The correct option is 2 and 3 only.
Explanation
The post-Mauryan period witnessed a significant proliferation of terracotta art, serving as a medium for both religious expression and secular utility. Unlike the courtly art of the Mauryas, post-Mauryan terracotta represents a popular folk tradition that flourished in urban centers such as Mathura, Kaushambi, Rajghat, and Tamluk.
Statement-wise Analysis:
- Statement 1 is Incorrect. Terracotta figurines did not show a complete disconnect from religious lithic (stone) sculpture traditions. While terracotta is often considered a "poor man's art" due to the inexpensive material, the themes, iconography, and stylistic features often paralleled those found in stone sculptures. Both mediums depicted deities like Yakshas, Yakshinis, and Mother Goddesses, indicating a shared cultural and religious vocabulary between folk and monumental art forms.
- Statement 2 is Correct. Terracotta objects served diverse functions. They included secular items such as toys (carts, animal figures, dolls, rattles) and religious objects (votive tanks, deities, and ritual figurines). This dual usage highlights the material's versatility in the daily life of the period.
- Statement 3 is Correct. Many terracotta figurines were created for votive purposes. In folk belief systems, specific figurines were often dedicated to deities or spirits to seek cures for ailments, ensure fertility, or ward off evil forces. These "healing" or apotropaic functions were integral to the popular religion of the time.
Key Takeaway:
Post-Mauryan terracotta art was a versatile medium reflecting both secular life (toys) and religious beliefs (votive offerings), sharing thematic continuity with contemporary stone sculpture rather than existing in isolation.