Masarh lion

The lion is carved out of Chunar sandstone, similar to the Pillars of Ashoka, and has a polished finish, a feature associated with Maurya sculpture.[1] The sculptural style is Achaemenid.[1] This is particularly the case for the well-ordered tubular representation of whiskers (vibrissae) and the geometrical representation of inflated veins that cover the face.[1] The mane, with tufts of hair represented in wavelets, is classically represented.[1]

According to archaeologist S.P. Gupta, these visual features can be described as non-Indian.[1] Similar examples are known in Greece and Persepolis.[1] It is possible that this sculpture was made by an Achaemenid or Greek sculptor in India and either remained without effect, or was the Indian imitation of a Greek or Achaemenid model, somewhere between the 5th century B.C. and the 1st century B.C. However, it is generally dated from the time of the Maurya Empire, around the 3rd century B.C.[1]

Achaemenid Examples

• 
  Achaemenid lion.
• 
  Achaemenid lion.
• 
  Bas-relief of an Achaemenid lion.
• 
  Lion of Nineveh.

Greek Examples

• 
  Terracotta lion of Delphi, 5th century B.C.
• 
  Greek Lion, Temple of Apollo, Delphi.

According to John Boardman, the sculpture is "quite Persian", although the treatment of the mane is of Greek naturalistic style and breaks with the rigid and codified style of the Achaemenid Empire.[2] The Lion Capital of Ashoka from Sarnath represents the next logical step in the art, and would be the realisation of Greek Hellenistic artists to soften and give more naturalness to the Persian style.[2]

• 
  Detail of the Lion Capital of Ashoka from Sarnath, 3rd century B.C.
• 
  Profile of one of the Sarnath lions.

Other examples include the Pataliputra capital, the Hellenistic friezes of the Rampurva capitals and Sankissa, and the diamond throne of Bodh Gaya.[3]

• 
  Pataliputra capital.
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  Frieze of Rampurva capitals, alternating palmettes and lotus.
• 
  Frieze of Sankissa.
• 
  Frieze of the diamond throne of Bodh Gaya.
• 
  Griffin of Pataliputra.[4]

• Hellenistic influence on Indian art

• A similar lion at Ecbatana
• West Asian Influence on Lion Motifs in Mauryan Art, Vinay Kumar
• Journal of Multidisciplinary Studies in Archaeology 5 (2017): 433‐444 Lion Motif in Mauryan Art: Indigenous or Foreign? Vinay Kumar