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

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60 THE EARLY CLASSIC PERIODS•yaksha genii, he raised eighty-four thousandstupas to the Buddha in a single night. History,rather than myth, is the record of Asoka'smissionary activities, such as the sending ofBuddhist envoys to the kings of the Hellenisticworld and to the green darkness of the Singhalesejungles.Part of the Maurya heritage from ancientMesopotamia and Achaemenid Iran was theideal of world conquest and universal sovereignty.Asoka in his regnal policy was seekingto embody in himself the ancient Babylonianand also Vedic concept of the Lord of the FourQuarters, designated in early Indian texts asCakravartin, whom the celestial wheel (thesun) guides to dominion over all regions. Althoughin a practical sense the dominions of theMaurya Cakravartin extended from Afghanistanto Mysore, an actual world conquest was tobe achieved, not by force, but peacefully by thespread of the Dharma. 1 This background toMaurya power, together with Asoka's substitutionof a kind of religious imperialism for hisgrandfather Chandragupta's rule by force, isimportant in considering the art of his period.An examination of the ruins of the fabulouscity of Pataliputra, near modern Patna, isextremely important for an understanding ofthe whole character of Maurya civilizationwhich Asoka inherited and perpetuated. Followingnot only Indian but ancient Near Easternprecedent, the palace walls, the splendid towersand pavilions, were all constructed of brick orbaked clay that has long since crumbled to dustor been swept away by periodic inundations ofthe swollen waters of the Ganges. Megasthenestells of five hundred and sixty towers and sixtyfourgateways in the circuit of the city walls.Describing the wonders of Pataliputra, Aelian,who borrows from Megasthenes' account, tellsus: 'In the Indian royal palace . . . therearewonders with which neither Memnonian Susain all its glory nor Ecbatana with all its magnificencecan hope to vie. In the parks tamepeacocks are kept, and pheasants which havebeen domesticated ; and cultivated plants . . . andshady groves and pastures planted with trees,and tree-branches which the art of the woodmanhas deftly interwoven. There are also tanks ofgreat beauty in which they keep fish of enormoussize but quite tame.' 2Such a description might accurately portraya Persian royal garden or paradise in the days ofXerxes and Darius. Beyond the evidence of theactual excavations at Pataliputra we can get anidea of the appearance of the city in the elevationsof towns that form the backgrounds forBuddhist subjects in the reliefs of the EarlyAndhra Period at Safichi. The panel on theeastern gateway representing the Buddha'sreturn to Kapilavastu [15] and a similar panel ofKing Prasenajit on the northern portal show usa city surrounded by massive walls, topped bybattlements and picturesque balconies enclosedby railings and surmounted by barrel-vaultedstructures terminating in chaitya windows.Details in other reliefs enable us to visualize thepresence of a moat surrounded by a palisade orrailing of the type developed in the VedicPeriod. It is to be assumed that all these superstructureswere built of wood. In the reliefrepresenting the Buddha's departure fromKapilavastu we see that the actual portal in thecity walls is preceded by a frontispiece in theshape of a simple torana of the very same typethat is constructed in stone at Sanchi. Theexcavations of Pataliputra revealed that at onetime it was completely surrounded by a massivepalisade of teak beams held together by irondowels. This was, of course, an adaptation ofthe railings of the Vedic Period to the uses ofurban fortification. The Chinese Buddhistpilgrim, Fa Hsien, visiting Pataliputra shortlyafter a.d. 400, mentions 'the royal palace, thedifferent parts of which he [Asoka] commissionedthe genii to construct by piling up thestones. The walls, doorways, and the sculptureddesigns are no human work.' 3
15- Sanchi, east gate,The Returnto Kapilavastu
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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
Page 14 and 15: 10PRONUNCIATION OF INDIAN WORDSSans
Page 16 and 17: 12 ' GLOSSARYin number, from the pa
Page 18: '4 GLOSSARYSathsdra. The unending c
Page 21 and 22: R1 'BflctnaUKashgar#Ki^ ShorchuoTu^
Page 23: THE ART AXD ARCHITECTURE OT IXDIA
Page 26 and 27: 22 PREHISTORIC AND EPIC PERIODS•S
Page 28 and 29: *4 PREHISTORIC AND EPIC PERIODScont
Page 30 and 31: 26 PREHISTORIC AND EPIC PERIODS•c
Page 32 and 33: 28 PREHISTORIC AND EPIC PERIODS•'
Page 35 and 36: CHAPTER 2i'<\\3THE PROTO-HISTORIC P
Page 37 and 38: 33i. Mohenjo-daroSumer and Babylon.
Page 39 and 40: THE INDUS VALLEY CIVILIZATION 35The
Page 41 and 42: THE INDUS VALLEY CIVILIZATION 37pla
Page 43 and 44: THE INDUS VALLEY CIVILIZATION 39The
Page 45 and 46: THE INDUS VALLEY CIVILIZATIONmariti
Page 47 and 48: .CHAPTER 3v^>THE EPIC PERIOD:VEDIC
Page 49 and 50: VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 51: VEDIC AND PRE-MAURYA CIVILIZATIONS
Page 54 and 55: PREHISTORIC50•AND EPIC PERIODSby
Page 56 and 57: 52 PREHISTORIC AND EPIC PERIODS•i
Page 58 and 59: PREHISTORIC54"AND EPIC PERIODS- the
Page 60 and 61: ;56 PREHISTORIC AND EPIC PERIODS•
Page 62 and 63: 58 PREHISTORIC AND EPIC PERIODSof a
Page 66 and 67: 1 6. Pataliputra, Maurya Palace17.
Page 68 and 69: *4 THE EARLY CLASSIC PERIODSrooms o
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Page 72 and 73: 20. Lion capital from Sarnath. *>>S
Page 74 and 75: THE EARLY CLASSIC PERIODSwestern fr
Page 76 and 77: 72 THE EARLY CLASSIC PERIODS•devi
Page 78 and 79: 25. Yaksha from Patna.Calcutta, Ind
Page 81 and 82: CHAPTER 6i ^c\ \»THE SUNGA PERIOD
Page 83 and 84: THE SUNGA PERIOD 79mortal body of t
Page 85 and 86: *29. Yakshi (Chulakoka Devata) from
Page 87 and 88: THE SUNGA PERIOD 83more than the su
Page 89 and 90: THE SUNGA PERIOD 8532. Sanchi, Stup
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Page 99 and 100: CHAPTER 7 & 6<\\\*\THE EARLY ANDHRA
Page 101 and 102: THE EARLY ANDHRA PERIOD 97represent
Page 103 and 104: . . (these) . . . imagesTHE EARLY A
Page 105 and 106: THE EARLY ANDHRA PERIODIOI46. Sanch
Page 107 and 108: 47- Sanchi, east gate^The Conversio
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Page 111 and 112: :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
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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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