ECE BPSC MAINS Gintinaaninasie PALA ART Pala art, also called Pala-Sena art or Eastorn Indian ant, artistic style that flourished in what are now the states of Bihar and West Bengal, India, and in what is now Bangladesh, Named forthe dynasty that ruled the region from the 8th to the 12th century CE, Pata style was transmitted chietly by means of bronze sculptures and palm-leat paintings, celebrating the Buddha and other civinites. PPala-period bronzes, which were cast by the lost-wax process, consist of an alloy of eight metals. They represent various divinities and, being mainly small in size ang thus portable, were intended for private worship. In terms of style, the metal Images largely continued the Gupta tradition of Sarnath but endowed it with a certain heavy sensuousness. They cliff ite from contemporary stone sculotures of the rogion but surpass them in the precise definition of ornamental detail, in a certain clegant virtuosity, and in thelr emphasis on plasticity. The bronze sculptures from this area played an important partin the diffusion of Indian influence in Southeast Asia The palm-leaf paintings ofthe Pala peti are also noteworthy. Employed inthe evocation of the deities, the paintings had to conform to the same strict Iconographic rules used in the production of contemporary stone and bronze Icons. The narrow leaf ofthe palm determined the size ofthe book ilustrations, which were approximately 2.6 by Sinches (about 6 by 8 cm). Threaded together and enclosed in wooden covers, the leaves were typically painted. The outlines were frst drawn in black or red, then filed in with flat areas of colour—red, blue, green, yellow, and touches of white, The Compositions are simple and the modeling s vestigial. The principal centres of production for both bronzes and paintings were the great Buddhist monasteries at Nalanda ‘and Kurkihar, and the works were distributed throughout Southeast Asia, influencing the arts in Myanmar (Burma), Siam (now Thalane}, and Java (now part of Indonesia). Pala arts also had arecognizable impact on the Budchist art of Kashmir, Nepal, and Tibet, The development of art had been in a full-fledged manner curing the Mauryas and Guptas which wes further carried by the Pala rulers, Distinctive achievements of Palas ate seen in the arts of architecture, sculpture, terracotta, painting and wall painting. PALA ART Arcitgture sculpture Painting Hi Y + ‘ y an Watt p Buddhist Hindu Bronze = Lo via Temple Le sues Ly chaiva Architecture - ‘The Palas buit a number of Malavinaras, Stupas, Chaityas, Temples, monasteries and other sacred structures. The sSigentic structures of other Viharas, including Vikramashila, Odantapuri, and Jagaddala are the other masterpieces of the Palas. These mammoth structures were demolished by the forces of Bakhtiyar Kha. The art of Bihar and Bengal during the Pala dynasty influenced the art of Nepal, Burma, Sri Lanka and Java. Most of the architecture was religious. The first two hundred years of Pata period art were dominated by Buddhist art and Hindu art dominates lat two hundred years. 5099. AN.Colege,iemtinaan reuse BPSC MAINS| EIEN Buddhist Architecture @ Viharas- ‘Among the various Mahavihara Nalanda, rn Vikramshila, Somapura, Traikutaka, Devikota, Pandita, SPH aN Fullabadi and Jagaddala Vihara are notable Planned residential buildings for monks were made. Dharmapala built the Vikramashila mahavinara (at Patharghata in Bhagalpur istrict of Bihar) and Odantpuri Vihara in Bihar. Somapura Vihara and Vikramastila Vihara were acknowledged in the Buddhist world as two important centres of Buddhist learning in the period between the Sth and 12th Conturies AD. The Somapura mahavihara at Paharpur, Bangladesh, a creation of Dharmapala, proudly announces the excellence ofthe architectural art achieved inthe Pala period. Itis one of the gost Buddhists Vihara with 9 21-2cre complex with 177 cells, numerous stupas, temples. {and a number of other ancilary bulcings, in the Indian subcontinents and the plan of its central shrine, was evolved in Bengal. The Sompura Mahavihara is a World Heritage Site. Mahaviharas were made duting Pala rule mainly for residontia purposes for Buddhist monks. But Mahavinars also served as important Budchist educational centers. Mahavinaras were generally rectangular in structure, which included an open courtyaré inthe middle, All arounc the courtyard, a porclvveranda was used to be made, in which gates of roome wore ‘opened. Some Mahavinaras in which gates of rooms were opened. ‘Some Mahaviharas had double-storeyed rooms and stairs for the 2nd storey rooms were made in the courtyard. Porch Courtyard @ stupas- Although culture of stupas was ancient, but some stupas were also made during Pal period with slight differentiation. Stupas were made to hide the relics of Buddha/Bodhisetavas inside them. ‘Stupas had multiple parts, which include Yash, Chhatra, Harmika, Anda, Medhi, Vedika, and Toranas. Anda is ‘@ hemispherical mound symbolic of the mound of crt used! to cover Buddha's remains (in many stupas actual relics were used). Medhiwas used (predestian Path for devotees to wave in homage to stupa. Medhi was approached by double staircase sopana, Harmika is @ square railing on top of the mound. Toranas were cermonial gateways placed ‘at cardial point similar to Aryan village gates. 1 Chaityas - These were basically a kind of Buddhist temples. The tradition of building Chaityas was old, but these got diversification during Pala rule, Many remains of Chaityas can be found in ciferent parts of Bihar. I: may rightly be said thatthe fame of Bengal spread in the then Buddhist wortd for the cultvation of Buddhist religion and culture and of other knowledge in the various centres that grew under the patronage of the Pala rulers. Many scholars came to these centres from far and wide. Devapala granted fve villages atthe request ofthe Sallendra king Java forthe upkeep ofthe matha established at Nalanda for the scholars ofthat country. The Buddhist Viharas in the Pala empire played a significant role in the propagation of Buddhism in the neighbouring countries of Nepal, Tibet and Sci Lanka. Mary of these mammoth structures were demolished by the forces of Bakhtiyar Khali @ Head orc: Rosd No 5C. Opp AN. College, Ne New Delhi Public School Boring Roa, Patna 30003 | 981427226(EEE BPS MAINS Gimneinaan|nacinn Hindu Architecture * — Rock-cut temple at Kahalgaon (Bhagalpur), dating from 9th century, Large Amataka ‘an awareness of all the known Nagara sub-types that were prevalent SiaRaphaiata /Nahadra Tample inthe rest of North India Tall Curving shikhara + However, several temples stil survive in Purulla District which can be dated to this period. The temples used black to grey basalt and chlorite stone pilars and arched niches. Sculpture - The Gupta tradition of sculptural art attained a new height under the patronage of the Pala rulers and it came to be dosignated as Pala School of Sculatural Art. Iis the Eastern Style of medieval sculpture. The at incorporated lot of locat characteristics In Bengal under the Palas and it continued right up to the end ofthe 12th century. Most of the sculptures of this period drew ther inspiration from Buddhism. Apart fram Buddha, sculptures of God ‘and Goddess of Hindu Dharma lke Vishnu, Balram, Uma, Maheshwar, Surya and Ganesha were also constructed. The finest sculptures include a female bust, two standing Avalokiteshwara images from Nalanda; Buddha seated in "Bhumisparsasamudra’ and images of Avalokiteshwara seated in 'Ardha Paryanka’ etc, Mainly wo types of sculptural art ‘are found from Pal petiod.e., Bronze Sculptures and Stone Sculptures, Bronze Sculptures - These are made up of bronze using molds. One of the main characteristic features of these sculpture were excellent ‘omamentation used in ther. Another important feature of these sculptures was that they were plain from behind despite being ‘omamented ane decorated from front. Dhiman and Vithpal were two important sculators of Nalanda, they were contemporary of Dharma Pal and Devpal (Pal rulers). Bronze sculptures are found in large numbers from Kulkhar (Gaya), "Nalanda and Sultangan), These sculptures can be compared with the ‘aesthetics of the Natraj sculptures of Chola Empice. These sculptures were mainy religious in nature, which include sculptures various god and goddesses of Hindus and Budchists. Important examples ofthis sculpture style were of Buddha, Vishnu, Balram, Bodhisatavas ete. 9 testo Rooe No-5C, Opp AN, College, Nese Nev Delhi Publ Schoo, Boring Ros, PatGinwinaaninssn BPSC MAINS CEN Stone Sculptures The Pala sculptures also present examples of artistic beauty carved out of stone sculptures. ‘These are made of "black basalt stones" which are obtained from Santhal Paragana and Munger. They had stylish elegance, technical precision, anc aharsh outine skin to metal work. Generally, the front part ofthe body has been tried to be shown. Rear part of the Image has hardly been artistically bull. Most of the images are of gods and goddesses especially of Bodhisattvas. important life events of Lord Buddha have been especially depicted. Brahmanical ods Uke Vishnu, Shiva or Jain sculptures are also found but they are comparatively less in numbers, Features of Pala Sculpture - + The Pala Style is marked by slim and graceful tigues. + Elaborate jewelry and conventional decoration, + The main features of Pala sculptures are their free-flowing movernent. + Almostall the figutes are of similar sizes Sculpture witnessed amazing development in the hands of the Palas. Thousands of sculptures belonging to this period have been discovered. In Paharpur around 63 stone sculptures were found at the basement wall of the ‘Somapura Mahavinara. The main feature of Pala sculptures is thelr free-flowing movernent, Almost all the figures are of similar sizes and were carved out of grayish or white spotted sandstone. Some of the familiar scenes that have been portrayed on the reliefs are Lord Krishna uprooting the Arjuna trees, image of a young woman and others. Terracotta is akey feature of Pala sculpture. However, Pala sculpture was not imited tot {As far as the terracotta plaques are concemed these have been primarily used to decorate the surface of the was Itis believed that these are unique creations by the Bengal sculptors and stil stands as one ofthe key features of the Pala sculpture. Besides the religious themes several images representing dally life are also to be found on these plates or plaques. Apart from the religious aspect these sculptural plaques also act as evidence of the social history Artistic specimens trom this age are to be found all over Bengal and Bihar. Besides Bengal other Pala sculptures have been discovered at Nalanda, Kurkihar, Boch Gaya, and Magacha. Some ofthe important monuments belonging to this age are the Somagura Vinara and Vikramasiia Vihara, ‘The features of Pata sculotures were developed from the late Gupta period style, However ata later stage the Pala style drifted away rom ts origin and developed its own style, known as the Pala School of Sculptural Art. One ofthe ‘major reasons for this deviation was the fusion ofthe classical sty’e withthe native Bengali style of architecture. This ‘amalgamated style of architecture began inthe miele of the 7th century continued through the th century. Iwas inthe 9th century that a separate school came into being, Inspite of bing religious sculptures these images reflected race and beauty. Sensuousness then became a predominant feature of the female and male figures. While the female figures are noted for ther thick lps and rounded figures, the male figures sport broad shoulders and narrow waists. Such features ofthe male sculptures emphasize their masculinity. Another striking Pala sculptures the image of Hat-Hara from Burdwan. Apart fram this several sculptures have been discovered from the northern gion of Bangladesh. These sculptures date back tothe 8th century. Amongst these the Garudasana Vishnu from Agradigun is truly well carved. Fullness of figure is one of the features of the Pala sculptures from the 8th centuries. These carved out images are mostly made of black stone with soft textures. The Sth century Pala sculptures show similar characteristics. Some ofthe finest examples are the image of Surya.on the Boch Gaya lintel, a miniature Lord Vishnu and an image of Gautama Buddha taming an elephant, The stone image of Tara, Surya and Vishnu ftom Dhaka (Bangladesh) also reflect the prominent features of Pala sculptures. These specimens have been placed in the museums. or 90a eaTz26 ofc Rosd No 5C. Opp AN, College, Near New Delhi Public School, Boring Rod, atECE BPSC MAINS Gntinaanirecs The important Pala sculptures that have been discovered from Bengal and Bihar include the carved figures of \Vogishvari, Saugat-Sandarshana Lokeshvara, Avalokteshvara and three images Ganesha. Anumber of 10th century stone sculptures from Bangladesh include the figures of Rishabhanatha from Dinalpur, Garuda from Rejshahi, Varaha, Manasa, Durge, Indrani and Bhrukuti Tara, The male figures ofthe 10th century Pala sculptures are depicted ‘as sturdy and dynamic with elongated body forms. These features are evident from the bronze image of Budaha from Paharpur monastery Itis at the end ofthe 10th century that changes take place in Pala at and architecture under the reign of Mahipal | Its during this time that Bengal artists bulld a separate identity for thelr art that completely broke away from the Mogacha styl. The finest sculptures during this era were produced by the artists from North Bengal. Most of the Buddhist sculptures from this era were female. These sculptures were predominantly Buddhist and they included Tantric Buddhistimages of Heruka, Marichi and Manjuvara. As a prototype of new Bodhisattva the black stone image (of Sadaksari Lokeshvara is outstanding. The most interesting Pala sculpture from 11th century is a black stone image of Bodhisattva Manjushri. The sculptures here are intricately carved. Figures representing Hindu gods and goddesses are also found from the Pala ‘dynasty. Another natable plece of ar from this era isthe sx-handed stone figure of Lord Ganesha, Bronze sculptures hhave also been discovered belonging to the Pala kingdom. Several Pala sculptures of Buddhist gods and goddesses from 12th century have been discovered in Bangladesh ‘The features of the early Pala sculptures differed greatly from the latter ones. This style began as an untainted reflection of religion on stone, As a result the earliest Pala sculptures have less ornament and are easily moveable. ‘Butthe later 10th sculptures are heavily bejeweled and the background ofthe images are intricately designed. Inthe ‘1th century more changes seeped in when more stress was given to vegetal decoration of the back sia, the main deities were adorned with jewelries and the artists paid heed to the most tifle details. Elongated bodies, expressive chiseled faces and the pointed stele was overdone with a number of figures and elaborate designe, Painting - The Pala paintings characterised by sinuous line and subdued tones of colour. tis a naturalistic style which resembles the ideal forms of contemporary bronze and stone sculpture, and reflects some feeling ofthe classical art of Alana, In determining the stylistic character of Pala painting, a reference to the account left by the Tibetan historian Taranath is ofrelevance. According to him, art reached a high watermark during the rue of two early Pala kings dharmapala (c 781-821 AD) and devapala (¢ 821-861 AD), when two artists of Varendra or North Bengal, Dhimana and his son Vitapala, attained ‘eminence. They were masters in Image making in stone and metal as well asin painting. Butin syle the son difered from the father. While Dhimana pursued the ‘eastern style’, Vitapala paintedin a style termed as'middle-country, which meant Magadha or South Bihar in the Buddhist tradition Taranath's observation shows thatthe painting of eastern Inc ofthe Pala age had e recognized style with two distinct regional expressions of Varencra and Magadhe. Butto understand its characterit willbe necessary torefer tothe classical painting of ith-sith century india, There were two types of paintings which were used to be done during Pala rule: - Manuscript Painting and Wall Painting. 9 teste ood door | (908147226 5, 09p.AN. Collage Near New Delhi Publ Schoo Sorin sd PataGimneinaan iron BPSC MAINS| Manuscript Painting - + Manuscripts. was written on palm leaves. In these paintings, scenes of life of Buddha and several god and goddess of Mahayana sects are depicted. Many Paintings ‘lustrated manuscripts belong to the Vajtayana School of Buddhism, + Theimpact of Tarviciem on these paintings is easly visible. Sometimes it also resembles some of the qualities of Nopalese and Burmese Art. + Though limited to manuscript paintings, the art shows @ very developed stage and scholars have held that the paintings ofthe Pala period defintely influenced the Easter Indian, Tibetan and Nepali paintings of the 14th century. + A large number of manuscripts on palm-leat relating to Buddhist themes were written and illustrated with mages of Budahist deities at Buddhist centres lke Nalanda, Odantapurl,Vikramshila and Somapura. "+ Red, blue, black and white colors are used as primary colors whereas green, purple, light pink and grey are used 18 secondary/euxillay color on a fine variety of palm leat, as well as on the Incquered wooden covers of manuscripts, + Decorative paintings could be seen on manuscripts depending on the subject matter. 'Astasahasrita Prainaparamita anc Panchraksh. Both of these paintings are archived in Cambridge Museum (England). [Wall Painting - Besides manuscript painting, wall paintings were also used to be done fon the walls of Mahavihara, Chaityas, temples etc. In these paintings, various elements Uke futs, flowers, animals, humans, birds and trees ware imprinted. One of the best examples of wall paintings ofthe Pala periods a wall painting found trom Saraikla (Nalanda). In this painting, a woman can be seen doing make-up, while looking into a mirror. This painting shows human emotions along with art simultaneously. The Impact of Ajanta and Bagh paintings can be noticed, as the way of making images and painting ae very much similar. Limitations - is eticzed for Pala sculpture sculpture. = Architectures in Pala period were generally made from burnt Bricks instead of stones and rocks, which resulted in lesser permanence and availablity now. = Sculptures of Pat art were plain from behind and the only focus was on the front. = Omamentation was heavily used inthe Pal sculptures, which hides the real beauty ofthe sculptures. + InPalaartreligious aspects had more prominence than social, cultura and political aspects. .ckng originality. They ack simple aesthetic sense which are easily found in Gupta Multiple art forms developed vehemently during the period of Pal rulers. Despite the triangular conflict among Palas, Rashtrakutas and Gurjar-pratihars for occupation of Kannauj, various art forms were flourished during the Pal periods without any impeciments. The Pal rulers maintained the tradition of art and culture developed during Mauryan Period raised them to a new level. @ Head orc: Rosd No 5C. Opp AN. College, Ne New Delhi Public School Boring Roa, Patna 30003 | 981427226