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

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310 THE HINDU RENAISSANCE•Iconographically and structurally part of theKailasa temple is the sculpture of Saivite themesand episodes from the Rdmdyana that almostentirely clothes it [242]. The most dramatic of anumber of reliefs, all monumental in scale, isone illustrating a famous legend of Mount Kailasa[243]. On a deeply shadowed stage we seea block-like representation of the mountainpeak itself and, seated on the summit, the divinelovers, Siva and Parvati. We have here an illustrationof the moment in the Rdmdyana whenthe Singhalese giant, Ravana, attempts to uprootthe sacred mountain in order to use it as akind of dynamo of magic spiritual energy in hiswar against Rama and his allies. In the upperpart of the composition the figure of Siva, in anelegant pose of effortless command, is set off bythe plain back wall of the stage. His outstretchedfoot, barely touching the ground, imprisons thedemon giant in the bowels of the mountain. The242. Ellura, Kailasanath temple, Ravana and Jatayushrinking Parvati clutches her lord's arm as shefeels the mountain quake. She reclines beforethe darkness of the background, into whichrushes the terrified figure of a maidservant.Below, in a cavern of almost Stygian gloom,appropriate to his nature and purpose, is thetrapped giant. In writing of this relief StellaKramrisch states: 'Depth and darkness areparcelled out according to the demands of thepsychological suggestiveness with which theartist invests each single figure.' 28Space and light and shade have been employedto heighten the emotional effect in thesame way that these elements were used in aBaroque tableau, like Bernini's Saint Teresa.We have here a new type of relief composition,in which some of the figures are carved completelyin the round, and the whole action takesplace in a deep box. Indeed, the whole effect isnot unlike that of some of the elaborate dramaticeffects achieved in the performance andsetting of the Indian theatre. In this new conceptionof relief sculpture there seems to be nolonger any limitation in space. We have thefeeling that we are not looking at a relief in theusual sense, but as seen taking place in the samegeneral space or atmosphere which we occupyand with which the space of the carving is coextensive.This is a quality vaguely suggested bythe Amaravati reliefs and partially realized bythe great carving of the Descent of the Ganges**&K*at Mamallapuram. But the extraordinarilydynamic conception of the Kailasa relief and thedramatic emotionalism of the individual formsare creations of the Dravidian imagination in itsfinest hour of artistic expression.From the stylistic point of view, the figures ofSiva and Parvati, with their long, pointed facesand attenuated grace of proportions, are closelyrelated to the shapes of the gods at Mamallapuram.The communication of emotional tensionthrough pose and gesture, rather thanthrough facial expression, was, it will be remembered,already highly developed in some of the
243- Ellura, Kailasanath temple,Ravana shaking Mount Kailasa J"
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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
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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
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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: 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
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Page 319 and 320: 247- Tanjore, Rajrajesvara temple
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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
Page 351 and 352: 279- Krishna and his Beloved in the
Page 354 and 355: 35© THE HINDU RENAISSANCE•Certai
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Page 358 and 359: 354 THE HINDU RENAISSANCE'Krishna.
Page 360 and 361: I286. The Night of Storm from Garwh
Page 363 and 364: 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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