Download - ANCIENT - ART AND CULTURE - … · CAVES IN THE POST MAURYAN ART: Chaitya and vihar Chaitya - prayer hall by monks (karle chaitya in Maharashtra) Vihar - residence/rest places of

CAVE ARCHITECTURE:

First known example - mauryan age

Ashoka - stupas and chaitya halls lost their original form

Prominent - chaitya halls with inscriptions of Asoka and Dasaratha

CAVES:

SUDAMA / NYAGODH CAVE:Barabar hills

Ashoka to Ajivikas

Rectangular chamber connected to circular chamber

Earliest example of rock cut method - exact translation of

Wood carving on stone

LOMASA RISHI CAVE:Nagarjuni hills

Mauryan period

Frieze of elephants

BHAJA CAVE:Oldest deccan cave

Deep upsidal wall

Octagonal pillars

Curved ribs- barrel vaulting of wooden buildings

Gate- façade like a gable

End - small stupa

KARLE CAVE:Great chaitya hall

Pillars - square stepped plinth

Capitals of horses/elephants to support roof which has ribs to

Represent barrel vaultingGate - carvings and large window

Sangharama - monastery

ELLORA CAVE:Cut by the buddhists

ELEPHANTA CAVE:Trimurthi of shiva

ANCIENT - ART AND CULTURE

Culture-Architecture

Rock cut caves - barabar and nagarjuni hills - earlest example is sudama cave•Nagarjuni hills - 3 caves discovered - dedicated to monks of ajivika sect by dasaratha(grandson of Asoka) - largest cave is•Gopi cave or milkmaid's cave - reactangular hall with barrel vaulted roof and with circular ends

CAVE ARCHITECTURE DURING THE GUPTA PERIOD:

ELEPHANTA CAVE:Trimurthi of shiva

CAVE TEMPLE OF MANDAGAPATTU:Built by Mahendravarman I

PANCHA PANDAVA CAVE:Mamallapuram

Bas relief

ARJUNA PENACE:Also known as descent of ganga

Built by pallavas

UDAYAGIRI AND KANDHAGIRI CAVES OF ORISSABuilt by jains

Hathi gumpha, rani gumpha and ganesha gumpha caves


CAVES IN THE POST MAURYAN ART:Chaitya and vihar

Chaitya - prayer hall by monks (karle chaitya in Maharashtra)

Vihar - residence/rest places of monks (nashik vihar in ajantha caves)

CAVES IN THE GUPTA AGE:

Development in the form of paintings:

Ajanta caves:

Aurangabad in maharashtra

29 caves - buddhist in theme

Discovered in 1829

Period of development - 200 BC to 650AD

29 - 4 chaitya + 25 viharas

Carved on a perpendicular cliff - no courtyards

All 3 forms of art combined - architecture, sculpture and paintings(mural paintings)

Technique involved: FIRST STEP: clay + cow dung + rice husk spread on rough surface of rockSECOND STEP: lime plasterTHIRD STEP: surface was kept moist until colour was applied (FRESCO PAINTINGS)Outlines are drawn in red colour and then all colours are used except blue as it cannot be obtained from hills

Theme: Inspired by jataka stories

CHAITYA CAVE NUMBER 19 OF AJANTA GROUP1)Gupta age

Entrance- flat roof - 4 pillars - huge chaitya window- separated by cornice

Wood - discarded

Aisle pillar pin side - beautiful motifs

Buddha figure inside - mahayana school to chaitya architecture

VIHARA CAVE NUMBER 16 & 172)Harisena - vakatak king

65 ft square - 20 pillars - 6 residential cells for monks

2 - end of verandah and 2-back

Between cells - rectangular sanctuary with buddha sitting in

Pralambapada posture:feel hanging downPillars - not alike

Inscription - chiatya mandira

Cave 17 similar to 16 except wheel of life "bhava chakra"

CAVE TEMPLE AT UDAIGIRI3)Near sanchi- gupta period

Front - Rock cut shrine chamber and pillared portico

Façade - 4 pillars with greater inter-columniation between inner 2 -

characteristic gupta feature


Inspired by jataka stories

Fahien and hiuen tsang refer to ajantha

29 caves - 5 hinayana + 24 mahayana period

Cave no.16 - most elegant architecturally

Famous fresco paintings of ajantha:Dying princess

Flying apsara

Preaching buddha

ELLORA CAVES:

34 caves

3 religions - hinduism(17) + buddhism(12) + jainism(5)

Carved on sloping side of hill- have courtyards

Cave 10(chaitya) - vishvakarma - dedication to patron saint of craftsmen

Cave 14 - ravana ki khai

Cave 15 - dashavathar cave

Cave 16 - kailash temple - carved out of monolith (kailash leni)

Ellora - triple storeyed caves , Ajanta - double storeyed caves

Jaina caves: indra sabha and jagannath sabha

INDRA SABHA > JAGANNATH SABHASame techniques used in mural and fresco paintings

BAGH CAVES:

Near bagh river in M.P

9 buddhist caves

Similar to ajanta caves

JUNAGADH CAVES:

Gujarat

Uparkot meaning citadel - main feature

Uparkots - 30 to 50 ft high artificial platform connected by staircase to the hall

NASHIK CAVES:


25 buddhist caves - hinayana period

1st century AD

Called as pandav leni

Spiritual presence of buddha denoted by throne and footprints

MONTPERIR/MANDAPESHWAR CAVES:

Located in mandapeshwar

8th century AD

Only brahmanical cave to be converted into christian cave

Beginning of rock cut architecture by mauryans•

•

two features are addedPolishing inside the cave1)Development of artistic gateways2)Examples: barabar & nagarjuni caves in biharUses of caves•Viharas in mauryan age

Viharas are given to jain monks - ajivikas

STUPA:


Earthened burial mound

Anda -large hemispherical dome where a casket containing buddha relics(dhatu) was placed in small central chamber

Inner wall - unburnt brick, outer wall - burnt brick

Harmika - square pavilion on the flattened summit of the dome

Chatra - umbrella built on the top of the dome

Pradakshinapatha - path for clockwise circumambulation surrounded by a fence built encircling the stupa

Stone balustrade(wooden fence) consisted of thabas(octagonal upright posts) capped by uhnisa(continuous caping stone)

These posts connected by 3 horizontal rails called suchis

3 main stupas on this design - sanchi, bharhut and amaravathi

Sanchi stupa - enlarged by sungas

Torana - gateways having sculptures depicting jataka tales

Sarnath stupa - made of brick

Nalanda stupa - enlarged 7 times

kanishka - massive stupa seen by fahien and hieun tsang at peshawar(shahji-ki-dheri)

Concept of stupa - vedic period

After death of buddha - 9 stupas

8 stupas - buddha's relics and ashes

9th over vessels - relics originally deposited

Max no. of stupas - Ashoka - 84000 - reached climax

EVOLUTION OF STUPAS:

Mauryan - ashoka - sanchi stupa

Post mauryan - more enlarged stupas, toranas- beautifully carved


Post mauryan - more enlarged stupas, toranas- beautifully carved

Gupta - less no. of stupas - dhamekh stupa near sarnath

3 MAIN STUPAS IN MAURYAN ART:

SANCHI STUPA:

AMARAVATHI STUPA:

GANDHARA STUPA:

BHARHUT STUPA:

OTHER STUPAS:Imp-bodhgaya,nagarjunakonda and taxila

Bodhgaya-no existence just few pillars of sunga period-depict jatakas

Nagarjunakonda- diff from n.india stupas

1) highlight - excerpts from buddha's life sculptured beautifully on panels2) gods praying to bodhisatvas to take birth on earth 3) buddha's entry into womb in the form of white elephant and birth of buddha under a flowering teak tree

Stupa of taxila - "CHIRA TOPE STUPA" - sir john marshall

Stupa of jhandial - found a silver casket enclosing one of gold - scytho pathian style

SCULPTURE:

Mauryan :

Yaksh and yakshini:

Shape - hemisphere - 120 ft in diameter - pradakshana path

Cosmic mountain - symbol

Ivory carvers of vidisha - inscription(wood & ivory to stone) on southern gateway

Wooden railings replaced by stone ones(9ft high)- excellent masonry work

Most imp addition-end of 1st century BC- 4 marvelous toranas at 4 cardinal points

Sculptures(episodes of life of buddha and jataka stories)- finest ancient indian art

2nd or 1st century BC

Later - transformed from hinayana to mahayana shrine

South india - no survival of stupas

Final shape in 2nd century AD-larger than sanchi stupa

Sculpture - extension of amaravathi school of art

Fig of stupa-slightly rounder,taller,slimmer - delicate modeling

Ceylon- "ABHAYAGIRI DAGAHABA"- anuradhapura reached tremendous proportions-327ft-bigger than pyramids of egypt

Sculpted base, dome and hemisphere

Further development - sanchi and bharhut

Very large stupas- nagarjunakonda in krishna valley

Nagarjunakonda - mahachaitya- base in the form of swastika (sun symbol)

2nd century BC

Imp for its sculpture as its dome is vanished

Railings - red stone

Gateways,pillars,uprights and crossbars-full of sculptures-depict pictorial represenations of nature

Sculptures-portray realistic scenes of daily life


Yaksh and yakshini:

Post Mauryan:

BASIS GANDHARA MATHURA AMARAVATHI

Outside influence Greek or hellenistic-indo greek art No outside influence/indigeneous indigeneous

Type of sandstone Grey or bluish grey spotted red sandstone white marbles

Religious influence

Mainly buddhism All 3 religions - jainism,buddhism,hinduism mainly buddhism

Promoted by kushans kushans satavahanas

Areas NW frontier Mathura, kankalitila krishna godavari lower valley

Features Spiritual buddha-calmness

Bearded budhha-moustache

Wearing less ornaments

GREEK-having wavy hair, large forehead,position of yogi,having large ears,eyes half closed , protruberence on his head

Delighted buddha - not spiritual

Head and face shaven

Muscularity

Dress in tight, energitic body

Buddhas face reflects grace

Seated in padmasan right hand in abhaymudra raised above shoulder

Left hand on left thigh which reflects muscularity, protruberance on head

Reflects narrative

Theme based on life of buddha on jataka stories

Stories of previous births of buddha -human and animal form

RVD KANE

Gupta:

Pala:

METAL SCULUPTURE:

Work-realistic-transfer of style developed on wood

Objects of worship in folk region

Yaksh - parkham,UP and pawaya,Gwalior

Yakshini - didarganj, bihar

3 religions - jainism,buddhism and hinduism

Buddhism - fig found on stupas

Jainism - 24 trithankaras associated with yakshini

Hinduism - shilappadikaram mentions about yakshini

New school added - sarnath school of sculpture

Developed at sarnath

Cream colour sandstone

Lack of nakedness - properly dressed and covered

Decorative

Metal sculpture developed ex: sultanganj buddha

Every god - special attributes and symbols

Black basalt, fine polish

Mamallapuram - relief of pallava king MAHENDRAVIKRAMAVARMAN and his queens

Pala style - descent of ganga or arjuna's penance and varaha

Gomateswara at sravanabelagola - chamundaraya-minister of ganga king RACAMALLA IV-depicts gomata the son of 1st tiayhankara in the rayotsarga posture(meditation while standing)


Gupta period:

Pala period:

Cholas:

Vijayanagar:

Ceylon:

Buddhist jewel casket - bimaran(Afghanistan)

Hellenistic- imported

Ex: kulu copper vase - pre gupta

Pure copper

7 1/2 ft tall

Wearing diaphanous cloak

Some scholars - pala bronze

Pala + cholas = 2 great medieval schools of metal sculpture

Pala bronzes - mass produced

Export - S.E.Asia, Nepal and Tibet

Bronzes - delicate in design with ornamental detail - lack deep religiosity

Tamils preferred images of metal

Physical features, contours - textbooks

Ex: bronze nataraja

Indian bronzes- cire perdue(MADHUCCHISTA VIDHANA) method

Traced in tirumalai temple

Statue of krishnadevaraya and his two chief queens in anjali mudra

Marked their homage to the gods with half closed eyes

Large bronzes of goddeses

Buddhist tara, parvati and pattini

Pattini - divine form of kannagi - female character of silappadigarama-ideal of wifely devotion

TEMPLE ARCHITECTURE IN SOUTH INDIA:

4 styles developedDravidian1)Vesara2)Nayaka3)Vijayanagara4)In pallava school, temple architecture developed

PALLAVAS:Mamallapuram cave temples - panchapandava, varaha

Descent of ganga and arjuna's penance

Pancha pandava raths and 2 pidari raths - Narasimhavarman II

Shore temple at mamallapuram and kailasanath temple at kanchi - structural temples

Kailasanth temple - barrel vaulted pyramidal tower


Shore temple at mamallapuram and kailasanath temple at kanchi - structural temples

Kailasanth temple - barrel vaulted pyramidal tower

Pallava school of temple architecture emerged in 4 stages•

STAGE I - MAHENDRA GROUPRock cut architecture

Word mandapa is used instead of temple

STAGE II - NARASIMHA GROUPDecoration in rock cut caves

Mandapa became rathas

Biggest rath - Dharmaraja rath

Smallest - draupadi rath

Dravidian style - dharmaraj rath was a precursor

STAGE III - RAJASIMHA GROUPDevelopment of real structural temples

Shore temple and kailasanath temple

STAGE IV - NANDIVARMAN GROUPDevelopment of small temples

Dravidian style continued

4 parts - differ according to ages in which they are executed

Principal part - temple > vimana - square in plan & pyramidal proof - image of god is placed

1)

Mandapas - covers and precede the door leading to the cell2)Gate - pyramids, gopurams > principal features in quadrangular enclosures3)Pillared halls or chaultris - various purposes4)Dravida style of temples are founded more in southern India. Here the shikara reduces in size along certain steps and not in a curve

•

Ex: Brihadeswara temple at tanjore - RAJARAJA I, Gangaikonda cholapuram -RAJENDRA, SON OF RAJARAJA I

•

Shikara is a crowning element at the top of the temple - octagonal cupola - equal to "AMALAK" & "KALASH" of nagara style

•

Dravidian - only one vimana, crucified ground plan, uprised platform•Dravidian style started during pallavas but flourished during the rule of cholas•

DRAVIDIAN STYLE:Oldest style of architecture


FUNCTIONS OF TEMPLES:Religious

Administrative centre

Controlling vast areas of land in terms of revenue collection

Centre of education

Various sources of revenues of temples - donation and revenue collection•

CHOLAS:Vijayalaya - choleswara temple at Narttamalai > earliest chola temple

Brihadeswara temple - great pyramidal tower (vimana) crowned by dome (kalasa) set the style for dravidian shikhara

Rajendra I introduced the mahamandapa before the ardhamandapa in the Brihadeswara temple at Gangaikondacholapuram

VESARA STYLE/ CHALUKYA STYLE/ KARNATAKA STYLEFeatures of both Nagara and Dravidian style

2 principal components - vimana and mandapa > joined by Antarala

Don’t have covered ambulatory around sanctum

Pillars, door frames and ceilings are carved

Ex: dodda basappa temple at dambal

Lad khan temple at aihole and temples at badamiDeveloped in mid 17th century

NAYAKA STYLEBest ex - meenakshi temple at madurai

Meenaksi was the daughter of a pandyan king who married Sundereswara (Siva)

All the features of dravidian style are present

Additional feature - prakarns

Prakarn - huge corridors along with roofed ambulatory passage ways

Interior carvings are seen - temple walls

Tank was added

Constructed with initiative of Tirumalai

Mid 17th century

VIJAYANAGARA STYLE:Some variations from Dravidian style in temple architecture

Gopuram now enlarged1)High enclosure walls2)More decoration3)Sculpture of motif of supernatural horse4)God's chief wife AMMAN was provided with a separate shrine

Kalyana mandapam - god and goddesses married

Mandapa - 1000 pillared hall

Decorative motifs like prancing horses, leoglyphs and monsteres were added.

These additions can be seen at vittalswami temple at hampi

Secular structures - vijayanagar throne room gateways in rajasthan and entrances to wells in gujarat

Concept of secular buildings was introduced by vijayanagar empire. Ex: lotus mahal


Download - ANCIENT - ART AND CULTURE - … · CAVES IN THE POST MAURYAN ART: Chaitya and vihar Chaitya - prayer hall by monks (karle chaitya in Maharashtra) Vihar - residence/rest places of

Top Related