The art and architecture of India - Buddhist, Hindu, Jain (Art Ebook)

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4 &**- (lV ii*'r42. ^Sanchi, Great Stupa, east gate
THE EARLY ANDHRA PERIOD 97represent in the allotted space. Students of FarEastern art will recall that in the Chinese cavetemplesof Yun Kang and Lung Men we findinnumerable individual dedications of Buddhistfigures and reliefs carved without regardto any unified iconographical scheme.Our photograph of the outer face of the eastgateway illustrates the architectural arrangementusual to these toranas and the distributionof their iconography. The superstructureis supported by massive blocks, sculptured withfigures of elephants shown as though processinground the actual capital. Between the cross-barsor architraves are square blocks with symbolicalrepresentations of events from the life of theBuddha. There are two panels of Lakshmi typifyingthe Nativity; the Enlightenment is indicatedby the tree and empty throne; and thePreaching at Sarnath, by the wheel. Furtherreferences to these same themes with the throneand what appears like a relief of an Asokancolumn occur on the vertical props between thecross-bars. These architraves are built as thoughactually passing through the uprights in a mannersuggestive of earlier wooden architecture. Itis possible that these long horizontal panels terminatingin tightly wound spiral volutes are atransference to stone of popular picture scrollspartly unrolled for exhibition. 1In our view ofthe gateway we can recognize in the upper crossbarrepresentations of the Buddhas of the Past,typified by stupas; in the centre, the GreatDeparture; and, in the bottom panel, Asoka'svisit to the Bodhi Tree. To right and left of themain subject in this lowest bar may be seenrichly carved peacocks, perhaps intended onlyas decoration, but very possibly referring to theheraldic emblem of the Maurya Dynasty. Thetop of the gateway at Sanchi was originallycrowned with trisula or trident symbols, one ofwhich remains in place at the right, and probablyby a central palmette motif, such as may stillbe seen on the one surviving gateway fromBharhut [28]. The complete gateway to beseen in illustration 42 shows the decorationof the outer jambs of the torana : at the left,reading from top to bottom, the Great Enlightenment,the Conversion of the Kasyapas,and the Departure of King Bimbisara fromRajagriha; at the right, representations of theHeaven ofBrahma and the Paradises of the gods.Originally there were two figures of yakshisin the round, supported by a mango bough enclosedas a spandrel between the uprights andthe lowest architrave. One of these figures to thenorth is still in position [43]. It is a drastic anddramatically effective adaption of the womanand-treemotif that we have already encounteredat Bharhut. Although the thrust of thebody and limbs is conceived with a wonderfulintuitive sense of the architectural appropriatenessof this particular figure for the space it wasto fill, the form, perhaps by the sculptor's intent,is not conceived in the full round, but is sculpturedas two high reliefs placed back to back,with littleor no modelling bestowed upon thelateral sections. Actually, the figure was meantto be seen only from directly in front, or in therear view afforded the visitor from the upperprocessional path on the drum of the stupa.Although functionally the image plays no partin the support of the gate, it would be hard toimagine anything more simple, yet more dramaticallyeffective both from the iconographicaland aesthetic points of view, than this presentationof the tree-spirit. Her legs thrust with theforce of a buttress against the trunk of the tree,and from this magic touch its encircling boughsflower and receive the caressing grasp of theyakshi, so that she seems like a living vine, partof the treethat she quickens. The figures ofyakshis at Sanchi, like the reliefs at Bharhut, arehere as survivals of earlier nature cults whichhad been acceptedby Buddhism and whichnothing would eradicate from the popular mind.'These figures of fertility spirits are present herebecause the people are here. Women, accustomedto invoke the blessings of a tree spirit,
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The Pelican History of Art!The Art
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THE PELICAN HISTOR Y OF ARTJoint Ed
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Penguin Books Ltd, Harmondsworth, M
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This edition is based on the first
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CONTENTSPart Four :The Golden Age a
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10PRONUNCIATION OF INDIAN WORDSSans
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12 ' GLOSSARYin number, from the pa
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'4 GLOSSARYSathsdra. The unending c
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R1 'BflctnaUKashgar#Ki^ ShorchuoTu^
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THE ART AXD ARCHITECTURE OT IXDIA
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22 PREHISTORIC AND EPIC PERIODS•S
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*4 PREHISTORIC AND EPIC PERIODScont
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26 PREHISTORIC AND EPIC PERIODS•c
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28 PREHISTORIC AND EPIC PERIODS•'
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CHAPTER 2i'<\\3THE PROTO-HISTORIC P
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33i. Mohenjo-daroSumer and Babylon.
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THE INDUS VALLEY CIVILIZATION 35The
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THE INDUS VALLEY CIVILIZATION 37pla
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THE INDUS VALLEY CIVILIZATION 39The
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THE INDUS VALLEY CIVILIZATIONmariti
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.CHAPTER 3v^>THE EPIC PERIOD:VEDIC
Page 49 and 50: VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 51: VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 54 and 55: PREHISTORIC50•AND EPIC PERIODSby
Page 56 and 57: 52 PREHISTORIC AND EPIC PERIODS•i
Page 58 and 59: PREHISTORIC54"AND EPIC PERIODS- the
Page 60 and 61: ;56 PREHISTORIC AND EPIC PERIODS•
Page 62 and 63: 58 PREHISTORIC AND EPIC PERIODSof a
Page 64 and 65: 60 THE EARLY CLASSIC PERIODS•yaks
Page 66 and 67: 1 6. Pataliputra, Maurya Palace17.
Page 68 and 69: *4 THE EARLY CLASSIC PERIODSrooms o
Page 70 and 71: %»';**$;?»'imtie 4. V ?*«]£***
Page 72 and 73: 20. Lion capital from Sarnath. *>>S
Page 74 and 75: THE EARLY CLASSIC PERIODSwestern fr
Page 76 and 77: 72 THE EARLY CLASSIC PERIODS•devi
Page 78 and 79: 25. Yaksha from Patna.Calcutta, Ind
Page 81 and 82: CHAPTER 6i ^c\ \»THE SUNGA PERIOD
Page 83 and 84: THE SUNGA PERIOD 79mortal body of t
Page 85 and 86: *29. Yakshi (Chulakoka Devata) from
Page 87 and 88: THE SUNGA PERIOD 83more than the su
Page 89 and 90: THE SUNGA PERIOD 8532. Sanchi, Stup
Page 92 and 93: THE88•EARLY CLASSIC PERIODSSanchi
Page 94 and 95: goTHE EARLY CLASSIC PERIODSevery at
Page 96 and 97: 92 THE EARLY CLASSIC PERIODSsculpto
Page 99: CHAPTER 7 & 6<\\\*\THE EARLY ANDHRA
Page 103 and 104: . . (these) . . . imagesTHE EARLY A
Page 105 and 106: THE EARLY ANDHRA PERIODIOI46. Sanch
Page 107 and 108: 47- Sanchi, east gate^The Conversio
Page 109 and 110: THE EARLY ANDHRA PERIOD 05)A »' I
Page 111 and 112: :io 7ment in nature, hostile or fri
Page 114 and 115: ** 3^*^i*M H56. Ivory plaquefrom Be
Page 117 and 118: CHAPTER 81116^THE ROCK-CUT SANCTUAR
Page 119 and 120: EARLY BUDDHIST ROCK-CUT SANCTUARIES
Page 121 and 122: 62. Karli, chaitya-hall,
Page 123: :EARLY BUDDHIST ROCK-CUT SANCTUARIE
Page 126 and 127: ROMANO-INDIAN122•ARThad forced Al
Page 128 and 129: .124 ROMANO-INDIAN ARTAlthough coin
Page 130 and 131: ROMANO-INDIAN;126•ARTmerlon crene
Page 132 and 133: ROMANO-INDIAN.128 •ARTbe dated in
Page 134 and 135: 130 ROMANO-INDIAN ART•Japan. 16 I
Page 136 and 137: ROMANO-INDIAN132•ARTsame as had b
Page 138 and 139: ROMANO-INDIAN134'ARTfigures emergin
Page 140 and 141: 136 ROMANO-INDIAN ART•archaeology
Page 142 and 143: 138 ROMANO-INDIAN ART•one time su
Page 144 and 145: 8i. AH Masjid stupa, Khyber Pass
Page 146 and 147: ROMANO-INDIAN142•ARTfrom the mini
Page 148 and 149: 144 ROMANO-INDIAN ART'None of these
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146 ROMANO-INDIAN ART•89. Gold am
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148 ROMANO-INDIAN ART•94. Pancika
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ROMANO-INDIANIsO •ART95. Wima Kad
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ART UNDER THE KUSHANS: MATHURA 153t
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%(\\A
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ART UNDER THE KISHANS: MATHIRAgjffl
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ART UNDER THE KUSHANS: MATHURA 59re
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successors, was uncovered a great t
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ART UNDER THE KUSHANS: MATHURA 63En
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;CHAPTER I I(,joltf jfAFGHANISTAN:
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i io. Wntinous' from Hadda. (uParis
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1 12. Head of Devata from near Pesh
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AFGHANISTANIT'War. The monasteries
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AFGHANISTAN 173*$ w116. Bamivan, la
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1 19. Bamiyan, painting of sun godo
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AFGHANISTAN 177the entire scheme wa
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AFGHANISTAN [79Bamiyan is like the
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124- Bodhisattva from Fondukistan.K
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CHAPTER 12BUDDHIST ART IN TURKESTAN
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BUDDHIST ART IN TURKESTAN [87of thi
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i8 9129. Buddhist relief from Tumsh
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BUDDHIST ART IN TURKESTAN I9 ]sanct
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133- Two divinities from Kizil.Berl
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134 Buddha from Bezeklik.Berlin, Mu
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BUDDHIST ART IN TURKESTAN 197The ru
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CHAPTER 13THE ART OF KASHMIRsW?The
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Iiiisiiiiiiiiil m m1riitiiiiiiiiUni
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.THE ART OF KASHMIR 203On each of t
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THE ART OF KASHMIRHadda. The heads
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;208 THE GOLDEN AGE AND END OF BUDD
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THE210•GOLDEN AGE AND END OF BUDD
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212 THE GOLDEN AGE AND END OF BUDDH
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THE214'GOLDEN AGE AND END OF BUDDHI
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THE2l6•GOLDEN AGE AND END OF BUDD
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2l8THE GOLDEN AGE AND END OF BUDDHI
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THE220•GOLDEN AGE AND END OF BUDD
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THE224"GOLDEN AGE AND END OF BUDDHI
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163. Deogarh, Vishnu temple, doorwa
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234172. Buddha preaching the First
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174- Scenes from the Life of Buddha
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m**ii*\**i*mmnit,m*i*n*******h*m**m
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26lthe fifth and sixth centuries; i
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INDIA, NEPAL, AND TIBET 263vincial
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INDIA, NEPAL, AND TIBET 265in the i
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INDIA, NEPAL, AND TIBET 267203. Tar
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269206. Banner of Avalokitesvara fr
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INDIA, NEPAL, AND TIBET 271royalty.
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THE274'HINDU RENAISSANCEof types of
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THE276•HINDU RENAISSANCEsources m
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2 7 8 THE HINDU RENAISSANCEin each
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280 THE HINDU RENAISSANCE•convex
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:282 THE HINDU RENAISSANCE•masonr
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219. Konaraka, Surya temple,detail
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22i. Konaraka, Surya temple, Surya
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222. Khajuraho, Kandariya Mahadeo t
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;290 THE HINDU RENAISSANCE•toweri
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292 THE HINDU RENAISSANCE•or kala
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294^anaoooo^rz^rczcr^Ssoo^^gy:226.
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. . but296 THE HINDU RENAISSANCE•
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298 THE HINDU RENAISSANCE•-A231.
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300 THE HINDU RENAISSANCEhas been r
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;302/Here is an art inspired by the
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THE PERIOD OF THE HINDU DYNASTIES 3
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o 5 10241. Ellura, Kailasanath temp
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243- Ellura, Kailasanath temple,Rav
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247- Tanjore, Rajrajesvara temple
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THE PERIOD OF THE HINDU DYNASTIESIG
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251. -Madura, Great TempleThese imm
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CHAPTERISOUTH INDIAN BRONZESThe ear
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faSOUTH INDIAN BRONZES 329257. Bron
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260. Bronze Nataraja from Polonnaru
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SOUTH INDIAN BRONZES 333in Hindu sa
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3UUIM lfNUlAIN BKUINitSSSbNot a sin
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269. Andhra textile from the Kalaha
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CHAPTER 19PAINTING OF THE PERIOD OF
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WALL-PAINTINGS AND MINIATURES 343Ma
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WALL-PAINTINGS AND MINIATURES 345Th
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279- Krishna and his Beloved in the
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35© THE HINDU RENAISSANCE•Certai
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THE352•HINDU RENAISSANCE_e^r AA\^
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354 THE HINDU RENAISSANCE'Krishna.
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I286. The Night of Storm from Garwh
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PART SIXINDIAN ART IN CEYLON AND SO
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361288. Anuradhapura, Thuparama dag
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CEYLON 363>originally covered with
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zqz. Bronze Buddha from Dong DiHano
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294- Anuradhapura, seated BuddhaI *
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CEYLON 369cords in front of an actu
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CEYLON•371by a sort of urna on th
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CEYLON•373301. Polonnaruwa, Parak
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CEYLON•375in spite of its great s
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\ob. Polonnaruwa, Wata-da-ge*>*
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CEYLON •379The exterior of this l
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J8i311. Bronze Sundaramurtiswami fr
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CEYLON •383Singhalese ivories, ev
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386 CEYLON AND SOUTH-EAST ASIA•an
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388 CEYLON AND SOUTH-EAST ASIA•sc
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390320. Harihara from Prasat Andet.
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CEYLON392•AND SOUTH-EAST ASIAwarf
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323. Angkor, Yasodharapura and Angk
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CEYLON396'AND SOUTH-EAST ASIAThis e
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329. Angkor Wat
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33i- Angkor Wat
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402 CEYLON AND SOUTH-EAST ASIA•em
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404 CEYLON AND SOUTH-EAST ASIAWhen
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CEYLON406•AND SOUTH-EAST ASIAarch
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408 CEYLON AND SOUTH-EAST ASIA•re
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410 CEYLON AND SOUTH-EAST ASIAof th
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412 CEYLON AND SOUTH-EAST ASIA•pa
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. *346. Angkor Thorn, Neak Pean" 'Z
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-CEYLON14l6 •AND SOUTH-EAST ASIAt
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4l8 CEYLON AND SOUTH-EAST ASIA•th
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420 CEYLON AND SOUTH-EAST ASIAdebac
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CHAPTER 22ART AND ARCHITECTURE IN S
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•SIAM 425more often than not too
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•SIAM 427One of the great masterp
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361. Head of Buddha from SiamBoston
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SI AM •43:and later a Burmese sty
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SIAM 433Lamp'un, erected by the Mon
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435elaborately carved barge-boards
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37i- Pottery amphora from Lopburi.B
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544© CEYLON AND SOUTH-EAST ASIAthe
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442 CEYLON AND SOUTH-EAST ASIA•te
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CEYLON444*AND SOUTH-EAST ASIAMuseum
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446 CEYLON AND SOUTH-EAST ASIAmask-
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CEYLONthe448•AND SOUTH-EAST ASIAK
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450 CEYLON AND SOUTH-EAST ASIAof gr
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CEYLON452•AND SOUTH-EAST ASIA385.
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CEYLON454'AND SOUTH-EAST ASIAto the
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456 CEYLON AND SOUTH-EAST ASIAin th
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CEYLON458•AND SOUTH-EAST ASIAfrom
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CEYLON:.460•AND SOUTH-EAST ASIAha
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CEYLON462•AND SOUTH-EAST ASIAKhme
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CEYLON464•AND SOUTH-EAST ASIAof t
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CEYLON:466•AND SOUTH-EAST ASIAnot
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NOTESBold numbers indicate page ref
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47isentient beings'. (See Ramaprasa
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473capital" so often found in moder
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47513. It has been suggested that t
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477172. 1 6. We have already seen h
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479237- 6. In the life of Hsiian-ts
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4 8isculptor, there exists an image
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4«3Singhalese scholars the moon st
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4»543i- 3- H. G. Quaritch Wales, T
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The4 8 7Frederic, L. L'Inde, Ses Te
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4 8 9barthouxj. Les Fouilles de Had
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49iGROSLIER, B. P. Angkor: Hommes e
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493LIST OF ILLUSTRATIONSThe locatio
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;I:):)- s89. Gold amulet boxes from
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):-. e_- r.- -. _:- -\ rr :):&-"xrn
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499298. Anuradhapura, Isurumuniya V
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:INDEXNames and other matters in th
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503Buddha, 53 ff., 77-9, 88-9, 47i(
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505Guru, 52Gwalior, 227, 239, 240,
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507London, India Office Library, 34
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1509Peshawar, Archaeological Museum
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5iiSudhana, 455Sukhodaya, 436Suk'ot
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-The Pelican History of ArtISBN 14
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