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

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240 THE GOLDEN AGE AND END OF BUDDHIST ARTsculpture in the Gupta Period [180J. Representedare a gandhdrva and an apsaras supernaturalaerial beings - divinities of fragranceand music, once the attendants of Indra.Appropriately, the divinities are shown flyingthrough the air, and it should be noted that theeffect of weightless, endless, soaring motion isimparted not, as in Christian angels, by theunconvincing addition of wings, but by thedirection of the legs and by the upward swirlinglines of the billowing scarf that supports thedivine pair like a celestial parachute. As StellaKramrisch has pointed out, the device of theupturned feet, brushing against, but not supportedby, the steps in the frame at the rightadds to the illusion of the effortless flight of theangels. 9 Again, the very heaviness of themassive, intricate coiffures, worthy of Fuseli'scourtesans, seems to add by contrast to thelightness of the simply modelled bodies. Thebeautiful apsaras in this group is the Sanchiyakshi in Gupta terms, a fully modelled form inrelief, but suggesting the possibility of existencein the round. Note the wonderful contrast of theclose-pressed roundness of globular breasts andas examples of rock-cut architecture; some ofthe sculptural decoration, notably the fine panelof a Ndgardja and his queen, outside Cave XIX,deserve to rank with the great examples of theperiod [179]. The figures have the same feelingof elegance and repose which, as we shall seepresently, distinguishes the Gupta wall-paintingsat the same site. It will be observed that allthe reliefs mentioned have a common classicquality in being rigidly contained within a boxlikeframe. There is no indication of the baroquequalities of later Hindu reliefs, in which thefigures are disposed without any confiningenclosure.A beautiful slab from Sondani near Gwaliorillustrates the mature development of figurealmost abstractly tubular limbs and, as in allgreat Indian figure sculpture, the expansiveswelling roundness that makes these beingsappear 'as if breathing'. 10Gupta Buddhist sculpture in western Indiamay be illustrated by a panel carved on thenarthex screen of the chaitya-hall at Karli at thetime when this sanctuary was transformed into aMahayana temple [181]. This relief could bedescribed as an apotheosis of Buddha as heappears transfigured in the Lotus sutra. TheBuddha is enthroned on a lotus in the sky at thesummit of an axis supported in the netherwaters by nagas. To complete the representationof the old Vedic concept of the division of thecosmos into air, earth, and nether waters, thelevel of the earth and a reference to the Buddha'spreaching may be discerned in the Wheel andthe deer, emblematic of Sarnath. The Buddha is
180. Gandharvas and apsaras from Sondani.Gwalior, Archaeological Museum
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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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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
Page 193 and 194: i8 9129. Buddhist relief from Tumsh
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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
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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
Page 284 and 285: 280 THE HINDU RENAISSANCE•convex
Page 286 and 287: :282 THE HINDU RENAISSANCE•masonr
Page 288 and 289: 219. Konaraka, Surya temple,detail
Page 290 and 291: 22i. Konaraka, Surya temple, Surya
Page 292 and 293: 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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