Didarganj Yakshini

The Didarganj Yakshini, also known as the Didarganj Chauri Bearer, is one of the most celebrated examples of Mauryan sculpture and early Indian stone art. Discovered near Didarganj, Patna, in Bihar, this life-size sandstone statue represents a Yakshini, a female nature spirit associated with fertility, prosperity, and beauty in early Indian art and mythology. The sculpture is renowned for its polished surface, sensuous modelling, and refined craftsmanship, making it one of the finest specimens of ancient Indian stone sculpture.

Discovery and Location

The Didarganj Yakshini was discovered in 1917 on the banks of the Ganges River near Didarganj village, close to Patna. It was found by local residents and later reported to British officials. Subsequently, it was moved to the Patna Museum, where it remains one of the most prized exhibits.
The statue was unearthed along with a fragment of its base, leading archaeologists to believe it may once have been part of a larger architectural or ritual structure, possibly associated with a Buddhist or early Hindu shrine.

Description and Features

The Didarganj Yakshini is carved from Chunar sandstone, a fine-grained material also used in other Mauryan monuments such as the Ashokan pillars. The statue stands approximately 5 feet 2 inches (about 160 cm) tall and represents a standing female figure holding a chauri (flywhisk) in her right hand — a symbol of royal service and reverence.
Key features include:

• Highly Polished Surface: The sculpture displays the characteristic Mauryan polish, a lustrous finish that gives the stone a smooth, mirror-like sheen.
• Idealised Female Form: The Yakshini’s body is voluptuous, with full breasts, narrow waist, and rounded hips — embodying the ancient Indian ideal of feminine beauty.
• Graceful Posture: She stands in a tribhanga (three-bend) pose, conveying both elegance and sensuality.
• Detailed Ornamentation: She wears elaborate jewellery, including necklaces, armlets, bangles, anklets, and an intricately designed girdle around her waist.
• Attire and Hairstyle: The drapery clings to the contours of her body, emphasising form rather than concealing it, while her hair is tied neatly into a bun.
• Expression: The face exudes calm dignity with softly modelled features, a slight smile, and half-closed eyes.

The statue’s left hand rests at her side, while her right hand holds the chauri, which indicates that she may have been an attendant figure, possibly serving a divine or royal personage.

Identification and Interpretation

Scholars identify the figure as a Yakshini, a female counterpart of the Yaksha, both of whom were considered guardian deities of natural elements such as trees, rivers, and fertility. In early Indian art, Yakshas and Yakshinis occupied a prominent position before the rise of Buddhist, Jain, and Hindu iconography.
The Didarganj Yakshini’s refined form and devotional symbolism represent the transition from animistic folk deities to more formalised religious iconography. Her commanding presence, physical vitality, and grace suggest she may have been conceived as a protective or auspicious figure associated with fertility and abundance.

Dating and Stylistic Context

There has been some scholarly debate regarding the dating of the Didarganj Yakshini. Initially, it was attributed to the Mauryan period (3rd century BCE) due to its polished surface and stylistic similarities with Ashokan sculptures. The Chunar sandstone and the polish technique were strong indicators of Mauryan craftsmanship.
However, later studies, particularly by archaeologists such as J. N. Banerjea, proposed a slightly later date — around the 1st century CE — belonging to the Kushan period. This argument is based on stylistic elements such as the heavier ornamentation, drapery style, and more pronounced modelling, which align with early Kushan or Shunga art.
Despite this debate, many scholars continue to regard the Didarganj Yakshini as Mauryan or early post-Mauryan, representing a culmination of Mauryan artistic ideals and an early example of the Indian sculptural canon.

Artistic and Cultural Significance

The Didarganj Yakshini is often described as one of the masterpieces of ancient Indian art, celebrated for its balance between idealisation and naturalism. It embodies several hallmarks of early Indian aesthetics:

• Spiritual Grace and Sensuality: The sculpture blends sacred and sensuous qualities, symbolising the Indian artistic tradition’s celebration of life and divinity in human form.
• Technical Excellence: The smoothness of the polish, precision of anatomical details, and harmony of proportions reveal the high technical skill of Mauryan artisans.
• Cultural Transition: The work reflects the continuity of indigenous folk deities and their transformation into more formalised religious figures during the evolution of Buddhist and Hindu art.

It also demonstrates the Indian artistic tendency to represent spiritual ideals through human form, a principle that would continue to influence sculpture across centuries, from the Sanchi and Bharhut reliefs to the Gupta masterpieces.

Comparison with Other Early Sculptures

The Didarganj Yakshini can be compared to similar figures of Yakshas and Yakshinis from other sites such as Bharhut, Mathura, and Sanchi. While the Bharhut and Sanchi figures are more narrative and stylised, the Didarganj Yakshini stands out for its monumental individuality and sculptural refinement.
Her elegance and smooth polish surpass the later, rougher carvings of the Shunga and early Kushan periods, making her a benchmark for Mauryan artistic excellence.

Preservation and Display

Today, the Didarganj Yakshini is preserved in the Patna Museum, Bihar, and is considered one of its central exhibits. The statue has also been displayed internationally, representing India’s ancient artistic heritage at various exhibitions.