by Rahul Sengar Sir INDIAN ART AND CULTURE (TOPIC COVERED: INDIAN SCULPTURE INDIAN SCULPTURE Etymology: kel’ which means'to cut or cleave! Sculptures are smaller works of art, either handmade or with tools Difference between Architecture and Sculpture Dimensions | Architecture | _Seulpture | Sowana |e tothe design | Relatively smaller ze an’ and construction of _ | 3-dimensional scope buildings works of art, Mixture of various type of materials like stone, wood, glass, metal, sand, etc Single piece of sculpture is usually made ofa single type of material Material used Involves study of engineering and engineering Involves creativity and imagination and may not Principle | mathematics.It__| depend as heavily requires detailed | on accurate and accurate measurements measurements. Example _[Humanyun Tomb __| Dancing Girl SCULPTURES OF HARAPPAN CIVILISATION Seals Size: Mainly square but triangular, rectangular and circular seals were also used Material: Mainly Steatite, a soft stone found in the river beds but agate, chert, copper, faience and terracotta seals + copper, {gold and ivory seals have also been found (No iron) Script: Pictographic script that is yet to be deciphered. The script was written mostly from right to left but some stances are of bi-directional writing style The style of script of Indus Valley people was called as Boustrophedon. Animals Impression: Unicorn, humped bull, rhinoceros, tiger, elephant, buffalo, bison, goat, markhor, ibex, crocodile (No cow) Some seals have imagined animals as well such as half-man and half animal Purpose + Commercial (Trade —> various seals in Mesopotamia and various sites such as Lothal. Some seals witha hole on them have been found on dead bodies. This indicates they might have used as amulets. Mathematical images on some seals > used for educational purposes. Seals with symbol similar to ‘Swastika’ design have also been found. Example: Pashupati seal, Unicorn seal PASHUPATI SEAL A steatite seal discovered at Mohenjo-daro depicts a human figure or a deity seating cross-legged. + The figure, referred to as Pashupati wears a three- horned headgear and is surrounded by animals. + Left Side: Elephant and a tiger are there on the left side of the figure while a rhinoceros and a buffalo are seen on the right side, ‘Two antelopes are shown below the seat of the figure BRONZE FIGURES Harappan civilisation saw a wide scale practice of bronze casting, Made using “lost wax technique" of “Cire Perdue” —> Wax Figure -> Clay Coating -» Tiny hole -» Melted Wax out ~> Liquid Metal in > cooled down -> Clay is removed, Even now, the same technique is practiced in many parts of the country. + Example: Bronze dancing girl of Mohenjo-daro, bronze bull of Kalibangan, etc. Metal cast figures were found at Daimabad. BRONZE DANCING GIRL World's oldest bronze sculpture Found in Mohenjo-daro, Depicts a naked git! wearing only ornaments. + Left arm: Bangles. Right arm: Amulet and bracelet. + Posture: Tribhanga’ dancing posture with the right hand on her hip.by Rahul Sengar Sir TERRACOTTA Use of fire baked clay for making sculptures. Lesser in number in comparison to bronze figure and ‘crude in shape and form, Pinching method, Main sites of Gujarat and Kalibangan Terracotta was generally used to make toys, animal figures, miniature carts and wheels, et. + Example: Mother Goddess, mask of horned deity, etc. MOTHER GODDESS Found in many Indus sites > Shows its importance. A crude figure of a standing female adorned with necklaces. + She Wears: A loincloth, girdle, a fan shaped headgear. + Facial features: Crude, Lacks finesse. Probably worshiped for prosperity + She might also have been a goddess of fertility cults. necklaces, fillets, u Precious Girdles, earrings and anklets were worn only by women. Beads made from comelian, amethyst, quartz, steatite, > quite popular +produced on a large scale —> evident from the factories discovered in Chanhu- daro and Lothal + Fabric: Cotton and Wool -» Both poor and rich Conscious of fashion — inferred from the different styles of hairand beard, BUST OF THE BEARDED PRIEST Excellent examples of stone figures found in the Indus Valley civilization. Bearded man, draped in a shawl with trefoil patterns. + Byes are elongated, and half closed as in meditation, ‘The figure hasan armlet on the right hand and a plain woven filet across the head FIGURE OF A MALE TORSO Another specimen of rock sculpture + Red sandstone Frontal posture with well baked shoulders anda prominent abdomen, + Socket holes in the neck and shoulders, probably for the attachment of head and arms. SCULPTURES Used primarily for the decoration of stupas, in the torana and medhi and asthe form of religious expression. + Famous sculptures: Yaksha and Yakshini (related to ll three religions ~ Jainism, Hinduism and Buddhism, 1% mention of yakshi > Silppadikaram, @ Tamil text Gsilambu + athikaaram = silappathikaaram means “the story) that grew from (an incident based on) an anklet’ of Kannagi. POST MAURYAN ART Sculpture Three prominent schools of sculpture developed in this period at three different regions of India ~ centred at Gandhara, Mathura and Amaravati Difference between Greek Art and Roman Art Dimensions Greek Style Roman Style Nature idealistic Realism Representation other man Strength and beauty Muscular representation of Gods and Projects realism and depicts real people and major historical events for ornamentation and decoration Mater Sculpted using Marbles Used concrete in their sculptures + famous for thelr mural paintings Differences between Gandhara, M: jathura and Amaravati Schools Dimensions Gandhara Mathura ‘Amaravati Patronage Kushana Kushana Satvahana Externalinfluence | Greek / Hellenistic sculpture — Indo Greek art Indigenously + Not influenced by external cultures Indigenously + not influenced by external culturesby Rahul Sengar Sir Material Early: luish-grey sandstone Later: mud and stucco Spotted red sandstone White marbles Religious influence | Mainly Buddhist Hinduism, Jainism and Buddhism Mainly Buddhist influence ‘Area of development North West Frontier, in the modern day area of Kandahar ‘Mathura, Sonkh and Kankalitila. Kankalitila was famous for Jain sculptures Krishna Godavari lower valley, in and around Amaravati and Nagarjunakonda Features of Buddha | Spiritual state + wavy hair Delighted mood with a Generally depict life stories sculpture Fewer ornaments + seated in the smiling face of Buddha and the Jataka position of a yogi The eyes are half closed as in meditation A protuberance is shown on the head signifying the omniscience of Buddha tales, (previous lives of Buddha in both human and animal form) Body symbolises mascularity, wearing tight dress Face shaven Buddha is seated in padmasana with different ‘mudras and his face reflects grace A similar protuberance is shown on the head VARIOUS MUDRAS RELATED TO BUDDHA 1. Bhumisparsha Mudra 2. Dhyana Mudra One of the mostcommon a= Mudras found in statues of Buddha. This uc commonly Esovsted win, the blu Budo brown a Achebe Signifcanee ling the Earth to Wines the Tat Mu ndiepesrtsthemomentoBuadhasataning enlightenment Indicates Meditation and 3% is also called’Samadhi' or ‘Yoga’ Mudra, In many statues the thumbs of both hands are shown touching at the tips, thus forming a mystic triangle. It signifies attainment of spiritual perfection. This Mudra ‘was used by Buddha during the final meditation under the bodhitree. 3. Vitarka Mudra Itindicates teaching and discussion or intellectual debate, It signifies the teaching phase of preaching in Buddhism. The circle formed by the thumb and index finger maintains the constant flow of energy, as there is no beginning or end, only perfection. 4, Abhaya Mudra A + Itindicates fearlessness, | This gesture was shown by Buddha immediately after attaining enlightenment bent,by Rahul Sengar Sir + It symbolizes strength and inner security. It is a gesture which instills a sense of fearlessness to others as well, 5. Dharmachakra Mudr + It means ‘Turning the Wheel of the Dharma or Law, i. setting into motion the ‘wheel of Dharma This Mudra involves both hands. + This gesture was exhibited by Lord Buddha while he preached the first sermon to a companion after his enlightenment in the Deer Park of Sarnath, 6. Anal dra -heeting, devotion, and ff ‘the chest, palms and fingers UU. | i joined against each other 26th vertically, of regards with deep respect. + Shakyamuni Buddha, the liberator of Nagas, presents this Mudra 8. Varada Mudra : + Itindicates charity, compassion an ‘or granting wishes. Ly “Gan beaterana gre | J well. aint + Mudra signifies. five Perfections: Generosity, Morality, Patience, Effort and Meditative Concentration, through the five extended fingers. 7. Uttarabodhi Mudra + it means supreme enlightenment. This Mudra is known for 9. Karana Mudra + It indicates warding off evil. Hand is stretched out, either horizontally or vertically, with the palm forward. + It signifies expelling demons and negative energy. ‘The energy created by this Mudra helps remove obstacles. such as sickness or negative thoughts. Mudra It indicates knowledge, This mudra is better known in Korea and Japan. + In this muda, the erect forefinger of the left hand is held inthe fist ofthe right hand. tis seen in the mirror-inverted form also. This mudra signifies the importance of knowledge or supreme wisdom. Knowledge is represented by the forefinger and the fist of the right hand protects it. GUPTA AGE Sculpture: Anew school around Sarnath, of sculpture developed It was characterised by the use of cream coloured sandstone and the use of metal. The sculptures of this school immaculately dressed and lacked any form of nakedness. The halo around the head of Buddha was intricately decorated were Example: Sultanganj Buddha. CHOLA SCULPTURE Nataraja The earliest known Nataraja sculpture, which has been excavated at Ravana phadi cave at Aihole, was made during the early Chalukya rule, the sculpture reached its peak under the Cholas. Features of the Nataraja sculpture + Upperright hand holds the drum —> the sound of creation. All reations spring from the great sound of the damru. Upper left hand holds the eternal fire-» destruction. Destruction is the precursor and inevitable counterpart of creation Lower right hand > abhay mudra + devotee to not be afraid, + Lower left hand points towards the upraised foot > path of salvation ‘A small dwarf > ignorance and the ego of an individual. + Matted and flowing locks of Shiva—> flow of river Ganges—> Ignoranceby Rahul Sengar Sir Nataraja: King of the Cosmic Dance eynbulsig a ‘Destruction, are the manifest, Universe, and the cycie a of bith and rebiah Crescent Moon isthe air ‘neck representing the, past, present, and future. ‘Also, Shakti power. Flame of Fire Ze symbolizing Destruction ‘Arms and legs — honor the duaity revealing and ‘concealing (abhaya Mudra) Shiva, as Nataraja performs his Natana which ludes the Lasya (creation dance) and the Tandava (destruction ‘The malevolent dwart —— patmara alee catlog Tridura Muyalakha) symbolic of overcoming the darkness of dasce) eae His cosmic dance destroys 1G = Lotus pedestal for G oo: ‘a weary Universe to make Way for Creation and ‘ FD. Repirh. MERE LIED + In ornamentation, one ear of Shiva has a male earring hile the other has female > ardhanarishwar. ‘A snake is twisted around the arm of Shiva —> kundalini power, which resides in the human spine in dormant stage. If aroused, one can attain true consciousness. +The Nataraja is surrounded by a nimbus of glowing lights-> Past ,present and Future—> vast unending cycles of time, UNAKOTI BAS-RELIEFS, TRIPURA + Bas-elief or low relief -> type of sculpture in which an Image is projected at a shallow depth. This technique is often used in the art of ancient Egypt and other Near Eastern cultures. +11 and 12% centuries AD Unakoti means one less than a crore, + Artist not known, -> Debatable, Related to Hindu Deities, + Most famous ~> a figure of the face of Shiva known as the “Unokotiswara Kal Bhairavby Rahul Sengar Sir (OTHER IMPORTANT INDIAN BRONZE SCULPTURE ‘Akota near Vadodara A new format was invented in which tirthankaras are seated on a throne (single or combined in a group 3or 24 tirthankaras). Female images were also cast representing yakshinis or Shasanadevis of some prominent tirthankaras. Chakreshvari is the Shasanadevi of Adinath and ‘Ambika is of Neminath, Gupta and Post-Gupta periodsa > Sanghati orthe monk's robe is wrapped to cover the shoulders which turns over the right arm, while the other end of the drapery is wrapped over the left arm. Vakataka bronze images of the Buddha (Phophnar, Maharashtra) > contemporary with the Gupta period bronzes. The additional importance of the Gupta and Vakataka bronzes is that they were portable and monks carried them from place to place — style spread to different parts of India and to Asian countries overseas. Himachal Pradesh and Kashmir regions (8%, 9%, 10% century) > Famous Examples: Four- headed Vishnu ( also known as Chaturanana or Vaikuntha Vishnu) was worshipped in these regions. While the central face represents Vasudeva the other two faces are that of Narasimha and Varaha, The Narasimha Mahishasuramardini Durga images of Himachal Pradesh avatar and Kurkihar near Nalanda (9% Century) —> the rule of the Pala Dynasty > able to revive the classical style of the Gupta period Notable Example: A four-armed Avalokitesvara (a male figure in graceful tribhanga posture). Worship of female goddesses was adopted which is part of the growth of the Vajrayana phase (Buddhism). Images of Tara South India Pallava Period bronzes (8° century) Seated Shiva in ardhaparyanka asana (one leg kept dangling). The right hand is in the achamana mudra gesture > he is about to drink poison, 9® Century —» Thanjavur (Tanjore) (Tamil Nadu). Kalyanasundara murti is highly remarkable for the manner in which Panigrahana (ceremony of marriage) is represented by two separate statuettes, 16% century (Vijayanagar Period in Andhra Pradesh) At Tirupati life-size standing portrait statues were castin bronze, depicting Krishnadevaraya with his two queens, Tirumalamba and Chinnadevi. The sculptor has combined the likeness of the facial features with certain elements of idealisation. The idealisation is further observed in the manner the physical body is modelled to appear imposing as well as graceful. The standing king and queens are depicted in praying posture, that is, both hands held in the namaskara muda ‘Knshnadevaraya wih Mis 0 queens, Trumalamba and ‘chinnadov, Kalyadaman, Choa bronze, Forms of Shiva Panchanana Shiva, with five faces, each face representing Isana, Tatpurusha, Aghora, Vamadeva & Sadyojata. Anugrahamurthy is His most peaceful aspect when he is surrounded by his ardent devotees and family members + Ugramurthy in the most ferocious state of anger when he ventures out to destroy all the evil forces that come to exist ‘Thandavamurthy, known as Nataraja, he performs the tandava which is a dance form characterised by dynamic rhythmic movement. He performs his various dance forms to reduce the sufferings of his devotees, as well as to defuse the negative forces in the universe.Bhikshathanamurthyin heform of an ascetic, wandering from place to place, with a human skull, begging bowl in hand, ost in meditation and in his own thoughts. Hridaya murthy ina state of friendliness with Lord Vishnu, with the images depicting of Shiva on the righthand side and Vishnu on the lefthand side, Dakshinamurthy this form represents him as a teacher of all the mystic secrets of the various art forms, such as alchemy, yantras, tantras, etc. Lingodbhavamurthy signifying the infinite form of Shiva with no beginning and no end, and the Lord in this form of. Linga depicts the Supreme Self. by Rahul Sengar Sir In another form Lord Shiva is depicted as Ardhanariswara,