The history of Indian Sculpture dates to the period of the Harappan Civilization that extended over a wide span of territory covering North Western India. (Archeological sites such as Mohenjodaro, Harappa, Lothal, Kalibangan, Rakhigarhi and many others have been excavated along the Indus river and what used to be the Saraswati river in what are now the states of Sindh, Punjab, Haryana, Gujarat and Rajasthan.) However, the bulk of Indian sculptural finds date from after the Mauryan period, and some exquisite pieces of Mauryan sculpture are on display in the Patna Museum. Fine terracottas from the Mauryan period have also been found in Chandraketugarh in Bengal. From the Mauryan period on, there is almost a continuous record of sculptural activity throughout India, and although much of the Indian artistic heritage has been lost or destroyed, or was taken out of the country during the British colonial period, enough has survived to indicate a very rich and lively tradition in the plastic arts. Although much of Indian sculpture became somewhat stereotyped and clichéd, there are enough unique and original pieces to indicate that at it's height Indian sculpture ranked with the very best in the world.
Developments in Indian sculpture paralleled developments in Indian philosophy and culture. In an atmosphere in which reason and rationality seemed to flourish, ancient Indian scientists began to systematize the basic principles of formal logic (as in the Nyaya Sutras and other such tratises). Some of the best discourses on epistemology, and what constitutes valid scientific observation and acceptable scientific method are to be found in such manuscripts. Indians thus became especially talented in the field of abstract reasoning - making notable contributions in literary theories, mathematics and formal grammar.
But Indians also became keen observers of nature. An Indian scientist (Aryabhatta) was the first to correctly model the solar system. The most advanced Indian philosophers understood dialectics in nature. They had a fairly good intuitive understanding about chemical reactions and about the varied healing and poisonous properties of different plant and animal derivatives. Above all, they were particularly interested in the nature of the human body - in procreation and death, in human moods and desires, in the understanding of memory and dreams, in differentiating accurate sensory perception from illusion. This awareness of the human body finds it's reflection in Indian sculpture. The human body is represented in a variety of moods - sensuous or contemplative, sometimes in pastoral settings, and at other times, in depictions that project an urbane poise and refinement.
Like the best examples of sculpture from the civilizations of the Mediterranean, Indian sculpture is primarily realistic. The Shilpkara (sculptor) strove to create from stone an image as close to human likeness as possible - although both the feminine and masculine forms became frequently idealized. Indian sculptors often endowed their life-like creations with slim waists, lithe limbs and a youthful or sensuous poise. Ancient sculptural schools flourished and died with the civilizations that nourished them. Over time, regional styles and variations developed - modulating older forms and preferences. Often, ancient and medieval Indian sculptors were also nature-worshippers. Trees, creepers and flowers along with birds and deer are depicted with a loving grace. Abstract figurations are also to be found in the sculptors palette. But a certain stylistic continuity prevailed over the entire Indian sub-continent - spreading even to South East Asia, particularly Indonesia and Cambodia.
Unlike most secular buildings that were made of earth and wood in ancient India, Indian temples and Stupas were largely built of stone. These have survived the passage of time. Similiarly, some sculptured pieces (in stone or metal) that once adorned palaces or homes of the wealthy have also survived. Some of the earliest bronzes in India date to the Harappan period. And after the Mauryan period (4th century b.c.) - there is an almost continuous record of sculptural activity in the sub-continent. Indian sculpture thus serves as an important testimonial role in piecing together the history of the sub-continent.