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

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. . but296 THE HINDU RENAISSANCE•that lies beneath its eastern approach. One ofModherathe most impressive features of the229. Mount Abu, Tejpal temple, dometemple and other Gujarat shrines is the entirelyorganic plan in the relation of all the parts of theshrine to the whole and its functional arrangementof all the architectural accessories of religiousworship. The Surya temple consists of anopen pillared porch connected by a narrow passageto a building containing an assembly halland the garbha griha itself [228]. The seeminglyseparate portions of the structure are related bythe horizontal lines of the mouldings that followthe usual tripartite division of the wall. A similardivision in the proportion and decoration ofthe pillars of the interior brings them into unitywith the whole scheme.The carving typical of the Solanki Period is atonce extremely luxuriant and exquisitely refinedin the rendering of detail. Special attentionshould be called to such beautiful ornamentalmotifs as the toranas or cusped arches introducedas tympana to the entrances and also linkingthe summits of the columns in the interior ofthe porch. Always there is such a depth to therelief that the effect is almost that of piercedand applied metal-work rather than stone.the technique of this extremely delicate carving,which certainly must have been done by laboriousabrasion rather than direct cutting, thesculpture at Modhera is not far removed fromthe famous carved domes at Mount Abu.The renowned Jain sanctuaries of MountAbu in Rajputana, for generations among thefavourite tourist attractions in all India, are in asense the final baroque culmination of theGujarat style. These buildings - the Dilwarashrine of the tenth century and the thirteenthcenturyTejpal temple [229] - are constructedentirely of white marble brought up from thevalley below their lofty setting. In their ownornate way they can be counted among the architecturalwonders or curiosities of the world.Although the exterior of the temple is in no wayIndistinguished, the interior of the pillared hallreveals a dome rising in many concentric circlessupported on a circular arcade of dwarf pillarsjoined by cusped arches. The dome culminatesin a richly carved pendant, like a stalactite hungin the centre of the vault. Placed athwart thelower rings of the dome are brackets with representationsof Jain goddesses of wisdom.their semi-detached projection they appear likestruts actually upholding the cupola. It is difficultto give an adequate account of the effect ofthis extraordinary decoration. Any real sense ofarchitectural construction is lost beneath theintricacy of the carving and the profuseness ofdetail. The very texture of the stone is destroyedby the elaborate fretting. There is, to be sure,true beauty in the pearly radiance reflected fromwhat seems like a huge and weightless marbleflower. Looking up at this ceiling is to behold adream-like vision looming, in the half-light,like some marvellous underwater formation incoral and mother-of-pearl. The deeply piercedworking of the figures and the unbelievablydelicate foliate motifs have the fragility of snowflakes.Writing of the Mount Abu temples,Percy Brown observes, 'There remains a senseof perfection .Init is mechanical perfection,with an over-refinement and concentration ondetail implying the beginning of a decline'. 18 Atthe same time this monument ofJainist religiouszeal possesses a complete consistence in thatevery portion of each dome, arch, and pillar iscovered with the same exuberance of surfaceornament. 'It is one of those cases where exuberanceis beauty.' 19A centre of Indo-Aryan building in westernIndia is the city of Gwalior, on the main railwaybetween Delhi and Bombay. A little groupof disused and largely ruined temples and fragmentsof shrines crowns the plateau of Gwalior
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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^*î*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
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Page 250 and 251: 246 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 290 and 291: 22i. Konaraka, Surya temple, Surya
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: 294ânaoooo^rz^rczcr^Ssoo^^gy:226.
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
Page 337 and 338: SOUTH INDIAN BRONZES 333in Hindu sa
Page 339 and 340: 3UUIM lfNUlAIN BKUINitSSSbNot a sin
Page 341: 269. Andhra textile from the Kalaha
Page 345 and 346: CHAPTER 19PAINTING OF THE PERIOD OF
Page 347 and 348: WALL-PAINTINGS AND MINIATURES 343Ma
Page 349 and 350: 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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