many of them being known such as Kubera, king of the Yakshas, Manibhadra or Mudgarpani. The Yakshas are a broad class of nature-spirits, usually benevolent, but sometimes mischievous or capricious, connected with water, fertility, trees, the forest, treasure and wilderness, and were the object of popular worship. Many of them were later incorporated into Buddhism, Jainism or Hinduism. In the 2nd century BCE, Yakshas became the focus of the creation of colossal cultic images, typically around 2 meters or more in height, which are considered as probably the first Indian anthropomorphic productions in stone. Although few ancient Yaksha statues remain in good condition, the vigor of the style has been applauded, and expresses essentially Indian qualities. They are often pot-bellied, two-armed and fierce-looking. The Yakshas are often depicted with weapons or attributes, such as the Yaksha Mudgarpani who in the right hand holds a mudgar mace, and in the left hand the figure of a small standing devotee or child joining hands in prayer. It is often suggested that the style of the colossal Yaksha statuary had an important influence on the creation of later divine images and human figures in India. The female equivalent of the Yakshas were the Yakshinis, often associated with trees and children, and whose voluptuous figures became omnipresent in Indian art. Some Hellenistic influence, such as the geometrical folds of the drapery or the walking stance of the statues, has been suggested. According to John Boardman, the hem of the dress in the monumental early Yaksha statues is derived from Greek art. Describing the drapery of one of these statues, John Boardman writes: "It has no local antecedents and looks most like a Greek Late Archaic mannerism", and suggests it is possibly derived from the Hellenistic art of nearby Bactria where this design is known. In the production of colossal Yaksha statues carved in the round, which can be found in several locations in northern India, the art of Mathura is considered as the most advanced in quality and quantity during this period. Buddhist art () The major survivals of Buddhist art begin in the period after the Mauryans, from which good quantities of sculpture survives. Some key sites are Sanchi, Bharhut and Amaravati, some of which remain in situ, with others in museums in India or around the world. Stupas were surrounded by ceremonial fences with four profusely carved toranas or ornamental gateways facing