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| Home > Indian Sculptures > Development of Sculptures > Satavahana Empire
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| | Sculpture in Satavahana Empire
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The Ancient Sculptures of Satavahana Empire
 The rulers from Satavahanas dynasty are also known, as the Andhras. It was a dynasty, which ruled in Southern and Central India starting from around 230 BCE. Satavahanas were the first ancient dynasty of Maharashtra. The rulers from this dynasty had occupied a major part of southern India, which included modern Maharashtra, Andhra Pradesh and parts of Gujrath and Karnataka states. Satavahana Empire noted for artistic development and lasted for almost five centuries but eventually collapsed. Many other kingdoms arose in the ruins of Satavahanas.
There exists a controversy about the ending time of the dynasty but the most liberal estimates suggest that it lasted about 450 years. The regime of Satavahanas is praised for establishing peace in the country. There were onslaughts of foreigners on their regime after the decline of Mauryan Empire.
The glory of the Satavahanas is rightly reflected from the tradition of art and architecture, which was evolved and developed by them. The sculpture of this period is mostly of architectural accomplishment. Many famous places in Andhra like Goli, Jaggayapeta, Ghantasala, Bhattiprolu, Amaravati and Nagarjunakonda have revealed the remains of stupas and sculptures.
Among these, the stupa at Amaravati had a dome structure, which is 20 feet high, with its four rectangular offsets. It was surrounded with a railing having 192 feet diameter and 600 feet circumference and it stood 13 or 14 feet high above the pavement.
The Amaravati sculptures show some of the traces of the influence of the Gandhara and the Mathura schools to some extent. And no doubt they are of -as Sir John Marshall has pointed out,
"…great originality, freedom of treatment", and " spontaneous exuberance…".
The characteristics of Satavahanas sculptures can be illustrated from the following explanation-
The theme of nature and related things are most charmingly depicted through the art of carving with emphasizing on vigour, activity and grace. The erotic sculptures are less in numbers but can be marked with their presence. Speciously, the female figures are carved sensuously and the erotic appeal of the figures and situations is felt easily.
 One more important stage of development in sculptural history is marked during this period. The Amaravati School has started the practice of depicting the Buddha as a divine being and receiving worship. The iconic presentation of Buddha was common till this period. Indeed, it is said that the Amaravati school of art, " struck a quite novel and unique chord in the symphony of Indian plastic art".
An another center of showing the Satavahana art is Nagarjunakonda. The sculptural tradition of Amaravati seems to continue at the art of this place. The Buddhist themes dominate the entire picture of artistic creations, although some scholars have evidences to show the influence of the Naga tradition on the art.
The mastery of the Satavahanas can be noted from the sculptures at Nagarjunakonda. Throughout the sculptures the main themes is of showing various episodes revolving around the Buddha and his life. But the outstanding example of the sculpture of that ages & art of Satavahanas is the depiction of the Enlightened Buddha. The images of Buddha are mainly in the `sthanaka` i.e. standing or `asana` i.e. sitting position and marvelously portray a serene oval face of Buddha with a moderately built body. The images in sitting position shows striking similarity with each other`s in carving rounded shoulders. In many images, the right hand of Buddha is held up to give a symbolic gesture of `abhaya` means protection- or `pravachana` means preaching.
The famous chaitya hall built at Karle is considered as another example of the magnificence of the Satavahana architecture. The hall is more than 124 feet long, 46 feet broad and 46 feet high.
It also marked with construction of the Garbhagriha, the Pradakshina and the Mantapa. Light and air into the Chaitya hall must have entered only through the doorway. With it, the elegant Chaitya window in which the wood work of sculptures has remained till today. The construction of all the monuments is responsible for the " soft luminous atmosphere" inside it.
The art of Satavahanas can be marked at a Chaitya at Kanheri; the remains of a brick Chaitya at Chandravalli and of a stupa at Sannati have also been discovered in Karnataka. Some historians strongly believe that art schools like the Kshatrapa, the Vakataka, Kalachuri, Chalukya, Pallava, Pandya, etc had a direct obligation to the art of the Satavahanas.
In the field of carvings and paintings also the Satavahanas art was marked, in the caves of Ajanta the painting was started with the Satavahanas.
 Sculpture of Buddha in cave 10 is shows Buddha as seated on a cushion and wearing red robe. On his forehead a chandan mark in noted. He is shown as surrounded by standing monks and householders. Some of the Scholars have been wrongly attributed to the Satavahana period; as per them these sculptures from Ajanta seem to belong to a later date, perhaps to the 6th century A. D. But no doubt, the Satavahanas created a tradition in the art of painting from Ajanta. One can transport oneself into that glorious age of Satavahanas by visiting these places.
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