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

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l66 ROMANO-INDIAN ART•summer capital of the Kushan rulers, was also asite famous in the annals of Buddhism; it isdescribed by Hsuan-tsang as a flourishingcentre of Mahayana Buddhism, with splendidand imposing stupas and sangharamas. Noth-1ing could be more appropriate to the nature ofthe finds at Begram than Hsiian-tsang's remark,'Here also are found objects of merchandisefrom all parts'. 2 The finds in the early Kushanpalace included metal statuettes of Greco-Roman (probably Alexandrian) type, plasterreplicas of the emblema of Hellenistic metalwork,and quantities of Syrian glassware,together with lacquer boxes from Han China.Here was a complete record of the luxurious andinternational character of Kushan taste. Allthese finds antedate the Sasanian sack of a.d.241. The Buddhist sculpture found at Begramand the nearby sites of Paitava and Shotorak isof the usual Gandhara style. Most of it probablydates from the third or fourth century: theBuddha images, like the one illustrated inChapter 9 [68], have the folds of the robeconventionalized in a system of raised ridgesgiving the body the appearance of being caughtin a network of strings, not unlike the drapery ofPalmyran sculpture of the second and thirdcenturies.Near the modern town of Jelalabad are theruins of Hadda, the ancient Nagarahara. Fragmentsof sculpture from this site made theirappearance as early as the nineteenth century,but it was not until the French excavations of1922 that the full significance of the remainscould be appreciated. 3The sculpture of Haddadiffers from the Gandhara products alreadyexamined in being made entirely of lime plasteror stucco, single figures, reliefs, and architecturaldecorations in this material beingaffixed as decoration to the exterior of the innumerablestupas and monasteries of the site. 4There can be little doubt but that all thestucco sculpture both in Afghanistan and northwesternIndia was originally brilliantly coloured.In the course of excavations of the ruinedmonastery at Teppe Marandjan in Kabul, anumber of specimens of lime-plaster sculpturewas found preserved in a pristine condition.The flesh parts were tinted a pinkish terra-cottashade, with lines of deeper red to indicate thefolds of the neck, lips, nostrils, etc. Brown irisesdefined the eyes, which were outlined in blueand brown. The robes of these Buddhist figureswere painted a deep cinnabar; various colours,including a rich lapis-lazuli blue, were used topick out the jewelled ornaments and head-dress.Hsiian-tsang in his description of Hadda saysthat 'the sangharamas are many but the priestsare few; the stupas are desolate and ruined'. 5 Itseems likely that most of the remains date fromthe third to the fifth centuries of our era,although additions and repairs were, probably,made right up to the time of the disastrousinvasion of the Huns in the sixth century.The repertory of sculpture at Hadda includesan enormous variety of ethnic types - Indian,Iranian, and European - as well as an equallygreat number of stylistic variants ranging fromseemingly Hellenistic to purely Indian techniques.Among the more Classical pieces isfragment of a figure holding a lapful of flowers[no]. As was pointed out when the relief wasfirst discovered, this is no more nor less than atransference to Hadda of the Roman portrait inthe Lateran of the Emperor Hadrian's favouriteAntinoiis as Vertumnus. Not only the type andthe floral attribute, but also the conception ofthe form and modelling appear entirely Romanto an even greater degree than the stonesculpture of Gandhara - perhaps for the reasonthat the malleable medium of lime plasterafforded the greater freedom in the desiredrealistic expression. The sculpture of Haddahas been made famous chiefly by the comparisonspublished by French scholars betweencertain pieces from this site and typical heads ofthe Gothic period. Some heads of Brahminascetics bear comparison with the 'Beau Dieu'a
i io. Wntinous' from Hadda. (uParis, Musee Guimet4*
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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
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VEDIC AND PRE-MAURYA CIVILIZATIONS
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VEDIC AND PRE-MAURYA CIVILIZATIONS
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PREHISTORIC50•AND EPIC PERIODSby
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52 PREHISTORIC AND EPIC PERIODS•i
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PREHISTORIC54"AND EPIC PERIODS- the
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;56 PREHISTORIC AND EPIC PERIODS•
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58 PREHISTORIC AND EPIC PERIODSof a
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60 THE EARLY CLASSIC PERIODS•yaks
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1 6. Pataliputra, Maurya Palace17.
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*4 THE EARLY CLASSIC PERIODSrooms o
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%»';**$;?»'imtie 4. V ?*«]£***
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20. Lion capital from Sarnath. *>>S
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THE EARLY CLASSIC PERIODSwestern fr
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72 THE EARLY CLASSIC PERIODS•devi
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25. Yaksha from Patna.Calcutta, Ind
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CHAPTER 6i ^c\ \»THE SUNGA PERIOD
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THE SUNGA PERIOD 79mortal body of t
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*29. Yakshi (Chulakoka Devata) from
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THE SUNGA PERIOD 83more than the su
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THE SUNGA PERIOD 8532. Sanchi, Stup
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THE88•EARLY CLASSIC PERIODSSanchi
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goTHE EARLY CLASSIC PERIODSevery at
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92 THE EARLY CLASSIC PERIODSsculpto
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CHAPTER 7 & 6<\\\*\THE EARLY ANDHRA
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THE EARLY ANDHRA PERIOD 97represent
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. . (these) . . . imagesTHE EARLY A
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THE EARLY ANDHRA PERIODIOI46. Sanch
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47- Sanchi, east gate^The Conversio
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THE EARLY ANDHRA PERIOD 05)A »' I
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:io 7ment in nature, hostile or fri
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** 3^*^i*M H56. Ivory plaquefrom Be
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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
Page 150 and 151: 146 ROMANO-INDIAN ART•89. Gold am
Page 152 and 153: 148 ROMANO-INDIAN ART•94. Pancika
Page 154: ROMANO-INDIANIsO •ART95. Wima Kad
Page 157 and 158: ART UNDER THE KUSHANS: MATHURA 153t
Page 159 and 160: %(\\A
Page 161 and 162: ART UNDER THE KISHANS: MATHIRAgjffl
Page 163 and 164: ART UNDER THE KUSHANS: MATHURA 59re
Page 165 and 166: successors, was uncovered a great t
Page 167 and 168: ART UNDER THE KUSHANS: MATHURA 63En
Page 169: ;CHAPTER I I(,joltf jfAFGHANISTAN:
Page 173 and 174: 1 12. Head of Devata from near Pesh
Page 175 and 176: AFGHANISTANIT'War. The monasteries
Page 177 and 178: AFGHANISTAN 173*$ w116. Bamivan, la
Page 179 and 180: 1 19. Bamiyan, painting of sun godo
Page 181 and 182: AFGHANISTAN 177the entire scheme wa
Page 183 and 184: AFGHANISTAN [79Bamiyan is like the
Page 185 and 186: 124- Bodhisattva from Fondukistan.K
Page 189 and 190: CHAPTER 12BUDDHIST ART IN TURKESTAN
Page 191 and 192: BUDDHIST ART IN TURKESTAN [87of thi
Page 193 and 194: i8 9129. Buddhist relief from Tumsh
Page 195 and 196: BUDDHIST ART IN TURKESTAN I9 ]sanct
Page 197 and 198: 133- Two divinities from Kizil.Berl
Page 199 and 200: 134 Buddha from Bezeklik.Berlin, Mu
Page 201 and 202: BUDDHIST ART IN TURKESTAN 197The ru
Page 203 and 204: CHAPTER 13THE ART OF KASHMIRsW?The
Page 205 and 206: Iiiisiiiiiiiiil m m1riitiiiiiiiiUni
Page 207 and 208: .THE ART OF KASHMIR 203On each of t
Page 209: THE ART OF KASHMIRHadda. The heads
Page 212 and 213: ;208 THE GOLDEN AGE AND END OF BUDD
Page 214 and 215: THE210•GOLDEN AGE AND END OF BUDD
Page 216 and 217: 212 THE GOLDEN AGE AND END OF BUDDH
Page 218 and 219: 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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222 THE GOLDEN AGE AND END OF BUDDH
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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
Page 497 and 498:
493LIST OF ILLUSTRATIONSThe locatio
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;I:):)- s89. Gold amulet boxes from
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):-. e_- r.- -. _:- -\ rr :):&-"xrn
Page 503 and 504:
499298. Anuradhapura, Isurumuniya V
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:INDEXNames and other matters in th
Page 507 and 508:
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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