Spiritually and formally the Sunga-Kanva art was opposed to Maurya art and stood for different motive and direction. Explain.

After the crumbling of Mauryan dynasty, the Sungas and Kushans came to power in the North and the Satvahanas in the south. Their period marked the beginning of sculptural idiom in the Indian sculpture wherein the physical forms were becoming more realistic, refined and expressive. The sculptors started mastering the art especially of the human body wherein it was carved in high relief and with vigour and heaviness.
Spiritually and formally the Sunga-Kanva art was opposed to Maurya art and stood for different motive and direction. The bas-reliefs of Bharut, Bodh Gaya, Sanchi, Amaravati, etc. provide an illuminating commentary on the contemporary Indian life and attitude to life. These bas-reliefs were charana-chitras translated into stone.
The artists of the Sunga-Kanva period seem to have a special knack in depicting figures in all conceivable shapes, positions, and attitudes.
In the Sunga-Kanva period majority of the terracotta work consisted of female figures, richly dressed, well-disciplined body, magnificently modelled busts and elaborate hair-dressing.