The importance of Gupta-period sculpture to the art of South Asia, Southeast Asia, and East Asia has been stressed by many scholars for over a century. The Gupta Period is roughly the fourth-sixth centuries during which the Gupta dynasty controlled much of north India. The Gupta-period artistic style was fairly consistent and emphasised an idealised naturalism that has been praised for its artistic excellence. It is also seen to have relationships with some of the earliest art that developed in Southeast Asia. My paper outlines how these relationships can be defined. It places the Gupta-related art into the context of other Indian art, of Sri Lankan art, of Chinese art, and then each of these with Southeast Asian art. It aims to question several of the standard scholarly assumptions made in regard to the relationship of Gupta-period and Southeast Asian art.

WHAT IS GUPTA-PERIOD ART?

The Gupta dynasty began rule in 320, reached its political zenith around 400, and was losing its strength a century later, by around 500. There is very little art that can be attributed to the fourth century, during the initial decades of Gupta political growth. Indeed there is little art in north India that can be placed in this century, following the end of the Kushan dynastic control and the rise of the Guptas. The Guptas themselves appear not to have been patrons of sculpture or temples, as we have no sculpture and only a few temple remains that were patronized by them. Their interest in visual arts seems limited to coins, with their gold coins reaching a high level of artistic excellence. Members of the Vakataka dynasty, linked through marriage with the Guptas, were, on the other hand, major patrons of both Hindu and Buddhist sculpture and temples. The Buddhist cave temples at Ajanta were done under the Vakatakas in the second half of the fifth century. By the middle of the sixth century we can say the Gupta-period style of art is ending, and during the seventh-century, sculpture in north India will become transformed into a much more formalised, flattened, and conceptual style.