Besides the schools of northern India, a very accomplished style also existed in southeast India; the most important sites are Jaggayyapeta and Amaravati, activity at the latter site extending well into the 2nd century ce. The early remains are strikingly similar to those at Bharhut, the relief generally even shallower and the modelling comparatively flat. In contrast to those found in northern India, the proportions of the human body are elongated; but in its flat, cubical modelling, angular, halting contours, and precise, detailed ornamentation, the style is essentially similar to contemporary work elsewhere, right down to the same conventional clothing and jewelry. The nervous, fluid treatment of surfaces, so characteristic of subsequent Andhra sculpture, is already present here. The preferred material is marble rather than the sandstone invariably used in the north.

The style of the Andhradesha school developed in a manner consistent with other regions of India, becoming more voluminous and shedding the early rigidity fairly rapidly. A group of sculptures at Amaravati are characterized by the same qualities that distinguish the work at the Great Stupa of Sanchi: full and lissome forms, modelling that emphasizes mass and weight, and sensuously rendered surfaces.

Indian sculpture in the 2nd and 1st centuries bce: relief sculpture of western India

The numerous rock-cut cave temples in the Western Ghats are, comparatively speaking, much less profusely adorned with sculpture than remains from other parts of India. The earliest works are undoubtedly the bas-reliefs on a side wall of the porch of a small monastery at Bhaja. They are commonly interpreted as depicting the god Indra on his elephant and the sun god Surya on his chariot but are more probably illustrations of the adventures of the mythical universal emperor Mandhata. What is immediately evident is that these sculptures are not imitations of wooden prototypes, like those at Bharhut, but, rather, reflect a tradition of terra-cotta sculpture, abundant examples of which are found in northern India and Bengal, where this medium was very popular because of the easy availability of fine clay. The terra-cotta tradition is reflected in the amorphous, spreading forms of Bhaja and in the fine striations used in depicting ornaments and pleated cloth, techniques natural and appropriate to the fashioning of wet clay. The fact that there are some similarities to the Bharhut style—the stilted postures of the figures and the flat contours of the body, for example—indicates that the beginnings of the western Indian school would also have to be placed about the middle of the 2nd century bce.

The next major group of sculptures in western India have been found at Pitalkhora. The colossal plinth of a monastery decorated with a row of elephants, the large figures of the door guardians, and several fragments recovered during the course of excavations are among the more important remains. A great proportion of the work represents an advance over the style of Bhaja, though features derived from terra-cotta sculpture continue to be found: the figures are carved in greater depth and volume, but the texture of the drapery, the soft contours of the body, and the high relief of the jewelry, which sometimes gives the impression of having been fashioned separately and then applied, testify to the continuing strength of the terra-cotta tradition. Although the hard line and sharp cutting of some sculpture is reminiscent of the earlier, wood-carving tradition as seen at Bharhut, the forms are more appropriate to the stone medium. Moreover, the expression is more explicit; and for the first time, both gently smiling and boldly laughing figures of yakshas appear, as well as the figure of a lover blissfully drunk on wine offered to him by his beloved. These features are also found in the later sculpture of the Great Stupa at Sanchi and, to a more pronounced extent, in the sculpture of the Mathura school of the 1st centuries ce—for example, in the happily smiling yakshis from Bhutesar.

The cave temple at Kondane has, above the entrance hall, four beautiful panels depicting pairs of dancers. The forms retain the robust and full modelling of the more developed sculpture at Pitalkhora, but to this is added an ease of movement and considerable rhythmic grace. Traces of the terra-cotta tradition are now totally absent; nor do they occur in the next phase, best represented by a group of sculptures found in the rock-cut temples and monasteries at Bedsa and Nasik and in the caitya, or temple proper, at Karli. Sculpture at all these sites shows many affinities to the Great Stupa at Sanchi and should be approximately contemporary or a little earlier. Easily the most outstanding achievements of this region and period, and for that matter one of the greatest achievements of the Indian sculptor, are the large panels, depicting amorous couples, located in the entrance porch of the Karli caitya. Here the promise of early work achieves its fulfillment, the full weighty forms imbued with a warm, joyous life and a free, assured movement. The resemblance to work at the Great Stupa of Sanchi is obvious, though these figures at Karli are on a much larger scale and possess a massiveness and monumentality that is a characteristic of the distinct western Indian idiom.

Indian sculpture in the 2nd and 1st centuries bce: relief sculpture of Orissa

Sculpture decorating the monasteries cut into the twin hills of Udayagiri and Khandagiri in Orissa represents yet another early Indian local idiom. The work is not of one period but extends over the first two centuries before Christ; the stages of development roughly parallel the styles observed at Sanchi Stupa No. II, Buddh Gaya, and the Great Stupa at Sanchi, but they possess, like other regional schools, fairly distinct and individual features. The earliest sculptures are the few simple reliefs found in the Alakapuri cave, humble works that recall the bas-reliefs of Sanchi Stupa II. The Mancapuri, Tatoka Gumpha, and Ananta cave sculptures—particularly the image of Surya riding a chariot—are more advanced and resemble work at Buddh Gaya. The forms are heavy and solid and lack the accomplished movement of the later cave sculpture adorning the Rani Gumpha monastery. These, like other sculptures here, are in a poor state of preservation, but they represent the finest achievements at the site. Most remarkable is a long frieze, stretching between the arched doorways of the top story, representing a series of incidents that have not yet been identified. The work parallels that of the Great Stupa at Sanchi, with the same supple modelling and crowded compositions. At the same time there is a nervous agitation, a fluid, agile movement together with a decided preference for tall, slender human figures. The reliefs on the guard rooms of Rani Gumpha are also quite remarkable, depicting forested landscapes filled with rocks from which waterfalls flow into lakes that are the sporting grounds of wild elephants. The fine work of this cave strikes a romantic and lyrical note seldom found in Indian art.