112
THE NEW
DEPARTURE
madan artofEuropeand
Asia. But
forthis
restriction early
Aryansculpture
and painting
might
have grown
to thesame
height in India as it
did in
Greece; for
the ideal gods of
Hellaswere of the
same aesthetic
growth as
the earlyhymns
of
the Rig-Veda, sung by
the Aryans
in their
Eastern home
to the
nature-gods they
worshipped.
Here,
however, the
artistic
genius of theWestern
Aryans stopped
short. They
never were
inspired with a
more profound
metaphysic than
the
Homeric gods
;
for
Greece lost her
freedom, and her
artists
becametheservants of
foreignpatrons
less intellectual
than their
own countrymen
before that
consummation was
reached.
Itwaslefttotheir
brother-artistsintheEastto
proceed
fromthe
primitivenature-godsofthe
Rig-Vedatothe
inspired
conceptions of the Upanishads; but
there never was
at any
time that irreconcilable
antagonism between the ideals of
Greece and of India which modern
classical scholasticism
fondly imagines—becausethe
inspiration bothof Greeceand
ofIndialies beyondits aesthetic
comprehension.
Thefirstgreatimpulseof
the newmovement, withinthe
jurisdiction of the Buddhist
Sangha itself,was synchronous
with a considerable readjustment
of political conditions in
Northern India. In the year 184
B.C. the Mauryan dynasty
founded by Chandragupta
became extinct, and a new one,
known asthe Sunga,was
establishedupon
the
imperialthrone
of
Pataliputra. Pushyamitra, the first of the line, wasnota
follower of the
Buddha,
but
celebrated
his
accession and a
decisivevictoryover Menander, a Baktrian
monarchwho,
like
Seleukos,
was
ambitious
of repeating the
conquestsof Alex-
ander,
bytheoldVedicrite
of
thegreathorsesacrifice.
ButthedominionsoverwhichPushyamitraruled
were
of
smallextentcomparedwith thoseofAsoka. After
the
death
of the latter, the glory of the Mauryan
empire was
soon
eclipsed bythe rise of another dynasty,
that of the Andhras,