Mathura, the converging point of many trade routes, was not only an important prosperous city, but also a great centre of art. It did not see a meteoric rise as an art centre but it witnessed a continuous development. The sculptures of Mathura style and workmanship have been found in widely separated regions.
Although the early phase of artistic activity at Mathura is evidenced by a few stray specimens linked with the Bharhut and Sanchi styles, the great period begins with the Christian era and its most prolific output coincided with the Kushanas. Here we first notice the prolific use of images representing divinities in which Buddha played a dominant part. The earlier concept of a relief composition was of very little importance and the main interest centred upon the human figure boldly carved and set against the plain surface of the ground.
The concepts of continuous narration gave way to the ideas of the grouping of the chief and less important figures determined by iconographic ideals. The image proper is shaped in the form and content ofyaksha and is characterised by massive earthliness and robustness of form and volume. One example comes from Kosam (Kaushambi) installed in the second year of Kanishka’s reign. Two such images dedicated by Friar Bala in the third year of Kanishka’s reign come from Sarnath and Sahet- Mahet (Shravasti).
All these images are executed in the mottled red sandstone of Sikri and were of Mathura origin. Each of them represents the Buddha in a standing pose with the left hand held near the hip and the right hand raised up to the shoulder in abhaya-mudra. The upper part of the body is only half covered. All these images are conceived in strictly frontal aspect. The features are expressive of enormous energy and mundane force belonging to this world and not of transcendental nature.
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In certain aspects the Mathura artists show awareness of the Gandharan art tradition. This awareness is evidenced by the drapery, curls on the head (Mathura heads are shaved), full eyes and lips with sharp cut and heavy upper eye-lid. However, the influence is restricted to motifs only and practically nothing of technique and style.
Certain groups of Mathura sculptures, all dealing with strong drinks and inebriation, have been classed as Bacchanalian. These seem to have been inspired by foreign subjects. An example is the so- called ‘Heracles and the lion’ composition. We have a few large-size portrait statues of Kanishka, Vima Kadphises, and Chastana.
The composition shows Central Asian or Scythian inspiration and remains a transient phase in the history of Mathura art form. A particular kind of Mathura sculpture is represented by votive slabs known as ayagapatas, which were erected in Jaina shrines for the adoration of the arhats the so-called ‘Holi’ reliefs lire the representative example of this form.
Amohini relief and the ayagapata from Kankali Tila belong to this group. Kankali Tila was a predominently Jain site at Mathura. It has yielded a few representations of the Tirthankaras. Of them Parshvanatha is recognizable from his canopy of snake hoods and Rishabhanatha from locks of hair falling on his shoulders.
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Apart from Buddhist and Jain representations we have a few Brahmanical images belonging to Mathura school. The earliest representations are of Shiva, Lakshmi, Surya and Samkarshana or Balaram.
During the Kushana period, Karttikeya, Vishnu, Saraswati, Kuber, Parvati, Ganesh, Skanda and Naga images were carved. Shiva is usually represented in the form of chaturmukha linga. Gaja-lakshmi with Kuber, Vasundhara, Katyayani, Mahishasur-mardini, the Sapt-matrikas. Brahma, Surya, Agni and Ayudhapurushas are also depicted.