Palatial art and architecture: Pataliputra The Masarh lion. The sculptural style is "unquestionably Achaemenid". Various Indian artefacts tend to suggest some Perso-Hellenistic artistic influence in India, mainly felt during the time of the Mauryan Empire. The sculpture of the Masarh lion, found near the Maurya capital of Pataliputra, raises the question of the Achaemenid and Greek influence on the art of the Maurya Empire, and on the western origins of stone carving in India. The lion is carved in Chunar sandstone, like the Pillars of Ashoka, and its finish is polished, a feature of the Maurya sculpture. According to S.P. Gupta, the sculptural style is unquestionably Achaemenid. This is particularly the case for the well-ordered tubular representation of whiskers (vibrissas) and the geometrical representation of inflated veins flush with the entire face. The mane, on the other hand, with tufts of hair represented in wavelets, is rather naturalistic. Very similar examples are however known in Greece and Persepolis. It is possible that this sculpture was made by an Achaemenid or Greek sculptor in India and either remained without effect, or was the Indian imitation of a Greek or Achaemenid model, somewhere between the fifth century B.C. and the first century B.C. , although it is generally dated from the time of the Maurya Empire, around the 3rd century B.C .Page 88: "There is one fragmentary lion head from Masarh, Distt. Bhojpur, Bihar. It is carved out of Chunar sandstone and it also bears the typical Mauryan polish. But it is undoubtedly based on the Achaemenian idiom. The tubular or wick-like whiskers and highly decorated neck with long locks of the mane with one series arranged like sea waves is somewhat non-Indian in approach . But, to be exact, we have an example of a lion from a sculptural frieze from Persepolis of 5th century BCE in which it is overpowering a bull which may be compared with the Masarh lion."... Page 122: "This particular example of a foreign model gets added support from the male heads of foreigners from Patna city and Sarnath since they also prove beyond doubt that a section of the elite in the Gangetic Basin was of foreign origin. However, as noted earlier, this is an example of the late Mauryan period since this is not the type adoped in any Ashoka pillar. We are, therefore, visualizing a historical situation in India in which the West Asian influence on Indian art was felt more in the late Mauryan than in the early Mauryan period. The term West Asia in this context stands for Iran and Afghanistan, where the Sakas and Pahlavas had their basecamps for eastward movement. The prelude to future inroads of the Indo-Bactrians in India had after all started in the second century B.C."... in . Also
Palatial art and architecture: Pataliputra The Masarh lion. The sculptural style is "unquestionably Achaemenid". Various Indian artefacts tend to suggest some Perso-Hellenistic artistic influence in India, mainly felt during the time of the Mauryan Empire. The sculpture of the Masarh lion, found near the Maurya capital of Pataliputra, raises the question of the Achaemenid and Greek influence on the art of the Maurya Empire, and on the western origins of stone carving in India. The lion is carved in Chunar sandstone, like the Pillars of Ashoka, and its finish is polished, a feature of the Maurya sculpture. According to S.P. Gupta, the sculptural style is unquestionably Achaemenid. This is particularly the case for the well-ordered tubular representation of whiskers (vibrissas) and the geometrical representation of inflated veins flush with the entire face. The mane, on the other hand, with tufts of hair represented in wavelets, is rather naturalistic. Very similar examples are however known in Greece and Persepolis. It is possible that this sculpture was made by an Achaemenid or Greek sculptor in India and either remained without effect, or was the Indian imitation of a Greek or Achaemenid model, somewhere between the fifth century BCE and the first century BCE , although it is generally dated from the time of the Maurya Empire, around the 3rd century BCE .Page 88: "There is one fragmentary lion head from Masarh, Distt. Bhojpur, Bihar. It is carved out of Chunar sandstone and it also bears the typical Mauryan polish. But it is undoubtedly based on the Achaemenian idiom. The tubular or wick-like whiskers and highly decorated neck with long locks of the mane with one series arranged like sea waves is somewhat non-Indian in approach . But, to be exact, we have an example of a lion from a sculptural frieze from Persepolis of 5th century BCE in which it is overpowering a bull which may be compared with the Masarh lion."... Page 122: "This particular example of a foreign model gets added support from the male heads of foreigners from Patna city and Sarnath since they also prove beyond doubt that a section of the elite in the Gangetic Basin was of foreign origin. However, as noted earlier, this is an example of the late Mauryan period since this is not the type adoped in any Ashoka pillar. We are, therefore, visualizing a historical situation in India in which the West Asian influence on Indian art was felt more in the late Mauryan than in the early Mauryan period. The term West Asia in this context stands for Iran and Afghanistan, where the Sakas and Pahlavas had their basecamps for eastward movement. The prelude to future inroads of the Indo-Bactrians in India had after all started in the second century B.C."... in . Also
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