Extraordinary glazy polish on Sculptures was a quality of the period :

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Accepted Answer

The correct option is 3:
The extraordinary glazy, mirror-like polish, famously known as the **Mauryan Polish**, is the definitive hallmark of the court art produced during the Maurya Period (c. 322–185 BCE), primarily under Emperor Ashoka. This exceptional technical refinement is prominently displayed on the colossal monolithic Ashoka Pillars, such as the Lion Capital of Sarnath, and on the inner walls of the early rock-cut caves like the Barabar Caves. Achieved on hard Chunar sandstone and granite, the intense, high-lustre finish demonstrated a level of sophistication in stone-working that was unprecedented in ancient India and represented the imperial power and patronage of the Mauryan kings.

The incorrect option is 1:
The Shung Period (c. 185–78 BCE) followed the Mauryas, but its artistic style marked a shift away from the imperial, highly polished court art. The sculptures of the Shunga period, notably those decorating the railings and gateways of stupas like Bharhut, were primarily characterized by shallow relief carving. The figures, such as Yakshas and Yakshinis, and the narrative panels depicting Jataka tales, lack the mirror-like Mauryan polish, instead featuring a more earthy and popular art tradition.

The incorrect option is 2:
The Satvahan Period (c. 2nd century BCE – 2nd century CE) is known for its magnificent sculptures at major Buddhist sites like Sanchi (the beautifully carved gateways, or *toranas*) and Amaravati. Like the Shunga period art which preceded it, the Satavahana sculptures focused on lively, deeply-carved narrative reliefs in stone. The art of this era, while sophisticated in its depiction of human forms and dynamic movement, does not exhibit the unique, glassy, Mauryan-style polish that distinguishes the pillars and early cave architecture of the previous dynasty.

The incorrect option is 4:
The Indus Civilization (c. 2500–1750 BCE) is the earliest period listed, and its art consists mainly of small-scale works. These include small sculptures in bronze (like the "Dancing Girl") and steatite (like the "Priest-King"), as well as terracotta figures and engraved seals. While their work demonstrated precision, the monumental stone architecture and the specific technique of a high-glaze, mirror polish on large sandstone columns, a feature tied to imperial command, were completely absent from the Indus Civilization's artistic output.