Origin & Development of Nepali Art

● Art is a part of life an activity that

has meaning for all human beings.
It began with the existence of human.
● Man began to make works of art
roughly 25000 years ago.
(Paleolithic period or the old
stone age.)
● Nepal is no exception, excavations
at Kathmandu, Narayani, Terai region
of Dang reveal Neolithic tools such as Jaya Verma image

hand axe, points disc are all handiwork of man.

By Poonam R .L.Rana (PhD Research scholar)
 The Art
● The art of the valley reflects religious influence.
● For systematic study of Nepali art various period has
been categorized.
1. Early Lichhavi Period (1st to 4th century A.D).
2. Lichhavi Period (5th to 8th century ).
3. Early Malla Period/Transitional Period(9th to 12th
c)
4. Malla Period(13th to 16th century A.D ).
5. Shah Period ( 17th century……)
 st th
Early Lichhavi Period (1 to 4 C. A.D)
● Majority mother goddesses images.
● Seated Postures
● Voluptuous full body, slim waist,
broad hip & full breast, powerful
appearance .
● They lacked spiritual expression
● Majority images prior to 5th centaury
were under Mathura, Gandhara & Kushan

influence Yakshya, 1st c. A.D GajaLaxmi, Chasaltol

Mother Goddess Vaishnavi, Bagbhairab Kaumari, Ganesh Temple Chaturmurti, showing Shakti
Haugal Bahal Kirtipur Kirtipur Nachghar
 st th
Early Lichhavi Period (1 to 4 century AD)
● Sculptures show distinctive Varadhamudra , with palm
of right hand slightly curled eg. Haugal Bahal Matrika,
Patan. Till 3rd c A.D,Later right or left hand of the images
hold lotus plant or seed. Eg Aryaghat Surya image it
continued till Early Malla period. This shows despite
Indian influence Nepali artist maintained their own
style.

Bodhisattava Padmapani, Vishn , Hadi Goan 2/3 c A.D Shakti image from Chatrmrti 3rd c Matrika , Hagal ahal,
Patan, 2/3 c
 st th
Early Lichhavi period (1 to 4 Centry A.D)
● Difference in style of wearing drappery.
● Between 1st to 3rd centry
Gajalaxmi Image, Chysaltol
Diaphenous/transparent
Free flowing from left to right
● While by 4th century, Surya
Image transparent Drapery with
folds held on either side Gajalaxmi, Chysaltol, Patan Surya, National
Museum, 4th

● The folds denoted during this phase is very decorative in

nature.

Seated Surya Aryaghat 4th c

Lichhavi period 1st to 4th centry A.D & Later
Prabhamandal (Nimbus)
•The early sculptures show simple
nimbus or halo. This signifies wisdom,
light of knowledge.
•By 5th century AD the nimbus grew in
size and nmbers. Eg Uma Maheshwar,
Tilganga.
1st to 3rd C 4th - 5th c after 6th c
•By 6th 7th century flame like onwards
prabhamandal emerged.
•By 8th 9th century complicated nimbus
can be seen.
•Complication continued to grow as
time passed.
•Use of Upavita (Sacred Thread)
•Between 1st to 3rd century upavita
cannot be seen. Even till 5th century it
did not gain favour.
•Later period upavita can be seen.

Solar Divinity, 4th c Laxmi, National Museum

7th c
 th th
Monolithic Images of 6 7 c Nepal

•Ananta Sesasahi image made up of single black rock . Made during 7th c during
time of VishnuGupta under ythe King Bhimarjandeva.
•Massive monolithic image
•Despite development in art and intricate complex designs, later monolithic
large images were not made. This period was known for its art in form of large
monumental remains which can be admired to this day.
 th th
Monolithic Images of 6 7 c Nepal

•Kal Bhairab, This is another monolithic images made in 5th 6th century, rediscovered in
the paddy fields in the 17th c during the rule of Pratap Malla.
•The court picture was taken in 1910 by Digh Man Chitrakar. Shows the importance of
this image.
•Kaliya daman image (6th 7th c) now in Sundarichowk, Hanumandhoka.
•Monolithic image was the special feature of this period.
Uma Maheshwar Images

Uma Maheshwar, Pasupati Uma maheshwar, Thamel Uma Maheshwar, National Museum Uma
Maheshwar
3rd 4th century A.D 6 th 7th century AD 10th /11th century A.D Naksal, 10th
A.D

•Early Uma Maheshwar were simple with only two figures.

•By 5th century Uma Maheshwar is shown with attendants, Kumar, Ganesh etc.
•By 9th to 12th century A.D the Uma Maheshwar images became very
complicated with all his attendants and his family members.
Ornamentation

Hariti, Balaju, 2nd 3rd c Vasuki, Kumbeshavara , 4th Brahma, Chapagoan, 6th c Laxmi , National Museum
Nagraj, Naksal, stolen
7th c. 1982, 12th 13th c

● Earrings were cylindrical and large till 4th century, but by 6th century it
became smaller
● Infact by 7th century it was seen that images also wore different types of
earrings . By 12 13th century A.D earrings became flowery and exquisite.
● On the foot earlier they wpre heavy anklet but later images are seen with
smaller and simple anklet or without anklet.
● Earlier simple hair style & later it became complicated and ornamented.
Simplicity & Complexcity in Art

Vashanavi, Bagbhairab 2/3rd C Brahma ,Chapagoan, 6th c Vishvarupa, Changu, 7th c Surya, National Museum, 11th c Tantrik
influence
image of Malla

● Early images were simple, with few ornamentations

period.

& lacked any kind of tantrik influences.

● Later images became complex, ornamentations
increased after 12th century Vajrayani Tantrik
influences took hold of Nepali art and it reached its
peak during the Malla phase.
● Numerous deities with multiheads & multiarms
 Male Headress(1 to 4 century A.D)
st th

a) Shiva Rastriya Nach Ghar, 3rd AD (Badly eroded)

b) Vishnu (Hadigoan) 2/3rd AD
c) Vishvarupa Vishnu, (Katubahal) 3rd AD
d) Vasuki, Kumbhesvara, Patan (4th AD)
e) Solar Divinity, Kumbhesavara Patan (3rd AD)
f) Solar Divinity, National Museum, 4th AD
 th th
Male Mukutas or Crown(5 to 7 c)

a) Vishnu Vikranta Tilganga, 5th AD, (Fig 1 )

b) Standing Vishnu, Bhuvaneswari temple, 5th AD stolen 1986. (Fig 5)
c) Bodhisattava padmapani, Ganabahal, 5th AD, stolen image.
d) Uma Maheshwara, Kumbhesvara, patan, 5th AD, (Fig 24 )
e) Bust of Vishnu, Hadigoan, 6th AD , stolen 1980 (Fig 26 )
f) Brahma, Chapagoan, 6th AD, (Fig 28)
g) Shiva, Vishalnagar, 7th AD, (Fig 34)
 th th
Male Mukutas or Crown(7 to 8 C)

h)Vishnu Vikreanta, changu Narayan temple ,7th AD, (Fig 37 ) simple kinta
i)Vishnu, National Museun, 7th AD, (Fig 38) Kirita with round flower.
j) Avalokitesavara padmapani, Dhoka Bhal, 7th AD, (Fig 47) round tri-mukuta
k) Bodhisattava Vajrapani, Dhoka Bhala, 7th AD, (Fig 47 ) flowery trimukuta
embossed
l) Boddhisattava Padmapani, (Fig 47c) round headress
m) Kumbhesvara, Dhara, Patan. Uma Mahesavara, 7/8th AD, (Fig 48 )
Male Headress 9th c

a) Vishnu Laxmi Garuda, Chyasalhiti, Patan, 9th AD, stolen 1980s ,shimamukha kirita
(b) Vishnu with shri Laxmi & Garuda , Changu Narayan , 90/10th AD, flowery kirita
© Hari Hara , Balaju , 9th AD, (Fig 17 ) Kirita embossed with fealhery designs.
(d) Garuda from the image ‘ Vishnu with Laxmi & Garuda’ Chyasalhiti, Patan,
(e) Garuda from the image ‘Vishnu with Laxmi Garude ‘ Changu Narayan, 9/10, (Fig 16)
(f) B ronze, Vishvarupa vishnu, Museum of Fine Arts, Boston, US, 9th AD, Mayura
Kirita.
 th th
Siva Images Headress (9 10 c)

(a) Uma-Mahesavara with family, Gahiti, Patan, 9th/10th century AD. (Fig. 19)
Jatamukuta
(b) Uma-Mahesavara, Dungahiti, Sankhu, 9th century AD, stolen in 1970’s
found and kept
at Archaeological garden, Patan (Fig. 21)
(c) Uma-Mahesavara, Ghyabu, Patan, 987 AD., (fig. 22) semi-cornical
ornamented mukuta.
(d) Uma-Mahesavara, National Museum, 10th century AD., (Fig. 48), simple
Jata mukuta.
 th th
Male Costumes (5 to 8 Century A.D)
a b c e
d

f
g h i j

a) Vishnu Vikranta, Tilganga, 5th AD, (Fig 2 )

b) Standing vishnu, Bhuvaneshvari temple, 5th AD , (Fig 5 )
c) Vraha, Varahakshetra, 5th AD, (Fig 8)
d) Narashima, Inurwa, 5/6th AD, (Fig 15 )
e) Brahma, chapagoan, 6th AD, (Fig 28 )
f) Shiva, (vishalnagar, 7th AD , (Fig 34 )
g) Varaha, Dhumvarahi, 7th AD, (Fig 35 )
h) Avaloketeshvara Padmapani, Dhoka Bhahal, 7th AD, (47d)
i) Bodhisattava Vajrapani, Dhoka Bhahal, 7th AD , (Fig 47 ab)
j) Bodhisattava Padmapani, Mrigasthali, 8th AD, (Fig 47c)
Malla Images after 13century

Image 13th c Seated indra,13th White Avaloketswar Uma maheshwar

Garuda

Malla images witnessed growth of national

consciousness
Face & Physical features became mongoloid , round
faced,
narrow eyes & pugnacious nose
They were worshippers of Shakti Votives.
 th
Shah Images 16 century

16th c images 16th 17th c images 17th c images 17th c images

Chakrasambhara 19c •Influence of Tantrism was
in vogue.
•Multi-headed & armed
images were in great numers.
•Images became extremely
refined & intricate designs
were administered.
•Shah images have also
Vajradhara, 17thc Manjushree, 16th c Makara dhara 19th
emphasized on Shakti
Votives.
 Generalization of the Topic
● Early Lichhavi Period (1st to 4th c A.D) which was under
the Kushan, Mathura & Gandhara influence, yet
maintained its originality.
● Lichhavi period (5th to 8th c A.D) had strong feeling for
moral context & it domesticated Gods & moral
experiences and formulated it in form of sculptures.
Monolithic images belong to this period.
● Thakuri or Early Malla Period (9th to 12th c) more
ornamented images, influence of tantrism had begun,
multi-headed gods & godess emerged.
● Malla Period (13th to 16th c) worship of Shakti votives,
tantrik influences.
● Shah period (17th 20th )
● Influence of tantrism continued, emphasis on Shakti
votives intricate designs were introduced.