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Art and Architecture
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In the Sūtra period, we find definite references to icons. "The iconographic features of many gods seem to have been fixed in this period. The Baudhāyana Gțihyasūtra refers to Jyeshțhā; the Āpastamba to Išāna Midhuși and Jayanta; the Pāraskara to Iśāna, Midhuși, Jayanta, Śri., Dhanapati, Bhadrakālī, Kshetrapāla, etc. Pāṇini's Grammar also contains reference to images. The Asvalāyana Gțihyasītra Parisishļa describes the inconography of many Vedic and Puranic gods.
TERRACOTTAS
The art of terra-cottas known as clay-figurines outlived the art of sculptures. The earliest female figures, all handmodelled and belonging to the Indus-Valley civilization (2500 B.C.), are (1) female figures and (2) animal figures. The female figurines, though rudimentary as specimens of art, are marked by bold expression. The animal figurines, on the other hand, both of faience and clay, are much more finished and realistic. In the figurines of a bull and a tiger, the vigour and charm of animal life are seen at their best. The terra-cotta objects of the Chalcolithic period are human and animal figures, pottery discs, wheels, etc. Among the animal figures, those of bulls are in large number.
About the terracotta figurines during the time of Mahāvira, we get some knowledge both from literary and archaeological sources. In the Bhaddasāla Jataka, reference is found to princes receiving presents of elephants, horses, and other toys from their mother's father. We come across a mechanical image (Jantapadimā) of a human being which could walk, opon and shut its eyes. Another specimen of fine workmanship in mechanical toy is supplied by the mechanical clephant (Jantamayahatthi) manufactured by king Pradyota to capturc Udayana of Kaušāmbi,s
1. India as known to Panini, pp. 361-364. 2. Ch. 1. Sec. VI and Ch. II. Sec. V. 3. Jā, No. 465. 4. Brih. Bha, 4. 4915. 5. Āra Chu II, p. 101.
