntala, Malavikagnimitra, Vikramorvashi (Urvashi won by Valour), the poem Meghadutta (the Cloud Messenger) and two epic poems : the Kumarasambhava (the Birth of Kumara) and Raghuvansha (Raghu's Line)

The core of all Kalidasa writings is man and his emotions, his wordly concerns, his joys and sorrows, His work represents a significant step forward in comparison with the writings of Ashavaghosha who depicted in idealized image of the Buddha and his faithfull disciples. Many of Kalidasa's heroes are kings: the poet not only extolled their exploits, but he also condemned their ignoble deeds. Some of Kalidasa's works bear witness to the growth of the epic poem, the so-called mahakavya. Both in his plays and poems Nature and Man's emotions are distinguished by their lyric quality and humanism. Without swerving from earlier traditions Kalidasa stood out as an innovator in many respects.

Also, the very fact that tragic themes do not figure with the exception of Mrichcha Katika by Shudrak shows that the higher strata of society primarily sought entertainment.

In ancient India considerable advances were also made by the theator. In the Gupta age special treatises concerning dramatic art started to appear, which provided detailed expositions of the aims of the theratre and theatrical entertainments, the various genres used in thetheatre etc.

When ancient Indian plays first made their way to Europe, many scholars wrote that the Indian theatre owed its roots to ancient Greece. However it has since emerged beyond doubt that the theatre in India came into being quite independently. More over Indian the atrical tradition goes further back than that of ancient Greece and is much richer as far as theory is concerned.

In the Gupta age the earliest of the Puranas were compiled. These collections of legends about gods, kings and heroes that embody the mythological and cosmological ideas of ancient Indians were compiled over a very long period and subjected to far-reaching editing and modification.

Some of the Dharmashastras such as the Laws of Yajnavalkya (third century AD) or the laws of Narada (fourth and fifth centuries AD) also date from the early centuries AD. Worthy of note among the landmarks of Sankrit literature is the Panchatan to (third and fourth centuries AD) a collection of tales and pafables which is very popular both in India and beyond its borders. In the early Middle Ages translations of this work appeared in Pehlevi, Syriac and Arabic. In the Middle East the collection was known as all the influence of the Panchatantra on both Eastern and Western literature was considerable.

It was also in the Gupta period that the first works of literature from Southern India written in Tamil appeard. One of the most famous these early works in Tamil was the Kural a collection of parables. The compilation of which is traditional ascribed to a representative of the farmers' caste, Triuvalluvar.The Kumar was undoubtedly based on material derived from folklore and already in ancient times won enormous popularity. In the fourth and fifth centuries A.D. Collections of Lyrical poems in Tamil also appeared. The literature of other south Indian appear later in the early Middle Ages.

In the end it may be noted that both Sanskrit poetry and prose were greatly encouraged through royal patronage. However it was literature of the elites since Sanskrit was known only to them but not to the people. The Sanskrit plays of this period show that the characters of high social status speak Sanskrit: whereas those of lower status and women speak Prakrit. This particular feature throws light on the status of Sanskrit and Prakrit in society.
GUPTA ART

The glorious of the Gupta age proper (C. 350-650) have been made permanent through the visible creations of its art. Different forms of art, e.g. sculpture painting and terra-cotta attained a maturity balance and naturalness of exoression that have for ever remained unexcelled. Some of our most beautiful monuments representing the very acme of India's artistic achievement among which the immortal Ajanta murals take precedence constitute the cultural heritage of the Gupta period.

It is contended that during the Gupta period the proto-type of Hindu temple came into existence. It is rather unfortunate that many of the temples were destroyed by the iconoclasm of Muslims in the first few centuries of the second millennia. Whatever that remains of the Gupta temples the practice of keeping the principal image in the Garbha-griha (womb-house) began from this period. The structure it self was enclosed by a courtyard which in the later period housed a complex of shrines. Also it is from the Gupta period that temples came to be largely built in stone leading to the evolution of the monumental style in Hindu architecture.

This practice of free standing temples was not taken up by the Buddhists. They continued to excavate hills. Some of their caves ore richly adorned with paintings like those of Ajanta. In the field of art the Gupta age witnessed classical levels in music. Architecture, sculpture and painting. The Gupta sculptures exhibit a gracious dignity never to be repeated again in Indian sculpture. Plain robes flowing over the bodies appear as though they are transparent. Transparent drapery is used not to reveal the charms of the flesh but to conceal them. If the schools of Bharhut, Sanchi and Mathura are marked by a sensual earthiness and that of Amravati by vital excited movement the Gupta sculpture suggests serenity and certitude.

It is however in the field of sculpture that classical heights were reached in the Gupta period. The Buddha images at Sarnath reflect serenity and contentment mirroring the religious atmosphere of the age. This practice of carving images was picked up by Hinduism also. Since Hinduism created the image as a symbol the image are not representational created the image as a symbol the images are not representational just like those of Buddhism. The Hindu gods of the Gupta period were primarily incarnations of Vishnu.

The Gupta sculptural style probably grew out of the Kushan style that survived at Mathura. In early fifty century a distinctive icon was greated. It is represented by a red sand-stone figure of a standing Buddha with an immense decorated hallow. The tension which activated earlier tranquility, a spiritual other worldliness which is the hallmark of the Gupta Buddhist.

According to authorities the Mathura style was refined and perfected at Sarnath. A great number of Buddhist eculptures were unearthed here. One unique group is known as the 'wet Buddhas' because the sculptures look as if they have been immersed in water. The Mathuran string fold motif is omitted and the sheer muslim Sanghati appears to cling to the body and reveal its basic form.

A great example of Gupta sculpture created at Sarnath is that of the seated Buddha preaching the Law, carved of Chunar sandstone. This piece harmonises refined simplicity and Indian love of decoration. This particular image influenced India and also had a significant and lasting effect on brahminical art. In this sculpture the Buddha is seated as a yoqi on a throne and performs the Dharms Chakri mudra.

From the end of the fifth century on first under the on-slaught of the Huns and later with the advent of Islam, many of the products of the Gupta art, both Buddhist and Hindu were destroyed.

A remarkable piece of Gupta metal-casting found at Sultanganj in Bihar is nearly feet high. Another metal figure but of a smaller size in bronze was found in U.P.

A group of small ivory images of Buddhas and Bodhisattavas founding the Kashmri area are prime examples of late Gupta art from about the eighth century.

Now for brahminical art. Even during the Kushan period sculptures of Hindu subjects such as the Sun God Surya and of Vishnu were produced at Mathura and else where. During the Gupta period an major group of brahminical sculptures appeared dealing with the various aspects of Vishnu. In the Udaigiri rock-cut shrine near Bhopal Vishnu is presented as the cosmic boar Varaha. The figures of Yakshi were also culled in the Udaigiri shrine. They now appear as river deities. This transformation can be clearly seen in a figure from the doorway of a Gupta temple at Besnagar nearby. It appears to represent the sacred river Ganga. The goddess stands in the classic tribhanga.

Paramount among Hindu sculptures of the Gupta period are the reliefs on the exterior walls of the ruins of the Dasavatara Temple at Deogarh near Jhansi. Vishnu is shown asleep on the coils of the giant multi-headed serpant Ananta. Brahma is depicted separately seated on a lotus blossom. In the upper reaches of the relief deities including Indra and Shiva are represented. At the base of this sculptural relief there is a panel depicting events from the epic poem the Ramayana.

Also it is interesting to note that the earliest surviving examples of painting in Ajanta Caves belong to the Gupta period. In Cave 1 we see Gupta architecture wrought from solid stone. This cave is also a virtual museum of Buddhist art. From every part of the cave we see paintings depicting the rich and complex Buddhist world of the late fifth century. The subject matter of the paintings is the various lives and icarnations of the Buddha as told in the Jataka tales. The Bodhisattava Padmapani in the tribhanga pose of sculpture holds a blue lotus. This figure expresses remote calm. The absence of shadows suggests an unworldly light. This light is present in all the paintings of Ajanta and is partly the result of the techniques used by the artists.

Another elegant Bodhisattava figure in Cave in is shown surrounded by his queen and ladies of the court. It recreates an episode from the Jataka story. In cave 19 we have a fully developed Chaitya façade to Gupta style. It has over-abundance of Buddha images.
GENERAL ESTIMATE

The characteristic features of Gupta art are refinement or elegance simplicity of expression and dominant spiritual purpose. An ensemble of these characteristics give Gupta art an individuality. In the first place this art is marked by refinemnt and restraint which are the signs of a highly developmed cultural taste and aesthetic enjoyment. The artist no longer relies on volume to give an impression of grandiose but focuses his attention on elegance with is not lost in the exuberance of ornaments. The keynote of his art is balance and freedomfrom the dead weight of conventions. The dictum is at once apparent if we compare the standing life-size figure of the Gupta Buddha of Yasadinna with the colossal standing Bodhisttava in the Sarnath Museum both from Mathura and in red sand stone.

Another characteristic of Gupta art is the concept of beauty for which we have a very appropriate term rupam used by Kalidasa. The men and women in this art-loving age applied the mselves to the worship of beautiful form in many ways. But aesthetic culture did not weaken the strong structure and stamina of life or bedim its supreme objective of yielding to the riotous worship of the sences. Art was worshipped in order to deepen the consciousness of the soul and awaken it to a new sense of spiritual joy and nobility. Kalidasa the supreme genius and poet of this age has expressed this attitude of life devoted to beauty in a sentence addressed to Paravati the goddess of personal Charm by her consort Siva: 'O fair damsel the popular saying that beauty does not lead to sin is full of unexceptional truth'. The path of virtue is the path of beauty- this appears to be the guiding impulse of life in the Gupta age. To create lovely forms and harness them to the needs of higher life - this was the golden harmony that made Gupta art a thing of such perpetual and in-exhaustible attraction.