Embed Size (px)
Citation preview
1
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Medieval Sculpture
Medieval Sculpture (Rashtrakuta and beyond) – Indian Architecture for UPSC
Sculptures were one of the most favoured media of artistic expression in India.
The subject matter of Indian sculpture is almost invariably religious based on
legends and myths. The pivot of the early medieval sculpture is the human figure,
both male and female in the form of gods and goddesses and their attendants.
Regional variations in style of sculpture
Medieval period (c. 8th–12th centuries) was marked by a large number of states
and dynasties such as Pratiharas in the north, Palas in the northeast, Chandelas of
north-central India, and Rashtrakuta in the Deccan etc.
Most of the dynasties of medieval India followed Hinduism, though they also
patronised Buddhism and Jainism. The consolidation of Islamic empire took place
only in the late twelfth century. However, due to their religious beliefs did not
patronize the art of sculpture.
The style of Indian art sculpture is largely determined not by a dynasty but by
region. Every region and period produced its own distinct style of images, largely
independent of any particular dynasty that happened to rule over a specific
region.
Stylistically, schools of artistic depictions of the human form developed in eastern,
western, central and northern India. The distinctive contribution also emerged in
the Himalayan regions, the Deccan and the far South.
2
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Medieval Indian sculpture in North India
Two broad trends can be observed in sculptures of this region: one exhibits the
decline and disintegration of classical forms established during the 5th and 6th
centuries; and the other, the evolution of new styles that began to stabilise only
in the 10th century.
With the 10th century, the conventions of North Indian sculpture became fairly
well established. This period marks the figures covered with a profusion of
jewellery that tends to obscure the forms it decorates. These features are further
accentuated in the 11th century, when many temples of great size, adorned with
prodigious amounts of sculpture, were erected all over northern India. The
sculptures of the 10th-11th century were mainly used for the architectural decor
of the temples.
Pratiharas
The Gurjara-Pratiharas had a vast kingdom that embraced the territory of Gujarat,
Rajasthan, Uttar Pradesh. The surviving structural temples of the eighth and the
ninth centuries in Central India and Rajasthan belong to the Pratihara style. This
style is derived from the Gupta style albeit with some regional variations.
The Pratihara temple walls are decorated with a single band of sculpted niches,
pillars with lotus designs and elephants on walls carved beneath luxuriant scroll
work. Notable sculptures of this period include Viswaroopa form of Vishnu and
Marriage of Siva and Parvati from Kannauj, the image of Laksmi-Narayana etc.
Beautifully carved panels are also seen on the walls of temples standing at Osian,
Abhaneri and Kotah.
3
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Chandelas
During the tenth and eleventh centuries, the Chandellas were the greatest power
in Central India. They were great builders of temples and tanks, forts and palaces
etc. The Chandellas constructed towering temples in central India, like the
Kandariya Mahadev temple and Laxman temple at Khajuraho. These were
sculpted with human representations of endless variety. The sculptor here
preferred the slender taller figures with a considerable accentuation of linear
details.
The sculptures of Khajuraho are great masterpieces of Indian sculptural art.
Khajuraho, the capital of Chandellas was a principal site of sculptural activity and
was a high point of building activity. The Khajuraho temples are famous for their
erotic relief panels which may illustrate the tantrik practices of certain medieval
cults. In these temples, the many charms of the female body are revealed in most
contorted and provocative poses. Geometric and floral designs, too, are
abundant.
Khajuraho’s sculptures are highly stylised with typical features: they are in almost
full relief, cut away from the surrounding stone, with sharp noses, prominent
chins, long slanting eyes and eyebrows.
4
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Medieval Sculpture in Eastern India
Sculpture in eastern India has its own distinct style of sculptural art though it
shares a broad pattern of development with the rest of northern India. The
figures in this region have a sense of mass and weight while the flatness of plane
is less prominent. This is clearly seen in sculpture from Konark in Orissa.
Ninth century was the most flourishing period for sculptural art in this region. the
sculptural art had become much more decorative towards the tenth and eleventh
century. In the 13th century, when sculpture in northern India had assumed a
wooden appearance, the sculptural style in eastern India remained graceful.
In Bihar and Bengal, bronze sculpture was also developed during this time.
Palas
The style of the sculptures during the period between the ninth and eleventh
centuries in Bengal and Bihar is known as the Pala style, named after the ruling
5
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
dynasty at the time, while the style of those of the mid-eleventh to mid-
thirteenth centuries is named after the Sena kings.
The Palas were Buddhists by faith and patrons of many Buddhist monastic sites.
The ninth-century Siddheshvara Mahadeva temple in Barakar is an example of the
early Pala style. The Pala Style is marked by slim and graceful figures, elaborate
jewellery and conventional decoration. Their sculptures from Bihar are somewhat
thick and heavier in their general proportions of limbs than those from Bengal.
Odisha
By the middle of the 9th century A.D. especially in Orissa, there developed a
school of sculpture which, among other things, took sensuous delight in the lovely
forms of women. There are numerous sculptures of beautiful female figures on
the face of walls. The Odisha temples have many such representations of young
and charming creatures with a seductive smile, luxurious hair full of jewellery,
they are, called Nayikas.
The famous temple at Konarak was built by Narasimhavarman in the middle of
the 12th century and dedicated to the sun-god. It has been conceived as a huge
stone chariot on immense wheels, dragged by seven rearing horses. Its presiding
deity, the sun-god as seen here, is depicted in the typical north Indian manner,
wearing boots, chain-mail armour, holding a lotus in each hand. He is riding a
chariot driven by seven horses.
6
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Medieval Sculpture in Western India
Solanki
Sculptures in western India and Rajasthan were highly ornate, with the Jain
Dilwara temples of Mount Abu attaining a marvellous architectural perfection in
stone. They were built by Solanki rulers. The Dilwara temples at Mount Abu are
the outstanding productions of the western school in the Jain tradition. They are
not monuments of architecture but are sculptural masterpieces. The ceiling of the
Dilwara temple, especially, is one of the world’s masterpieces of intricate
sculptural carvings.
The traditions of the marble sculpture of Gujarat in Western India are seen in the
abundance of intricately carved sculptures which decorate the Jain temples at
Mount Abu, Palitana and Girnar. The beautiful image of the four-armed Vishnu,
the Hindu god of preservation, was customised in the 13th century A.D.
7
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Medieval Sculpture in Southern India and the Deccan
In the South, the art of sculpture flourished under the patronage of many great
dynasties such as Pallavas, Cholas and Rashtrakutas etc. The sculptural art in this
region followed the classical tradition and simultaneously a freshness and vitality
are also seen in the sculpture of this region.
Kailash temple at Ellora built by the Rashtrakutas and the Ratha temples of
Mahabalipuram, built by the Pallavas are examples of famous rock-cut temples in
the South. Most probably the stability and permanence of rocks attracted the
patrons of art and builders who decorated these temples with beautiful
sculptures.
Chalukyas
Early Chalukyan activity takes the form of rock-cut caves while later activity is of
structural temples. The notable temples built by Chalukyas are the Vishnu
8
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
temples at Badami and Aihole and the Virupaksha Shiva Temple at
Pattadakal. The cave temples, particularly those at Badami includes fine
sculptures of Vishnu
The earliest example of Chalukyan art is probably the Ravana Phadi cave at Aihole
which is known for its distinctive sculptural style. One of the most important
sculptures at the site is of Nataraja, surrounded by larger-than-life-size depictions
of the saptamatrikas: three to Shiva’s left and four to his right.
The figures of the Chalukyan period are characterised by graceful, slim bodies,
long, oval faces they are distinctly different from contemporary western Deccan
or Vakataka styles.
Rashtrakutas
They created the greatest wonder of medieval Indian art in their Kailash temple at
Ellora, a monolithic rock-cut architecture. The bold and magnificent carving in this
temple shows the Rashtrakuta style of tall and powerfully built figures, reflecting
with spiritual and physical poise.
The sculpture of the Rashtrakuta phase at Ellora is dynamic and distinct from
contemporary regional styles, the figures often larger than life-size, infused with
unparalleled grandeur and the most overwhelming energy. An example of this is
the famous Nandi Shrine in Kailash temple.
Another magnificent sculpture at Ellora is a panel depicting Ravana shaking
Mount Kailasa. In this remarkable scene, the quivering of the mountain can be
felt, and Parvati is shown greatly agitated, turning to Siva, grasping his hand in
fear
9
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
The cave-shrine at Elephanta is another great monument of the Rashtrakutas,
which contains the famous Maheshmurti (three-faced Shiva).
10
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Pallavas
The Pallavas, who left behind magnificent sculptures and temples, established the
foundations of medieval South Indian architecture.
An artistic movement of great importance flourished under the aegis of the
Pallava rulers of Kanchi and they are credited with having built the seven
monolithic pagodas, the Rathas, in Mahabalipuram. There are excavated pillared
halls and monolithic shrines known as Rathas in Mahabalipuram.
Some of the outstanding sculptures that are credited to their patronage are the
Mahishasuramardini, Girigovardhana panel, Trivikrama VishnuArjuna’s
penance or the Descent of the Ganga, Gajalakshmi and Anatasayanam.
11
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Cholas
The Mighty Cholas who succeeded the Pallavas and ruled over South India from
the 9th to 13th centuries A.D. created the great temples at Thanjavur, Gangai
Kondo Cholapuram, Darasurama, which are a veritable treasure house of their art.
At the Brihadesvara temple at Thanjavur, the most mature and majestic of the
Chola temples, the sculpture has attained a new maturity which is evident in the
gracefully modelled contours of the figures, their flexed poses, delicate
ornamentation, pleasing faces and certain freshness, all of which add charm to
the work.
Gajsurasamaharamurti is one of the best examples of Chola craftmanship in the
11th century. It depicts the vigorous dance of the irate god after he killed the
elephant – demon.
Hoysalas
The Hoysalas were another South Indian dynasty who asserted themselves in the
Mysore region about the beginning of the 12th century. The temples they built at
Halebid and Belur look like lacework in stone. Most of these sculptures were
carved out of soapstone, so the artists were able to make intricate carvings.
This type of work can be observed in the jewellery of the god in the temple wall.
The decoration is elaborate, the emphasis being more on ornamentation than
movement or the grace of the human body. Hoysala sculptures are somewhat
squat and short, highly embellished, or almost over-loaded with ornamentation,
but yet are pleasing to behold.
A spectacular example of the Hoysala sculptural art is portrayed in the carving
showing Lord Krishna holding aloft the mountain Govardhana to save the
inhabitants of Gokul from the wrath of Indra.
Around the 13th century, A.D. love for the beauty of the human figure has been
completely dampened. The artist no more took delight in the depiction of the
beauty of a handsome male or the loveliness of a female body. On the other
hand, the human body sculpture almost ceased to exist under a fantastic mass of
decoration and ornamentation which become more important than the human
figure.
12
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Vijayanagara
Vijayanagara was the last great Hindu Kingdom in south India. Several beautiful
temples were constructed at places like Hampi, Kanchipuram, etc. during the
regime of Vijayanagara empire.
The Vijayanagara emperors caused excellent portraits to be carved by the
sculptors to immortalise them in the vicinity of their favourite deities. One such
fine example of this can be seen in sculptures of Krishnadevaraya at Gopura in
Chidambaram. During this period representations in narrative forms of the
Ramayana and Krishna, Bal Lila became favourite themes.
Architecturally, Vijayanagara synthesises the centuries-old Dravida temple
architecture with Islamic styles demonstrated by the neighbouring sultanates.
Their sculpture too, although fundamentally derived from, and consciously
seeking to recreate Chola ideals, occasionally shows the presence of foreigners
Bronze sculpture of South India
South Indian bronze sculpture has a special place in the history of Indian art. In
bronze, as in stone, the 9th and 10th centuries were periods of high achievement,
and many images of excellent quality have survived. Most South Indian bronze
images are representations of Hindu divinities, notably Vishnu and Shiva.
They are all cast by the lost-wax, or cire perdu, process (in which a wax model is
used). In the early stages, the forms were smooth and flowing, with a fine balance
maintained between the body and the complex jewellery, the lines of which
follow and reinforce every movement of the plastic surface. The bronzes of the
later period lose this cohesiveness, the ornament, by virtue of its hardness,
tending to divide and fragment the body it covers.
Chola period is famous for its bronze sculptures. The celebrated lost wax bronzes
of the Chola dynasty (c. 850–1250) from south India include the iconic form
of Shiva as Nataraja (a four-armed Shiva as Lord of the Dance (Nataraja), shown
within a flaming halo).
13
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Nataraja Bronze Sculpture – Features
Natarajan a depiction of the Hindu God Shiva as the cosmic dancer. He
performs the divine dance to destroy a weary universe and make preparations
for the god Brahma to start the process of creation.
It is widely believed that Nataraja bronze sculptures were Chola innovation
The image of “the Lord as the Cosmic Dancer” is shown at the Chidambaram
temple in Tamilnadu
He dances within an arch of flames.
The surrounding flames represent the manifest Universe.
There is a snake around his waist
The figure has 4 hands
The upper left hand contains Agni or fire, which signifies destruction.
The second left-hand points towards the raised foot which signifies upliftment
and liberation.
Upper right hand contain Damaru
The second right-hand shows the Abhaya mudra
dwarf on which Nataraja dances is the demon Apasmara
14
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
As the Nataraja performs the tandava, the dance in which the universe is
created, maintained, and dissolved.
Sculptures under Sultanate and Mughal rule
The spread of the Muslim power in India gave a set back to the art of sculpture.
The Islamic law considers it sinful to produce the images of living human and even
more sinful to have those of the god. Hence the Muslim invaders considered it
their religious duty to forbid the making of images of gods or goddesses, human
beings or animals. They resorted to large-scale destruction of the images and
sculptural representation.
As a result, most of the sculpture pieces of the time were destroyed and only such
sculptural pieces could survive which were buried underground or were located in
inaccessible places. In a nutshell, we can say that the art of sculpture suffered
maximum at the hands of Muslim rulers during the medieval times.
Though traditions of stone sculptures continued, no major sculpture movement
survived under the Mughal and the other Muhammadan rulers Under the
Muhammadan rulers great impetus was given to architecture, but sculptures are
rarely found and even those available are products of local chieftains. During the
British regime, no proper patronage was provided to sculptors and the whole
tradition of Indian art almost came to a standstill.
During the British regime also sculptural art suffered a great loss due to loss of
patronage to sculptors and the whole tradition of sculptural art almost came to a
standstill.
Related terms:
Iconography – The study of images of deities falls within a branch of art history
called ‘iconography’, which consists of identification of images based on certain
symbols and mythologies associated with them.
Cire-perdu – also called the “Lost-wax” process is a technique for making metal
objects using melted wax. It is still in use in different parts of India.
15
NeoStencil – Live Online Classes - IAS/IES/GATE/SSC/PSC | +91 95990 75552 | [email protected]
Study from India’s Best IAS Teachers LIVE Online
NeoStencil is India's number 1 platform for LIVE online learning. We help you connect with India's best teachers from the comfort of your home.
Some of our popular UPSC Civil Services Exam courses:
UPSC General Studies Foundation Courses offered at NeoStencil
1. Lukmaan IAS 2. Pavan Kumar IAS 3. Destination IAS 4. Toppers 25
UPSC Mains Optional Subjects courses
Pub Ad :S. Ansari, Pavan Kumar, Atul Lohiya (Hindi Medium) Philosophy :Mitrapal Geography :Prof. Majid Husain, Alok Ranjan (English and Hindi Medium), Md. Rizwan Sociology :Praveen Kishore, Vikash RanjanVenkata Mohan, Mujtaba Husain Anthro :Venkata Mohan History :Alok Jha PSIR : Kailash Mishra (English and Hindi Medium), RS. Sharma Law : Dinesh Verma (Scope IAS)
General Studies Mains Test Series:Pavan Kumar IAS, Lukmaan IAS, AAI IAS Pub Ad Test Series :Pavan Kumar Sociology Test Series :Praveen Kishore, Venkata Mohan, Lukmaan IAS Geography Test Series :Prof. Majid Husain, Alok Ranjan (English and Hindi) , Lukmaan IAS Anthro Test Series :Venkata Mohan Essay Test Series :Lukmaan IAS, Venkata Mohan
Current Affairs Online Courses for IAS Exam Preparation
1. Lukmaan IAS 2. Venkata Mohan 3. Mk Yadav 4. Alok Jha
We also Provide Online courses for IES | GATE | SSC | State PCS Exams. For more details visit
our All Courses Page – here
