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Indian Art > Midterm > Flashcards

Midterm Flashcards

1
Q

Indus civilization (1st urbanization)

A

Peak from 2500-1800 BC. Language not deciphered, thousands of seals found w/ only a few characters (no bilingual inscription) and unicorn, bull. Terracottas, toys, adornment, pottery. No surviving stone monuments or statues.

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2
Q

Aryans

A

Nomadic, proto-Sanskrit, brought in religious beliefs and sacred text.

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3
Q

2nd urbanization

A

6th cent BCE, Ganges. Buddha was born in one of principalities of Ganges civ.

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4
Q

Buddha

A

Born during Ganges civilization (before Maurya); died ca. 400 BCE. A number of extraordinary physical characteristics.

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5
Q

Alexander and India

A

In India around 326 BCE; his army refuses to proceed. He passes land he got to Seleucus, who has to concede Afghanistan and rest of India to the Mauryans.

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6
Q

Ashoka Maurya

A

Around 250 BCE. His empire basically all of modern India but the South. Was he really Buddhist or a shrewd politician?

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7
Q

Vaishali Lion Column

A

3rd cent. BCE. No stone use before this; they didn’t know that the stone would sink at beginning so they didn’t construct a base. Lion: Buddha described as lion. Chronology.

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8
Q

Dhamma

A

Good behavior, abstaining from killing, generosity

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9
Q

Sarnath column capital

A

3rd c. BCE. Lotus petals in bell, abacus w/ four animals (horse, humped bull, elephant, lion with wheels in between). On top, four lions back to back; there was originally a wheel on their heads. Sarnath - where the first sermon happened. Lions - Persepolis?

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10
Q

Symbolism of the wheel

A

Used to aniconically represent the Buddha - in his first sermon he turned the wheel of the law.

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11
Q

Lauriya Nandangarh column

A

3rd c. BCE. They figured out that a stone column by it self would sink so they put in a base. Helpful for chronology.

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12
Q

Ashoka’s edicts

A

Came up with this idea (father did not practice the same). Don’t kill people or animals, have few possessions, practice dhamma. Carved on Ashokan columns

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13
Q

Symbolism of the Elephant (Buddhism)

A

Representing divine conception of the Buddha

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14
Q

Symbolism of the Horse (Buddhism)

A

Represents leaving old life on his horse - the renunciation

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15
Q

Mauryan polish

A

When it suddenly appears, stone is awesome - super polished, well done. Don’t know what was used to create intense shine.

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16
Q

Persia column theory (Maurya)

A

That people who fled Persepolis were out of job and went to India. However, chronology is wrong and styles are different.

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17
Q

Didarganj chowri-bearer

A

Same stone as columns, Mauryan polish. Monumental. Wearing sari. Holding fly swatter used to fan deities and rulers - would have been attendant to main figure. Probably one of 2. Indian ideals of beauty.

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18
Q

Sanchi Stupa (as a whole)

A

3rd c. BCE w/ additions in 1st c. BCE. No interior, unlike Christian. Approach it as if approaching Buddha himself; circumambulation. Relics - Ashoka further divided the 8 and created many stupas. He possibly chose to build here for personal reasons as not particularly holy site. Parasols over casket (stupa=body?). Originally there was a pillar. Railing around to mark sacredness and to give path of circumambulation (clockwise)

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19
Q

Symbolism of Parasol (Buddhism)

A

Aniconic representation of Buddha. Marked rulers and divinities. On stupas over casket.

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20
Q

Sanchi gateways (general)

A

1st c. BCE. Completely carved unlike stupa itself. Top heavy - reminiscent of wood. Inscriptions of donations. Most are houseowners, housewives, nuns, monks; no royal.

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21
Q

The Great Departure (Sanchi)

A

1st c. BCE. East Torana. Continuous narrative, aniconic representations (parasols, footprints). Horse - 5 times. Huntington argues that just a reinactment, no aniconism, but even so, still missing Buddha

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22
Q

Bharhut Ajatashatru Pillar - descent at Sankissa

A

120 BCE. Monoscenic (?) narrative. Footprints at top and bottom show Buddha’s movement (though others say otherwise). All the figures seem to be focused on the ladder and not circumambulating.

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23
Q

Bharut

A

Compare with Sanchi - sculpture on rails as well, but also labels naming the donors and narrating stories. Naga bows to Buddha, Ajatashatru, Raja Prasenajit, column w/ enlightenment. Why so many labels here? None at Sanchi (70-80 yrs later). Was Buddhism so well known by then?

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24
Q

The Enlightenment (Sanchi)

A

1st c. BCE, West Torana. Demons on right try to distract Buddha but run away in confusion; gods on left to praise him. Mode of representation very different on left than right - is this because diff artists? Or jsut style?

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25
Q

Monkey Jataka (Sanchi)

A

1st c. BCE. Synoptic narrative - no set order where start and end. Monkey king serves as bridge to save other monkeys from being hunted. Importance of ruler sacrificing for the people. Possible that synoptic narrative engages viewer more by asking for interp.

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26
Q

Jatakas

A

Popular stories the Buddhism incorporated by making the main character Buddha in another life.

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27
Q

Yakshi (Sanchi)

A

1st c. BCE. On all toranas. Standing under mango tree. Rep of abundance, prosperity, auspiciousness, fertility

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28
Q

Tartakov

A

Historians have own ideas, biases, bkgrnds when writing. Brits began Indian art history. Reflects ideas that they needed to educate Indians, decadence = decline, craft but not fine art, peak was when art was most like Western, effeminization of India.

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29
Q

Aniconism

A

Symbols such as parasols do not always code for Buddha - meaning = context specific

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30
Q

Why did iconic representations of the Buddha develop?

A

Coomaraswamy - common people needed a figure to direct devotions towards

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31
Q

Gandharan Style

A

Theory from Foucher that this was derived from Hellenistic, then served as source for rest. But Coomaraswamy argues against. Nowadays generally accepted that the two developed around same time.

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32
Q

Gandharan and Mathuran Similarities and differences

A

Both have: ushnisha, urna, wheels on feet and hands, webbed hands, halo.
Differences: Gandharan robe over both shoulder, covers up the body (problematically was desc as toga); Mathura semi translucent, covers one arm. Perhaps climate? Gandharan eyes downwards, Mathuran engage viewers.

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33
Q

Kushan dynasty

A

The Kushans, a nomadic tribe, took over Bactria in 1st c CE (and also parts of India). King Kanishka was most important ruler. Kushans decided to continue to sponsor Hellenistic art/culture. Demand for phys rep of Buddha here. “Asiatic Corinthian.” Multicultural as seen by the coins of time.

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34
Q

Miraculous Birth of the Buddha (Gandhara)

A

1st-3rd c. CE. Can see that iconic reps already there - Buddha coming out of Maya’s side. Drapery seems Hellenized. Other reliefs include Enlightenment, The First Sermon, the Maha-Pari-Nirvana, Great Departure

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35
Q

Great Departure (Gandhara)

A

1st-3rd CE. Wreath and turban - combination of cultures. Compare to Sanchi - here there is an iconic representation of Buddha.

36
Q

Kushan dating problems

A

Multiple Kunishkas; there were dates on some but theory of dropped 100s. Good quality works from 1st-3rd, less good 4th-5th

37
Q

Mathura Buddha

A

1st c. CE. Carved in local mottled pink sandstone. Snail-like hair on ushnisha, garment over one shoulder, reveals rather than covers

38
Q

Ushnisha

A

One of the 32 traits of the Buddha; he was said to have had a bump on his head. Artists didn’t like this so they covered it with hair, now it looks more like a chignon.

39
Q

Urna

A

When Buddha cut off his hair, a lock fell to the center of head and stuck there. In representations of Buddha, it is shown as a dot in the center of forehead. Represents renunciation

40
Q

Shikhara

A

Mountain peak - tall tower over the garbha-griha.

41
Q

Garbha-griha

A

The “womb house” - dark hidden inner sanctum of the temple

42
Q

Darshan

A

Seeing, looking - look at the deity and the deity looks at you. Mutual gazing. The deity offers blessings which you receive by looking (as a form of touching, Eck)

43
Q

Puja

A

Ritual worship - involves all of the senses. During puja the divine inhabits the image

44
Q

Gandhara

A

Name for a region formerly in Northern Pakistan/Afghanistan. Ruled by many powers including Greeks, Mauryans, and Kushans so artwork reflects influences from multiple regions.

45
Q

Chaitya

A

Buddhist chapel/place of worship or veneration with a stupa inside. Includes series of columns, apsidal, stupa at the end. Can be rock cut or not.

46
Q

Stupa

A

A sort of burial mound where relics are placed; not meant to be seen; circumambulation.

47
Q

Jataka Tales

A

Body of Buddhist literature about the ~500 previous lives of the Buddha. Nice because Buddhism could basically adopt any folk tale by making the main character Buddha in a pervious life.

48
Q

Aniconic

A

Non-iconic, non-anthromorphic representation of the Buddha. Aniconism is worship of object that represents god without being a likeness/without human form. A visual code specific to its time and place.

49
Q

Monolith

A

A large single piece of stone. Monolithic structures such as ones in Mamallapuram are carved from boulders rooted into the ground.

50
Q

Synoptic Narrative

A

Character is shown multiple times in a panel in order to tell a story. However there is no easily discernible order to things. Requires additional thinking so may be a way to engage the viewer.

51
Q

Monoscenic Narrative

A

Represents a single scene. No repetition of characters; a moment in time in a story. Must be pretty recognizable to be intelligible.

52
Q

Continuous Narrative

A

Character appears a number of times. There is a easily perceivable progression, i.e. right to left or left to right for readability.

53
Q

Torana

A

A gateway associated with Buddhist stupas such as the Stupa in sanchi. Top heavy, look like they are imitations of structures in wood.

54
Q

Uma

A

Another term of Parvati, Shiva’s consort.

55
Q

Maha Parinirvana

A

The death of Buddha, and the attainment of complete Nirvana as Buddha is released from the cycle of rebirth and death. Buddha often shown reclining on his side facing the viewer, with followers mourning around him.

56
Q

Mithuna

A

Loving couple, often shown on temple facades in an embrace. Can be viewed as celebrating life’s pleasures, but also as a symbol of a human soul’s longing for union with divine.

57
Q

North vs south temples

A

North vertically oriented, south more horizontal. Both are composed of many units.

58
Q

Mandapa

A

Hall of temple

59
Q

Three main gods

A

Shiva, Vishnu (Krishna, Rama), Devi (the goddess)

60
Q

Linga

A

Aniconic form of Shiva worshipped in the garbha-griha. Sometimes has the heads of Shiva

61
Q

Nandi

A

The bull of Shiva

62
Q

Sons of Shiva

A

Ganesha and Skandi

63
Q

Garuda

A

The eagle of Vishnu

64
Q

Polytheism vs Kathenotheism

A

Polytheism - there is a Pantheon, each plays role. Kathenotheism - each god worshipped in his or her turn as the absolute.

65
Q

Hindu cave temples

A

Come along pretty late - around 550 AD. No residential caves unlike in Buddhist. Maybe residences in perishable material?

66
Q

Bhaja chaitya cave

A

2nd c. BCE. One of first. Originally with a wooden facade (perhaps still uncomfortable with stone). Columns mark out path for circumambulation. Made to appear like a multi-story building - even has carved “window” with people. Carved in “beams;” wooden beams added, not necessary. Inscription on the beams - establish merit of donation.

67
Q

Buddhist cave monasteries

A

Along the West coast of India - spreading the word to other lands. Caves because Buddha meditated in caves; permanence. Collective patronage. Rulers gave villages to monasteries.

68
Q

Vihara cave

A

Residential cave for monks

69
Q

Karle chaitya cave

A

1st c. BCE. with additions into the 5th CE. Complete stone facade. Goes 120 into mountain. No longer plain column - tops and bottoms carved (important to distinguish from Bhaja). Still wooden ribs. Wooden parasol over stupa, stupa has no relics. Columns given by yavanas, loving couples on facade. Later additions! The Buddhas were added afterwards in 5th CE.

70
Q

Ajanta

A

5th century. No longer collective, but ruler sponsored. 4 chaitya halls and many viharas. Here can see iconic image of Buddha. Spink! He believes it was made in a super compressed period (462-180, 18 years). But this would have been difficult - all the painting done in the dark…not so easy.

71
Q

Ajanta Cave 1 Paintings

A

5th century. Many paintings, including bodhisattva wall painting. Worn because the paint was put on after limestone dried; water soluble. Spink! All of these paintings, all in the dark, how to see?

72
Q

Elephanta

A

6th century, Elephanta Island. Dated using coins. Entrances uninteresting, no facade. Entrances @ N, E, W, shrine in W, Three headed/Eternal Shiva @ S Wall. Carved guardians - liminal spaces. Concept of the organization mirroring ideas of the cosmos. Confusing that there are two areas of focus.

73
Q

Eternal Shiva

A

6th cent, Elephanta. Three heads, four hands (the two central ones belong to central head). The central head is the essence of Shiva; one at left is destructive element of Shiva; at right, Parvati. Very huge. At the South wall in a niche. Two guardians flanking the Shiva.

74
Q

Symbolism of Dreadlocks

A

Related to Shiva, represent renunciation.

75
Q

Sarnath

A

Where Buddha gave his first teaching.

76
Q

The multivalence of emblems

A

Multi-layered meaning of emblems. The same emblem can represent the presence of the Buddha, sacred sites, attributes. Depends on context. Can be one or multiple meanings at a time

77
Q

Shiva as Ganga-dhara at Elephanta

A

6th c CE. Shiva with Parvati; triple headed Ganges falling onto his dreadlocks. Parvati is said to be leaning away because of her displeasure at the arrival of the Ganges. May want to compare with the possible Ganges story at The Great Penance Relief

78
Q

Shiva destroying Andhaka at Elephanta

A

6th c CE. Shiva has multiple arms here showing that he is engaged in a major activity.

79
Q

The Five Rathas

A

7th c. CE, Mamallapuram. Monoliths - created from boulders and rooted on ground. Different architectural types - 2 in standard local temple style, 1 barrel vaulted, 1 apsidal. Mahabharata. Perhaps not a sacred site as the animals there are not facing towards the opening? One building has goddess inside for ex, but lion outside is not facing door. Some without gods inside. Elephant and apsidal. Unfinished ratha.

80
Q

The Great Penance

A

7th c. CE, Mamallapuram. Sculpted tableau. Focal point Shiva, with an ascetic. There is a kind of fissure that is the Ganges (Naga, Nagini). Figures seem to be turned towards river. Small Vishnu shrine. Perhaps water was initially let down. Perhaps duality of meaning/a sort of word-play done in images - since Shiva is not holding his dreadlock, the image could be either the descent of Ganges or giving the weapon to Arjuna from Mahabharata. Perhaps a tourist site as elephants so big (if holy site Shiva would be biger).

81
Q

Lesser Great Penance

A

7th c. CE. A little ways away from the Great Penance. Can this be used to interpret the Penance/is it an abandoned draft, or does this confound?

82
Q

Krishna Mandapa

A

7th c. CE. Spatially betw Great Penance and Lesser. Was initially an open cliff but was enclosed by rulers. Krishna protects the inhabitants of village from cyclone by picking up mountain and holding it up like an umbrella. Poss royal theme - control of water?

83
Q

Pallava double-meanings

A

A Pallava poet apparently composed a work that told the Mahabharata and Ramayana at the same time. This seems to be reflected in the artwork at Mamallapuram such as at the Great Penance.

84
Q

Mara

A

A demon that is the enemy of Buddha. While Buddha tried to attain enlightenment Mara tried to seduce him with his daughters and distract him with other demons. Associated with unwholesomeness and spiritual death.

85
Q

Capital of column

A

Topmost area of a column that mediates between the column and the weight that is on it. It is wider than the column so that there is more weight-supporting surface for the column.

86
Q

Ratha

A

Word for chariot. Also used to describe set of buildings in Mamallapuram (the title is not directly related to them; was given later by visitors)

87
Q

Relic

A

Physical remains of a saint conserved for veneration, often placed in decorative casket. In Buddhism, relics are in Stupas and are not seen.

Indian Art (3 decks)

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