The Buddha image, which completely revolutionalised, by its great dynamism, unimaginably
diversified iconography, massive scale and unique spiritualism, the art scenario in ancient India, seems to have evolved upon human mind during the lifetime of the Buddha himself, although
this image of mind took some six hundred years to emerge into stone or clay like mediums. As the Buddhist tradition has it, even during Buddha's lifetime, the idea of making his images persisted in his devotees' minds. The widely quoted legend of king Udayana, commissioning Buddha's image to represent the Great Master during his absence and that of Anathapindaka praying Buddha to allow at least the images of Bodhisattvas, suggest that his followers contemplated the possibility of covering their Master's absence by his anthropomorphic representations even before the Mahaparinirvana.
Buddhism was a wide spread phenomenon even in the Buddha's lifetime and every place and person, devoted to this new path, cherished the desire to feel the presence
Under the benevolent patronage and inspiration of the Gupta rulers (320 - 646 AD), the art of sculpture attained its all-time height. The Buddha images of Mathura and Gandhara phases were definitely magnificent and gorgeous, but the Gupta images were not only different but also without a parallel before and after. In accordance with the artistic perception of a spiritual image and of the era, these Buddha images of the subsequent period have enshrining on their faces a kind of celestial calm, serenity, a gentle smile, divine glow and unique composure. (illus) With a distinction of its own, there developed at Sarnath a great center of Buddhism and Buddhist art. Sarnath came out with its own image of Buddha, unique in its spiritual perception and enchanting in aesthetic glow. There enshrines upon the lips of Sarnath Buddha image a gentle celestial smile and on the calm oval face the lyrical tenderness of a full blooming rose. It has retained the long earlobes of the Mathura image but its massive physiognomy has been replaced by a tender slender figure with long arms and fine delicate long fingers. The robe has greater transparency as has a wet silk garment. The image has greater thematic thrust and is more expressive. Embellishment becomes more pronounced and the earlier halo has now a more decorative character.
