TEMPLE SCULPTURES, BRONZES AND INDO-ISLAMIC ARCHITECTURE

INDIAN TEMPLE SCULPTURE

A sculpture is a three-dimensional form of visual art. It includes the art of carving, constructing, casting
or moulding in stone, wood, metal, fibre etc.

Introduction
Indian sculpture was mainly meant for temple ornamentation in ancient and medieval period. It is
gradual evolution starting from the rock cut-cave to huge rathas which finally led to the large scale
structural temples.

It all began with the Gupta age (4th-6th century). The great era of temple building started about 500
AD and reached its climax in the great temple in Madurai (Minakshi Temple) and Rameshvaram
(Rameshwaram Temple) for instance in 1600 AD.

Temple Sculpture - Iconography

• Iconography is a branch of art history which studies the images of deities.
• It consists of identification of image based on certain symbols and mythology associated with
them.
• Even though the fundamental myth and meaning of the deity may remain the same for centuries.
• Every region and period produces its own distinct style of images with its regional variations in
iconography.
• The temple is covered with elaborate sculptures and ornament that form a fundamental part of
its conception.
• The placement of an image in a temple is carefully planned: for instance, Dwarapalas are usually
found on the gateway or gopurams, river goddesses (Ganga and Yamuna) are visually found at
the entrances similarly mithunas (erotic images); Navagrahas (the 9 auspicious planets) and
Yakshas are also placed at the entrances to guard them.

ARTISTIC ASPECTS OF INDIAN TEMPLE SCULPTURE (6th Century A.D. to 13th

Century A.D.)

Descent of the Ganges

Medium-Stone (relief sculpture)
Period- Circa 7 th Century A.D
Dynasty- Pallavas
Location- Mahabalipuram, Tamilnadu
Courtesy- Archaeological Survey of India

Subject Matter- A bas-relief sculpture depicting the

legend of the fall of Ganges from heaven.

Description
 • It is a 7th century monument at Mamallapuram (also known as Mahabalipuram), on the
Coromandel Coast of the Bay of Bengal, state of Tamil Nadu, India.
• Measuring 96 by 43 feet, it is a giant open-air rock relief carved on two monolithic rock
boulders and has hundred figures of people, gods, half-humans and animals.
• The carving depicts the story of the descent of the sacred river Ganges to earth from the
heavens led by Bhagiratha. Arjuna's Penance is also portrayed in stone at the Pallava
heritage site.
• The relief is more of a canvas of Indian rock cut sculpture at i ts best not seen anywhere in
India. It is one of the Group of Monuments at Mamallapuram that were designated as a
UNESCO World Heritage Site since 1984.

Trimurti

Medium- Stone, Rock Cut High Relief Sculpture

Period- Circa 9th Century A.D
Dynasty- Rashtrakutas
Location- Elephanta near Bombay, Maharashtra
Courtesy- Archaeological Survey of India

Subject Matter- A three faced sculpture of three facets of Lord Shiva

Description-
• Trimurti is considered a masterpiece and the most important
sculpture in the caves. It is carved in relief on the south wall of the cave and also known
as Sadashiva and Maheshmurti.
• The image, 6 m (20 ft) in height, depicts a three-headed Shiva, representing Panchamukha
Shiva.
• The three heads represent three essential aspects of Shiva: creation, protection, and
destruction. They are equivalently symbolism for Shiva, Vishnu, and Brahma.

Lakshmi Narayan (Kendariya Mahadev Temple)

Medium- Stone
Period- Circa 10th Century A.D
Dynasty- Chandelas
Location- Khajuraho, M.P
Courtesy- Archaeological Survey of India

Subject Matter- The eternal divine couple lakshmi-Narayan,

presented side by side in eternal bliss.
Description-
• The Kendariya Mahadev temple built by Chandelas is the famous temple of the Khajurao
Temples.
• The sculpture of this divine couple, Lakshmi Narayan is in the corridors of the temples. Lord
Vishnu is shown with all the features. Lakshmi ji is clinging to Lord Vishnu, who is fondly
holding her.
• The posture symbolizes the relation of soul seeking its ultimate lord.
• Khajurao’s sculptures are highly stylised with typical features, almost in full relief.
Cymbal Player, Sun Temple

Medium- Stone
Period- 13th Century A.D
Dynasty- Ganga
Location- 5th Temple at Konark in Orissa
Courtesy- Archaeological Survey of India

Subject Matter- Standing musician lady playing cymbals.

Description
• This is a female statue which has been established outside the main
shrine of the Sun Temple, Konark to welcome the people with playing
instrument, Cymbal.
• Her feet look as if she is dancing along with instrument. She is adorned with ornaments around
her neck, arms, wrists, fingers and feet.
• The posture of the statue is very attractive, and the perfect example of sensual Indian female
body.

Mother and Child

Medium- White Marble

Period- Circa 13th Century A.D
Dynasty- Solanki
Location- Vimlavashi Temple, Dilwara, Mount Abu, Rajasthan
Courtesy- Archaeological Survey of India

Subject Matter- A seated mother holding her child.

Description-
• In this statue, the sculptor has shown the motherhood as well
loveliness between child and mother. The mother posture is slightly
bent. The expressions of the face and rest of the body is full of motherly woman. She is holding
her baby in her lap with arm support.
• The ornaments and the garments are seen in the linear form with proper curvature.
• The Vimal Shah Temple is fully decorated with sculpture of daily life and Jain Tirthankaras

INDIAN BRONZES

Introduction
India has a fine legacy of terracotta, stone and metal sculptures. The journey from the small statue of
Indus Valley to Gupta and further till Pallavas and Cholas shows marvelous improvement in terms of
skill, technique, raw material and finish.

Bronze sculptures and small statues mainly of religious iconography have been discovered from many
regions of India dating from second century until the sixteenth century. They belong to all prevalent
religious of ancient India- Budhism, Hinduism and Jainism.
The Chola dynasty was the largest rulling Tamil dynasty in parts of southern India until the 13th century.
Chola bronzes are considered Collector’s delight all over the world.

Two types of sculptures

Round Sculptures- it’s a free standing sculpture like statues.
Relief Sculptures- it is a sculpture carved out on a surface in low relief or high relief.

The Lost –Wax Process (casting method - solid and hollow)

Solid Casting
• First of all, a wax model is prepared with all the minute details.
• It is now covered with a thick paste which is prepared with equal amount of clay, brick dust and
plaster of paris while leaving a duct way from which melted wax will come out.
• Then the whole thing is dried and fired in an oven. The wax model melts and flows out from the
link leaving the mold empty.
• Further, melted metal poured and allowed to fill all areas. When it gets settled the mold is broken
off leaving a solid metal image.

Hollow Casting
• It is different from solid. A rough image is made by clay and covered with wax with all the details.
Further, this wax is again covered with clay. This clay coat becomes the mould for the metal to
be poured after wax. Few ducts are made to drain the wax while heating the clay.
• The liquid metals poured and flows into all area and takes the shape as wax. After settling the
outer layer of clay is then broken off. Metal icon is polished a polished and finished as desired.

Study and Appreciation of Indian Bronzes

Nataraja (Chola Period)

Medium- Bronze
Period- Chola, 12th Century A.D
Location- Thanjavur Distt. Tamilnadu, India
Courtesy- National Museum, New Delhi

Subject Matter- Nataraja is regarded as the Lord of Dance

Description
• In this Chola period bronze sculpture, he has been
shown balancing himself on his right leg and suppressing
the apasmara, the demon of ignorance or forgetfulness, with
the foot of the same leg.
• At the same time, he raises his left hand in Bhujangatrasita stance, which represents
tirobhava that is kicking away the veil of maya or illusion from the devotee’s mind.
• His four arms are outstretched and the main right hand is posed in Abhayahasta or the
gesture suggesting.
• The upper right hand holds the damura, his favourite musical instrument to keep on the beat
tala.
• The upper left hand carries a flame while the main left hand is held in the Dolahasta and
connects with the Abhayahasta of the right hand.
 • His hair locks fly on both the sides touching the circular jvala mala or the garland of flames
which surrounds the entire dancing figure.

INDO-ISLAMIC ARCHITECTURE

Introduction
The advent of Islamic rule in India in the end of 12 th century A.D. brought its own richness in terms of
art and architecture. Indian architecture was of straight style wherein Mughal brought their curved style
with arches and domes.

The fusion of both on Indian soil in terms of structural techniques, stylized shapes and surface
decoration is termed as Indi-Islamic architecture. The merger of style led to the inclusion of decorative
balconies, calligraphy; inlay work (Pietra dura), use of coloured stones, painted plaster and luminously
glazed tiles etc.

All Mughal rulers took great interest in building and art which are now India’s famous tourist
destinations.

Indo-Islamic architecture can be categorized into the following:

Imperial Style
Provincial Style
Mughal Style
Deccani Style

Broadly, the Indo-Islamic architecture in India of two types-

Religious architecture represent Mosques and Tombs where Forts and Palaces
Form a Secular architecture.
We can clearly see Indian influence in work because they also employed Indian craftmen under an
Islamic architect.

Study and Appreciation of Indo-Islamic architecture

Taj Mahal

Medium- White Marble from Makrana

Location- On the bank of river Yamuna at Agra
Type - Tomb\ Mausoleum of Mumtaz and Shah jahan
Courtesy- Archaeological Survey of India

Description
• It is a mausoleum, Built by Mughal Emperor Shah
Jahan in memory of his wife Mumtaz Mahal.
• It is one of the most famous architectural marvels of India worldwide and also a UNESCO World
Heritage Site.
• All the specialties of the Mughal architecture have been displayed in this beautiful building made
with white makrana marble.
• This balances structure have attractive minarets, domes, canopies, arched gates and platform
that are inordinately ornamented and engraved.
 • Four types of embellishments have been used with great effect for the interior and exterior
surfaces of the Taj Mahal.
• These are stone carvings in high and low relief on the walls, the delicate carving of marble into
jails and graceful volutes (spiral ornament on the pillars), and the creation of arabesque
with pietra dura on walls and tombstones and geometric designs with tessellation.
• The art of calligraphy is used with the inlay of jasper in white marble to unite Quranic verses.
• Calligraphy provides a decorative element on the walls and a continuous connection with the
almighty.

Gol Gumbaz or Gol Gumbad

Medium- Bricks and Limestone

Location- Bijapur, Karnataka, India
Type – Tomb\ Mausoleum of Muhammad Adil shah
Courtesy- Archaeological Survey of India

Description
• This is the most important monument in the Bijapur of Karnataka state. It is the circular dome
and is the second largest dome in the world. I
• ts diameter is 124 feet. Its total height is 51 meter. Gol Gumbaz was built by Mohammed Adil
Shah, who was the Sultan of Bijapur and the seventh ruler of the Adil Shahi dynasty.
• Inside this mausoleum, there is a circular gallery. It is right below the tomb. This is known as the
whispering gallery due to its unique structure. It was built in such a way that a small whisper gets
amplified again and again. This is carried across the distance of more than 40 meters in the vast
dome. These whispers can be heard clearly.
• This monument is known as the Taj Mahal of South India.