Ancient Art in India Flashcards
Buddhism vs. Hinduism
After 650 CE, Buddhism declined as a cultural force and Hinduism gained steam. Though both believe in reincarnation, in Hinduism only the brahmins can attain enlightenment.
Consider different forms of religious architecture in India: how does form relate to function and specific worship practices?
Nagara architecture has a main shikhara and many smaller ones that echo it. Dravidan architecture has one main projection; everything else is flatter. But the highest points coincide with the inner sanctuary and the image of the deity. The highest point of the shikhara connects the center of the world with the heavens, and goes through the image of the deity.
Be familiar with the content and from of relief sculpture in Buddhist and Hindu spaces. How is narrative shown? How are deities represented?
Deities are shown in a variety of ways. In the Vishnu Temple portrayal of Vishnu, hierarchical scale is used.
Puja
The worship of gods and the giving of offerings
Darshan
The concept of mutual looking: the god is looking back at you when you make sacrifices.
Stupa 1 (The Great Stupa)
Sanchi, Madhya Pradesh, India. Core: mid 3rd century BCE. Stone casings, railings, gateways: 50 BCE. A stupa is a dome like Buddhist shrine that derives its shape from burial mounds; its dome core contains relics. Topped by a square stone railing that symbolizes the domain of the gods on top of the cosmic mountain. The railing encloses a mast that carries three stone disks/umbrellas of decreasing size. The mast represents the axis of the world and connects the cosmic waters below the earth with the celestial realm above it. Anchors everything into its proper place.
The Great Departure of Buddha
East gate at Sanchi, Central India. 50 BCE. Stone. A railing with four gateways rings the stupa; it is a physical and symbolic boundary between the inner, sacred area and the outer, profane world. The carving shows Buddha’s Great Departure–when he renounced his royal status and became a homeless wanderer searching for supreme enlightenment. Not portrayed in physical form, but rather in symbols.
Yakshi bracket figure
East gate of the Great Stupa at Sanchi, Central India. 50 BCE. Stone. Yakshi – a figure that associates female beauty with the fertility of nature. Her curves show her procreative essence. She symbolizes the sap of the tree, which flowers at her touch. Position is significant because she acts as a support for the structure of the gate, much as she is a support of life.
Lion Capital�
Ashokan pillar, Sarnath, Utar Pradesh, India. Maurya period. 250 BCE. Polished sandstone. An example of an emperor’s promotion of Buddhism (Emperor Ashoka). The lions looking in four directions – universality of sight. Along the collar are carved a lion, horse, bull, elephant. They alternate with wheels called chakras. Early on, episodes of Buddha’s life were often portrayed using only symbols, such as the wheel.
Standing Buddha (Gandhara)
Gandhara, Pakistan. Kushan Period. 2nd-3rd century CE. Schist. Gandhara developed in the northwest of Kushan-ruled areas. A typical Gandharan image shows the Buddha as more powerful and heroic than a normal human. His robe has tight and complex folds that resemble folds in some Roman sculptures. Contact with the Greco-Roman tradition.
Buddha and Attendants� (Mathura)
Katra Kesha Dev, Mathura, Madhya Pradesh, India. Kushan Period. 1st–2nd century CE. Red Sandstone. Mathura: rather than developing through contact with the Romans, Mathura evolved in line with the indigenous sculptural tradition best represented by figures such as yakshis. In this statue, the thin robe is pulled tightly over Buddha, making him seem almost nude. His right hand is raised in a mudra meaning “have no fear”. Impressions of chakras on his feet; in the background are the branches of the pipal tree, which he was sitting under when he gained enlightenment.
Relief of Vishnu on the Cosmic Waters
Vishnu Temple, Deogarh. Gupta Dynasty. 530 CE, sandstone. Depiction of the creation of the world: Vishnu is dreaming the creation of the world. Below, some demons try to interrupt his labor.
Kandariya Mahadeva Temple
Khajuraho, Madyha Pradesh, India. Chandella dynasty. 1000 CE. This Nagara temple is an example of the northern style. Marked by the presence of a shikhara, which is topped by an amalaka. A finial is at the point where the earthly and cosmic worlds are thought to join. A line connecting the center of the world to the heavens runs from the finial down the shikhara. The main shikhara is bolstered by a cluster of smaller ones around it. A series of mandapas/halls (3) which resemble the main shikhara lead to the sanctuary, where the shrine is directly under the highest point of the structure/the amalaka.
Reliefs at Kandariya Mahadeva Temple
Sandstone, 1000 CE. Around 600 figures, including gods, goddesses, and erotic couples. There are sexual scenes at the points where the mandapas join with the main shikhara. Sexual union is used to portray the union of the parts of the building.
Shiva as Lord of the Dance
Chola Dynasty. 880-1280 CE. Bronze. During the Chola Dynasty, there was a bhakti movement that emphasized the idea of an intimate and personal connection with a god. This statue embodies the movement: Shiva displays himself to the viewer benevolently, showing his power, promising liberation, and telling the viewer not to fear with his hands. He is humanized and full of grace.
