South Asia Flashcards
Lion Capital, From Ashokan pillar at Sarnath, Uttar Pradesh, India. Maurya period, c. 250 BCE.
sandstone- pillars erected at Buddhist monasteries, inscriptions relate rules of dharma, moral laws that keep universe from chaos; often animal-shaped capitals, royal standard indicate axis mundi- cardinal directions, earth joined with cosmos; marks site of Buddha’s first sermon (lion’s roar)
base= inverted lotus blossom- symbolizes progress of soul- primeval mud to enlightenment
platform-bull, horse, lion, elephant b/w chariot wheels- symbols of military might/kingship
King as Chakravartin- universal king whose chariot wheels pass everywhere, relates King to Buddhism
in W- association b/w lions and kingship; in Rome- Trajan’s column- commemorates political/military victories
Standing Buddha, From Gandhara, Pakistan. Kushan period, c. 2nd-3rd century CE.
Buddhism: Prince Siddhartha Guatama left palace @ 29, lived/meditated as ascetic in wilderness for 6 years- attained enlightenment at Bodh Gaya, India- became Buddha (“Awakened One”)
Spread 4 noble truths: 1) life is suffering; 2) suffering caused by ignorance and desire; 3) ignorance and desire can be overcome & extinguished; 4) overcome by following 8-fold path: right view, resolve, speech, action, livelihood, effort, mindfulness, concentration
early Buddha images: Hellenistic, superhuman bulk: massive & broad shoulders, defined torso, bent knee, wearing Roman toga
Stupa 1 (The Great Stupa) at Sanchi, Madhya Pradesh, India. Founded 3rd century BCE; Enlarged c. 150-50 BCE. sandstone
stupa= solid mound enclosing a relic, directly connected w/ the Buddha (e.g. ashes); mandala= diagram of cosmos envisioned in Buddhism, circle inscribed in square, 1st stupas erected to house ashes after cremation
like Neolithic cairns or Mycenaean dromos (hallway)/tholos (circular interior room)
torana- stone gateway- decorative carvings w/ continuous narrative of Buddha’s life, past lives
Mast w/ 3 stone disks (umbrellas)- Buddha, Law, Monastic order
Yak-shi- female spirit responsible for reproductive forces of nature- unlike Greeks- okay with female nudity- form is active, sensual, no clear distinction b/w clothed and nude
Vishnu Lying On The Cosmic Waters, Relief panel in the Vishnu Temple, Deogarh. c. 530 CE.
relief panels= windows that let light of god out of temple to illuminate us
creation story- sleeps on serpent of infinity (Ananta)- body coils endlessly at feet; Lakshmi holds foot, stirring him to dream up universe; Brahma from lotus out of Vishnu’s navel, turns self into space/time; Vishnu (creator god)’s 4 attributes stand ready to fight 2 demons who threaten to kill Brahma and jeopardize creation; Vishnu’s dreaming protects creation
size= omnipotence; sensuous lines, lightly garbed w/ detailed jewelry (Mauryan dynasty)
divine stories not abstractions, acted out by gods in human form
Bodhisattva, Detail of a wall painting in Cave I, Ajanta, Maharashtra, India. Vakataka dynasty, c. 475 CE.
rare painting, Bodhisattva: enlightened beings who postpone nirvana to help others
distinguished from Buddha by princely garments- bejeweled crown, large earrings, pearl necklace, armbands, bracelets; Buddha shown more severely
realistic detail balanced by sensuous languor, like other examples of Hindu sculpture
Eternal Shiva, Rock-cut relief in the cave-temple of Shiva, Elephanta, Mid 6th century CE.
temple dedicated to various incarnations of Shiva
Hindu rock-cut architecture- 3 entrances (Buddhist temple only one), only source of light from front- back-lit effect; rock-cut pillars decorative, not functional, fluted “cushion” columns
Focus of North/South axis: Massive bust of Shiva-Three heads: frontal- Shiva deep in introspection, heavy lower lip, god’s serious depth
protector nature is female (curled hair)
wrathful destroyer (snakes around neck)
Kailasha Temple, Ellora, cave 16, Ellora, Aurangabad district, Maharashtra, India.
Mid 8th century CE
final, great example of Hindu rock-cut temple, regional monarchs competed with palaces & temples
34 caves in all, dedicated to Buddhism, Jainism, Hinduism; Hindu temples= mountain, ascend upwards- 2 stories carved from single mass of stone in mountainside, required cutting 107’ straight down
circumambulate at ground level, narrative scenes, large elephants on lower plinth
metaphor now literal association b/w temple & mountain, even named for Shiva’s abode on Mt. Kailasha, Himalayas
Kandariya Mahadeva Temple, Khajuraho, Madhya Pradesh, India. Chandella dynasty, c. 1000 CE
later northern-style Hindu temple, dedicated to Shiva, post & lintel construction; curvilinear shikara (dome)- 100’ over garbhagriha (womb chamber); on stone terrace, three mandapas (pillared-outdoor halls) precede garbhagriha;
dome bolstered by smaller towers, obscure shape of main dome, domes over mandapas progressively taller, impression of ascent up mountain
Erotic Sculptures, Kandariya Mahadeva Temple, Detail of reliefs. Height of registers approx. 3’3”. Sandstone, c. 1000 CE
temple encrusted w/ sculpture, 600 figures, high relief, gods in erotic postures w/ mortals
references 2 new traditions in Hinduism: tantra (self-identity w/ deity- “esoteric” & bhakti (personal, loving relationship w/ gods)- “devotional”
gods present in our reality & commune w/mortals physically- like Christian mystical love as sensuous (Ecstasy of St. Teresa, Mary as “Bride” of Christ)
Rajarajeshvara Temple Of Shiva, Thanjavur, Tamil Nadu, India. Chola dynasty, 1003-1010 CE
Southern-style temple: four-sided hollow pyramid, mandapa has flat roof instead of pyramidal roofs
temple still represents mountain- axis mundi & capstone; superstructure not obsured by ornament- extends skyward; reflects geography of regions (e.g. mountains-north, flat, coastal plains-south)
each story- miniature shrines, window motifs, supporting each story
like northern-style temples, narrative reliefs replaced by single statues
octagonal dome-shaped capstone= size of garbhagriha 13 stories below=connect w/ cosmos
Shiva Nataraja (Lord of the Dance), South India, Chola dynasty, 11th century CE.
most popular way Shiva is shown, royal patronage of Queen Sembiyan Mahadevi- increase prominence of Shiva Nataraja association with royal family
lost wax casting/bronze hollow casting method
not symbolically communicating Shiva’s role, but dramatically- showing Hinduism visually (samsara- cycle of death/rebirth=circle of fire)
stands on back of Apasmara, dwarf symbolizing “becoming” which Shiva controls
ball of fire=destructive force of samsara, hand pointing to raised foot=promise of liberation; abhaya mudras=have no fear; drum=rhythm of creation/destruction
balanced movement attained through composition- anchor along central axis- equilibrium like Myron’s Diskobolos (450 BCE)
clothing does not distract from body’s geometric form
Borobudur, Central Java, Magelang District, Indonesia. c. 800 CE
earliest responses to imported Buddhism: massive structure @ end of processional road from other sacred structures; 100’ tall stepped pyramid, 5 lower quadrilateral terraces support 3 circular terraces surmounted by bell shaped stupa ringed by 72 smaller openwork stupas
microcosmic reflection of design of universe (mandala), enlarged w/ each generation; like Imhotep’s stepped pyramid for Djoser
high walls divide each terrace, adorned w/ relief sculpture, images of Buddha; continued tradition of circumambulation of structures
each level progressively more complex & abstract, lower levels- basic moral lessons, karmic reward/punishment
Loro Jonggrang, Prambanan, Central Java, Indonesia. 9th century CE.
massive Hindu monument dedicated to Shiva, repetition of bell-like forms like Borobudur, but Hindu mountain metaphor- 224 shrines, 4 concentric squares- central tower 155’, flanked by 2 smaller towers to Vishnu & Brahma (>108’), inside each garbhagriha
all towers on plinth w/ relief sculpture, illustrates Ramayana epic- karmic justice- demon king Ravana abducts Sita, wife of hero Rama, disguised as Brahmin/Hindu priest
animalistic nature repeated in motifs: dogs grabs food fallen, rat sneaks into storehouse, monkey reaches for food- hedonism=self-destruction
Buddhist & Hindu: full, rounded bodies, pragmatic moral lessons, karmic reward/punishment- regional style- further from West, more abstract, sensuous
Angkor Wat, Angkor, Cambodia. 12th century CE.
rare- temple dedicated to Vishnu- faces West, setting sun- funerary associations; surrounded by lake-like moat >820’ wide, crossed by walkways, walkways adorned with balustrades=multi-headed serpents= association w/ Vishnu
relief sculptures portray Churning of the Ocean of Milk- Vishnu pulls serpent w/ other celestial beings to create cosmos- before world formed, Vishnu produced elixir of immortality by wrapping cosmic serpent around mountain, emerging from sea & pulling serpent upward
patron hopes to gain immortality through association with Vishnu (King Suryavarman II)
Southeast Asian Art is elaboration of South Asian religion & styles (Buddhism & Hinduism)
Taj Mahal, Agra, India. Mughal period, reign of Shah Jahan, c. 1632-1648.
Persian for “Crown of Palaces”- almost perfect square, mausoleum for favorite wife Mumtaz Mahal (died in childbirth) and self
four-iwan plan- “hasht behisht”- “8 paradises”- 8 chambers behind each iwan; chamfered corners create octogon; 2 stories, 16 chambers, each side: central iwan, flaunted by 2 smaller iwans, void creates lightness, platform decorated w/ blind arcade (decorated arches set into wall)- reliefs of flowers, framed by Quaranic verses, tied to promise of salvation, inlaid inscriptions & arabesques in semi-precious stones, Kufic script=descriptions of paradise; octagonal central area, double-shelled dome, common in East
inside: openwork screens surround cenotaph (tombs below); vision of paradise in Qur’an- gardens & pools, white marble previously only for saints
minarets flank tomb- 3 levels- not like mosque but embellish Indian palaces; symmetry in complex w/ mosque, rest house, garden= Islamic paradise
personal loss + imperial authority- inspiration for “Indian Gothic” in colonial palaces
“Krishna and the Gopis,” From the Gita Govinda, Rajasthan, India. Mughal period, c. 1525-1550
Mughal (Islamic) painting=naturalistic; Rajput=abstract; both interested in royal portraits, court scenes, Hindu myths
Bhakti (“devotional”)- personal, loving relation w/ god, can be represented in erotic imagery= devotion & unity; poetic literature to Krishna (incarnation of Vishnu) in Gita Govinda- cycle of rhapsodic poems, love b/w god & humans- metaphorically through love b/w Krishna & cowherd Radha
Blue Krishna w/ cowherd women, on R- Radha overcome w/ jealousy (blue background); red background=passion; emotional tension= curving stalks, flowering vines
single type: plump profile faces, oversized eyes, no attempt to show naturalistically
George Wittet, Gateway Of India, Mumbai, India. 1924.
built to welcome King George V
3-arch design resembles European triumphal arch (e.g. Arch of Constantine in Rome, Italy next to Colosseum)
no imperial reliefs- more indigenous style instead-Indo-Saracenic- hybrid style- Hindu-Muslim; new preferred style of British govt, full integration of motifs
stone screens, ornate brackets, pointed arches, floral decorations (like Taj Mahal)
India wins independence in 1947; last British troops go through this gate in 1948
Maqbool Fida Husain, “Vedic,” Theorama series, 1994.
Uses Modernism to express South Asian themes; influenced by Hindu literature, historical events, Muslim upbringing, nature; often criticized for use of religious imagery (Islam is anti-iconographic)
part of Theorama series on religion
uses Modernist idiom of abstract, geometric forms, broad areas of color
Krishna dancing on serpent Kaliya, merges w/ churning of the Ocean of Milk (creation); triangular form of Shiva representing god’s 3 natures; ascetic with wheel head=Gandhi- used to break dependence on British textiles- literal spinning wheel and wheel of dharma, also on Indian flag
what Hinduism represents in modern sense
