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

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356. Head of Buddha from Siam.Schiedam, Holland, C. S. Lechner v Aj fi>^ {
•SIAM 425more often than not too large for the bodies, sothat there cannot have been any strict observanceof the Indian canonical systems of proportion.In the example illustrated there is adefinite suggestion of a Siamese ethnic type inthe broad face with a relatively flat nose andenormously full lips. Another characteristicof the Buddhas of the Dvaravati Period is thewhich the form appears to emerge, as though notentirely disengaged, from the plain backgroundofrock is immediately reminiscent ofthe masterpiecesof Pallava carving at Mamallapuram.The rather pointed face with high cheekbonesis again more closely related to Indian originalsthan the contemporary Buddha images of thisperiod.size and prominence of the individual snailshellcurls that cover the head like a cap. Theactual carving of the body, which is entirelyrevealed through the simplified sheath-likerobe, is derived from the style of the Buddhaimages of the Gupta Period at Sarnath andAjanta. The extremely beautiful head reproducedin our illustration 356 is typical of thisIndianized phase of Siamese Buddhist art.has certain characteristics in common with theimage in Seattle, specifically the very patternizedflower-like shapes of the eyes and lips thatmay be regarded as a Siamese interpretation ofthe Indian metaphorical method of representingthe Buddha's features. Although the archedIt357. Vishnu from Siam.Bangkok, National Museumbrows and lotiform eyes are here entirely integratedwith the thoroughly sculptural conceptionof the head, this tendency to patternize thefeatures - treating them as parts of a decorativeapplique to an inorganic mask - was to end,many centuries later, in the disintegration ofSiamese sculpture into an empty ornamentalformula.As inCambodia of the Pre-Khmer Period,Indian missionary activity included the introductionof Hindu as well as Buddhist ritual art;a number of Brahmanic images of the sixthcentury are extremely interesting, and quitedifferent from contemporary work in Cambodia.A typical example is the standing image of Vishnuin the National Museum at Bangkok [357].Certain technical factors relate this statue to thePallava style of the sixth and seventh centuries.Not only the conception of the figure in terms ofmass and simplified planes, but the manner in
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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
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26lthe fifth and sixth centuries; i
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INDIA, NEPAL, AND TIBET 263vincial
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INDIA, NEPAL, AND TIBET 265in the i
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INDIA, NEPAL, AND TIBET 267203. Tar
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269206. Banner of Avalokitesvara fr
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INDIA, NEPAL, AND TIBET 271royalty.
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THE274'HINDU RENAISSANCEof types of
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THE276•HINDU RENAISSANCEsources m
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2 7 8 THE HINDU RENAISSANCEin each
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280 THE HINDU RENAISSANCE•convex
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:282 THE HINDU RENAISSANCE•masonr
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219. Konaraka, Surya temple,detail
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22i. Konaraka, Surya temple, Surya
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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
Page 377 and 378: CEYLON•373301. Polonnaruwa, Parak
Page 379 and 380: CEYLON•375in spite of its great s
Page 381 and 382: \ob. Polonnaruwa, Wata-da-ge*>*
Page 383 and 384: CEYLON •379The exterior of this l
Page 385 and 386: J8i311. Bronze Sundaramurtiswami fr
Page 387: CEYLON •383Singhalese ivories, ev
Page 390 and 391: 386 CEYLON AND SOUTH-EAST ASIA•an
Page 392 and 393: 388 CEYLON AND SOUTH-EAST ASIA•sc
Page 394 and 395: 390320. Harihara from Prasat Andet.
Page 396 and 397: CEYLON392•AND SOUTH-EAST ASIAwarf
Page 398 and 399: 323. Angkor, Yasodharapura and Angk
Page 400 and 401: CEYLON396'AND SOUTH-EAST ASIAThis e
Page 402 and 403: 329. Angkor Wat
Page 404 and 405: 33i- Angkor Wat
Page 406 and 407: 402 CEYLON AND SOUTH-EAST ASIA•em
Page 408 and 409: 404 CEYLON AND SOUTH-EAST ASIAWhen
Page 410 and 411: CEYLON406•AND SOUTH-EAST ASIAarch
Page 412 and 413: 408 CEYLON AND SOUTH-EAST ASIA•re
Page 414 and 415: 410 CEYLON AND SOUTH-EAST ASIAof th
Page 416 and 417: 412 CEYLON AND SOUTH-EAST ASIA•pa
Page 418 and 419: . *346. Angkor Thorn, Neak Pean" 'Z
Page 420 and 421: -CEYLON14l6 •AND SOUTH-EAST ASIAt
Page 422 and 423: 4l8 CEYLON AND SOUTH-EAST ASIA•th
Page 424 and 425: 420 CEYLON AND SOUTH-EAST ASIAdebac
Page 427: CHAPTER 22ART AND ARCHITECTURE IN S
Page 431 and 432: •SIAM 427One of the great masterp
Page 433 and 434: 361. Head of Buddha from SiamBoston
Page 435 and 436: SI AM •43:and later a Burmese sty
Page 437 and 438: SIAM 433Lamp'un, erected by the Mon
Page 439 and 440: 435elaborately carved barge-boards
Page 441: 37i- Pottery amphora from Lopburi.B
Page 444 and 445: 544© CEYLON AND SOUTH-EAST ASIAthe
Page 446 and 447: 442 CEYLON AND SOUTH-EAST ASIA•te
Page 448 and 449: CEYLON444*AND SOUTH-EAST ASIAMuseum
Page 450 and 451: 446 CEYLON AND SOUTH-EAST ASIAmask-
Page 452 and 453: CEYLONthe448•AND SOUTH-EAST ASIAK
Page 454 and 455: 450 CEYLON AND SOUTH-EAST ASIAof gr
Page 456 and 457: CEYLON452•AND SOUTH-EAST ASIA385.
Page 458 and 459: CEYLON454'AND SOUTH-EAST ASIAto the
Page 460 and 461: 456 CEYLON AND SOUTH-EAST ASIAin th
Page 462 and 463: CEYLON458•AND SOUTH-EAST ASIAfrom
Page 464 and 465: CEYLON:.460•AND SOUTH-EAST ASIAha
Page 466 and 467: CEYLON462•AND SOUTH-EAST ASIAKhme
Page 468 and 469: CEYLON464•AND SOUTH-EAST ASIAof t
Page 470 and 471: CEYLON:466•AND SOUTH-EAST ASIAnot
Page 473 and 474: NOTESBold numbers indicate page ref
Page 475 and 476: 47isentient beings'. (See Ramaprasa
Page 477 and 478: 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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