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

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222. Khajuraho, Kandariya Mahadeo temple
THE PERIOD OF THE HINDU DYNASTIES 21cross with the entrance at the east and one ortwo transepts radiating from the cella. In thisplan the garbha griha and mandapas are onlycells of a unified organism. The dominant impressionof the Khajuraho shrines is that of anumber of separate superstructures, each withits amalaka finial building up to a great mountainof masonry. The vertical is emphasizedthroughout, from the high base through thesuccessive walls and roofs to the ultimate rangeof lesser peaks that constitute the main spire.These temples may also be regarded as a perfectbalance of vertical and horizontal volumeswith the vertical ascent interrupted by friezesof dynamic figure sculpture girdling the entirestructure.In comparison with the towers of Orissa, thespires at Khajuraho are domical rather thanpyramidal in contour. The curvature of thesesikharas is more accelerated and impelling thanthose of eastern India, and a refinement peculiarto the architecture of Khajuraho is to beseen in the turrets or urusringas let into themasonry of the main tower at successive levelsof its construction; so that in the duplication,and even triplication, of these towered shapesthere is almost the effect of the eyes travellingfrom lesser ranges to the summit of a distantmountain. The whole mass of the sikhara is akind of wonderful rising crescendo of curves,the curves of the lesser turrets and the ribs ofthe main tower having their separate points ofintersection, and yet leading inevitably to theamalaka that at once crowns and girdles thewhole.The symbolism of these final buildings of theIndo-Aryan architects is only an enlargementof the metaphysical meaning inherent in thesimplest structures of Vedic times. The templeisno more than an architectural replica of theimagined world mountain Meru which as apillar separates heaven and earth, or, anagogically,an equivalent of the body of Purusa, theUniversal Man, whose body comprehends thisuniverse. Accordingly, the final amalaka, inshape like a lotus flower or a solar halo with rays,typifies the passage to heaven, the sun-door atthe summit of the world mountain, or the domeof the skull of the Universal Man. As we havealready seen, the stressed verticality of everyarchitectural member leads the worshipper upwardto that centre of magic union with thedivine. And, in like manner, the sculpturaldecoration of the temple points the way to thatdesired union. This is the meaning implicit inthe multiple representation in the frieze ofmithunas or men and women in erotic embrace,which in their ecstasy typify the ultimate unionof the soul with the divine, the reconstitution ofthe primordial wholeness that was destroyedwhen Purusa divided himself into a polarityseparating human and divine.Seen from the exterior, the temples of Khajurahoimpress the beholder with the samegrandeur of unified design that we recognize ina Gothic cathedral, whether or not we are acquaintedwith its iconographic significance.The magnificent balance of horizontals andverticals is maintained throughout. The eyetravels upward from the successive levels of thebase divided by string courses and shallowfriezes to the level of the principal rooms of theshrine. There open porches with overhangingeaves provide a temporary horizontal interruptionto the successive levels of the main towerconstituted of the repeated shapes of the smallersikharas building up to the dominant profile ofthe main tower.Typical of the veritable flowering of templesculpture during this final period of Hinduarchitecture in Central India is the ornamentationof the Vamana Temple at Khajuraho inillustration 223. We look upon a double tier ofnaked apsaras in a celestial chorus, vauntingtheir voluptuous charms in an infinite variety ofattitudes displaying a 'languid and calculatederoticism', rendered the more provocative bythe contrast between the slim bodies and the
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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
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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
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Page 282 and 283: 2 7 8 THE HINDU RENAISSANCEin each
Page 284 and 285: 280 THE HINDU RENAISSANCE•convex
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Page 288 and 289: 219. Konaraka, Surya temple,detail
Page 290 and 291: 22i. Konaraka, Surya temple, Surya
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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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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