Indian Art and

History
KANIKA AGRAWAL
BFT/20/342
Difference between Buddhism and
Jainism
BUDDHISM JAINISM

Buddhists believe that anyone can reach Nirvana while still living on Jains believe that it is only possible to fully attain Nirvana after death.
earth.

Buddhists believe that only intentional actions create karma. Jains believe that negligence can also create karma.

Buddhism is centered upon the life and teachings of Gautama Buddha. Jainism is centered on the life and teachings of Mahavira. 

Buddhism is a polytheistic religion and its main goal is to gain Jainism is also a polytheistic religion and it's goals are based on non-
enlightenment. violence and liberation the soul.

Buddhism believe in a Creator God. Jainism does not believe in a Creator God.

This life is suffering, and the only way to escape from this suffering is Respect all living things. Attain liberation by avoiding and shedding of bad
to dispel one's cravings and ignorance by realizing the Four Noble karma which is the cause of rebirths and all sufferings. Five vows and three
Truths and practicing the Eightfold Path. jewels.
 DIFFERENCES-
BUDDHISM JAINISM HINDUISM
The three key elements of Buddhist Jain temples have numerous pillars Indian architecture for structures such
architecture are Stupas, Viharas and having a well as temples, text monasteries, statues,
Chaityas. designed structure, forming squares. homes, market places , gardens and
The squares thus formed create town planning as described in Hindu
chambers. From these pillars, there are
richly carved brackets that emerge at
about two thirds of their height.

Buddhism believe in a Creator God. Jainism does not believe that the Hinduism believes the Universe was
universe was created by one God, created by Brahma, the creator.
Jainism believes it was never created
as it is eternal.

EXAMPLE- EXAMPLE- EXAMPLE-

Polonnaruwa Vatadage: A vatadage Jain Tirtha, Shravanabelagola, with A Badami Shiva temple in Karnataka
in the ancient city of Polonnaruwa, Sri the colossal Gommateshwara statue.
Lanka, from the 12th century CE.
 S
EXAMPLE
Kailasa temple, Ellora, the largest
rock-cut Hindu temple

Jetavanaramaya stupa is an
example of brick- clad buddhist
Dilwara temple ,Mount Abu,
architecture in Shri Lanka
Rajasthan- Jainism architecture
Fashion Designer inspired
by Buddhism

 A contemporary clothing line at Chinese Fashion Week is a

tribute to Tibetan Buddhism.

 Chinese fashion designer Zheng Qing'er debuted her recent

Tibetan-inspired collection at the 2015 Mercedes-Benz
China Fashion Week. The designer, who is a devote
Buddhist, drew inspiration from a personal trip to Tibet and
created a line that translates the religious culture of
Buddhism into contemporary fashion.

 Designer hopes that the flowing garments will impart a

sense of peace onto the wearer, saying, "all objects have a
power within them. If you put your heart in it, people can
feel it."
ChineseDesigner- Renli Su
 These plans are outlined in the measured tone of a designer who seems to have very little ego;
in fact, one of the key inspirations for the brand is Su’s own practice of Tibetan Buddhism. “I
like humble, quiet, subtle things,” she explains. “I like to transfer it to the collection: I believe
people can feel it.”
 Yumi Sakugawa- Artist
 For many people, fashion means expensive clothes catering to
momentary trends that are made by global conglomerates and
draped over emaciated models—the epitome of the consumerist
culture that many Buddhists hope to break free from. But artist and
author Yumi Sakugawa wants to change our approach to fashion,
which she sees as an opportunity to practice mindfulness.

 The series of drawings that make up Fashion Forecasts are like

thoughtful comics with captions that lead readers through
Sakugawa’s various designs and the concepts they explore. Her
illustrations include a mindful makeup ritual, a dress made out
of the traditional Vietnamese dish pho, and a step by step guide
to figuring out what outfits are right for you. As one of
Sakugawa’s graphics notes, “You can always pick a new outfit.
 The Memorial
Chorten ,
Thimpu
 The Memorial Chorten of Thimphu was conceived
by Thinley Norbu Rinpoche (1931–2011),according
to the Nyingma tradition of Tibetan Buddhism.

 Memorial Chorten, in the heart of the city, is

designed is a Tibetan style chorten, also called the
Jangchup Chorten, patterned on the design of a
classical stupa, with a pyramidal pillar crowned by a
crescent moon and sun.
Ivolginsky Datson,Russia
 Ivolginsky datsan (Russian: Иволгинский Дацан) is the Center of
the Buddhist Traditional Sangha of Russia, Buddhist Temple located
in Buryatia, Russia, 23 km from Ulan Ude, near Verkhnyaya Ivolga
village.

 Unique samples of old Buryat art, as thangkas, sculptures, ritual

objects are gathered and preserved at the Ivolginsky datsan. Among
the monastery's treasures there is a collection of old Buddhist
manuscripts written in Tibetan language on natural silk, and a
greenhouse with a sacred Bodhi tree.
 Deekshabhoomi,
Maharashtra

 Deekshabhoomi is a sacred monument of

Navayana Buddhism located at Nagpur city in
Maharashtra state of India; where the B. R.
Ambedkar, embraced Buddhism.

 Deekshabhoomi is spread over four acres of

significant land in the city. The stupa was
designed by architect Sheo Dan Mal.
 Pointers on Ajanta Caves-
 The Ajanta Caves are approximately 30 rock-cut Buddhist cave monuments which date from the 2nd
century BCE to about 480 CE in Aurangabad district of Maharashtra state of India.
 Period of excavation- Hinayana Period(2nd to 1st centuries BC and Mahayana period(4th to 6th centuary AD.
 The ajanta caves are approximately 30 rock-cut Buddhist cave monuments. It betrays the influence of wooden
construction.
 The evolution of rock architecture tooks place during two periods-the Hinayana period of the pre- Christian
era and the later Mahayana period.
 During first phase sculptural activities were limited.
 In the second phase sculptural composition filled the façade,the shrines,etc.
 The caves of Ajanta are divided into-1.Chaitya-s – TEMPLES 2.Vihara-s – MONASTERIES
 Chaitya-Façade- The entrance has a prominent arched window to light the interior.
 Chaitya-Interior- Interior consists of a long vaulted nave with a pillared aisle on either side, far end is semi
circular with a stupa at its centre.
 CONTINUE-
 Vihara-Plan – It has congregation hall with cells for the monks on the inner sides.
 Vihara-Interior – On the left to the entrance is the famous paintings of Padmapuri and a colossal statue of the
Buddha is seen in the sanctum.
 SCULPTURE- In first phase, the buddha was not shown in the human form, but only through symbols such
as the wheel, the bodhi tree and the feet of the Buddha but in Mahayana period sculptures and paintings of
Buddha and the Bodhi-sattva-s, were added.
 The general character of the sculpture of Ajanta tends towards a certain heaviness of form, and is considered
inferior to the Gupta images.
 Every one of the sculptures was plastered and painted.
 THEMES-
 Jataka Stories- This is a scene from the story of King Shibi, who offered his own flesh to save a pigeon.
 Life of the Buddha- Gautam was meditating under bodhi tree to attain enlightenment. Mara send his three
daughters to distract him but Gautam was calm and unmoved.
 CONTINUE-
 On the way to her parents house Mayadevi gave birth Siddharta in Lumbini grove of shaala trees.
 The painting in the last category are decorative and secular. They fill up all the available space on the
ceilings.
 Themes- Mythical birds, Clown, Floral design, Geometrical design, Hilarious themes and animals.
 COMPOSITION-
 Earlier phase- Narration arranged is in the form of long canvas, at eye level, progressing from episode to
episode,
 Later phase- Painting overspread the entire surface of the wall. In these paintings narratives proceed from
scene to scene and from act to act. The scenes are not separated into frames that might disturb the
concentration of the viewing devotees. Strict chronology of events was not followed. The composition of
Matriposhaka Jataka, is typical of this period.
 CONTINUE
 PAINTING TECHNIQUE-
 Indian wall – paintings are done on dry wall, called fresco secco.
 In the west paintings is done on a moist wall, called fresco buono.
 Base Plaster, Finish Coat, Pigements used- red ochre, vivid red, yellow ochre, indigo blue, chalk white, terra
verte and green , Lapiz Lazuli (imported), Lamp-black(non-mineral)’
 Treatises were codified based on Ajanta experience-
 Brihat -Samhita(6th century)
 Kama-sutra(6th century)
 Vishnu- dharmottara (7th century)
 Samarangana-sutra-dhara(11th century)
 Six limbs of Painting- Differentiation, proportion, suggestion of mood, infusion of grace, resemblance,
application of colour.
 Eight limbs of Painting- Preparation of surface, crayon work, outline work, features of face, colouring, relief by
shadings, correction, final outline.
CONTINUE
 Using colours two mains techniques were employed- animnonnata(flat style,use dark colours) and
nimnonnata(relief by shading,).
 Ujjotona a technique of adding highlights.
 Vartana a high relief technique to produce an illusion of the third dimension.
 Chaya-tapa a technique that produces a chiaroscuro effect.
 PAINTING AND DANCE- Tribhanga Pose- It gives body an S-shaped rhythm, a fluency of line which,
together with the appropriate gestures of hands, conveys a wide range of expressions.
 PAINTING AND SCULPTURE- The sculptures were fully painted though most of paint has disappeared.
Ajanta Caves

Caves in Maharashtra
 DISCOVERY-
 It was the year 1819; the Sun was shining bright in the sky and a group of young British officers are walking
through the forest on a hunt. They are joking and talking when one of them spots a tiger and the chase begins.
The officers give chase. Their feet are pounding the ground and the tiger runs down a valley.

 The British officers reach the bottom of the valley and find themselves confronted by rich vegetation. The valley
is like paradise… there are monkeys swinging from the branches… birds singing… the rushing flow of the river.
The officers are struck by the peace and beauty of the valley and investigate further.

 Across a valley, they saw a line of rock ridged with watercourses and protected by a lush green cover. Their
curiosity was aroused and they ventured to investigate. Little did they know that behind an innocent curtain of
wild foliage lay a treasure beyond their wildest imagination. 

 These are the Ajanta caves, paying tribute to a glorious past and the invincible spirit of man. They are some of
the finest examples of rock-cut temples in the world and, indeed, a pioneering endeavour in the whole of Asia.  
 History-
 The Buddhist Caves of Ajanta, located in Maharashtra, were built from 200BC to 600AD almost 300 years
after the death of The Buddha, when the reverence of its followers had reached its peak. These caves and
their sculptures were developed over 800 years. For almost 1200 years then, they were abandoned and
forgotten. Interestingly, its isolation contributed to its excellent preservation in which some of the remarkable
paintings remain to this day.

 Though initially conceptualized to house the monks, these caves eventually developed as a part of a highly
sophisticated, graphically rich culture that evolved for over a thousand years.

 Moving through the caves, one can actually experience the time warp and the evolution of story telling
through the visual medium. Ajanta is a three-dimensional canvas, capturing the changing forms of art,
culture, architecture, attires, jewelry, fashion, culinary rituals painted in the most earthen Indian colours. 
 About
 This documentary takes us back in time. We feel the peace and tranquillity of the ancient monastery
while we see breath taking images of painting and sculpture. Most of the caves are now closed to
photography and the images you see here are rare.

 The film explores the historical, technological and ecstatic value of the caves and their sculptures and
paintings.

 The Ajanta Caves are listed as a World Heritage Site by the UNESCO.
Tibetan Thangka Painting
Video Summary
 Through thangka painting people in village will able to see the
history.
 The process of thangka painting is complex.
 First step, is the process of making canvas.
 There are three major styles of thangka painting.
 The karma gadri style from U-Tsang region.
 Mathana style from Tsongon Rebgong region.
 Khyentse style in Sichuan region.
 The style in the painting is Mathana style.
 Thangka is a type of painting that involves drawing but different
from typical painting.
 It tells about history, it tells about buddhist philosophy.
 Thangka painter study thangka literature as well as actual painting
skills.
 Thangka is more than just a painting of a deity or a buddha.
This Photo by Unknown Author is licensed under CC BY-SA
 Phases of Ajanta Art
1. Pre-Classical Period (2nd-1st Centuries BC)

2. Classical Period (4th-5th Centuries AD)

3. Period of Mannerism (5th-6th Centuries AD)

4. Baroque Period (Mid-6th Century AD)

5. Period of Decline (End-6th Century AD)

Pre-classical Period
(2nd-1st centuries BC)
 The earliest paintings of Ajanta of the 2nd-
1st century BC cannot be classified as
archaic.
 These paintings present lively men and
animals.
 In most forms of art one may discern a
gradual and natural progression.
 A lack of experience in making and
employing tools, in narration etc, is generally
the beginning.
 This is often called archaic style.
Classical Period
(4th-5th centuries AD)
 This style means perfect mastery of the subject.
 Everything is idealised, realism is only for creating things
of beauty and perfection.
 There is a dignity and nobility, and allows no
exaggeration, no excess, no overstatement and no
dramatisation.
 A wash technique, called airika creating an illusion of
depth is employed here.
 A mature phase, a phase of quiet dignity without excesses;
and the artists prefer studied dignity and what they call
'good taste'. This is the classical phase.
Period of Mannerism
(5th-6th centuries AD)
 A departure from classicism can be seen in monotony
in the sitting posture and in the overcrowding.
 Repetition of ideas, called mannerism.
Baroque Period
(Mid-6th century AD)
 Baroque is a style of over-ornamentation and
exaggeration, Action takes place in a maze of pillars in
royal pavilions.
 The eye-slits are stretched out of all proportion. Men
look effeminate and women exaggeratedly feminine.
 Both men and women wear excessive ornaments.
Period of Decline
(End-6th century AD)
 Artistic standards were in the decline from the end of the 6th
century.

 Mercifully this phase did not last long, for the Ajanta caves
were soon abandoned forever, for reasons unknown.

 The poses are now exaggerated with heavy heads, elongated

eyes, thin legs, superfluous hand gestures etc. The
composition is too crowded. The execution becomes careless.
 Indo-Islamic Architecture

Payal Singhal

 Collection monosyllabically titled ‘Taj’. Singhal

takes inspiration from the fine detailing and
intricate patterns of filigree, jaali work and floral
inlays seen in Islamic architecture. “The collection
is also influenced by the complex interplay and
contradiction between the swadeshi dress codes
and sartorial styles for women and the extravagant
consumption practices of colonial India,” says the
designer.
 Fascinated by Mughal and Islamic architecture,
and borrow either a sense of pattern or texture
from them. I have been inspired by the inlay
mirror work at the Sheesh Mahal(Hall of Mirrors)
in Jaipur’s Amer Fort and Islamic calligraphy on
the walls of the monuments in Agra."
 The dichotomy of hard and soft found at
Chloé evolved from creative director Clare
Waight Keller’s fascination
with Islamic architecture, the infinite patterns
that is very common in the Middle East. The
influence can be seen in lacework and
repeating motifs. “In my Summer 2016
collection, I created a series of pieces made up
of elements of exaggerated details from
Arabesque architecture,” she says, “working
the proportions on a larger scale and piecing
them together to create edges and straps and to
frame dresses and tops.”
MAHAJANAKA JATAKA PAINTING AT
AJANTA CAVES
4

1
2

3
SCENE 1
 The newly wed king is dissatisfied with the pompous life.
the queen attempts to captivate him with all her charm.

 The king goes out to seek advice from an ascetic.

 The be jewelled King does not look at shivali , but has a wild and vacant look.

 Queen dressed in nakedness leans against the king.

 Every line of a figure expresses her attitude of passionate yielding.

 The maids are looking at the couple their looks invite the attention the pathetic king.

 Variation in poses and the varieties of textiles are worth noting.

 A dwarf in attendance sitting on the ground.

 The newly-wed king with two rows of necklaces sparkling with diamonds and pearls
 He decided to leave and wife was sad and filled with tears.
SCENE 2
 Musicians accompanying the dancer ,the dancer is supported
by musicians.
 Playing flute cymbals drums and a string instrument.
 The musicians, like the dancer, show great dynamism and
movement.
 Characters shown in variety of body postures.
 The dancer strikes a graceful pose, her hands a mudra.
 She wears a long jacket and a close fitting blouse her strip skirt
is loose and long.
 Her ring set with small mirror the earrings of elaborate design.
 Head dress of strings of gold beads or pearls ,her plates
entwined with flowers.
 The palatial surroundings and decoration accompanishment of
a host of musical instruments.
 Fantastic garments and elaborate ornaments on successful
contributed to a spectacular scene.
 SCENE 3
 Maha- janaka goes out through the Palace gate
on an elephant.
 The king leave the country to meditate on the
Dharma.
 King leaves in full regal splendor led by
procession office Royal subject.

SCENE 4
 The ascetic is delivering a sermon , the king
listens in deep reverence

 A pair of deer is seen with faces tilt up as if

in rapt attention.
Designs inspired by Hindu
architecture
 Padma Shri Astad Deboo put up a unique performance symbolising the
aura of the temples of Hoysala, the inspiration behind Jade’s 2014-15
collection by Monica and Karishma at the Lakme Fashion Week
Winter/Festive 2014. Padma Shri Astad Deboo put up a unique
performance symbolising the aura of the temples of Hoysala, the
inspiration behind Jade’s 2014-15 collection by Monica and Karishma
at the Lakme Fashion Week Winter/FePadma Shri Astad Deboo put up
a unique performance symbolising the aura of the temples of Hoysala,
the inspiration behind Jade’s 2014-15 collection by Monica and
Karishma at the Lakme Fashion Week Winter/Festive 2014.stive 2014.
 Pearl academy, Jaipur
 The building is protected from the environment by a
double skin which is derived from a traditional building
element called the ‘Jaali’ which is prevalent in
Rajasthani architecture.
 The double skin acts as a thermal buffer between the
building and the surroundings. The density of the
perforated outer skin has been derived using
computational shadow analysis based on orientation of
the façades.
 The outer skin sits 4 feet away from the building and
reduces the direct heat gain through fenestrations. Drip
channels running along the inner face of the Jaali allow
for passive downdraft evaporative cooling, thus
reducing the incident wind temperature.
Designs inspired by Hindu architecture

 Tanishq necklace from Virasat collection)

 Inspired by the architecture and geometry patterns, Abhishek Rastogi, Head
of Design, Jewellery Division, Titan Company Limited describes one of the
pieces from the collection, "This ethno contemporary necklace has been
carefully designed, encapsulating the highly detailed jharokhas of the grand
City Palace.
 Unique artisanal stained glass- key to the Udaipur architecture, has been
translated using the innovative cloisonné enamel technique in the sea-green
shade.“

 Another such interesting design is the necklace set inspired by Jharokha. The
set is a masterpiece of architecture carved out of gold.

 Geometry and architecture has always been a part of Tanishq's jewellery. "We
witness immense amount of geometry around us all the time. There is a
wonderful sense of symmetry and harmony in architecture which naturally
lends to very varied and aesthetically balanced interpretations in jewellery.
We have, for example, taken inspiration from our heritage monuments,
temples and palaces to create exotic gold jewellery
MOTIF

 I have taken mohiniyattam dance form

as the inspiration.
 Here I have taken some part of their
dress, as u can see I have marked
something with purple colour , taking
this part I created a handfan .
 Next I have taken one mudra marked
with green colour and included it as the
fan border in that there is two folded
middle finger and splitted side finger.
Another motif
Here I have taken manipuri dance form
dress, their bottom part, and by
tooking inspiration from it I created a
stool.
Designers who got
inspiration from music

Shyam Sundar Co. jewellers unveiled latest line of

jewellery collection. Specially crafted traditional and
contemporary designer gold and diamond jewellery are
inspired by the classical tradition signature style and
cultural legacy of the Indian music Gharanas.
Along with the city models the newly curated
collection was showcased by the brand ambassador
Indian classical vocalist Kaushiki Chakraborty at the
lake club in Kolkata images by IBNS.
MUSIC
INSPIRED
DRESS

 The harmonium is now widely used

as an accompaniment in Hindustani
vocal music, in religious music
across the states of Maharashtra
and Punjab- Haryana, and in
Qawwali music of the Islamic
traditions.