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Sarnath, Uttar Pradesh, Maurya, 3rd Century B.C.E.鈥擳he Mauryan Sculptures are characterized by their distinct shiny polished surface, which according to some historians, is a Western influence. All of Asoka's pillars and their capitals exhibit this feature. However, there is no clear reason as to how they achieved it. While earlier historians were of the opinion that these sculptures were rubbed against with fine grained sand and then buffed with cloth or animal skin, some historians now are of the view that these sculptures were actually coated with a layer of pink sandstone mixed with haematite pellets and then chiselled and not polished. So while the lower surface was rough, its upper surface had a polished, lustrous appearance.

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p膩峁冡笉u ra峁僩a ke balu膩 patthara k墨 prastara pratim膩e峁冣��
s膩ran膩tha, uttara prade艣a, maurya, t墨sar墨 艣at膩bd墨 墨.p奴.鈥�
maurya k膩la k墨 prastara pratim膩o峁� ko apan墨 vi艣i峁ａ弓a prak膩ra k墨 camaka ke k膩ra峁嘺 alaga se pahac膩n膩 j膩 sakat膩 hai| kucha itih膩sak膩ra ise pa艣cim墨 prabh膩va m膩nate hai峁億 samr膩峁璦 a艣oka dv膩r膩 banav膩e gae sabh墨 sta峁僢ho峁� aura unake 艣墨r峁�o峁� para yaha vi艣i峁ａ弓at膩 dikhal膩墨 det墨 hai| kintu, yaha spa峁ａ弓a nah墨峁� hai m奴rtik膩ro峁� ne yaha dak峁�at膩 kaise pr膩pta k墨 hog墨| pahale ke itih膩sak膩ro峁� k膩 yaha mata th膩 ki ina pratim膩o峁� ko reta se ghis膩 j膩t膩 th膩 aura phira unhe峁� kapare y膩 pa艣u kh膩la se camak膩y膩 j膩t膩 th膩| kucha itih膩sak膩ro峁� k膩 mata hai ki ina pratim膩o峁� para vastuta岣� heme峁�膩i峁璦 se yukta l膩la balu膩 patthara k墨 parata ca岣峢a啶监ぞ墨 ga墨 th墨 aura phira inhe峁� tar膩艣膩 gay膩 th膩| inhe峁� pa啷塴i艣a nah墨峁� kiy膩 gay膩 th膩| ata岣� inak墨 nical墨 sataha to khuradar墨 hai kintu 奴par墨 sataha para pa啷塴i艣a k墨 ga墨 hai|

Transcription (not proofread):

pamdu ramga ke balua patthara ki prastara pratimaem鈥�
saranatha, uttara pradesha, maurya, tisari shatabdi i.pu.鈥�
maurya kala ki prastara pratimaom ko apani vishishta prakara ki camaka ke karana alaga se pahacana ja sakata hai| kucha itihasakara ise pashcimi prabhava manate haim| samrata ashoka dvara banavae gae sabhi stambhom aura unake shirshom para yaha vishishtata dikhalai deti hai| kintu, yaha spashta nahim hai murtikarom ne yaha dakshata kaise prapta ki hogi| pahale ke itihasakarom ka yaha mata tha ki ina pratimaom ko reta se ghisa jata tha aura phira unhem kapare ya pashu khala se camakaya jata tha| kucha itihasakarom ka mata hai ki ina pratimaom para vastutah hemetaita se yukta lala balua patthara ki parata cadha啶监ぞi gai thi aura phira inhem tarasha gaya tha| inhem pa啷塴isha nahim kiya gaya tha| atah inaki nicali sataha to khuradari hai kintu upari sataha para pa啷塴isha ki gai hai|

Automated translation:

Stone sculptures of pale yellow 蝉补苍诲蝉迟辞苍别鈥�
Sarnath, Uttar Pradesh, Maurya, 3rd century BCE鈥�
The stone sculptures of the Mauryan period can be identified by their distinctive polishing. Some historians believe this to be a Western influence. All the pillars and capitals built by Emperor Ashoka have this polishing. However, it is not clear how the sculptors achieved this excellence. Earlier historians believed that the sculptures were rubbed with sand and then polished with cloth or animal hide. Some historians believe that the sculptures were actually coated with a layer of red sandstone containing hematite and then carved. They were not polished. Hence, the lower surface is rough but the upper surface is polished.

Gallery information:

These photographs are from the section 鈥淢aurya, Shunga and Satavahana Arts鈥� within the National Museum of New Delhi (India). The Mauryan, Shunga, and Satavahana dynasties have distinct yet interconnected roles in the evolution of Indian art and culture. Throughout these periods, terracotta art evolved considerably, reflecting cultural and technical exchanges, and iconography transitioned from aniconic to anthropomorphic depictions in Buddhist contexts. These dynasties collectively influenced the stylistic and thematic growth of Indian art.