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

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22i. Konaraka, Surya temple, Surya
THE PERIOD OF THE HINDU DYNASTIES 287marvellous suggestion of the participants meltingwith love, transcends the character of thein a direct line of descent from the great traditionof sculpture in the Gupta Period.action.In some of the niches of the arcade arerepresentations of fantastic hybrid monsters,notably gajasithha - a combination of elephantand lion - that are among the most powerful anddynamic realizations of the fantastic that Indianart has given us. These hybrids, possibly, areallegories of the sun's (lion's) triumph over therain (elephant), or possibly symbols of the soul'swandering from one shape to another in theendless process of sathsdra.In addition to this sculpture, the shrine atKonaraka originally included a number ofreliefs of the sun god Surya, carved in greenchlorite [221]. The figure of the sun-god isshown standing in a static frontal position in thesamabhanga pose used for divinities in a stateof spiritual equilibrium, inviting the prayersof the devotees. On the chariot with Surya arethe twin figures of his charioteers and thekneeling dawn maidens. These pendant figuresare set off against miniature stupikas, and Suryahimself is framed in a trefoil chaitya arch cappedby an apotropaic monster mask or kirttimukha.Below, on the plinth, in very small scale, are thehorses of the quadriga, deployed to right andleft of a central charger in frontal view, in accordancewith a conceptual method of presentationthat we have seen used for this same themeat Bodh Gaya [38]. It is an 'archaism' thatenhances the hieratic effectiveness of the idol.These carvings at Konaraka are among the lastexamples of Indian sculpture in which a perfectbalance is maintained between the realization ofthe form as a plastic mass and the extreme delicacyand precision in the carving of the ornamentalaccessories which, as so often, enhancethe fullness and sculptural character of thesmooth surfaces of the semi-nude body onwhich they are strung. The carving has, to besure, a certain dry and hard quality about it,but the general conception of the figure is still5. CENTRAL INDIA: KHAJURAHOIt could well be said that the culmination of theIndo-Aryan genius in architecture was attainedin the extraordinary group of temples erected atKhajuraho in central India. These magnificentshrines were dedications of the Chandella Rajputsovereigns, who are remembered chiefly fortheir enterprise in the construction of reservoirsand other undertakings of a utilitarian character.Only twenty of the original eighty-five templesare now standing, and all but one of these are outof worship. They arise like mountains of bluffmasonry above the dusty plain. Although thesurviving shrines are dedicated to Siva, Vishnu,and the Jain patriarchs, there is no essential differencein their architectural character. Thisissimply another illustration of what we haveseen so often in the history of Indian art, thatit is impossible to make any sectarian differencewith regard to style in the art of a given period.We may take as a typical example of this magnificentarchitecture the temple of KandariyaMahadeo [222], which was dedicated c. 1000.Like the most ancient Indian stupas and earlierMesopotamian citadels,the temple proper iselevated on a high masonry terrace. Quite differentfrom the Indo-Aryan temples of Orissa,the shrine is a compact architectural unit, not agroup of connected separate buildings ; so that,for example, in the Mahadeo temple the successivemandapas, leading to the garbha griha,share a common high base or podium, and thecontours of their domical roofs like successivemountain peaks are hieratically designed to culminatein the highest sikhara above the cella.In general, it could be said that the enormouseffectiveness of the shrines at Khajuraho dependson their beauty of proportion and contourand the vibrant texture of their surfaceornamentation. The plan is generally that of a
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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
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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
Page 240 and 241: 174- Scenes from the Life of Buddha
Page 242 and 243: 238 THE GOLDEN AGE AND END OF BUDDH
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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 292 and 293: 222. Khajuraho, Kandariya Mahadeo t
Page 294 and 295: ;290 THE HINDU RENAISSANCE•toweri
Page 296 and 297: 292 THE HINDU RENAISSANCE•or kala
Page 298 and 299: 294^anaoooo^rz^rczcr^Ssoo^^gy:226.
Page 300 and 301: . . but296 THE HINDU RENAISSANCE•
Page 302 and 303: 298 THE HINDU RENAISSANCE•-A231.
Page 304 and 305: 300 THE HINDU RENAISSANCEhas been r
Page 306: ;302/Here is an art inspired by the
Page 309 and 310: THE PERIOD OF THE HINDU DYNASTIES 3
Page 313 and 314: o 5 10241. Ellura, Kailasanath temp
Page 315 and 316: 243- Ellura, Kailasanath temple,Rav
Page 319 and 320: 247- Tanjore, Rajrajesvara temple
Page 323 and 324: THE PERIOD OF THE HINDU DYNASTIESIG
Page 325 and 326: 251. -Madura, Great TempleThese imm
Page 331 and 332: CHAPTERISOUTH INDIAN BRONZESThe ear
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Page 335 and 336: 260. Bronze Nataraja from Polonnaru
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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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