Northern Satraps

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Northern Satraps
60 BCE–2nd century CE
HAN DYNASTY
The Northern Satraps ruled the area from Eastern Punjab to Mathura.[1] Approximate location and neighbouring polities, early 1st century CE.
CapitalSagala/ Mathura
Religion
Buddhism
Hinduism
Jainism
GovernmentMonarchy
Historical eraAntiquity
• Established
60 BCE
• Disestablished
2nd century CE
Preceded by		 Succeeded by
Indo-Greeks
Indo-Scythians
Mitra dynasty
Indo-Parthians
Kushan Empire
Today part of

The Northern Satraps (

Indo-Greek kings in the Punjab region, as well as the Mitra dynasty and the Datta dynasty
of local Indian rulers in Mathura.

The Northern Satraps were probably displaced by, or became vassals of, the

Kushans from the time of Vima Kadphises, who is known to have ruled in Mathura in 90–100 CE, and they are known to have acted as Satraps and Great Satraps in the Mathura region for his successor Kanishka
(127–150 CE).

Northern Satrap rulers

Indo-Scythian ruler of Mathura Rajuvula (r.c. 10 BCE to 10 CE, bottom) discovered together in a mound in Mathura.[3][4] The coins of Rajuvula were derived from those of Strato.[5]

In central India, the

satrapy and not wholly independent, they were called the Northern Satraps. Some of their first satraps were Hagamasha and Hagana, they were in turn followed by Rajuvula who gained the title Mahakshatrapa or great satrap. However, according to some authors, Rajuvula may have been first.[citation needed
]

Rajuvula

Indo-Scythian ruler Rajuvula, from his coinage.

Greek script the title "King of Kings, the Saviour".[7][2]

In Mathura, Rajuvula established the famous

Indo-Greek types of Strato II.[8][6] Rajuvula conquered the last remaining Indo-Greek kingdom, under Strato II, around 10 CE, and took his capital city, Sagala. Numerous coins of Rajuvula have been found in company with the coins of the Strato group in the Eastern Punjab (to the east of the Jhelum) and also in the Mathura area:[9] for example, 96 coins of Strato II were found in Mathura in conjunction with coins of Rajuvula, who also imitated the designs of Strato II in the majority of his issues.[10]

The coinage of the period, such as that of Rajuvula, tends to become very crude and barbarized in style. It is also very much debased, the silver content becoming lower and lower, in exchange for a higher proportion of bronze, an alloying technique (billon) suggesting less than wealthy finances.

Mathura lion capital

The Mathura lion capital, a dynastic production, advertising the rule of Rajuvula and his relatives, as well as their sponsorship of Buddhism. 2 BCE-6 CE.[11]

The

kharoshthi the gift of a stupa with a relic of the Buddha, by Queen Nadasi Kasa, the wife of the Indo-Scythian ruler of Mathura, Rajuvula.[citation needed
]

The capital describes, among other donations, the gift of a

Mathura Lion Capital inscriptions). The lion capital also mentions the genealogy of several Indo-Scythian satraps of Mathura. It mentions Sodasa, son of Rajuvula, who succeeded him and also made Mathura his capital.[citation needed
]

Sodasa and Bhadayasa

Zoilos II
Rev:Maharajasa Tratarasa Bhadrayashasa, "Saviour king Bhadayasha"[12]

Indo-Greek kings.[citation needed
]

The coinage of Sodasa is cruder and of local content: it represents a Lakshmi standing between two symbols on the obverse with an inscription around Mahakhatapasa putasa Khatapasa Sodasasa "Satrap Sodassa, son of the Great Satrap". On the reverse is a standing Abhiseka Lakshmi (Lakshmi standing facing a Lotus flower with twin stalks and leaves) anointed by two elephants sprinkling water, as on the coins of Azilises.[13][16]

Sodasa is also known from various inscriptions where he is mentioned as ruler in Mathura, such as the Kankali Tila tablet of Sodasa.

Contribution to Sanskrit epigraphy

Main article: Sanskrit
Mathura Museum. The inscription refers to the erection of a water tank by Mulavasu and his consort Kausiki, during the reign of Sodasa, assuming the title of "Svami (Lord) Mahakshatrapa (Great Satrap)".[17]
The names of the Mahakshatrapa ("Great Satrap") Kharapallana and the Kshatrapa ("Satrap") Vanaspara in the year 3 of Kanishka (circa 123 CE) were found on this statue of the Bala Bodhisattva, dedicated by "brother (Bhikshu) Bala".

In what has been described as "the great linguistical paradox of India", Sanskrit inscriptions first appeared much later than Prakrit inscriptions, although Prakrit is considered as a descendant of the Sanskrit language.[18] This is because Prakrit, in its multiple variants, had been favoured since the time of the influential Edicts of Ashoka (circa 250 BCE).[18]

Besides a few examples from the 1st century BCE, most of the early Sanskrit inscriptions date to the time of the

Indo-Scythian rulers, either the Northern Satraps around Mathura for the earliest ones, or, slightly later, the closely related Western Satraps in western and central India.[19][20] It is thought that they became promoters of Sanskrit as a way to show their attachment to Indian culture.[20] According to Salomon "their motivation in promoting Sanskrit was presumably a desire to establish themselves as legitimate Indian or at least Indianized rulers and to curry the favor of the educated Brahmanical elite".[21]

The Sanskrit inscriptions in

Jain traditions, as in the case of an inscription from Kankali Tila,[24][25]
and none are Buddhist.

The development of Sanskrit epigraphy in western India under the Western Satrap, is also thought to have been the result of the influence of the Northern Satraps on their western relatives.[26]

Successors

Several successors are known to have ruled as vassals to the Kushans, such as the Mahakshatrapa ("Great Satrap")

Sarnath Bala Boddhisattva, now in the Sarnath Museum .[30]

Art of Mathura under the Northern Satraps (circa 60 BCE-90 CE)

Main article: Art of Mathura

From around 70 BCE, the region of Mathura fell to the Indo-Scythian Northern Satraps under

Indo-Greek ruler Strato II, with effigy of the king and representation of Athena on the obverse.[5] Indo-Scythians are known to have sponsored Buddhism, but also other religions, as visible from their inscriptions and archaeological remains in northwestern and western India, as well as from their contributions to pre-Kushana sculpture in Mathura.[33] Mathura became part of the Kushan Empire from the reign of Vima Kadphises
(90-100 CE) and then became the southern capital of the Kushan Empire.

End of 1st century BCE

See also: Mathura lion capital

Some works of art dated to the end of the 1st century BCE show very delicate workmanship, such as the sculptures of Yakshis.

triratana symbol, further confirming the involvement of Indo-Scythian rulers with Buddhism. The triratna is contained in a flame palmette, an element of Hellenistic iconography, and an example of Hellenistic influence on Indian art.[35]

The fact that the Mathura lion capital is inscribed in

Kharoshthi, a script used in the far northwest around the area of Gandhara, attests to the presence of northwestern artists at that time in Mathura.[36]

  • Yashi with onlookers, dated 20 BCE.[37]
    Yashi with onlookers, dated 20 BCE.[37]
  • Yashi with onlookers (detail), dated 20 BCE.
    Yashi with onlookers (detail), dated 20 BCE.
  • Yashi with onlookers (detail), dated 20 BCE.
    Yashi with onlookers (detail), dated 20 BCE.
  • Yashi with onlookers (detail), dated 20 BCE.
    Yashi with onlookers (detail), dated 20 BCE.

Mathura sculpture styles in the 1st century CE

The abundance of dedicatory inscriptions in the name of Sodasa, the Indo-Scythian ruler of Mathura, and son of Rajuvula (eight such inscriptions are known, often on sculptural works),[38] and the fact that Sodasa is known through his coinage as well as through his relations with other Indo-Scythian rulers whose dates are known, means that Sodasa functions as a historic marker to ascertain the sculptural styles at Mathura during his rule, in the first half of the 1st century CE.[39][35] These inscriptions also correspond to some of the first known epigraphical inscriptions in Sanskrit.[18][40] The next historical marker corresponds to the reign of Kanishka under the Kushans, whose reign began circa 127 CE.[39] The sculptural styles at Mathura during the reign of Sodasa are quite distinctive, and significantly different from the style of the previous period circa 50 BCE, or the styles of the later period of the Kushan Empire in the 2nd century CE.[39]

In-the-round statuary

Mora sculptures (c. 15 CE)
Mathura Museum.[42][43][44][45] Right: Mora carved doorjamb with grapevine design, also circa 15 CE.[46]

Several examples of in-the-round statuary have been found from the period of Sodasa, such as the torsos of "Vrishni heroes", discovered in Mora, about 7 kilometers west of Mathura.[47] These statues are mentioned in the Mora Well Inscription nearby, made in the name of the Northern Satrap Sodasa circa 15 CE, in which they are called Bhagavatam.[48][49][50] The statue fragments are thought to represent some of the five Vrishni heroes, possibly ancient kings of Mathura later assimilated to Vishnu and his avatars,[43][51] or, equally possible, the five Jain heroes led by Akrūra, which are well attested in Jain texts.[47] In fact, the cult of the Vrishnis may have been cross-sectarian, much like the cult of the Yakshas.[47]

The two uninscribed male torsos that were discovered are both of high craftsmanship and in Indian style and costume.[51] They are bare-chested but wear a thick necklace, as well as heavy hearrings.[47] The two torsos that were found are similar with minor variations, suggesting they may have been part of a series, which is coherent with the Vrishni interpretation.[45] They share some sculptural characteristics with the Yaksha statues found in Mathura and dating to the 2nd and 1st century BCE, such as the sculpting in the round, or the clothing style, but the actual details of style and workmanship clearly belong to the time of Sodasa.[47][43] The Vrishni statues also are not of the colossal type, as they would only have stood about 1.22 meters complete.[47] The Mora Vrishnis function as an artistic benchmark for in-the-round statues of the period.[47]

Jain reliefs

Kankali Tila tablet of Sodasa
Brahmi inscription in the tablet:

Mahakṣatrapasa Śodāsa
"Great Satrap Sodasa
"

Many of the sculptures from this period are related to the

Jain religion, with numerous relief showing devotional scenes, such as the Kankali Tila tablet of Sodasa in the name of Sodasa.[39] Most of these are votive tablets, called ayagapata.[52]

Jain votive plates, called "Ayagapatas", are numerous, and some of the earliest ones have been dated to circa 50-20 BCE.[53] They were probably prototypes for the first known Mathura images of the Buddha.[54] Many of them were found around the Kankali Tila Jain stupa in Mathura.

Notable among the design motifs in the ayagapatas are the pillar capitals displaying "Persian-Achaemenian" style, with side volutes, flame palmettes, and recumbent lions or winged sphinxes.[55][56]

Grapevine and garland designs (circa 15 CE)

A decorated doorjamb, the

Mora well inscription in a similar chronological and religious context. The decoration of these and many similar doorjambs from Mathura consists in scrolls of grapevines. They are all dated to the reign of Sodasa, circa 15 CE and constitute a secure dated artistic reference for the evaluation of datation of other Mathura sculptures.[46] It has been suggested that the grapevine design had been introduced from the Gandhara area in the northwest, and maybe associated with the northern taste of the Satrap rulers.[67] These designs may also be the result of the work of northern artists in Mathura.[67] The grapevine designs of Gandhara are generally considered as originating from Hellenistic art.[68]

Calligraphy (end 1st century BCE - 1st century CE)

A sample of the new calligraphic style introduced by the Indo-Scythians: fragment of the Mirzapur stele inscription, in the vicinity of Mathura, circa 15 CE.[17][71]

Svāmisya Mahakṣatrapasya Śudasasya
"Of the Lord and Great Satrap Śudāsa"[72][73]

The calligraphy of the Brahmi script had remained virtually unchanged from the time of the Maurya Empire to the end of the 1st century BCE.[71] The Indo-Scythians, following their establishment in northern India introduced "revolutionary changes" in the way Brahmi was written.[71] In the 1st century BCE, the shape of Brahmi characters became more angular, and the vertical segments of letters were equalized, a phenomenon which is clearly visible in coin legends and made the script visually more similarly to Greek.[71] In this new typeface, the letter were "neat and well-formed".[71] The probable introduction of ink and pen writing, with the characteristic thickenned start of each stroke generated by the usage of ink, was reproduced in the calligraphy of stone inscriptions by the creation of a triangle-shaped form at the beginning of each stroke.[71][74] This new writing style is particularly visible in the numerous dedicatory inscriptions made in Mathura, in association with devotional works of art.[71] This new calligraphy of the Brahmi script was adopted in the rest of the subcontinent of the next half century.[71] The "new-pen-style" initiated a rapid evolution of the script from the 1st century CE, with regional variations starting to emerge.[71]

First images of the Buddha (from circa 15 CE)

The "Isapur Buddha", probably the earliest known representation of the Buddha (possibly together with the Butkara seated Buddha statue at the Butkara Stupa, Swat), on a railing post, dated to circa 15 CE.[75]

From around the 2nd-1st century BCE at Bharhut and Sanchi, scenes of the life of the Buddha, or sometimes of his previous lives, had been illustrated without showing the Buddha himself, except for some of his symbols such as the empty throne, or the Chankrama pathway.[76] This artistic device ended with the sudden appearance of the Buddha, probably rather simultaneously in Gandhara and Mathura, at the turn of the millennium.[76]

Possibly the first known representation of the Buddha (the

Parsvanatha on an ayagapata, also dated to circa 15 CE.[66][57]

It is thought that the images of Jain saints, which can be seen in Mathura from the 1st century BCE, were prototypes for the first Mathura images of the Buddha, since the attitudes are very similar, and the almost transparent very thin garment of the Buddha not much different visually from the nakedness of the

Jinas.[54] Here the Buddha is not wearing the monastic robe which would become characteristic of many of the later Buddha images.[54] The cross-legged sitting posture may have derived from earlier reliefs of cross-legged ascetics or teachers at Bharhut, Sanchi and Bodh Gaya.[78] It has also been suggested that the cross-legged Buddhas may have derived from the depictions of seated Scythian kings from the northwest, as visible in the coinage of Maues (90-80 BCE) or Azes (57-10 BC).[78]

There has been a recurring debate about the exact identity of these Mathura statues, some claiming that they are only statues of

Bodhisattavas, which is indeed the exact term used in most of the inscriptions of the statues found in Mathura. Only one or two statues of the Mathura type are known to mention the Buddha himself.[79] This could be in conformity with an ancient Buddhist prohibition against showing the Buddha himself in human form, otherwise known as aniconism in Buddhism, expressed in the Sarvastivada vinaya (rules of the early Buddhist school of the Sarvastivada): ""Since it is not permitted to make an image of the Buddha's body, I pray that the Buddha will grant that I can make an image of the attendant Bodhisattva. Is that acceptable?" The Buddha answered: "You may make an image of the Bodhisattava"".[80] However the scenes in the Isapur Buddha and the later Indrasala Buddha (dated 50-100 CE), refer to events which are considered to have happened after the Buddha's enlightenment, and therefore probably represent the Buddha rather than his younger self as a Bodhisattava, or a simple attendant Bodhisattva.[81]

Other reliefs
"Indrasala architrave", detail of the Buddha in Indrasala Cave, attended by the Vedic deity Indra. 50-100 CE.[82]

The Buddhist "Indrasala architrave", dated 50-100 CE, with a scene of the Buddha at the Indrasala Cave being attended by Indra, and a scene of devotion to the Bodhi Tree on the other side, is another example of the still hesitant handling of the human icon of the Buddha in the Buddhist art of Mathura.[82] The Buddhist character of this architrave is clearly demonstrated by the depiction of the Bodhi Tree inside its specially built temple at Bodh Gaya, a regular scene of Buddhist since the reliefs of Bharhut and Sanchi.[82] The depiction of the Buddha in meditation in the Indrasala Cave is also characteristically Buddhist.[82] The Buddha already has the attributes, if not the style, of the later "Kapardin" statues, except for the absence of a halo.[83]

Buddhist "Indrasala architrave", with Buddha and Bodhi Tree in the center of each side, dated 50-100 CE, before the Kushan period.[82][84] The Buddha is attended by Vedic deity Indra on the side of the Indrasala Cave.[82]
Vedic deities

Besides the hero cult of the

Yakshas, Hindu art only started to develop fully from the 1st to the 2nd century CE, and there are only very few examples of artistic representation before that time.[85] The three Vedic gods Indra, Brahma and Surya were actually first depicted in Buddhist sculpture, as attendants in scenes commemorating the life of the Buddha, even when the Buddha himself was not yet shown in human form but only through his symbols, such as the scenes of his Birth, his Descent from the Trāyastriṃśa Heaven, or his retreat in the Indrasala Cave.[85] These Vedic deities appear in Buddhist reliefs at Mathura from around the 1st century CE, such as Indra attending the Buddha at Indrasala Cave, where Indra is shown with a mitre-like crown, and joining hands.[85]

Early "Kapardin" statuary (end of 1st century CE)
Early "Kapardin" statuary
Katra fragment of a Buddha stele in the name of a "Kshatrapa lady" named Naṃda ( Naṃdaye Kshatrapa).[83][86][87]
"Katra Bodhisattava stele" with inscription, dated to the Northern Satraps period.[83]

The earliest types of "Kapardin" statuary (named after the "kapardin", the characteristic tuft of coiled hair of the Buddha) showing the Buddha with attendants are thought to be pre-Kushan, dating to the time of the "Kshatrapas" or Northern Satraps.[83] Various broken bases of Buddha statues with inscriptions have been attributed to the Kshatrapas.[83] A fragment of such a stele was found with the mention of the name of the donor as a "Kshatrapa lady" named Naṃda who dedicated the Bodhisattva image "for the welfare and happiness of all sentient beings for the acceptance of the Sarvastivadas", and it is considered as contemporary with the famous "Katra stele".[83][87]

One of these early examples shows the Buddha being worshipped by the Gods Brahma and Indra.[83]

The famous "Katra Bodhisattava stele" is the only fully intact image of a "Kapardin" Bodhisattva remaining from the Kshatrapa period, and is considered as the foundation type of the "Kapardin" Buddha imagery, and is the "classical statement of the type".[83]

In conclusion, the canonical type of the seated Bodhisattva with attendants commonly known as the "Kapardin" type, seems to have developed during the time the Indo-Scythian Northern Satraps were still ruling in Mathura, before the arrival of the Kushans.[88] This type continued during the Kushan period, down to the time of Huvishka, before being overtaken by fully-dressed types of Buddha statuary depicting the Buddha wearing the monastic coat "Samghati".[88]

Rulers

Ruler Image Title Approx. dates Mentions
Hagamasha Satrap 1st century BCE In the archaeological excavations of
Sonkh, near Mathura, the earliest coins of the Kshatrapa levels were those of Hagamasha.[89]
Hagana Satrap 1st century BCE
Rajuvula Great Satrap early 1st century BCE
Bhadayasa Satrap 1st century CE Possible successor of Rajuvula in Eastern Punjab
Sodasa Satrap 1st century CE Son of Rajuvula in Mathura
Kharapallana
Ksatrapena Vanasparena Kharapallanena
Ksatrapena Vanasparena Kharapallanena
 Great Satrap c. CE 130 Great Satrap for Kushan ruler
Kanishka I
Vanaspara
Ksatrapena Vanasparena Kharapallanena
Ksatrapena Vanasparena Kharapallanena
 Satrap c. CE 130 Satrap for Kushan ruler
Kanishka I

Coinage

  • Coin of satrap Hagamasha. Obv. Horse to the left. Rev. Standing figure with symbols, legend Khatapasa Hagāmashasa. 1st century BCE.
    Coin of satrap Hagamasha. Obv. Horse to the left. Rev. Standing figure with symbols, legend Khatapasa Hagāmashasa. 1st century BCE.
  • Joint coin of Hagana and Hagamasha. Obv.: Horse to left. Rev. Thunderbolt, legend Khatapāna Hagānasa Hagāmashasa. 1st century BCE.
    Joint coin of Hagana and Hagamasha. Obv.: Horse to left. Rev. Thunderbolt, legend Khatapāna Hagānasa Hagāmashasa. 1st century BCE.
  • Coin of Rajuvula, c. 10 CE
    Coin of Rajuvula, c. 10 CE
  • Coin of Bhadrayasha, early 1st century CE
    Coin of
    Bhadrayasha
    , early 1st century CE
  • Coin of Sodasa, early 1st century CE
    Coin of Sodasa, early 1st century CE

See also

References

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  72. ISBN 9780391031401
    .
  73. ^ The former calligraphic style would have been: 𑀲𑁆𑀯𑀸𑀫𑀺𑀲𑁆𑀬 𑀫𑀳𑀓𑁆𑀰𑀢𑁆𑀭𑀧𑀲𑁆𑀬 𑀰𑀼𑀤𑀸𑀲𑀲𑁆𑀬
  74. ISBN 978-0-19-535666-3
    .
  75. ISBN 9789004155374
    .
  76. ^
    ISBN 978-81-7304-017-7
    .
  77. ^
    ISBN 9789004155374
    .
  78. ^
    ISBN 978-0-9518399-1-1
    .
  79. JSTOR 3250056
    .
  80. JSTOR 3250056
    .
  81. ISBN 9789004155374
    .
  82. ^
    ISBN 9789004155374
    .
  83. ^
    JSTOR 3249969
    .
  84. ^ Mathura Museum Catalogue. 1910. p. 163.
  85. ^
    JSTOR 29756891
    .
  86. JSTOR 3249969
    .
  87. ^ a b Lüders, Heinrich (1960). Mathura Inscriptions. pp. 31–32.
  88. ^
    JSTOR 3249969
    .
  89. ^ Hartel, Herbert (2007). On The Cusp Of An Era Art In The Pre Kuṣāṇa World. BRILL. p. 324.
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