Gujarati or the Western School of Mediaeval Indian Sculpture
Summary
M.R. Majmudar critiques previous classifications of the Western School of Mediaeval Indian Sculpture and proposes that its westernmost branch be called the Gujarati school. He observes that mediaeval Indian sculpture flourished in three main regions: western India west of a line from Delhi through Ajmer to the Tapti river; central India; and eastern Indiaimage/. The best‑known monuments of the western branch lie in Gujarat, and Majmudar argues that geographical rather than sectarian terms should be used. He criticises Fergusson’s sectarian division of Buddhist, Jain and Brahmanical “styles”, noting that provincial variations are more significant and that the same craftsman often worked in different sectarian contexts. The author reviews the political history of Gujarat under the Solanki kings, when relative peace allowed art and architecture to flourish. He notes that Gujarat developed its own dialect and artistic idioms and that some of the most exquisite mediaeval sculptures come from this region. Majmudar calls for a comprehensive study of Gujarati sculpture, lamenting that despite the richness of its remains no detailed catalogue has been attempted. He suggests that such a study would illuminate Brahmanical and Jain iconography and contribute to art history.
AI-assisted summary, not yet checked. Consult the original PDF before citing.
Conclusion
Majmudar argues that the so‑called Western School of Mediaeval Indian Sculpture should be renamed the Gujarati School because its most distinctive monuments lie in Gujarat. He rejects sectarian classifications and stresses geographical and provincial variations. Highlighting the flourishing of art under the Solanki rulers, he urges scholars to undertake a comprehensive study of Gujarat’s sculptures. Such research, he suggests, would provide an invaluable key to Brahmanical and Jain iconography and enrich the history of Indian art.