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

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230 THE GOLDEN AGE AND END OF BUDDHIST ARTthe prototype has disappeared. We may bereasonably sure that these figures were carvedaccording to a fixed set of proportions intendedto guarantee the more than mortal ideality of theconception; likewise, individual parts of thebody continue to be fashioned in accordancewith the entirely metaphorical description ofthe Buddha's person contained in the laksanas.The head of this typical Gupta Buddha fromMathura reveals essentially the same coalescenceof the Indian and Gandharan traditions.The sharp definition of the planes, as, forexample, the razor edge that separates the browfrom the eye-socket, is similar to the hardprecision of the Gandhara Buddhas, with thedifference that the Mathura types avoid themask-like coldness of the Gandhara Buddhahead by the swelling roundness of the interlockingplanes which in an almost geometricfashion combine to impart to the face a feelingof warmth and fullness. The individual featuresare again composed in a metaphorical mannerand still, as in archaic sculpture, combined in anadditive, rather than an organic, manner. Theeyes are lotiform; the lips have the fullness ofthe mango ;the hair is represented by the snailshellconvention which we have seen in theexample from Amaravati. The sculptors arealways at pains to represent the ushnisha as adefinite protuberance growing from the summitof the skull, and in similarly orthodox fashionthe marks of wheel, fish, trisula, etc., are engravedon the palms of the hands. Among themost beautiful features of the Mathura Buddhasare the carved haloes, the ornament consistingof concentric rings of floral pattern about acentral lotus. Aesthetically this final evolutionof the Buddhist cult image is extremely movingin the feeling of tremendous and fully realizedsculptural mass and the awesome spiritualdignity of form and features that is achieved bytheir combination of Late Antique conventionand Indian metaphor and feeling for plasticvolume.'The figure of their Great Master theystealthily class with that of Tathagata; it differsonly in the point of clothing; the points ofbeauty are absolutely the same.' 5 This accurateobservation by HsiAan-tsang on the dependenceof Jain art on Buddhist prototypes may beapplied to any number of Jain images of allperiods. A sizeable statue of a Tirtharhkara in theArchaeological Museum at Muttra [168] couldbe mistaken at first glance for a Buddha indhyana mudrd, were it not for the completenudity ofthe figure. The proportions of the bodyand the technical aspects of carving are identicalwith Buddha images of the Gupta Period, down1 68. Jain Tirtharhkara.Muttra, Archaeological Museumysto such details as the lotiform eyes and the representationof the hair by snail-shell curls. Theimpression of hieratic stiffness and austerity inthis and other Jain images is due not only to therigid geometrical construction of the body setlike a column on the base of the locked legs, but
:._-~i:t i~i•sri;:oc s 3-jcmrt has been suppressed in favour— t :r. trjireiT abstract conception of the boc,. _ _: zT".t .*.: : ~. ; : ^ r: -i"
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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
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EARLY BUDDHIST ROCK-CUT SANCTUARIES
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62. Karli, chaitya-hall,
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:EARLY BUDDHIST ROCK-CUT SANCTUARIE
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ROMANO-INDIAN122•ARThad forced Al
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.124 ROMANO-INDIAN ARTAlthough coin
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ROMANO-INDIAN;126•ARTmerlon crene
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ROMANO-INDIAN.128 •ARTbe dated in
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130 ROMANO-INDIAN ART•Japan. 16 I
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ROMANO-INDIAN132•ARTsame as had b
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ROMANO-INDIAN134'ARTfigures emergin
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136 ROMANO-INDIAN ART•archaeology
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138 ROMANO-INDIAN ART•one time su
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8i. AH Masjid stupa, Khyber Pass
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ROMANO-INDIAN142•ARTfrom the mini
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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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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
Page 220 and 221: THE2l6•GOLDEN AGE AND END OF BUDD
Page 222 and 223: 2l8THE GOLDEN AGE AND END OF BUDDHI
Page 224 and 225: THE220•GOLDEN AGE AND END OF BUDD
Page 228 and 229: THE224"GOLDEN AGE AND END OF BUDDHI
Page 230 and 231: 163. Deogarh, Vishnu temple, doorwa
Page 238 and 239: 234172. Buddha preaching the First
Page 240 and 241: 174- Scenes from the Life of Buddha
Page 262 and 263: m**ii*\**i*mmnit,m*i*n*******h*m**m
Page 265 and 266: 26lthe fifth and sixth centuries; i
Page 267 and 268: INDIA, NEPAL, AND TIBET 263vincial
Page 269 and 270: INDIA, NEPAL, AND TIBET 265in the i
Page 271 and 272: INDIA, NEPAL, AND TIBET 267203. Tar
Page 273 and 274: 269206. Banner of Avalokitesvara fr
Page 275: INDIA, NEPAL, AND TIBET 271royalty.
Page 278 and 279: THE274'HINDU RENAISSANCEof types of
Page 280 and 281: THE276•HINDU RENAISSANCEsources m
Page 282 and 283: 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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