Page 1
THE CAEATII Έ
10ԱCն:
(Լել:
S
38
 

UROFHIVDUART)
S v aucunun DualSwany

Page 2
Sri Dr. Mr. A for III и IFJ ional Hindi Marni" Gr The Hina ip-bringing reflected in her way of and her writings. schooling pas af Lad College, Colombo 7 S. as a Bachelor of A Degree from the Unive sity of London, a Diplo LTLTHHCCCLLLL LEELLLLLLL LGLEaaLLCLG GL SLCCCLLLLC LCLLaL LLLLL Associate of the Trini College of Music, Lond LLLLLL LLLLL LGLLLLLLLE LLLLLELG LGGCCLCL LLLLLS LL LaL years, Chinese British work painting College LEELS SSLHCLH LEEL ELLL LLLLLLLLLS LLSCLLLLEL LLLCCLS
LLGL LL LLLLL LLLLLLLELHLS LLL LLLLLL CCLLL CCCCCS
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Time researching and comparing Mind Thorg/ Art and Cire with those of other elitz resulting in a compendium of valuable role From This collectionardse herfirst publication.
LLLLLL LL CCLLL HLHHL LLLCLLLS LLLLCLCLLL LL L HHHLGLHHHHH SLLLLLLLLE SYaHLSHS LLLL SLS S SLLGC LLLLLLLLHLH SEHEELLCCC S SLLLL STS LLLLS S SLTGLLLLL THELLLLLLL LLL LGGLLLLLL S SGLCLaaLGCCLS ECLL SL Preside of the Saiya Mangayar Kalag (HF Women's Society), the premier in Panen's Organisation in Sri Lank Yorking LLLLLLLLLLLLS LLLLLLLLS SLLLLLLGLLGL HLHHL LGLLGLLL SLLLLLLL She is the Presider of the find Cozzici of WAPTAK.
 

Page 3
THE CREAT OFT
(The Gra

IVE TOUCHES THE CHISEL
andeur of Hindu Art)

Page 4
Vijitha Yapa
Unity Plaza, 2 Galle Roa
Tel. (9411) 2596960
e-mail: vijiyap
www.srilank
www.vijith
Copyright (C) Sivan
ISBN 955.
All rights reserved. No part of this book system or transmitted by any means, electr or otherwise, without written permission f
First Editio
Jover by
Printed by: Piyasiri Prin

Publications Id, Colombo 4, Sri Lanka
Fax (94.11) 2584801 a(asri.lanka.net anbooks.com
layapa.com
andini Duraiswamy
-8095-49-4
may be reproduced, stored in a retrieval onic, mechanical, photocopying, recording rom the author.
n June 2004
the Author
ting Systems, Nugegoda

Page 5
THE CREATI OF THE
by
Sivanandini D
faí Vijitha Yapa F Sri La

7E TOUCHES CHISEL
Duraiswamy
L
ublications
inka

Page 6


Page 7
THE LORD
 

OF DANCE

Page 8


Page 9
"All great artistic work intuition, not really an in imagination, - these are or a direct intuition of some significant form of that tr in the mind of man.”

proceeds from an act of tellectual idea or a splendid nly mental translations, - but truth of life or being, some uth, some development of it
Sri Aurobindo

Page 10


Page 11
Dedicated to the un
“My pi The filo
இனியேது எமக்கு
 

dying memory of my lowed one, Yogendra
assion shall burn as the flame of salvation, wer of my love shall become the ripe fruit
of devotion - Tagore உன் அருள் வருமோ - தாயுமானவர்

Page 12
Front Piece - Nataraj
 

a the Lord of Dance

Page 13
ACKNOWLE
The intent of this book is to share pilgrimage through Hindu Art. It lays no present the grandeur of the art so that the re Its aim has been fulfilled if it succeeds in it desire to understand the deep insight into t
It could not have been written w of my husband whose keen analytical i very helpful. To him I wish to acknowledg and constructive criticism, assisted me in 1 work while moving between capitals in t acknowledgement to my son, whose know been helpful in the reading of the texts ar illustration.
Itis my duty to expressmy indebted Maharaj, President, Ramakrishna Math a Foreword to this book. I offer my humble
I am also grateful to the late Rev. who was the Director of the Ramakrishna gave me the rare opportunity to be at th He introduced me to Dr. Shyamalkanti Ch Calcutta who went through my script and it certain changes.
The Plates appearing in the bookh we had collected over the years and from others taken from books and magazines.
A personal apology is due to mor referenced but there is a problem here. Ov places, museums and galleries, I compile and without any thought of writing a book. a strong impact on me, I would film it - it original itself. If I read something that I v of Notes but failed sometimes to jot dow attempt to re-read or recollect the original

EDGEMENT
my thoughts taking the reader on a visual claim to scholarship. It merely seeks to ader may appreciate something of its value. nteresting the readers and awakening their he gentle spiritual message of the art.
lithout the encouragement and assistance ntuition and sound judgement have been e my deep gratitude. His unfailing interest my work. This enabled me to continue my he various postings. I owe a very special ledge of comparative religions and art has ld in the analysis of examples chosen for
less to Revered Swami Ranaganathanandaji nd Ramakrishna Mission for writing the pranams and gratitude.
ered Swami Lokeshwaranandaji Maharaj, Mission Institute of Culture, Calcutta. He e Institute and use its wonderful library. hakravarti, the Director of the Museum of h my many discussions with him suggested
ave been chosen from various photographs photographs taken during our travels and
e scholarly readers. Every plate should be er the years as I studied and visited sacred d information purely for my own interest When a piece of sculpture or a temple had could be from a book or magazine or the alued, I would copy it down in my Book n the page and volume reference. Now to or go back to the various sites to try and

Page 14
find the reference for each would be difficu of cases but failed in others. I hope the reac
I am grateful to Mr. Vijitha Yapa f care Vijitha Yapa Publications has bestowe
And finally a gracious thank you to my effort in memory of my loved one.

ilt. I have attempted to do so in a number ler will understand.
or publishing this monograph and for the din getting this done in elegant form.
the Hindu Women's Society for launching
The Author

Page 15
醬
654-11
ges is
854-958 U 66-968i
FAx : 654.4346
FORE
The Creative Touches of the Chisel book by a remarkable author, Srimati Sir book deals with Hindu Art, Sculpture and five thousand years and has over 175 ill subject for several years, the author has b subject in such a manner as to evoke the c. ordinary reader.
About the scope of the book, the art both sculpture and architecture, reache of India but also in south and south-east Buddhist temples and the elaborate sculptu Java, Angkor Wat and Angor Thom in Ca and architecture of these temple cities em were all inspired by Hindu thought and ov They are indeed the witnesses of the effort understood it.
The ancient sculptures and templ elsewhere in India, as well as the modern spiritually with less and less stress on my growth and development - atma viksas - evolution at the human stage, according to
The book deserves a wide circulation.
April 2004.
 

RA MA K R S H NA MATH
f. 0. BELUR MATH, DIST. OWRAH WEST MA; 71,202
WORD
: The Grandeur of Hindu Artis a remarkable vanandini Duraiswamy of Sri Lanka. The Architecture during a long period of about ustrations. Having been immersed in the een able to present the vast material of the apacity for artistic appreciation even in the
author says in her introduction, that Hindu cd great fame not only within the frontiers Asia, as seen in the colossal Hindu and ural scrolls at Prambanan and Borobudurin mbodia and Pagan in Burma. The designs body the cosmological beliefs of India and ve their incipiency itself to religious ideas. s of men who interpreted Hinduism as they
es studied in this book and those existing temples, will continue to serve the people ths and rituals and more stress on spiritual of all human beings, which is the goal of ) Vedanta.
(Swami Ranganathananda)
President Ramakrishna Math and Rarnakrishna Mission

Page 16
Temple Architecture - the Suc
 

hindra T1 Temple with its Lank

Page 17
CON
Prologue...................................................
Map of India - the principal sites mention
Illustrations..............................................
Table......
SL S LSS LSL LLLLL LLLL LSL LSL 0LLL SS SL SL LSL LSL LSLLLLL LSLL LS S SL SC SLL LLLL LLL LLSL LSL LSLLSL LSL LSL 0SLL SL LLLLL LLLL LSL LSL LSL LSL LL 0SL LSL LSLL LSL LSLSL SS SL LSL LSL LSL
Introducing the Creative Touches of the C
Beginnings of Iconography - ....... ........
Indus Valley Culture. Vedic Cl
Amaravati and Gandhara. The
Early Medieval Period. Bronze
Speaking of Architecture -......................
Temples
Symbols and Motifs. Early Str Garbha griha and Halls. Templ
Dravidian Architecture. Early
Chalukyan Architecture. Kaila Mahabalipuram - the Art of the Pandyan School of Dravidian A Nayakka Style. Hoysalas of K Medieval North Indian Temples Erotic Motifs. Medieval Stone Temples of the Bengali Architecture. Prambana Angkor.
Sri Lankan Contribution to Hindu Art - T
A Comparative sketch on Hindu and Wes
Sculptures - .............................................
Ganesha . Dance of Siva. Dan Ardhnarishwara. Divine Coup

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led in the text.......................................... 5
LL LSL LLS LS LS LS LS LSLL LL LLLLSL LLLLL LL LLL LLL LLSLLLLSLLLL LL LSLLLSL LSL LSLLLLL LL LLL LLLL LSLL LLLL 00 LLL 0S LL LLSLLSL LSL S LSL L LSL L LSL LSL LL0LL LL0L LSLLS LLS LSL LSL LSL LSL LLLLLLLL0L0L0L0L 0S0 6
SSLSLLLSLLSL LSSL LSLLSLLSSL LSLLSL SL LSL 0LLLL LLL LLLLLLLLSLLL LS0SLSSSSL LLLLS LLLLLSLLLLLLLL LL LLLLLLLLSLLLLLLLL LL LLL LLLL L0LLLLLLLLSLLLLLLLL LL 12
hisel..........................." 15
SLLS SSSL LSSLSSSLSLS SLSLS S SLSL S SL SS SL LSS S SS SS SS SS SS LL SL S S L S S SLLSLSS SLSSSS S L S S L L L L S LSL S S S S S SS S SL L L SL SL 20 ulture. Symbols of Hindu Art. Image. Gupta Age. Emergence of
Sculpture. -
- - Y - .................................................. 54 ucturcS.
e Tower. Growth of Temple. Medieval North Indian Architecture
LSL LSL L LSL LSL LS LS S SL S LS LS L S 0S LS L SL S SL S SL S SL SL LS SL L LLL LLLL LSL 0 LS LL LLL LSLLSS LSL LSL LSLLLLL LSL LLLLL LLLL 0 0 0L 0 LSL LSL LSL S LSL LS LSLLSLL LLLL 000 LL 73 sa Temple of Ellora. Pallavas. Chola Contribution. Architecture. Vijayanagar Era. arnataka.
- Orissan and Bundelkhand School.
Karkotas. un in Java. Khmer Traditions of
he Polonnaruwa Period...................... 145
tern Sculpture..................................... 162
και 166
se of Siva in Stone. Parvati e. Trimurti. Vishnu. Durga. Karttikeya.

Page 18
Epilogue. ..................................................
Select Bibliography.................................
Glossary...................................................

SLLLLL LLL L0L LL L0 LLL LLL LLLL L0 LLLL LLCL LL LL0 Y LLL LLL LLL 00 LLLLL LLLL L0LLY LLL LLL LLL 0L 0L L LL 0L Y LLL LLL LLL 0L LL L0L LL LLLLLS LLLS LLL LL LL SL SL SS LS 221
B 88 - 8 A . w«223
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Page 19
PROLOGUE
Τς has made me endless Thou emptiest again and ag Rabindranath Tagore. He a Eternal Home in one salutation to Thee, O husband, Yogendra Duraiswamy. Many a as I present modest attempt - a Monograph and Architecture) a subject that we often
Indian Art. Indian aesthetics are linked tol
As a child I learnt religion, art, mu to places of Hindu interest. All the knowle the conversations with my husband, my pi stored away in my Notes together with the
My parents taught me tolerance This was deeply etched on my memory th countries I endeavoured to understand th Hindu upbringing that helped me to apprec of the magic bowl of the seats of culture i Lebanon, Jordan, Egypt, Greece, Italy, Ru: years on our diplomatic assignments I hav lands. These comparative studies opened present.
I reflect at times that an ancesto bequeathed to me her love of art and cul beautiful as I paint, sing or stroll through it be mine or another's. The opportunities culture were indeed many.
Our assignments in the Middle E Babylon of Nebuchadhezzer, Hatra and N. holding uncanny comparisons (Pl - a,b,c). “The distant little world of pre-history whi

, such is Thy pleasure. This frail vessel
sain and fillest it ever with fresh life,” said
dds, “Let all my life take its voyage to its
Lori.” This is the onward journey of my e the lo ety memories that come rushing
on f" , grandeur of Hindu Art — (Sculpture
liscussed. In our eyes, Hinduism inspired
Hindu philosophy.
sic and dance and travelled on pilgrimage dge that had been collected over the years, arents, academics and temple pr. 2sts were
drawings, sketches and photographs.
and accentance of different viewpoints. at when I ater travelled through different e ethos behind those cultures. It was the xiate art with an open mind and drink deep in China, Indonesia, Cambodia, Iran, Iraq, ssia, India and Sri Lanka. And through the e compared Hindu Art with the art of other large vistas, which I have endeavoured to
r of mine must have been an artist who ture. I feel at my best, peaceful and most places of ancient art and culture whether that were given to me to imbibe another's
East helped us travel across Sumer to the nevah, Persipolis, Warka and Egypt – each
I was reminded of Udai Narain Tewari - are Egypt bought her copper in the markets

Page 20
Plate — a The Mohenjo Daro Humped Bull (from the ALLthor's collection)
Hatrene religion was centered with the Sun God, Shamash. Archaeologists see a continuity in the Worship of Asur-bel. the Assyrian God flanked by eagles. The Sun God Re (P - d) of ancient Egypt was represented as a man with the head of a hawk surmounted by the solar disk. It took the form of a falcon at tilles becoming a recurrent symbol of Egypt's religion and royalty. In Memphis, the Sun cult was popular. The Sun occupied the central place in the Baltic pantheon.
This is the "Tat Sawitur" of the C
Matand Temple in Kashmir and the Kon: Surya!
"WAMMWV
W
W
Plate - c. The Buli-Asoka's Lal (from the Author's collection)
 
 

THE CREATIVE TOUCHES OF THE CHISEL
of Sumeria and Mohenjo Daro and sold unique seals at Ur and Kish. Caravans jouTineyed through Sumeria ... wending their Way ... through the summits of Hindu Kush, detoured to Patiliputra and unbuckled at Ujjain."
In our journey, we learnt that through out the ancient World from the Nile to the Indus, from Peru to Mexico, the Sun played a central role not merely in religion but in art. The
Plate - b. The Bull with a hearded human face and Wings (fr) || 1 the Author’s collcction }
jayatri Mantra, the presiding deity of the Arak Temple in Orissa - the one and same
While traveling in the southern desert of Iraq, the linga excavated by the German archeologist, Professor Lenssen at Warka, brought to memory the linga of the Indus Valley and the Imany such icons enshrined in ancient temples.(Pl - e)
Then again, questions arose in our minds whether the pyramids with hollowed vaults and the ziggurats evolved into the

Page 21
PRoLoашБ
Plate - d Sun God Re - ancient Egypt it male figure with the head of a hawk Surrounded by the Solar Disk and two plumes (froIII, the A Luth CIT’s collectic"ITI )
derived froIII1 a Taoist appreciation of natu
Plate – e Warka in southern Iraq wher
Beijing reminded me of the calm detachme as Nataraja represented in bronze.
 
 

ater Stupas With chambercd sanctums of he Buddhist cra and whether the columns of Egypt passed through Babylon, Assyria İnıd Persipolis to finally create the Asokanı villars.
Seeing the Chinese lions in Beijing's Summer and Winter Palaces, WC wondered whether these Were derived rom Persipolis and Babylon. "Could their rtistic pedigree betraced back to Chaldean yr Assyrian arti?”
The solar motif the ziggurat, the yTamid and the stupa in Widely separated arts of the world fascinated us - were hese purely co-incidental or the result of ivilizational interaction?
In China and the Philippines, I immersed myself in Chinese painting with its traditions going back to the Tang, Sung and Ming dynasties. Chinese painting was Te and the rustic life. Chinese brushwork awareness. The Bodhisattva paintings in
calinga was found by the Germans.
int of the Avalokateswara and that of Siva

Page 22
While walking through the vario and I would frequently stop to adoringl pillars, sculptures... these were to us, a te the memorial loveliness of ages past. Time moment and the atmosphere of the past di lives of countless generations, for worsl Often I would almost hear the nadaswarar echo through a thousand years. The who would come alive giving me a glimpse into to feel sometimes that the chisel of the art care and devotion the details, “halting to r nuance,” as Zimmer would have it. Thes
in this monograph.
Most of the art pieces that I have c known to us or known through photograp they are admired and studied. The enjoy living tradition gave us a great satisfacti together in the cold winter days of some ca. sketches I have made and some of the phot make the text more real to my readers. I ha in order that I may bring my readers close
It is the meagre knowledge collec photographs that I wish to share with my
“THE CREATIVE TOUC
Sivanandini Duraiswamy June 17th 2004

THE CREATIVE TOUCHES OF THE CHISEL
is temple complexes in India, my husband I touch the crumbling facades of ancient timony to classical art - an adventure into invariably seemed to rest for an indefinable ew nearer on silent feet bringing unknown tip through shadowy corridors and halls n and thavil - the pipe and drums, a distant le temple with its entire sculptural work the mystique of the panoramic past. I used ist musthave glidedalong, chiselling with 2cord the infinitesimal form of some subtle 2 are the moments that I hope to recapture
hosen as examples to explain the texts, are hs. These seem more wonderful, the more /ment of experiencing this art as part of a on as we appreciated our cultural heritage pital or another where we were posted. The ographs that I have chosen, are attempts to lve quoted profusely from various sources, to those great art critiques.
ited over the years as notes, diagrams and eaders as -
HES OF THE CHISEL.

Page 23
其 u
به ه د م*
s'
aldapur ه سM1 Ab \
Ajanta &llora
&”ሟመkኛሥ,
láthole jayana,
Map of India - the principle
 
 
 
 
 
 
 
 
 
 
 
 
 

T E
"مي (ܓܚܬܵ ̄ܢ 》ལས། ། 'ኳ
ኣy
~عسn""حسسمبر s * ܓ
f W Ա ܢܗܘܝ¬" به حس حسیه atinduldu z i% ܕܪܚܐܟ-` ~~4్క "ടം..r 啤 2apilaastu As a
sarath Zanaras tahpufr Jihajurgha +zမ္ဗန္ဓို႔့် ...’
odh Gaya Bhgrhut 2a
A. Calcutta - اسحس
لأي *Tкоgarћ ў Ko R 1 S S 4
Bhittyvanchiør
airaik
of B E N G 4 i.
sites as mentioned in the text

Page 24
Front Piece -
Figure Plate Plate
Plate Plate
1.
a
b
C d
ILLUSTR
Nataraja, the Lord of Dance Map of India - the principa Mohenjo Daro Humped Bu The Bull with a bearded huu Khorsabad. The Bull - Asoka’s Lat. Sun God Re in ancient Egy hawk surmounted by the so
Southern Desert-Warka in Southern Iraq \
Beginnings of Iconography - Terra cotta figurine from Mohenjo Daro de An early manifestation of Iconography.
Plate Plate Plate Plate
Plate
Plate Plate Plate Plate Plate Plate Plate Plate Plate Plate Plate Plate
Plate
Plate
Plate
Plate
18
19
20
Female Goddess. The three faced figure in me Priest King. Dancing Girl. Repousse of Prithvi - Earth a Gaja Lakshmi - Bharhut. b Lakshmirising from the b Java Singasaari - Prajnapara Torso of a male. a - e Steatite Seals with ani fand g Harappan Museum. Sanchi railing pillars at the Lingotbhava murti - Harsha Plain linga - Elephanta Cav Mukha linga - Pattadakal. Chatur mukha linga – Nach Sivalinga - Gudimilan. Plate — Mahabalipuram. a Indra Bhaja Vihara. b Surya -- Bhaja Vihara. a Indra in the railing pillar
b Surya on the railing pillar,
Siva as Nataraja with four a a Gandhara Buddha. b Buddha of the Gupta peric c Buddha - Anuradhapura. d Head of Buddha 3rd centu Map of India - Gupta perio

THE CREATIVE TOUCHES OF THE CHISEL
ATIONS
sites as mentioned in the texts. l.
man face and wings Ninevah and
t- a male figure with the head of a ar disk and two plumes. vhere a linga was found.
oicting Indian feminine beauty
'ditation.
Goddess - Laurya.
ed of the ocean- Mahabalipuram. mita — Java — 13th century.
mal and human symbols – Indus Valley.
2ntrance to the stupa.
glr1.
CS.
a. : 16 - Trimurti Cave Sivalinga shrine
Bodhgaya. second from top - Bodhgaya. Tms – 11th century - Polonnaruwa.
id - Bodhgaya.
ry - Amaravati l.

Page 25
LUSTRATIONS
Plate 21 - Eka mukha linga - Khoh. Plate 22 - Head of Siva - Sarnath. Plate 23 - Early Gupta sculpture - 42
Two Metal sculptures - Plate 24 - Dancing Girl -Indus Valle Plate 25 - Sivakami, Consort of Siva
Speaking of Architecture Plate 26 - Lomas Risi Cave. Figure 2 - Root symbols in Indian Ar Figure 3 - Adaptation of the trefoil a BC Figure 4 - Adaptation of the trefoil a
Figure 5 - Dhanur or arrow, arches ba Figure 6 - Lomas Rsi Cave third cent Figure 7 - Dhanur 7th century AD - N Figure 8 - Trishul adapted in architec
Figure 9 - Trikon and Meru - Sun Tel Figure 10 - Trefoil Arch in a trikon - S Plate 27 - Gangavatarana Temple - ( Figure 11 - A Yagna - a Vedic ritual. Plate 28 - Chariot of the Vedic era ar Plate 29 - Siva Temple doorway - De Figure 12 - a Temple Plan-based on
- b Temple Plan — Yoga cen Plate 30 - Temple Towers — Nagara,
- a Nagara style - Khajurah - b Dravida style - Mavidda - c Vesera style - Ittagi. Plate 31 - 1 - 5 Forms of early temp Plate 32 - a – Ladkhan Temple 5th ce b - Durga Temple 6th cent Plate 33 - Gupta temple - No. 17 - 5 Plate 34 — Jabbalpur Temple 5th cen Plate 35 - Kapoteshwar temple 4th ( Plate 36 - Siva Temple 6th century – Plate 37 - Dravidian architecture - G Plate 38 - Northern architecture - Ki
Temples
Plate 39 - Southern gopura of the ter Plate 40 - Hanamkonda Temple - Ka Plate 41 - Sivalaya Temple - Malegit

25 AD - Surya Gwalior.
у
— Polonnaruwa.
t.
"ch in Buddhist architecture 3rd century
- Bamiyan.
"ch in the Bhutanath Temple - Himachal
Pradesh.
ased on it.
ury BC - Barabar Caves.
Mahabalipuram.
tural motifs. mple, Martand - Kashmir. un Temple, Martand - Kashmir. bn the bas relief- Mahabalipuram.
ld the curvilinear tower of the temple. 2ogarh.
the human figure. tres and temple halls. Dravida, Vesera.
O. puram, Sri Lanka.
les.
ntury –Aihole.
ury — Aihole.
th century - Sanchi
tury - Tigawa.
entury - Chezarla.
. Deogarh.
ateway of Tiruvannamalai radu Someswar Temple – Rajasthan.
mple - Madurai akatiya group of temples - Andhra Pradesh Eti.

Page 26
Plate
Plate
Plate Plate Plate Plate
Plate
Plate Plate Plate Plate Plate Plate
Plate
Plate Plate Plate
Plate Plate
Plate Plate Plate Plate Plate Plate
Plate Plate Plate Plate Plate Plate Plate
42
43
44
45 46 47
48
49 50 51 52 53 54
55
56 57 58
59 60
61 62 63 64 65 66
67 68 69 70 71 72 73
Temple at the edge of the l Bhutanath Kailasanath and Mallikarju Nagara styles - Pattadakal. The Virupaksha Temple. Sculptural figurines on the Kailasa Temple - Ellora. a The sculptured plinth Sup Ellora. b Ravana attempting to mo a Shore Temples illustratin Mahabalipuram. b Rathas - Mahabalipuram Bas relief - Mahabalipuran Koranganatha Temple, a st Vimana, Brihadishwar Te Gangaikonda Cholapuram Nataraja in the Tanjore Ter a The multi tiered gopura
Chidambaram. b The golden canopy of th Dance panel, a sculptural r Chidambaram.
Siva as Bikshaatana - asc Siva as Gajsamhara Murti Nritta Sabhai - a graphic r. Nandi — Tirupenkur Vijaya Vittala Temple with
Vijaya Vittala Temple Ston
Intricate carvings of the Vi Southern gopura - Madura The lotus pond, Meenaksh Triple Shrine, Keshava Ter Kaumari, Hoysaleshwar Te Temple Towers - Bhubane
a Lingaraja Temple - Bhu
b Mukteshwar Temple.
Black Pagoda Temple - Ko
Black Pagoda Temple, Sun Black Pagoda Temple, det Kandariya Temple - Khaju Mahadeo Temple - Khajur Erotic carvings
a Erotic Motif, Panchachu

THE CREATIVE TOUCHES OF THE CHISEL
ake with a boulder looming above -
una Temples representing Dravida and
Virupaksha Temple pillars.
ported by elephants Kailasa Temple -
ve Mount Kailash - g the inter-change of symbols -
l. mall temple of the early Chola period. mple - Tanjore.
mple. with a barrel vault and fan shaped arches
e Sanctum — Chidambaram. epresentation of Bharata natya poses -
ulpture - Chidambaram - a sculpture - Chidambaram opresentation
Narasimha.Temple — Hampi. e Chariot — Hampi. jayanaga rulers — Hazra Rama Temple
1
i Temple - Madurai. mple - Somnathpur.
imple - Halebid.
shwar.
baneshwar.
narrak.
God Surya-Konarak.
ils in the scrolls – Konarak
raho.
aho.
da 1st century BC - Tamluk.

Page 27
LLUSTRATIONS
b Erotic Motif, Mother Go Plate 74 - a Martand Temple, the ruir - b Martand Temple, typicall - c Surya in one of the niche Plate 75 - Pandrethen Temple - Kashr Plate 76 - a Payar Temple - Kashmir. - b Siva’s dance, Payar Tem Plate 77 - a Shyam Rai Temple — Vis - b Jorbhangla Temple — Vis - c Jorbhangla Temple pana Plate 78 - Prambanan - Java Plate 79 - Tjandi Punta dewa, Dieng - Plate 80 - Tjandi Bima, Dieng - Java. Plate 81 - Prambanan greatest archite Plate 82 - Tjandi Siva. Plate 83 - a Prambanan Motif.
- b Siva in relief-Java. - c Ganesha — Java. Plate 84 - Linga at Phnom Kulen — C. Plate 85 - Angkor Wat — Khmer tradit Plate 86 - a Apsaras — Angkor Wat
- b Bas-relief-Vishnu enth - c Harihara — Siva and Vish Plate 87 - Angkor Thom—Bayon – K Plate 88 - a The Causeway
- b. Freize in three tiers - Ba Plate 89 - Siva Temple at Banteay Srt Plate 90 - Entrance - Banteay Srei Plate 91 a Siva and Uma
b Lakshmi in Prasat Krava
Sri Lankan Contribution — Polonnaruw - A Polonnaruwa Bronze Plate 92 - Siva as Nataraja, Adavallal Plate 93 - a Siva as Nataraja, Adavall
- b A Third Representation Plate 94 - Sivakami. Plate 95 - Somaskanda murti with Un Plate 96 - Chandeshwar and Surya. Plate 97 - The four Saiva Saints Plate 98 - Sundaramurti Plate 99 - a Siva Devale II.
- b Siva Devale II. Plate 100 - Recent discoveries—Siva

ldess 2nd century BC - Rajgir. s of the Surya Temple - Kashmir.
Kashmiri in style.
S
nir.
ble — Kashmir. hnupur hnupur el - Vishnup
Java.
:ctural achievement - Java
ambodia. ions - Cambodia
roned on Garuda
Ul hmer traditions - Cambodia
yon
i - Cambodia
a Period.
on the tiruvasi. an without the tiruvasi.
of Siva as Nataraja
la.
as Sandhyamurti, Nandi, Consort of Siva

Page 28
10
Sculptures
Plate 101 Plate 102 Plate 103 Plate 104 Plate 105 Plate 106 Plate 107 Plate 108 Figure 13 Figure 14 Plate 109 Plate 110 Plate 111 Plate 112 Plate 113
Plate 114 Plate 115 Plate 116 Plate 117 Plate 118 Plate 119 Plate 120 Plate 121 Plate 122 Plate 123
Plate 124 Plate 125 Plate 126 Plate 127 Plate 128 Plate 129 Plate 130 Plate 131 Plate 132 Plate 133 Plate 134 Plate 135 Plate 136 Plate 137
Saint Chandesa Ganesha - Hoysala Kiradu sculptures Ganesha tenth century - Ke Ganesha - Jageshwar Ganesha - Pandrethan, 8th Dancing Ganesha — Madhy Ganesha in terra cotta, 3rd I Ganesha in stone, 6th centu An unusual Ganesh - Camb Sketch - the cosmic Dancer Nataraja in shatkonam. Natesa in the urdhvajanup Natesa - Nellur. Natesa in the chatura pose. Vishapaharana - Kilappuda Dance of Siva - the arch is Bhubaneshwar
- Dance of Siva; Siva with te
Tandavam Dance - Elephar Tandavam Dance - Ellora. Dance of Siva; Siva with ei Siva as Gajasamhara murti Siva as Vrishbavahana - Ai Siva as Tripurantaka - Kail Dance of Siva with ten arm Siva as Maha yogi — Gupta a Sri Yantra. b Siva and Parvati - 'thege Parvati in the Rajalila pose Parvati - Kuruvatti. Parvati - Belur Parvati as Uma depicting H Parvati as Uma - Ceylon.
Ardhanarishwara Paraasura
Ardhanarishwara in stone 7 Ardhanarishwara in bronze Ardhnari Tiruvendkadu — T Ardhanarishwar - Khajurah Parvati with Kalyanasunda Siva as Kalyanasundar - Va Vrishabavahana deva and U The marriage solemnised b

THE CREATIVE TOUCHES OF THE CHISEL
dareshwar Temple, Orissa.
century - Kashmir.
a Pradesh. century - Kurnool Andhra Pradesh ry – Baroda
podia
an image of antiquity.
Dse - Kurum.
- Tiruvarangalam.
l. replaced with two serpents -
in arms - Bhubaneshwar.
ta.
ghteen arms - Badami. - Perur.
hole. asnath Temple, Ellora.
S
art – Deogarh Temple
enerative embrace. - a relaxed posture.
er fast.
meshwar Temple - Bhubaneshwar 'th century - Mahakuta Temple. , Chola period 11th century. anjore Museum
LO.
r - Tiruvengadu.
dakkalatur. Jma Parameshwari - Tanjore. y Vishnu - Madurai

Page 29
ILLUSTRATIONS
Plate 138 - Plate 139 - Plate 140 - Plate 141 - Plate 142 - Plate 143 - Plate 144 - Plate 145 - Plate 146 - Plate 147 - Plate 148 - Plate 149 - Plate 150 -
Plate 151 - Plate 152 - Plate 153 - Plate 154 - Plate 155 - Plate 156 - Plate 157 - Plate 158 - Plate 159 - Plate 160 - Plate 161 - Plate 162 - Plate 163 - Plate 164 - Plate 165 - Plate 166 - Plate 167 - Plate 168 - Plate 169 - Plate 170 - Plate 171 -
Plate 172 -
Marriage of Siva and Parv, The Divine Couple, Siva a Trimurti Elephanta Trimurti - Pandrethan, Kas Maheshwara murti - Baran Maheshwara murti - Parel. Brahma - Java. Vishnu - Java. Trimurti of Cambodia Sri Krishna playing the flu Vishnu - Mahabalipuram. Vishnu as Narasimha - Ell Vishnu as the Cosmic Boa Udayagiri. Vishnu Anantasayana 6th Vishnu on the coils of Ana Vishnu - Taxila. Vishnu as Lakshmi Naraya Vishnu Chaturana-Kashm Trivikrama - Bengal. Durga as Chandi in bronz Durga — Rhavana Phadi Ca Durga as Mahishashru Ma Durga as Mahishasura Ma Durga as Mahishasura Ma Durga as Mahishasura Ma Karttikeya as Murugan The Mahamantra — Sa Ra ' Majestic gopura -Tiruchel The youngwar God 6th ce Karttikeya Image — Puri. Khmer Skanda 7th century A rare sculpture - Java. Karttikeya 5th century - K Gupta sculpture of Karttik Karttikeya from the Guime Vishvaroopa of Murugan —

11
ati - Ellora. nd Parvati - Orissa.
hmir. nulla, Kashmir.
te - Hosaleshwar
Da. r rescues Mother Earth 440AD -
century - Deogarh. nta - Badami.
una - Hoysaleshwara Temple. nir.
2 - Java.
ve - Aihole |rdini - Durga Temple, Badami. rdini - Ellora.
rdini - Mahabalipuram. rdini - Vaital Deul panel, Bhubaneshwar.
Va Na Ba Va. ndur. intury — Badami.
of Cambodia - Guimet, Paris.
ashmir eya 4th century — Bharat Kala Bhavan et Museum, Paris - Rajagopura -Tiruchendur

Page 30
12
BROAD CHRONOLOGICAL 7
10
11
12
13
14
15
16
17
(as mentioned in
Indus Valley Culture 2500 - 1700 BC Vedic Culture 1500 - 700 BC essenti The period, when life became organi The period being known as Mahajan History begins with archaeological n This includes the emergence of the M Mahavira. Mauryan Empire 325 - 185 BC bases stupas, chaitya halls-the Asokan era, Sunga Empire 185 - 72 BC based on railings and gateways. Satavahana Empire 70 BC- 200 AD India and Amaravati and Nagarjunak Kushana period 1 - 176 AD based or Buddhist Gandhara School of Sculpt Augustan Age of the Guptas 320 - 6( Sanchi, Bhumara, Deogarh and fresc Ellora. The classical concept of sculpture ur became medieval around 700 - 800 themselves in their respective areas. Karkota Dynasty - Kashmir around 8 Pala and Sena Dynasties 730 - 1250 Orissan School around 1000 AD. Chandella Dynasty - Bundelkhand S Solanki Dynasty - Kiradu temples - Kakatya Dynasty - Ramappa Temple Malla Dynasty - Vishnupur temples. Kingdoms of the DeccanChalukyan Empire - about 550 - 80 Badami and Pattadakal and the Bud(
Ellora. Rashtrakuta Dynasty - 757-973 AD

THE CREATIVE TOUCHES OF THE CHISEL
ABLE OF THE ART PERIODS the texts).
' of Mohenjo Daro and Harappa. ally reflected in the Vedic texts. sed into kingdoms and republics; apada period 700 - 400 BC.
hOnumentS. Magadha Empire of Gautama Buddha and
i on the stone carvings, monolithic pillars,
Bharhut and Sanchi with sculptural
based on the Chaitya halls in Western onda in Eastern India.
the Mathura School of Sculpture and the
C.
)0 AD based on the stone temples at oes and chiselled stone at Ajanta and
der single dynasties in India, gradually AD with regional trends asserting
300 - 900 AD. AD of Bengal and Magadha.
chool -1000 - 1200 AD.
1100 - 1300 AD. s of Andhra Pradesh.
0 AD based on the temples at Aihole, hist, Jain and Hindu cave temples at
based on the Siva temple at Elephanta and

Page 31
TABLE
the Rock cut Kailasa temple at Ellora Eastern Chalukyas of Vengai - in Anc Hoysala Dynasty 1111 – 1318AD bas Vijayanagar Dynasty 1350 - 1565 AD 18 Kingdoms of the Tamils further Soutl Pallavas of Kanchi 600 - 750 AD bas Chola Dynasty of Tanjore based on th Pandyan Dynasty 1110 - 1350 based Tiruvannamalai and Sri Rangam The Nayakkas 1565 based in Madura (Partly based on V.S. Agrawala's - The He

13
hara around 700 AD.
ed on Halebid and Belur. ) based on Hampii.
ed on the stone temples at Mahabalipuram he temples and bronzes of South India. on the temples of Chidambaram,
i. ritage of Indian Art).

Page 32
14
Lord Silva 5wirling it
 

THE CREATIVE TOLICHES OF THE CHISEL
hTough the CSIT108

Page 33
IVTRODUCING
THE CREATIVE TOUC (Hindu Sculpture and Arch
pparstoodinrapture with th His cosmic dance in the s apt stillness, a Voice was
Muththane Mudalvaa, Til Aththaa! Un aadal kaanpa
“Obestower of freedom, O Prime of Tillai, it is to see Thy dance that Thy b Appar’s earnest desire was to be released
perceived the dance of creation, his reactic earth, if only I were to see Thy feet raisec
The image of Nataraja, a veritab. all inspiring not only to Appar but to m ecstasy. This figure was not just an image a perfect piece of art. Tradition has it that would behold the Lord dancing. Some cap and sang the immortal hymns while othe built magnificent temples in His name.
The image of Nataraja in a sense the sculptor was to portray something m were no ordinary sculptors, handcrafting immortal.
The key expressions of art are arc and literature. Poetry, music and sculptu Visnudharmotra Silpa texts recommend th before attempting representational art. “ of Indian classical dances are witnessec sculpture.”
Like space, music and poetry are a and painting, two-dimensional. Architec

HES OF THE CHISEL
itecture)
nemagnificentvision of Lord Siva performing acred shrine of Chidambaram. Through the heard enquiring why he had come.
llai ambalaththaadukinra in adiyanen vandhavaare.”
val One, O Father who danceth in the Hall bondsman has come thither, was his reply. from the cycle of births. However when he on was, “O Lord, I would welcome birth on
in dance.’’ ܗܝ
le poem in bronze (Front Piece), has been any other devotees transporting them into in bronze, but a vision of the cosmic dance, as the pilgrims stood in deep prayer, they tured this experience in the rhythmic word 'rs portrayed it in sculpture, in painting or
2 is the epitome of Hindu Art. The aim of ore abiding than the fleeting. Such artists pieces of art. They were rishis whose art is
hitecture, Sculpture, painting, music, dance, re have a common root with melody. The at one be conversant with music and dance It is no accident that rhythm and posture l in the arrangement of figures in Indian
all dimensional, sculpture three dimensional ture is the ensemble of all these. A poet,

Page 34
16
sculptor, architect, musician, dancer or pa
The underlying ethos of Indic ar. Vedic traditions. An introduction to ph Fergusson remarked, “The imperishable carvings could be appreciated only as the ( a clear understanding of the intellectual through different ageso is important. Hir lovely vignettes of mythology and art.
The aesthetic and the spiritual are spiritual tendency of the Indian does not sh
and the intangible; it casts its rays downwa of thought and the richness of life.'
Shelley viewed life much like Ad "Life like a dome of many colour Stains the white radiance of Eter
An art critique explains that art is Radiance of Eternity shines. When this wh sculpture or painting it is known as art. without a medium, it is known as religion
Ananda Coomaraswamy, succinc religion in the words, Religion and art are t - an intuition of reality and identity.
Hindu philosophy describes Trut as being the expression of the Highest Be Truth. This makes art religious. The glory great painting, the suppleness and sensitiv in temple structures, have a beauty in the the expressions of the Invisible, opening c
Sri Sankara in his commer Ishwara as being the inner theme of all ar God as beautiful and blissful." The Bhag Sundara, the cosmic beauty, and Saint M giving a perception of the Infinite ecstasy.

THE CREATIVE TOUCHES OF THE CHISEL
inter convey sentiment in tangible forms.
t could be traced to the Indus Valley and ilosophy is necessary to appreciate art. records on the rocks or on sculptures or xpression of religious faith.” Furthermore, currents, which governed the art of India du thought itself is the provenance of the
thus related. Sri Aurobindo explains, “The hoot upward only to the abstract, the hidden ard and outward to embrace the multiplicity
vaita, ed glass
nity."
the many coloured glass through which the hite Radiance is seen through music, dance, When the Radiance is perceived directly
tly sums up this closeness between art and thus names for one and the same experience
h as Beauty. Sri Aurobindo speaks of art auty similar to the Best and to the Highest of dawn or dusk, the colour and line of a ity in sculpture, the grace and magnificence m, which stills the mind. These are indeed loors to Eternity.
itary on the Brahma Sutra speaks of God or t, while the Aiytreya Upanishad describes avata Purana portrays Brahman as Buvana
anikkavasagar refers to God as 'Ananda, 8

Page 35
INTRODUCING THE CREATIVE TOUCHES OF THE CHISEL
Havell writes, “Indian art was c flashed upon the Indian mind that the soul Soul, the Lord and Cause of all things. It Vedas and Upanishads and though in succ were founded in Persia, China and Arabi: great philosophical conceptions has not c from that time to the present day.' He ac note of Hindu Art, as it was of the art of F1
Wordsworth describes the divine a while in the bliss of solitude. Hinduism t the universe. In the stillness of the mind, in silence. One is blessed with the intuit Benedetto Croce states that the true artistn having previously seen it in his imaginat quote Sukracharya.' "The artist should at spiritual contemplation only. The spiritual him. He should depend upon it and not u senses...'
We learn in the Agni Purana, that next he meditates in order to sharpen his to be blessed with the grace of expression. verses to help the artist. These help him portray.
Fortified with such prayers, the ar Thus a true artist is also a mystic. In his every rock. His talent merely frees it. This of a disciplined mind. Such art gives aes the beholder as well. This is referred to as within. To quote Oscar Wilde, “The good it.' .
Hindu art is not concerned with colour. Instead, it focuses on the transce exist except as a creation of the spirit an spirit.”
Architecture is said to be the n of the immanence of God or Ishwara. Th

17
onceived when that wonderful intuition fman is eternal and one with the supreme ook upon itself organic expression in the 'eding centuries other intellectual centres , the creative force generated from those 2ased to stimulate the whole art of Asia ds that spiritual contemplation is the key a Angelico and other Christian masters.
appearing, to flash upon the inward eye, caches that the still mind is the mirror of eace comes through man's ability to hear on to see the Infinite beneath the finite. ever makes a stroke with his brush without ion - an intuition sharpened by faith. To tain to the image of the gods by means of
vision is the best and truest standard for pon visible objects perceived be external
che sculptor first masters the rules of form; vision, its exact shape and expression and There are dhyana slokas or contemplative to understand the deity that he wishes to
tist would chisel the figure with devotion. vision, a graceful image is hidden within xperience of the beautiful is the fulfillment ihetic pleasure not only to the artist but to rasa anubhaava, an experience from deep we get from art is what we become through
mere beauty in finite terms of texture and dent. "For the Indian mind, form does not draws all its meaning and value from the
atrix of civilization. Hindus think in terms world itself is an immense shrine to God.

Page 36
18
The sanctum of the temple, the garbha-gr its tower, the vimana or gopura, is the Co
Temple architecture is the visible visible symbol of the strivings of man to devotion but an object of devotion in its o' of the cosmic man. The axis of creativity nature, the builder and the monument.
The Hindu temple is the total form murals. The temple is a symbolic monume Stapati is the one who builds the temple. sculpture and painting but has a knowledg into the plan of the building and melody i Their proportions and those of the temple c underlie the visible, moving universe,” wr
Successive waves of civilizational first wave was the Buddhist art of Amarav Hindu-Buddhist art of the Guptas of north art of the Pallavas; the fourth was Pala art art specialising in bronze work. These civ and South East Asia.
While these lands owe much of w Buddhist ideal, yet their culture of extrao own people. The ideal in Indonesia and indigenous. The Gupta, Pallava and Pala artistic genius second to none, distinguish supreme harmony and a tendency to the ly exquisitely so, to the forms and nuances ol
In the words of Sir John Marshal know but half its story. To apprehend it to Buddhism to central Asia, China and Japa and breaking into new beauties as it spre must gaze in awe at the unexampled grand In each of these countries, Indian art enco local environment and under their modifyi
Indic art and architecture flourishe Hindu and Buddhist temples with the (

THE CREATIVE TOUCHES OF THE CHISEL
ha, is the miniature womb of divinity and Smic Personae.”
outer form of the invisible deity. It is the
attain Moksha. It is not only a place of wn right. The temple is the representation is based on the interaction of man and
of Indian art - architecture, sculpture and nt built in the likeness of the universe. The He is not only proficient in architecture, e of dancing and music to “infuse rhythm nto the dancing postures of the sculptures. onform with the mathematical rules which ites Stella Kramrisch.
expansion inspired different regions. The 'ati in Andhra; the second was the classic India; the third was the Dravidian Hindu with its origins in Bengal and finally Chola ilizational undercurrents influenced South
that is best in their traditions to the Hindu rdinary beauty reflects the genius of their Cambodia is Hindu but the expression is styles inspired Javanese art, which is an ed by a perfect inner balance, a quality of rical idyll. Javanese sculpture is sensitive,
the native style....'
l, to know Indian art in India alone is to the full, we must follow it in the wake of n; we must watch it assuming new forms ads over Tibet and Burma and Siam; we eur of its creations in Cambodia and Java. unters a different social genius, a different ng influence it takes on a different garb.'
din South East Asia as seen in the colossal laborate sculptural scrolls in Indonesia,

Page 37
LLLLSLLLLLLHHLLS LL LL LLLLL LLLLLLLLSK LLLL LLL LLLSLLLK
Cambodia and Burima. The desigil alld a II Indian cosmological beliefs,
In summarizing, three characterist special. Firstly, it is religio Luis in content. W walls, the devotional aspect of bhaktipleTV for the meaning of life in an attempt to conc it is defined by distinct iconographic tradi the drum and fire in Nataraja signify the c The eagle Garuda holds the Snake symboli
Hird. At leads one into the fire "renders in eloquefit visual forms the 'h Fakira "- Zer
Notics " "Inimiththa mudaya cduththa portpatham kanappetr Maniththa pirawiyum venduvathe intha manilatht Appar belonged to seventh century AD and was c "Thirunavukkarisu' the king of speech, by the LC Saint Kumaragutuparit sangin one instance that Lord's dance, then salvation would be assured"Nathanarseiyum adam Oru kalkubittal kood Prof. Asokkumar Bhattacharya - Historical Sury Havell - Ideals of Indian Art, p. 4 Origins of India * Si Aurobindo - Foundation of Hindu Culture.
Ananda Collaraswamy - The Dance of Shiva - 1-1:20-21. " 11-7: 111-f * The TiTLL'wlsalgalı II. " Hawell - Ideals of Indian Art and Art and Philoso "Sukracharya - is the reputed author of Sukranitis: politics on art and architecture - from Sir P. Aru II Croce = A esthetic p 162: 168 as in p 191 of Dan Sri Aurobindo - The Foundation of IndiaT Cult Llr I immer - The Art of Indian Asia p 134. - Pundit Nehru qLoles Sir John Marshall while con on Old Indian Art, in the Discovery of India p 17

19
'chitecture of these temple cities eII body
ics make Hindu sculpture and architecture hile secular scenes are depicted in temple ades them. Hindu art highlighted the quest retize abstract concepts in stone. Secondly, tions. Thirdly, it is symbolic. For ex osmic rhythm of creation and dest Litt. zing the tension between sky and ocean.
EFF do777air 7 of its pey'e 77 77 ial philosophy" ar 7 d ‘ole 77essage that Il 7 dia holds ir 7 keep for
al
hic" sang Appar.
"allcd
Id Hill self. if he was able to worship just once the
ITT1 kH!hĩ.’’ cy of Indian Sculpture. III.
p58
hy pi fi Ira - the clements of polity which deals with besides
chalais. Sulis And Tra Islations 80
e of Silva.
ep 211
1 Terting ".

Page 38
BEGINNINGS OF CONOGRA
Hindu civilization sought man perfection and the expansion of his consci This was its chosen path. Through the vic of history, the sculptor transformed his rock, stone or metal to give supreme ex to what is permanent and universal in m. chiselling his perennial vision of serellity passion or devotion into it,

THE CRT ÁTTYETLLLIIL: CF THE CHISEL
PHY
's inner
LoLISIness.
is sit Ludes mediumpression an while
, power.
Tel Tacotta figurine of Irother-goddess from Mohenjo Daro - an early Illa nifestation oficinography depicting Indian feminine beauty. frill the Author's collection

Page 39
BEGINNINGS OF ICONOGRAPHY-INDUS VALLEY CULTURE
he Hindu viewed beauty as expression was either ston Ellora, Mahabalipuram and
on a vast scale. Those Sculptures adorning whole and have to be studied as such.
The sculptural traditions span quality is its emphatic plasticity. Whether to the sculptor's chisel bringing out exqu religious significance. The understanding C appreciation of Indian art. The substratum of Nature played an important part in a with leaves and flowers, the mother-godd perennial motifs and the forerunners of ico
Indus Valley Culture
Indian history starts with the urba Mohenjo Daro and Harappa. Amri, Kot Di of civilization in Sindh and Baluchistan. TI from 2500 BC or earlier and specialized i architecture and irrigation. Cities were c. brick houses and canal systems. Trade w Indus Valley civilization included seventy an area of 500,000 square miles. Excavati with Sumer. It was in part a maritime civili Dor reveal. The Indus Valley people had a that is yet to be deciphered. The standardw ofarithmetic.
The brief outline of Hindu art sh civilisation of Mohenjo Daro, Harappa, Kal BC. This was the dawn of history in the Inc mentally was itself a pilgrimage for me - a ancient civilization, in search of the origi which are seen in those sites. The ruins and a people who produced their crafts with ce
The Indus Valley culture is unique

21
an attribute of God. The medium of artistic e or bronze. The rock-cut architecture in d Angkor were stone carvings and panels architectural buildings become part of the
five thousand years. Its distinguishing the material was soft or hard, it yielded isite forms and figures. Art always had a of Hinduism and Buddhism enriches one’s
of folk beliefs dedicated to the veneration esthetic development. The lotus, the pot less, yakshas and yakshis are some of the inography.
n centers in the Indus region that predated ji, Zhob, Nal and Kulli were early centers he successor Harappan culture flourished n metal work, urban planning, brick built onstructed on a chequer-board plan with as carried on along the Indus river. The different archeological sites spread across ons along the coast attest to a brisk trade zation as the ruins in Lothal and Sutkagen a pictographic script of four hundred signs reights and measures indicate a knowledge
ould therefore start with the Indus Valley ibangan and Lothal in the third millennium dian sub-continent. Visiting Mohenjo Daro spirit that had come to see the ruins of an ns of the symbols and designs of Indic art I the artifacts speak of the rich creativity of nsummate realism.
with its as yet undeciphered script, urban

Page 40
2
2
planning and religious beliefs, Hinduism h The unearthed fragilents reveal that the r progenitor of Hinduism." The art of this cu sculptures, is rich in material and elegant seems to hawe infused vitality and life in indicates considerable development overt
The art history of the Indus valley BC. A number of terracotta figurines ex Baluchistan, confirin that peasant culture the fou "freshme all prir earlies LInsophi Cof India elaborat the figu
TT: 11 " fascinati like the The pre into the
Plate 1 Fernal Goddess Iեiւ]
*
The plastic art of the peasant cultures developed maturity over the centuries. This evolved into the urban art of the Indus civilization. A number of freinale statuettes, (Pol - 1) the Sapta Matrikas, he linga, the meditating deity (Pl - 2) With three faces suITounded by animals, a torso of a figure with an androgynous body, a beautifully sculptured Priest King' (P - 3), a copper statue of a slim
 
 

THE CREATTVETIUCIIEs IF THE CITSEL
as its roots in Mohenjo Daro and Harappa. :ligion of the Indus people was the linear lture, though confined to stone and copper in style. At the dawn of civilization man o the small statues. The Inaturity in style |11t:
begins well before the second millennium avated in the Zhob and Kulli areas of is evolved in these areas as far back as rth millennium BC. These revealed a SS and naive approach, characteristic of Initive' art. The female figurines are the extant remains of sculptural art. Though sticated in technique, they mark the start In sculpture. While modeling is coarse, c ornaments and hairstyles characterise rines. The eyes, nose, navel, breasts and its are fashioned by separate pellets in the ing appliqué technique. Animal figurines bull were objects of popular reverence. -historic pottery of Baluchistan evolved painted pottery of the Indus Valley.
Plate 2 Three faced Figure in Meditation Iիլմ

Page 41
mLLLOOOLOLOL OLLL LtLGLLGLOLOY KLLLLS SSYS LLL S S TLLLL LL L LLLSL LLLLLL
Plate 3 Priest King
il
figurine in a dance pose (Pl - 4), a torso nine Figtree leaves, pictographs demonst important symbols and decorative designs contemporary attire and ethnology, namel narrow forehead and eyes.
Hindu
the pri Ting-st animal all bheir as Ard religio'|| Indian
living
W A. W. W
W
PII: 5 Prithvi Lauriya perSIsti Courtesy A1 and Architecture of India- figure
BeEıj:u11ıir1 R O'WlaIld the eig
 
 

23
/*/
Plate 4 Dancing Girl (from the Author's Collection
of a male dancer, a square form of seals, rate a high degree of excellence. They are . The figures reveal interesting details of y the flat cheekbones and broad nose, the
These figures have counterparts in later worship. The female figure is linked to Inordial mother goddess, the linga and the One to Siva-Sakti, the delity suITounded by s to that of Siva, as Pashupati, the Lord of 1gs and, the composite male-female image hanaarishwara. "Takel as a whole, the nofthe Indus people, isso characteristically as hardly to be distinguished from the still Hi Ilduis IT.” Ibbiser Wes Marshall.
The concept of the mother-goddess ed in the Hindu tradition. A gold repousse of a nude female (P - 5) belonging to hth — sewenth centLITries BC excavated i II

Page 42
24
a tomb at Lauriya Nandangarh could W. hymn in the Rig Weda confirms this in the gracious Prithvi: that Ilaiden, soft as Wool abode of destruction." Prithvi, the mothe: cases, she is the goddess of fertility, por nude with narrow waist and flaring hip: longish arms depict mudras, which dewi gradually through the ages into a compl in dancing. Her face is expressive and a to smile; her hair is parted at the centre provides the link between the Indus fig ald the Selmi-Tlude femimile forms of Bh Sanchi and Mathura.
The female terra cotta figurines Indus Valley civilization re-emerged at : age bestowing blessings on devotees. Chawla Writes that "the Indus Walley i
f___ க ே A FAKTUARقق
險
Plato 6 b Mahabalipuram Lakshmirising from the bed of the ceilin bid
To this day Hindus represent her in the Sanchi might have Well evolved out ofon is portrayed as an upside-down nude figu navel. Almost a tholisand years later, Gaja as rising up from the bed of the ocean se: "gracious and radiant beauty with a touch
In the iconography of Mahayana
 
 
 

TIL CRITIL TOLICILs F THE CHISE.
ill be the Earth Goddess Prithvi. A burial Words - "Go to thy Mother, this earth, the to the pious, Ilnay she protect thee from the r-goddess takes care of the dead. In certain trayed S. Het cloped
ppears . This
LI Times
1arh L1t,
of the
lateT
Janet Plate 6 a Bharhui GaiaLakshmi 2 – si emale century BC Courtesy Myths and Symbols
of Indian Art immer
figures symbolize the power of female awa Teness and consciousness ... To me these female terracotta figures with elaborate head dresses indicate feminine shaImaTnic poWecT.""
The goddess is referred to as Sri or Lakshmi and linked to the lotus ill the Sri Sukta of the Rig Weda, She is the consort of Wishnu where she represents fertility and prosperity. She is portrayed as Gaja Lakshmi flanked by elephants (Pl – 6a) in the sculptures of Bharhlut and Sanchi belonging to the first century BC. same form. The Lakshmi of Bharhut and of the Harappan seals where the goddess re With the lotus plant arising out of her Lakshmi was portrayed in Mahabalipuram ated oil a full-blow I lotus. Here she is the of the eternal femininess" (P1-6b).
Buddhis III, the characteristic pose of the

Page 43
LLLLaaaLaaaaL0 LLL LLLLHELkLLLSLLLLaaK SSS LLLLC SL LLTLLLLLLL LLLL L LLLLLL
al
Plalle 7 Jawa SingSaari — Prajnaparamitra
13th century eX frill the Author's collection in
pla perfection nearly unsurpassed even by til Iqbal Singh." Art critiques trace the form, twelfth century South India to this figurin of aesthetic continuity.
Referring to the androgynous fig. remains, Radhakamal Mukerjee says. " modeling that blends a profound sense of of the soft quality of flesh in stone IIlal Sculpture. The male-female combination well be the prototype of Ardhanarishwara where masculine and feminine principles
The meditating three faced deity's and deer is remarkably similar to the th animals (P1-2). The deity is presented in
There is also the torso of a figure i missing. Circular movement is indicated fri
 

25
oddess with the lotus in her hand is -produced as Prajnaparamita (Pl - 7) the amale personification of wisdom, Here she ; the consort of the transcendent Buddha.
The copper figurine of the "dancing irl” excavated in Mohenjo Daro is slender, triking and sophisticated (Pl - 4). She sets he nons of feminine loveliness in Indian rt. The gliding curves and clear-cut planes f the back, the hips, the buttocks and the ags give the body a sense of movement. he girl is nude except for a necklace, angles and a complicated coiffure. She as one hand on her hip while the other olds a castanct. This gives the figure a efinelinent and reappears in later Chola Ironzes. She is the dancing girl perhaps the "dewa dasi" of a lateT period ** ... in he subtle comprehension of the dynamic pression which forms, as it were, all isible background to her whole frame, stic representation achieves a quality of he medieval South Indian bronzes," says posture and grace of Goddess Parvati of e suggesting at least three thousand years
ire from Harappa of which only the torso The simplicity and dynamic quality of volutile and movement with the perception kes it one of the masterpieces in Indian of the entire body suggests that this IIlay — the composite image of Siva and Parvati blend into one."
surrounded by a tiger, elephant, rhinoceros ree-faced Siwa as Pashupati, the Lord of the yogic lotus pose.
in stone where the head, hands and legs are om the position of the head, thorax and hips.

Page 44
Plate 8 – Limesline torSC Cofu II nale: froIII Harappa depicting a dance
|1|Լյել:T11ւ:Iլլ
The artist has inf which is barely a f it." Heinrich Zin it resembles Lor actual connection possession of the "The head is lost; foot Of the left le separately and the Evidently, it was t not carved from
significant is the the thigh: it is ab that the foot cann hung uplifted, as is every reason to a dancer, not very later Nataraja typ
pTecious symptom of a continuity of tra
thousand years.
In the figure of the Priest king ( shoulder with the right shoulder barel This brahmin or monk. He is referTed to as Pries on the tip of the nose suggesting some f forehead bears a striking resemblance to c
holy ash in three lines.
These Indus Valley figurines are the records of an immeIIlorial tradition that Ilmark the beginnings of Indic art. They bear Witness to the ease with which the Indus Valley artists handled a Wariety of plastic Illediums such as terracotta, bronze and ivory.
The artists of the Ildus Walley also carved small seals bearing fabulous and real creatures (Pl = 9a-e) with consummate skill. These animal symbols were perhaps
Pll
 
 

THE CREATTYET OLITIES OTTHE CISEL
used a life welling from within the body, few inches tall, giving a sense of strength to lmer noted that this posture is of a dancer, i Siva as Nataraja - "The probability of is great because the 'Dravidians' were in Deccan before the Christian era," and adds, so are the arms; so are the knee shank and 'g. All of these extremities were Wrought in fixed to the shank by means of pegs... he sake of convenience that the figure was a single block of stone. ..., Particularly oint at which the left shank was affixed to ove the knee (P1-8) The position suggests ot have rested on the ground; it must have though in a posture of dance. In fact there believe that this archaic torso represents different in form from those of the much e. The probability here is that we have a dition over a period of no less than four
Pl – 3), the shawl is drawn ower the left attire could well be that of the present day it king since his eyes appear to concentrate orm of meditation. The ornament on his ontemporary Saivite priests who wear the
te 9 a-c Indus Walley Seals — animal and human
symbols - 1500BC

Page 45
BEGINNINGs Flo's GRAPHY-INDIs WALLEY CITLTURE
the beginnings of animal sculpture seen i Konarak. Inthese Seals the shapes are in th sees the “tiger man’ in one (Pl – 9d), the tre or the Banyan trec (Pl = 9e) with animals b tiger rearing back on a horned, hoofed and
Clarity and design coupled with the plasti aesthetic quality similar to contemporary According to Zimmer those foreshadow, " fiourish some two Inillenniums later.
The car Wings of animals a marks the beginning of such modeling. T for example, convey Imajesty and restrain in the figures. It is fascinating to trace the Tewari's writes, "The humped bull of Ind the Egyptians, going round through Babyl b) growing a beard on its human headed c finally by topping pillars of Asoka (P - c)- again to India a few millenniums later (se in the Mauryan bull and in the monolithic E sensitivity created in the Krishnagowardhan later. In the words of Zimmer, "The repose pulse and warmth of actual life."
One views similar configurations il one sees the Wheel of Law on the Dharma.
 

27
| Bharhut, Sanchi, Mahabalipuram and e likeness of human beings and trees. One 2 of knowledge referred to as the Asvatha ranching from it in another, and a horned ailed woman with a tree behind in a third. value of forms give them an impressive
tribal art in the Indian subcontinent. he best periods of Indian Art that were to
re important in Indian art, Mohenjo Daro he exquisitely modeled brahmani bulls, ed vigour. There is a hint of movement growth of the humped bull. Udai Narain is Walley (Pl - a) created the Apis bull of onia, developing wings at Ninevah, (Pl - hin in the columns of Apadan and ending thus completing the circle," coming back 2 Prologue). The same sensitivity is seen :lephant at Dhauli. One sees the profound a cave in Mahabalipuram one millennium of the magnificent figure is filled with the
Plate Salchi Railing Pillars - спtтапсе 11 the stupa 2nd BC from thic Author's collection)
Sanchi (Pl – 10). In one of these railings Lamba, Lions branch forth from the lotus

Page 46
stalk as in the In Wishnu as Waraha another example - 9a-e) approxiII) seals predate the terracotta model sees a goddess Ol
The reverse show Pl:11ւ: ೨ಕ್ಷ್ಯಾpn pressing the heal One side of a IIIllel tablet hoTT||1. This Temil showing the female figure the Puranas (P -
"goddcss" battling tiger
demolis
roots of Hindu a Walley civilization which bequeathed to II naturalism. It had a vital dynamic quality time. The pictorial scripts could be regar. Indian tradition."
The Indus Walley civilization is India might well have influenced Sumer root of Babylonian, Assyrian and Wester peculiar to the region and stamped with faience models of rams and other animals humped animal in the seals are unusual.'
Gordon Childe summariz es sayil by the third millennia with a thoroughly her own, technically the peer of the rest soil. The Indus civilisation represents a pe environment. And it has endured: it is alrk of modern Indian culture.'
 
 

THE CRE, ETLCHES OF THE CHISEL
ide the 'goddess' killing the bullala demon as
Pas Lipati lkoks CITI (Courtesy — Subhash Kaki dus Aswattha seal (Pl - 9c). The figure of (PI -150) or Narasimha (PI - 179 ) is where the animal cu Illin hul Illa foTTT (Pl late the Indus Walley seals. Se Weral lindus : Yakshis of pre-Buddhist sculpture. In a tablet from the Harappan Museum one n an elephant battling two tigers (Pl - 9f). ws a figure killing a buffalo With one foot d down and one arm holding the tip of a ds one of Durga and the buffalo demon of
9g).
Radhakamal Mukerjee says that the rt and culture can be traced to the Indus dian sculpture, a blend of abstraction and I that persisted despite the vicissitudes of led as evidence of an ancient deeply rooted
distinctive as the civilization of the Nile, iam civilization, “which in turn lay at the In Asian Culture. The art and religion are an individual character of their own. The are unique. The intaglio engravings of the
ng "India confronts Egypt and Babylonia individual and independent civilisation of . In addition, it is deeply rooted in Indian Erfect adjustment of hul man life to a specific ady specifically Indian and forms the basis

Page 47
BEGINNINGS OF ICONOGRAPHY-INDUS VALLEY CULTURE
Archaeology recently yielded the several millenniums ago, the Vedic text warriors storming cities and dasas as dal who these dasas were and where were thei And the question arises, “Was the Indus V. its elements survive through time subtly to
"The Indus Civilization did not c. BC but was assimilated in successive stag Ajit Mookerjee.
Notes * The word Hindu is foreign; initially it had only a has come to be. The words Sanatana Dharma anc same thing. * Sirರು Marshall as quoted in S.J. Gunasegaram
р –4. Stuart Piggot in his Historic India describes these It is said that these pictographs represent the earl script of the Mohenjo Daro and Harappa civilisal Benjamin Rowland-The Art and Architecture o Shamans are spoken of in many cultures as heale from birth to death and are in communication wi The lotus flower is an ancient symbol; its unfold: the Self. Quoted by Ajit Mookerjee in "The Art of India. The Flowering of Indian Art - the growth and sp 10 bid
Zimmer-The Art Of Indian Asia p 32 '' Subhash Kak in his presentation, Mind, Immor
Zimmer - The Art of Indian Asia p 21 Marshall - as told in the History of Indian and Ir "o Encyclopaedia Britannica Vol 9 p 338

29
historical beginnings of India. However, s (1500 - 900 BC) described inter-alia k skinned persons. One is intrigued as to cities. Were they the Indus Valley people? lley culture completely lost or did some of
touch each epoch of Indian history?'
ollapse, as we think sometime about 1700 es of Indian life and thought. ”
territorial significance to it and not religious as it Hinduism have by long usage come to mean the
“Tamil Cultural Influences in South East Asia'
a peasant cultures in depth - chap 4. y script, written as symbols or hieroglyphics. The tion remains an enigma.
f India p 23 rs and diviners who facilitate the passage of life th the spiritual world. ing petals suggests the unfolding and expansion of
read of a civilization - p 36 - 38
tality and Art. (1998)
donesian Art p 5 of Ananda Coomaraswamy

Page 48
30
Vedic Inheritance
here appears to be a gap in
the Indus Valley culture with
instead is a large body of lite
Vedas emphasize poetry and philosophy, poi
declare Moksha to be the goal of life. The wise call it by various names.
The Vedas and Upanishads are apoe to the wonder and awe of existence. The The vigorous and simple imagination awak existence. The Sama Veda was the first insta establishing the foundation of classical mus of Indian medicine and pharmacopoeia. Thi geometry and trigonometry while the Vedi prosody. Vishwakarma was celebrated as ti the heavenly physician. Indra was the wau The hymns refer to metal workers, jeweller herders. There is mention of the use of go music, wine and chariot racing. There is ri ocean. Society was initially divided into thr commoners. The family was patriarchal and the Sabha that included all free men in soci citizens only.
The Vedic rishis conveyed their thou canvas included the whole of creation. They The deep chants and melting melodies de Infinite. To the rishis, running water, rustling of dawn were aspects of nature celebrated v as expressions of the One Reality: transmitt They perhaps felt that wisdom and experie written word. These thoughts lived on for ur in the thousand-pillared halls of Hindu temp
After a lapse of a few centuries, systematised. However, many centuries lap

THE CREATIVE TOUCHES OF THE CHISEL
the documentation of Indian art just after no archaeological evidence. What we have :rature collectively known as the Vedas. The int to the doctrine of karma and rebirth, and y proclaimed that "Truth is one although the
tic testament of a people's collective reaction texts emerged between 1400 and 700 BC. 2ned a sense of the inexhaustible mystery of ince where music was systematized in India ic. The Atharva Veda marked the beginning e Rig Veda includes reference to arithmetic, cannexes lay down rules of grammar and he divine architect while Dhanawantri was god, youthful, heroic and ever victorious. S, carpenters, tanners, Weavers, farmers and ld, copper and bronze. The texts celebrate 2ference to the sea and ships that cross the ee classes, namely the priests, warriors and patrilineal. Political decisions were made in ety and the Samithi that consisted of senior
ight in a simple yet vigorous language. Their drew across it a great brushful of imagery. pict the eternal truths that lead one to the g leaves, the roar of thunder and the solitude with hymns of praise. The rishis viewed each ed their knowledge only by rote to posterity. nce were too sacred to be enshrined in the told generations and continue to be chanted les today despite the intervening centuries.*
the Vedic and Upanishadic thoughts were ised between the emergence of philosophic

Page 49
BEGINNINGS OF IconoGRAPHY - VEDIC INHERITANC
thoughts and the maturity of technical arts as and Prambanan. This delay may be attribu missionary zeal and his religion was for hir with the Supreme Self in the hour of silent pi
لت)
Typical symbols ir
Om or Pranava Sivalin
zy 鼻-v seYSKVNIAAAAsa --
Nandi Swastik
"It is one of the most remarkable fa a a have preserved its sacred book without a years and that too chiefly by means of oral tr
Notes
Mulk Raj Anand - Hindu View of Art. These conc became part of the Vedic heritage rather than as di
7 Prabhuddha Bharata March 1956p 144.
 
 
 
 

E 31
seen in the sculptures of Elephanta, Ellora ted to the fact that the Vedic rishi had no mself, his family and his clan to commune ayer and meditation.
Hindu art
പ്പ asSN
ఢన్నై
sa
as
战 艺、宏兴洲
WW Z) 雳
NAN AV
གཙོ་ ހިfl TON
ga Sri Chakra
a Dharma Chakra
cts in the history of literature that a people dding or subtracting a single word for 2300 raditions. ”Macdonell
cepts may be considered as their legacy and istinct from it

Page 50
Symbols of Hindu Art
he symbolism in Indic art
Walley civilization and thi
represent a synthesis of Bharhut and Sanchi one sees an abstract sy has its imagery and its roots in devotion. I The Buddha of the Gupta period, the Ele reveal a synthesis of two currents.' It is cle the Dravidians and the Aryans, there rema. ill essence.
The Vedic tradition had no visua mean that the period was bereft of art. Thr yagna, many examples of art like the carv were created involving the skill of dec craftsmen. The designs scen in articles u the performances of yagnas today are ba earlier prototypes dating to the Wedic I The discovery of a form of Brahmi chara confirm that inscriptions must have been around the eighth century BC or earlier.
The Inotifs of the Vedic era includ trident, Swastika, lotus, conch, Sun, thun. and the tree of life. These became part of Buddhistand Jain art by the third century B. Wedic metaphor of the tree, whose spirit is the Yaksha, became a symbol of the Bud Sanchi. Bharhut and Amaravati. The Budd portrayed as a Yaksha. The pillar of fire, represents the Buddha at Amaravati h origins in the Vedic myth where Agni ap as a pillar separating earth and heaven. Ti Wedic conception of the wheel of the Suno evolved into the dharma chakra of the B Another notable symbol was the Swan twig in its mouth and its plumage beau carved at the Virupaksha, Bhubaneshwi.

THE CREATIVE TOUCHES OF THE CHESEL
ind architecture had its origins in the Indus
Wedic inheritance. Indian art and culture he Dravidian and the "Indo-Aryan.' At mbol used in a decorative form. Kusana art uja or Worship replaces yagna or sacrifice. phanta Mahleswara, and the later Nataraja ir that despite apparent differences between Ins an underlying unity distinctively Indian
for Ills or images. However, this did not ugh the elaborate rites associated with the ed serpent and beautiful sacrificial vessels orative
ised in sed on Heriod. Icters
KWT
cd the |erbolt Hindu, . The called dha in
WS which ld its Yeared e Rig 'tirme, ddha. fith a
* W
Plate 11 Harshagiri Linggaltbhava Murti ifully Courtesy - Myths and Symbols of
and Indian Art in ther

Page 51
BEGINNINGS OF ILUNJKGRAPHY – SY'N 13 i JLS OF HENI IL
Som nathpur, temples, not to mention medic
O Inc could conclude in Hal Wells WC01 be regarded as an age of Wonderful artistic
Plater 12 Eleph Linta C:ıye = LiI1g:i 8thi cr:TI ELIT" AD) from the A, LIthur's cullectic.II
Ple 13 Piltidkal Tikha Ling: Courtesy - Myths and STbils of Indian ATL Zii IIIMCT
 
 

TART 33
wal Siri hala art.
rds, "the Wedic period must never-the-less richlesso
W. A W W
Plate 14 Nach Tha Cliatur titlukha Lirīga — 5th century Ramnagar Belar's trium the Auth Lir"s LLillegium

Page 52
34
Inheriting the concept of the lin Walley civilization, the rishis conceived egg and used smooth oval shaped ston worship.
The Harshagiri Lingotbhava murt the transcendence and the mystery of th the Sivalinga. Siva stands within the li Wishnu in contemplative IIloods stand on respectively prostrate in worship.
Siva couldals be the plain linga (Pl - 12) and Aihole. He could be the ling sculptured on it (P - 13 ) as seen in Pat could well have one figure sculptured as linga in Kashmir and Khoh (Pl - 21) or Chaturi mukhalinga at Nachna (Pl – 14). The at Gudimallam of the first century BC co concepts of Agni and Rudra. It is a polishe monolith portraying the sturdy anthropom figure of Siva carrying a ram and a battledennon (Pl - 15 ). The Sturdiness of the bc Wengi figures are generally slender. This lir
Plate 16 Mahahalipuram Sivalinga Shrine
Ibi
 

THE CREATIVE TOUCHES OF THE CHESEL
a from the Indus he formless as an S as a symbol of
(Pl - 11) portrays : Puranic story of 1ga, Brahma and the right and left
seen in Elephanta a with the trimurti tadakal. The icon in the Eka Illukha four faces in the famous Siva linga imbines the Vedic di red five-foottall orphic two-armed plus is outnanan. -axe standing on a Siv Ealinga Ibid Ydy is unusuall, for nga and the Panchainukha linga at Bhilla in It tar Pradesh are important to the study of le carliest phase of Saivism. The linga at hitta belongs to the first century BC with he abhaya mudra. The palm is raised up to le shoulder signifying reassurance.
The Lingotbhava murtistands in a che on the outer wall of the Siva sanctum. is one Watches the figure, it appears to tend vertically - a moving experience hich reminds one of Zimmer's experience "the phenomenon of the growing and panding form," when he viewed the ingotbhava murti at Musee Guiment Paris. The artist through very subtle oldings creates this visual impression Inveying a truth that nothing is static,

Page 53
BEGINNINGS OF CONOGRAPHY - SYMBOLS OF HIND
The lingaportrayed in the Mahab, (P1-16). Siva is the presiding deity here, all-perwading Creative force of the univers behind indicating the auspicious backdrop
The discovery of the nude female goddess at the site of Wedic burial groun suggests that images of finc Workmanship' page -23.VW). This and a few terracotta figu same period suggest a continuity in art tra with the art of the Indus Walley. These fig between "the products of proto-historic ag of a recently discovered work dating back says, "it is already evolved with an evident behind it; and the latest work of sole h centuries from our own time. An assured hi. sculptural creation is a rare and significant and continuity of Indian sculpture is due to and philosophical and aesthetic mind of the
After a lapse of a thousand years, second century BC. It is interesting to not patterns of the Indus Walley culture that decorative motifs and symbols had been p with the advent of the Mauryans when In stone sculpture.
The Mauryan empire under Chandr the Indian subcontinent under centralized Il owned all mines, textile manufacturing, sl Weights, measures and the coinage were st: and artisan guilds that financed and manuf linked the far coIIlers of the empire.
The pillars with Emperor Asoka's in in India. The rock and pillar inscriptions was phonetically systematized at an early lion, horse and elephant that represent the symbolism was a Illere continuation of anci the stone columns and basilicas of Egypt pa to influence the Asokan pillars (mid third c.

TART 35
alipuram Trimurti cave is in another style The linga is at the centre representing the e with the standing Siva, emerging from of the Lord manifest through the linga,
figure at Laurya symbolizing the Earthds of the seventh or eighth century BC
were increasingly used in worship Irines found in Taxilla of more-or-lesditions. There is a similarity in technique urines albeit few in number form a link, e and the subsequent periods." Speaking k to the fifth century BC. Sri Aurobindo history of consuIIIIInate previous Creation igh value comes down to within a few story of two Ithillenniums of accomplished fact in the life of a people. This greatness the close connection between the religious 2 people."
classical art re-emerged in the third and c the still prevalent motifs, symbols and give a sense of continuity. The age old reserved. The fallow period of art ended an graduated from terracotta figurines to
"agupta Maurya and Asoka Linited much of le in the late fourth century BC. The state hip building and the production of a IIIs. indardized. There were private mercantile actured works of art. A network of roads
scriptions representa Mauryan innovation were largely in the brahmi script which date. The Asokan pillar with the bull,
four quarters reveal that early Buddhist ent myth. The panegyrical inscriptions on ssed through Mesopotamia and Persipolis entury BC).

Page 54
36
The lats are polished monolith crowned by campaniform lotus capitals s polish has a lasting finish, a softness ofja years of exposure to sun, rain and dirt.' T of the stone-cutter’s art drawn perhaps fr
The most famous is the lion capi of four identical animals joined back-to-b one animal, the bull, beautifully carved. T remains where it was first installed and b time. At Dhauli (Orissa), one sees the for plump fleshy qualities of the young anim artistically gives the whole agentleness, The Asokan lions are more schematic il that these have Hellenist antecedents. The Rampurva bull together with the elephan indigenous tradition.’
The Mauryan Empire ended in 18. Asoka's ambitious public works and buil of art then came into being. Bharhut, Sa stone workmanship traditions of Northern and Karle cave temples represent the West on the banks of the Krishna River in South and Khandagiri represent the Eastern Sch in isolation. Trade links and pilgrimage fa Local conditions defined the different scl closely linked with the styles of a particula rather than dynastic.
Buddhist art flourished in the Sun The life of the Buddha portrayed in the The artists used symbols to present the B been developed by then. An umbrella surn his renunciation; an empty throne at the enlightenment; a foot print would indica of dharma) would represent his preaching first sermon in the Deer Park at Benares. represent his teachings. The sophisticatio earlier woodcarving tradition.
In the Buddhist shrine at Bhaja,

THE CREATIVE TOUCHES OF THE CHISEL
c shafts tapering gently towards the top pporting an animal emblem. The Mauryan e and a dazzle still fresh despite a thousand his finish is the result of indigenous mastery m the Indus Valley tradition.
al at Sarnath. This consists of the front half ack. The Rampurva capital consists of just he Lauriya Nandangarh pillar with the lion ings out its grandeur as it appeared at that part of an elephant carved out of rock. The al, seen emerging from the rock, modeled uffused with warmth and natural vitality.’ their carvings. Some are of the opinion : two animals, the Dhauli elephant and the t frieze of the Lomas Rsi cave, represent
4 BC due to fiscal collapse in part caused by dings programme. Several distinct schools nchi, Mathura and Bodhgaya represent the India. The sculptures decorating the Bhaja ern Indian School. The Amaravati tradition India and the rock-cut images at Udayagiri pol. The different schools did not develop cilitated mutual influence in craftsmanship. hools of art. While certain dynasties were rera, the basis of evolution was geographic
;a period, using earlier symbols and motifs. Bharhut rail,” is a unique representation. uddha, as the image of the Buddha had not lounting a rider-less horse would represent foot of the bodhi tree would suggest his e his presence and the chakra (the wheel The portrayal of a deer would mean his The stupa, fig tree, footprint and the wheel in themes and motifs is reminiscent of an
said to possess some of the oldest extant

Page 55
BEGINxNGSOFICONOGRAPHY - SYMBOLS OFHIXL)
l
Ei oli l. railing
Plute I8u Buch Gayl Indra On the railing pillir hid
 
 

LTART
8t 4Hihi SLryllid pi) in this:
i
3.
7

Page 56
38
Sculptures of India, there are representat Airawata, and Surya the Sun God (P1-17b by horses. The darkness is depicted by Bhaja reflect a tradition of terra-cotta wor Khandagiri represent another local idiom
One again sees these two deiti at Bodhgaya. Indra is depicted carrying highlights Buddha's solar lineage (Pl - 1 era, we see the use of earlier metaphors in being crowded with sentient beings is sk horses in the Surya panel.
"In the symbolism of all religion, evolution.... Indian symbolysm has a doub mind, the other to the philosopher and rel,
Notes o Ananda Coomaraswamy 'Codrington - Ancient India pp 7 & 8
Radhakamal Mukerjee - The Flowering of Indian 'Havell - Ideal of Indian Art. 'To this day, the Hindu worships the linga, placed The linga is not dissimilar to the linga of the Indu the linga as having its origins in phallic worship. Absolute Almighty Parasivam. 'Ananda Coomaraswamy - History of India and in
The Foundations of Indian Culture p 229. ’ A.K. Khanna describing the National Emblem of 27 P. Chandra - Arts of South Asian Peoples p 185 28 Ibid * The Eastern gateway of the Bharhut rail is in the 3 Vedic deities are re-defined here in a Buddhist cc the Buddha or rather allegories of the Sakyamuni wields to maintain the world and Surya designate the darkness of the world.

THE CREATIVE TOUCHES OF THE CHISEL
ons of Indra (Pl - 17a) riding his elephant , traversing the heavens in a chariot drawn wo receding demons.“ The sculptures of manship. The sculptures at Udayagiri and recalling the bas-reliefs of Sanchi.
s in a railing in the Mahabodhi temple a handful of grass (Pl -18a) while Surya 8b). In these representations of the Sunga Buddhist art. The concept of the universe llfully conveyed by overlapping forms of
it is necessary to recognise a process of le meaning - one appealing to the popular igious teacher "E.B. Havell.
Art.
under a tree or enshrined in a temple as Lord Siva. s Valley culture. Christian missionaries describe
The Saivites look upon the sacred symbol as the
donesian Art pp.9&10.
India.
Museum in Calcutta ntext. Both Indra and Surya became symbols of where Indra designates the power that the Buddha ; the Buddha as the Sun, the one who illuminates

Page 57
Image
he Upanishadic Mahaval identified the individual Si the experience of the unc would rely on a negationist approach sayi inability to express the memory of that ex sculptor's effort to translate this experien could not be recorded in words. Using beauty in tangible forms. He chiselled the delineation of human anatomy. This was
These images are not based on the their gods. The anthropomorphic ideal of attributes of the Almighty. The artistic cr constructive and destructive rhythm of exi one hand and a serene stillness on the oth
ଝୁମ୍ପୁ
The an-iconic aspect gradually hitartya Brahmano rupa kalpanam.” Bra an imaginative form, for the benefit of visualised in a finite form, certain aspec the worshipper's benefit. This symbolo
 

39
yao o “Tat Tvam Asi”, That thou art, lf with the universal principle. To describe onditioned Absolute or Brahman, the rishi ng, “Neti, Neti, not this, not that.” It was the berience of God in day to day language. The e was positive. He captured in stone what ngenious ways, he portrayed the spiritual multi-limbed images foregoing the realistic how he hinted at the Infinite.
human model that the Greeks used to depict the Greeks does not portray the universal eation of the cosmic dancer represents the stence.' Dynamic rhythmic movements on er are ingeniously portrayed together.
Bronze figure from Polonnaruwa of Siva with four arms portraying the operations of the universe.
changed with the theme, "Sadhakanam hman, the great Immanent Being assumes devotees. If the great Brahman cannot be s of It could nevertheless be captured for image' is not divinity itself, but a hint of

Page 58
40
the Infinite offering useful aids for prayer this in the words, “the body of Supreme symbolic image, as the formless transcen forms of creative life.” These three aspe Principle present in all forms of life, seconc non-immanent Brahman and lastly Sakal This delineation explains the image and the Hindus. “The sculptors captured in sto making art the expression of thought or sublime, ́says Will Durant.
"Images are the concrete and visible expre, ideas of the Hindus. A Hindu image, proper, a work of art, pressed into the service of r religion and art which is the key-note of H Prof SNL. Shrivastava.
Notes
There are four mahavakyas or great sayings which thought of Advaita where the soul of man the Atm
Soul the Paramatman.
* To portray these aspects the artist conceived an ex crescent moon, the Ganga, snakes and the Lord d.
33 Pratika -م
3“. Pratima
Prof. O.C. Gangoly - Art and Culture (Key note A celebrate the centenary of the Holy Mother - Sri Hindu does not mean the same thing. The Hindu and not the mere image cast in metal or stone. Sw worship of some being who has to be loved and w ... Man can only think with form and word. Wh with a human form or a Divine Principle, it is tho man, this conception of the Almighty is a stepping Almighty. This is not idolatry, for worship is not image stands for. Thus the transcendental ideals a
Infinite and the finite.

THE CREATIVE TOUCHES OF THE CHISEL
Sage Agastya has succinctly explained can be apprehended in three ways - as a Ldent and as the immanent abiding in all cts are firstly, Isha, as the All-pervading ily the Nishkala, the formless transcendent a, the symbolic image of the Divinity.ooo the plastic arts in the spiritual culture of bne what could not be recorded in words, feeling in a form that seems beautiful or
ssions of some of the deepest philosophical ly understood is philosophy objectified into eligion. It typifies the unity of philosophy,
y y
indu Culture.
in essence are one. This is the basic Vedantic
han, is eternal and is identified with the Supreme
tra pair of hands and adorned the figure with the
ancing on a demon.
Address given at the Cultural Conference to Sarada Devi) Image worship to a Hindu and a non worships the Almighty, symbolized in the image, ami Vivekananada says, “the idea of devotion and who can reflect back the love to man, is universal
en we think of God, whether it is a Personal God
ught of, as our own highest Ideal. For an ordinary gstone towards the Formless, Transcendent paid to the image of stone or brass but to what the
re conveyed through art bridging the gulf of the

Page 59
Amaravati and Gandhara.
arly artists depicted the B
E and his first sermon withc later gave the worshipper Mahayana Buddhism introduced devotior worshipped as Infinite Light. He becam evolution of a devotional pantheon, natural aesthetics into a delicate religious roman ever associated with what we possess of th hardly to be distinguished from the ideali art emerged in a more developed manner v
The Andhra or Satavahanas, wh Brahmanism, ruled over the Deccan for fo The Sanskrit word satavahana might well god where each steed represented a day o Krishna river was a major port in the An Lanka and South East Asia. The Andhra dyn and South India. The Buddhist monument to the tolerance of the Andhra kings. And in aesthetics known as the Vengi School, figure sculpture are combined effectively Amaravati sculptures are in the British carvings of Nagarjunakonda remain at the
A slenderness of form characteris and the human figure forms the pivot. The it not only carries on the early art tradition These finally lead on to the imposing cor period.
An important aspect of the Amar and Gandhara to a more narrative and dyn initiated in Bharhut giving it a supplenes subsequent Hindu-Buddhist art in India a ages to come. Borobudur in Java and Ang of this school. The carvings narrate the s

41
uddha’s birth, renunciation, enlightenment ut reliance on the Buddha image. Artisans Something concrete to adore with devotion. lal under currents where the Buddha was e Adi Buddha, the Supreme One. "...the y softened the puritanism of early Buddhist ticism. The theory of beauty which is for e monuments of Buddhist art is, therefore, stic art philosophy of Hinduism.” Plastic with the growth of Mahayana Buddhism.
to defended themselves as defenders of ur and a half centuries from about 230 BC. refer to the seven-horse chariot of the Sun f the week. Amaravation the banks of the dhra kingdom that traded with Rome, Sri lasty provided a cultural link between North s of that period are an eloquent testimony hra art represents the southern movement
Detailed ornamentation and elegance of in Amaravati and Nagarjunakonda. The and Chennai Museums today, while the site itself.
ses Vengiart while a shallowness of relief plastic movement in Vengi is important for but develops them in its own special way. npositions of the later Pallava - Chalukya
avati Schoolis the transition from Sanchi amic style. It perfected the narrative genre s and vivacity. This became the model of nd South East Asia. It set standards for the kor Wat in Cambodia reflect the influence ory of Buddha in stone and portray every

Page 60
Pll: 19:1 Gandhara Buddhi CoLITCsyr lmidi: In A III zalışdılıc Art of Teylon, Ce:rı Tal.',sia
S.F.si:
Plate: 19c Arturlıdhıptırı Sri Linki Buddha iri Meditation 3rd-4th century from the Author's collection)
 
 

THE CREATIVE TOUCHES OF THE CHISEL
Plate 19b Bodh Gaya-Buddha of the Gupta ’cribi UII lheAuthors colcction

Page 61
LmmLaLLLEE0S 0L LLLLLLaLLLLLLLS LLLLLLLEz LLLLLLL ELELLL LLLLS
day life. This made the narration realist Amaravati society. The Amaravati stupa tih at one point with its railings and pillars. F events of the Buddha's life, namely his bir and passing away hawe been chiselled. A portraying the "delicate and Voluptuous be: tecms with tall slender human figures - the and attitudes, all definite in their precise E an amazing clasticity of Illo Weillent,” rhaps
We sce: Indian alcsthetic a Lld i Il tell Gupta and Anuradhapura periods. The Gar The Gandhara artist viewed the Buddha serenity inherent to enlightenment. The M conversely had the vision of an evolved an the Way to inner peace. The Gandhara Bu Apollo despite the monastic robes." Their Ceylon (P1-19c) and Amaravati (P1-19d) instead, for the artist sought to express th
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ic and brought alive the features of the Ough in Illins today, must have been grand ive pillars, syInbolising the five important th. marriage, renunciation, his first set Inon maravati becalle lhe acme of Indiam art auty of the human frame. Scene after scene y are cverywhere in abundance in all poses but exuberant outline and characterised by sodics Ganguly,
cctual influence in the Buddhist art of the dhara school in contrast lacks this quality. as a Greek god and failed to capture the Mathura artist and the sculptors of Ceylon di spiritual being who had showIn humanity ddha (Pl - 19a) reminds one of a youthful Image of the Buddha (Pl = 19b) in Bodhgaya, hada mellowing infillence on the OIl looker e infinite serenity of Nirvana through the
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Page 62
44
peaceful countenance of the Buddha. The c the mind in deep meditation. It portrays th there is an intangible, ethereal element p within, awakening the inner being of the \
The Indian schools portraying pr have given art a distinct character. Medita and dhyana are all essentially Indic. The G1 grasp of the Indian form which they sou beauty of the human form. Indian art emp deep meditation or serene joy. The Greel human aspect of the Divine and the India. Divine aspect of the Human." The mysti gives art a sense of elegance and beauty.
The best examples are the standin Ajanta, the samadhi Buddha in Sri Lank samadhi Buddha (Pl – 19c) is Indic in its 1
the great masterpieces of Asian art.'
Buddhism had been losing its hold on its felt by the world outside. Countries far with inspiration and Indian art, particula immediately with all its charm and dign Lungmen, in Horyuji temple at Nara, in in the cities of Kashgar; Yarkand and Kh Pagan, Siam, Angkor and the gigantic Stu
Notes o Mulk Raj Ananda -- Hindu View of Art p 25. * S.K. Saraswati - A Survey of Indian Sculpture." great genius, and is an odyssey of Buddhist aest Sivaramamurti. Even though the art of Amarava because of its style and its influence on later Hin 'Ananda Coomaraswamy - History of Indian and “o J.P. Guha - Introducing Indian Art p 118.
Sir Ramaswami Shastri.
“S.K. Saraswati- A Survey of Indian Sculpture.

THE CREATIVE TOUCHES OF THE CHISEL
losed eyes with its drooping eyelids signify e inward calm and bliss of dhyana. Again, artrayed by the artist that touches a chord iewer.
ayer and meditation in the Buddha image tion in a seated pose, the mudras of abhaya eek craftsmen could not reveal the intuitive ght to impart." Greek art focusses on the hasizes a mental state instead whether it be type of Culture is the finest flower of the n type of Culture is the finest flower of the cal ardour of Vedanta and the Yogachara
g Buddha at Bodhgaya, AvalokateSwara at a and Prajnaparamita in Java (Pl – 7). The plasticity and spirit, and admired as one of
birthplace. But its influence was profoundly beyond the Indo-Gangetic plain pulsated trly of this period and that which followed ty found a new home in Tuan Huand and the cave carvings of Bamiyan and Hadda, otan; in the murals of Sigiriya, temples of pa of Borobudur“— Ajit Mookerjee.
The art of Amaravati is the wonderful expression of
hetics.
ti is essentially Buddhist this has been included
du art.
Indonesian Art p52.

Page 63
The Gupta Age
he Gupta period began in 3. the classic prototype of til land a Tel betwee Il Balluc
(PI-20)included Kashmir and Gujarat a the Wakataka kingdom in the adjoining De standardization of IThLich of Hindu traditic Science. Imathematics. Imedicine. literaturę foLIrishcd. There were extensive trade an and China. The quasi-centralized State CO production of salt and the manufacture of trading guilds prospered as did agriculture
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20 AD and ended in 550 AD. It represented he Hindu state and controlled the chire histan and Bengal. The Gupta kingdom is Well. It was linked by marriage ties to cca II. a cultu Tal relationship that led to the In and culture in the India Il SubcontiIlent. 2, theatre, art, architecture and philosophy di col11 TT1ercial links with South East Asia introlled the mining of gold and iron, the arms and coinage. Private mercantile and
(ÖThe fourth Cof the had Tyle:sL was taxed.
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Page 64
Af
The Gupta period marks the aug Mathura and the elegance of Amara Wati i achievements of the preceding centuries fl aesthetic tradition. As a distinct School, it c of expression. Gupta art reflects a new me "It is an art which is charged with an ev of huma Inity, am art which above all other; tenseness, at once the exaltation and the restful than sleep." We see that the artisa ou ter form and inner spirit. The sens Llou: evolved into aesthetic expressions of su reflecting an inner life SWelling from Wit controlled, made to flow in Smooth a ıd abs the sensual and spiritual are blended."
The growth of Saivism and Waishn Distinct images evolved over time and loc
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THE CREATIVET LIHEs F THE CHISEL
Istan age of Indian art. The plasticity of inspired a classic phase where the artistic owercd out IInore beautifully into a unified ombines refinement and a majestic Serenity ditative quest probing the Illysleries of life. 2T present sense of the divine in the heart s evokes in Lis a state of ethereal, buoyant annihilation of self, a forgetfulness more Ins establish a close harmony, between the s rendering of forms of the previous eras blime spirituality, The illages are refined hin. They are nevertheless restrained and tract rhythms in a unified concept in which
lavism inspired such artistic developments. kvarious hues and forms. Artists captured ertain delicately conceived similes from he flowing rhythm of nature in the modeling of images. They used asanas and mudras to zonvey a religious message. The abhaya 11udra and the dhyāna IIludra foTexample, signify the assurance of fearlessness and deep absorption in II editation respectively. The varada mudra symbolizes the granting of a boon. The Panchamukha Sivalinga from Bhitta, is the earliest rendering of the abhaya Imudra while the image of the Buddha represents the best example of |he dhya Illa mudra. “Newer indeed, has the spiritual value of the hands - those flowers of the flesh, which hold in their chalice the whole of hullan tenderness and thought been comprehended with such mystical insight ....' This expresses cloquently the spiritual and aesthetic quality of the mudras."
Given the increased emphasis on Wedanta during the Gupta period, the

Page 65
  

Page 66
48
The Puranic and Tantric ethos Sub in modeling. This gave the sculptures chal of Bhubaneshwar, Khajuraho and Konar together bringing stone and metal to life the Elephanta caves and the dynamic star India. The transcendent feel of these stor
fact that the artists were more concerned w than creating an exquisite piece of art fo to convey the character of the divine thro even melting lyrical quality was introduc a pictorial illusion of the living flesh..... it quote Radhakamal Mukerjee.
"The (Gupta) works produced are proun that settles on the images of the Buddha, is also seen on images of other divinities. with the volumes it adorns. Each emphas is a style of great composure and perfect
Notes
* Mulk Raj Anand - The Hindu View of Art. “ Encyclopaedia Britannica Vol 17 p 192.
Rene Grousset in his Civilisation of the East.
Ruskin refers to these mudras as, "gestures ofth It is interesting to note the affinity in poise, delic between the Ekamukha Sivalinga of Khoh and t

THE CREATIVE TOUCHES OF THE CHISEL
sequently introduced a sensuous dimension m and delicacy as viewed in the sculptures ak. We see the subtle and overt, blended in the majestic stillness of Maheshwara in ce of the Nataraja in the bronzes of South he and bronze sculptures emerge from the 7ith the underlying religious message rather lr its own sake. The sculptor used his skill ugh his medium. "Even though a soft and ed into sculpture, it never sought to create reveals the all-pervasive urge of life...,’ to
pedly meditative, and the repose and calm the master of the inner contemplative life, Decorative ornament is in perfect harmony izing the other; so that in every respect this balance.” P Chandra.
e soul.”
:acy and charm
he Buddha of Mathura.

Page 67
Emergence of the Early Medieval
Τς augustan age of the Gu philosophy, Science and cu period. The influence of t remained. While Sarnath eventually lost it century, the Gupta style gradually evolved period was part of the architectural decor wit (Pl - 23). P Chandra explains that the harm Supple modeling yielded to Squat proportion form.
With the decline of the Guptas principalities that became seats of Hindu art Palas Chalukyas, Rashtrakutas and Pallav Gupta period. They introduced local styles example, the early medieval phase began \ relief panels depicting Arjuna's penance wit decent of Ganga transform the potential of tall slenderforms evolved into the elegant sc Cholas of the nineth century and into the el: ofthe Pandyans even later. The classical con around seventh and eighth century AD wit early Medieval School had emerged.
The post Gupta era' concentrated o monolithic temple structures as seen in Aja Mahabalipuram. Maharashtra, Karnataka a excellence. "At Ajanta, India worships Ma glorious than the order and harmony of the ( power or tension, mysterious or Supra-hum manifests itself in the passion and aspiratic manifestation and human destiny.” As St and caves as the setting for sculptures' to the rock-cut school. Through simple be Udayagiri and Badami to flower into creativ Aurangabad and Mahabalipuram.

49
Period.
ptas witnessed the growth of art, literature, lture. The renaissance outlived the Gupta he classic idiom of Sarnath and Mathura capacity for further creations by the sixth into regional styles. The sculpture of this h a new elegance and a richer decorativeness onious proportion, graceful movement and s, a halting movement and a more congealed
there emerged a number of independent and culture. Of these Thaneswara, Kanauj, as continued the glorious traditions of the s in art and architecture. In South India for with Mahabalipuram. The more impressive h numerous figures of gods and men and the (he Amaravati idiom to its fulfillment. These :ulptures adorning the beautiful shrines of the aborately sculptured halls and temple towers cept in sculpture underwent a transformation h regional trends asserting themselves. The
n rock-cut figure sculptures, cave temples and nta, Ellora, Badami, Aihole, Pattadakal and nd Tamil Nadu were centers of architectural n as Master and his destiny is Nirvana more cosmos. At Ellora, she worships God as Sakti, un. Yet what is transcendental and inscrutable bn of man that underlies the order of cosmic ella Kamrisch says, "with rocks as material the art of the Deccan and the south belong ginnings in Bhaja, this art unfolded itself in e perfection in the caves of Ellora, Elephanta,

Page 68
5
The Kashmir style in Stone sculpt Surviving stone craftsmanship does not refix The Turkic and Afghan invaders systematic of Kashinir where temple ruins were used influenced the art of Kashmir. The sculptur Gandhara memories are also visible in th sulptural art consisted of individual sculptu The individual pieces have been carved ir finish; the relief work was of a cruder type h;
A
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PI-23 Early Gupta workinailship 425A.D. is = ya1חוו5 חו ו5EEI The SuIIn Goi Bold in Glyvoulin CALITE:5y - A.L. Basłkarril
Illiniature stone Work was a great tradition i
"I'r diar?? scriptare particularly". /For77 ir 7 isolatio77 bart 777 est be considerea las part ca CON 7 Tributes (177d fixo 177 14’hich it ir til 1777 gair 1,5 m)
N tes
*** Encyclopaedia Brita Immica, Wol 17 p. 174. " 5th and 8th century AD " Radhakalal Mukerjee - The Flowering of Indian
* Art of India through the ages - p. 37,
 

THE CREATIVE TOLICHES OF THE CHISEL
lure goes back to the Asokan era. The few act the rich artistic inheritance of the region. :ally destroyed the Hindu Buddhist heritage () construct Illosques. The Gandhara School es were Sturdier and more massive reviving le rendering of the body and clothing. The res, architectural relief Work and miniatures. greater detail and completed with a finer aving been executed on coarser granite while
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sat langer entity to the Total effect of which it 're Irving, " EV7cyclopaecilia Brita/7rtica.
AIT p 152,

Page 69
Bronze Sculptures
etal workmanship is a tu five thousand years sin( figurine of the dancing examples of this ancient art. Another min bronze sculpture of the mother-goddess fr centimetres in height and perhaps dates reveal an incipient sophistication. They ar continuity in method from the Mohenjo Indian and Sri Lnakan bronzes is striking (
The Silpashastras are the authorita metal castingas ““lohajam sakalamyattu images are made by means of wax. The the cire-perdue process, to mould sculpture and then wrapped in a thick coat of soft c imprinted on the clay as it is left to harder out through an opening. This creates a val offive metals, the panchaloka, is poured a and a bronze immaculate figure is revealec
Sri Sankara refers to this method v describes the molten copper poured into the required figure.’ He uses the metaph "like images wrought of copper and other the mould..... the mind flows assuming th senses.”
After learning technical skills, the These define each icon. The workmen inte bronzes as offerings to the chosen deity. focussed on iconometry and iconography. the individual gods and the methods off from time to time. This helps art historians icons is unique for its delicate treatmental

51
-easured legacy nurtured and practiced for xe the Indus Valley civilisation. The metal girl and the copper bull are two of the finer iature figure known as the Adicchanallur om the Tirunelveli district measures Seven back to 1000 BC. These bronze figures 'e as exquisite as the stone sculptures. The Daro and Harappa to the Deccan, South Pls 24 and 25).
tive texts on craftsmanship. These describe madhucchistena nirmitam,' - that all metal rtist used the lost-wax method, known as is in bronze. A wax model is first moulded, lay. The details in the wax model are then 1. This is then heated; the liquid wax is let ult into which the molten alloy consisting hd let to set. The clay wrapping is removed l. This is chiselled to give a smooth finish.
while explaining a philosophical point. He a mould that then assumes the shape of or to explain the act of perception saying, molten metal poured from a crucible into he shape of objects comprehended by the
metal craftsmen studied the dhyana sloka.
rnalise the aesthetic norms and fashion the The metal craftsman, known as Sthapati, But the ornamentation, dress, attributes of ashioning the anatomical features differed s to date the bronzes. Each of these bronze nd aesthetic charm.

Page 70
5
2
Metal Workmanship reached new age. The serene face and graceful figure of in the Birmingham Museum, make it a Sculpture suffered in North India with th was interrupted by Islamic invasions. Th destructive. Islamic influences entering In Hindu environment and eventually result important aspect of Indian genius."
Bronze Workmanship however cc two centres inspired by the Pala rulers o flowered into an exquisite form under the and rhythmic details that would be other w Indian bronzesare classed amongst the fin World. In its earlier years, metal casting ir But with time due to improvements in m from the rigidity of granite and blossom. rhythmicsubtleties of classical dance, (Se
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Pi-24Dancing Girl of the Indus Walley culture (2500 BC)
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
heights of achievement during the Gupta the Buddha in copper from Bihar, presently masterpiece of ancient bronze tradition. : advent of the Muslims. "Artistic activity ! initial impact of Islam on Hindu art was dia were gradually transformed in the new cd in the flowering of a vibrant, rich and
intinued to flourish in Nepal and Tibet - the f Bengal. In South India as well such art : Cholas capturing the movement, gesture ise difficult to achieve in stone. The South est achievements of metal sculptures inthe the South resembled sculptures in stone. delling and casting skills, it moved away 'd to integrate the movement, gesture and e pages 190 - 194)
Lal Sculptures
Pl-25 Siyak.IIIni. Consol of Siya ni Ilie Polonn:ITIva. Erä - 10th century AD showing the continuity of the process,

Page 71
BEGINNINGS OF CONOGRAPHY - BRONZE SCULPTU
Sri Aurobindo writes that, “the art devoid of all that is petty, transient, distu loving surrender of the devotee. The eyes, f Bliss. It is a sacred art expressive of the p the deep passion of Indian worship.”
Besides stone and metal, Hindu a and terra cotta. Wood perishes easily andth are not available for study. Fortunately the wooden monuments. Stone has been the f and smoothing) and carving of which the
The skill of the craftsmen in pol the clothing, the jewellery and above all workmanship. Each image whether it be which filled the pilgrim with rapture.
".... the bronzes translate the abstruse c which the artists have skilfully mingled thi their lives. To know and appreciate them i of plastic dreams not revealed in any oft bronzes. ” Ganguly
Notes
* Brahmasutra Bhashya (1,i,12). * Encyclopaedia Britannica.
P Chandra in the Arts of South Asian Peoples.

RES 53
ist sought to express the pure and absolute bed and restless. These figures depict the ace and poise are all expressive of supreme rofound thought of Indian Philosophy and
nd Buddhist artists also used wood, brick e wooden monuments of the earlier periods re are stone and bronze imitations of these avoured material, "in the dressing (facing indian artist attained great excellence.”
traying the subject - the body, the pose, the facial expression - reflects ingenious of stone or bronze had a poetic lyricism
onceptions of Brahmanic philosophy into 2ir own meditations, prayers and hopes of s to receive an initiation into a new world he masterpieces of Greek or Renaissance

Page 72
5
4
SPEAKING OFARCHITECTU
he World itself is a te
whose gopura is the ce
heaven itself. The rising fills the solar system. With its radianc magnificent beauty stretching across thi tingeing the clouds with pink and rose hue bathing the sleeping World in an ethereal moved the rishis to prayer. Sceing the gli rising Sun they first conceived the Wedic and sang hymns tending their sacred fir countless generations. The sacred fire rem: societies.
The temple evolved over time. Th or pyramidal curvilinear towers are gract while different in details with unique ch through details of a Tchitecture, in Images, rit along riverbanks, the sea or in secluded treasured solitude, "where the Soul is at le

THE CREATIVE TOUCHES OF THE CITISEL
RE
Imple lestial
Plate 26 Lorilas Rishi Cave 3rd century BC from the Author's collection
glow, Orious
јгayer es for ains a part of contemporary ritual in Hindu
ese sacred structures With their curvilinear sful in the sweep upwards. Each of these aracter, are one in motif conveying truth uals. These temples were built on hilltops, roves enabling the pilgrim to worship in
sure from life."

Page 73
Symbols and Motifs
One finds traces of architecture n nor in the material arts of the Vedic age. I The profound content of the Vedopanisha and aesthetic forms. Each motif conveys a These symbols metamorphosed into archit elements, basic geometric forms, the Sar decorative elements in Hindu art. The fo Hindu architecture had emerged. The Indu basic designs indicating that the decorat indigenous origin and inspiration.
Sky
Figure 2 A few Root Symbols in Indian A Author's (
Symbolism in Indic art goes back Man used symbols to communicate. Thes alphabet. For example, the trefoil arch (F form representing the sky was adapted to version of this arch in the Buddhist sculp in Afghanistan (Fig - 3). A more elaborat Bhutanath temple in Mandi, Himachal Pra
The symbol of the bow and arro arches (Fig - 6) of the Lomas Rishi cave

55
ot in the ruined cities of the Indus Valley t is in philosophy, traditions and customs. ds and their rituals helped define symbols religious concept with mystic symbolism. ectural expressions. The ideogram, the five lskrit alphabet and numeric signs became rms, shapes, motifs and symbols of early is Valley art and town planning have these ive designs, motifs and symbols were of
) Trefoil Arch
Art and their application in Architecture irawings
to the Indus Valley culture or even before. e symbols' became the ideographs and the ig - 2) that evolved from the hieroglyphic portray Mount Meru. One sees a simple ture of Bamiyan (of the 3rd century AD) te version exists in the eighteenth century desh (Fig - 4).
w, the dhanur (Fig - 5) led to the chaitya (Pl - 26) and Mahabalipuram (Fig - 7).

Page 74
56
Figure 3 Adaptation of the Trefoil Arch in Buddhist architecture - Bamiyan 3rd century Ibid
f
ስሳ 200 AD
Dhanur - Bow and Arrow
Figure 5 Dhanur - Arches based on the
Figure 6 Lomas Rishi Cave based on the Dhanur — 3rd century BC in Barabar Hill near Gaya
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
Figure 4 Adaptation of the Trefoil Arch in the Bhutanath Temple in Himachal Pradesh - 18th century Ibid
\ ^\
bow and arrow
Dhanur symbol
Figure 7 Dhanur as in Mahabalipuram 7th century AD

Page 75
BENNINGS CF ICON GRAPH' – S''MB JLS | JFM IT |
The early ball Tel-vaulted chaitya hall might built out of bamboo, Some of the Pallawat the ancient straw thatched huts - a timeles today, one recognises the curve of the Pall India.
|-S í
Figure 8 Trishul-adapted in Figure 9T
LirchillecLLLIJ Met
The trishul or the trident cy architectural motifs. The triangular arch a the trikon and combined with the symbol common in Kashmiri stone architectul Te. Til the Mart and temple in Kashmir (Fig - 10; motif consisting of the pot and foliage is th symbol of Amrita kalasa.
"Symbols have ar7 in dispensable role irn syster 77 s, hur Hiriad is ry has a 77 ab 77 da F7C'e is heca, se of the peculiarly" Kaya't is ric La Pad 792 the Hir Tcl 777 ir 7. ... The Praray'a and the SNM two of the most popular mystic symbols of Prof. S. M. L. Shrivastava
Nts
The comparison is Tiade by Suddhanada Bharati
Courtesy M.D. (iuna sena's publication - from th{ * Foundations of Indian Culture — Sri A. Li Tobindio po The sketches have been made from K.C. Aryan's trefoil arch is based on a plant with three lobed

FS, 57
have had its beginnings in the Toda huts :Imples carved from boulders are copies of s idea reproduced in stone (Pl – 27). Even lava temple in the roofs of the villages of
ኣ
iki ili il Figure || || Trefoil Arch in Trikon as in Sun TI TeiTiple in Mariand Kashmir
solved into dapted from of Meru is
his is seen in
Pl – (55). The e auspicious
al religios of thern. This stic herit of 'Isiks, (e) "Hirict is."
Muhabillipur.LII - 7th century AD (from the Author's collection)
: author's 'Remembering Hindu Traditions."
2.
S LLtttLLLLSSSLLSllLLL tt LLLlLaLLLLLLLaLLLL LLLLL L LLLLLL LLLLLL
l:lves = shamiroch

Page 76
58
Early Structures
器
肆
Figure 11 - Thc Chario of the Wedic et Sklich hy, Lııthit H:Listed PT K
hic Wledic hyılı Ilıs give us
people in that period. Fro
and understand the desig *grama” and “gailmadwal Ta” which mean a to a Village respectively are used to this d. sacrificial fires and observing the rituals t huts of mud and baIIlbo o housed these sac
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CHESEL
a III'd the LLIT viline:IT ECywer of the le IIiple alapulawar Navarathari's text.
information about day to day life of the Ill these We can picture certain structures gn of subsequent architecture, Words like collection of homesteads and the entrance ay, The hymns speak of people tending the hat accompanied them. Specially thatched :rificial altars according to stipulated rules,

Page 77
BEGINNINGS OF CONOGRAPHY - EARLY STRUCTUR
W *
Plate - 28 The Yagna a Wedic ritual perforied at an all desigTitled il CLLIT ling til EastTV IIII7IIII i Czıl TILLITı hers to symbolis,
Liiii", "CISC,
reeds and mats." The Taitreya Sangithai chariots and the craftsmen as "rathakari the later curvilinear forms of the temples C In the words of Havell, “the design of the cerellonial rites of the ancient Aryans in I
The architectural remains in early not use stone. Most of the work was don Excavations at Rajgir and Kausambi rew chaityas similar to those found at the later of rock cut caves in Baraba T and in the N. archetypes where the carpenter's handiwi. the Sudama caves one could discern pro Again, in the Lomas Rishi Cave (Fig - 6 third century BC, the outer entrance facac The sculptor chiselled out of stone, planks sculptured elephants. To this day the Whole (Pl -26). The craftsmanship of the carpent the stone Illason. The entire scheme of the lithic reproduction of the earlier wooden a
"The Principles ofwouden construction als The Shape dW II dia F7 architect irre a 77 its n'a,
Notes
P.K. A charya - Religious Basis of Hindu Architec
* Havell - A Handbook of Indian Art.
* Tեit!
 
 
 

E 59
The Sulwa Sutras present geometric details on the construction of altars, Layers of brick whose height is determined proportionally were used to make the altars (Pl - 28), One brick of a particular size was never laid upon another brick of W the same size and form." The Satapatha Brahmana of about 800 BC describes a religious edifice of two thatched Structures formed of posts and beams and covered with describes the shrines as beautiful wooden kars." Kalaippulavar Navaratnam traces fNorth India to these chariots (Fig - 11). : leIllple itself is directly derived from the Iii.”"
India are fragmentary. The builders did e in timber and have long since decayed. eal the existence of primitive stupas and Maurya sites of Nagari and Widisa. A series agarjuni hills near Gaya Tecollect WoodeIl rk was reproduced by a stone mason. In totype thatched huts built with bamboo. ) of Barabar Hills belonging to about the le is a stone imitation of a Wooden gable. , rafters and a semi-circular archway with edifice retains its polish and its freshness ter paved the way for the workmanship of se rock-cut structures show that they are a rchitecture.
opley'eda important pay" in determining rious elements and corporters."
|||T.

Page 78
ht)
Garbha-Griha and Halls
le Gupta kings revived the weineration of the gods. The di into existence. The embryo ( single cell while the sikhara of the Wedic sacri stone.
One could trace the garbha-grtha tot altar was constructed in a hut with burnt bricks basic altar took the for II of the funeral altar a structure, became the stupa in Buddhist art, W burnt, became the base of the inner core of the
In the Wedic altar, the pillar was sy welcome the rising sun. The shaft of the pillar shaft rose from the centre. The temple archite in lateT Hindu architecture and the tower calle with the pillar.
The Gupta temples developed from into an elaborate and massive structure later as the sanctum sanctorum. It is a plain brick atmosphere of solemn Imystery. The image o Tamil as the Illoolamurti, is the chief image to Telationship between the size of the image and the sanctum in the construction of the temple : in the shastras.
A raised cloister known as the art SLIITOunded the garbha-griha corresponding t altar on which the Agni-hotra took place age. During the puja, devotees stand he circL|IllaLInbulate the sanctum. Circumaml sacred shrine is an old religious observance t to carvings and paintings adolining the façade based on epic literature. The Siva Tandava, thi Siwa and Parwati, Siva Tripurantaka, Waraha Wishnu Seshanagasculptures make several all

THE CREATIVE TOUCHES OF THE CHISEL
Brahmanic traditions that emphasized the ity needed a home (griha) and the temple came garbha) of the Hindu temple evolved into the ficial altars took a permanent form in brick or
le Vedic sacrificial altar. The piled mass of the These were bare of any sculptural effects. The nd within its boundaries rising as a dome-like hile the altar from which the sacred flame had Hindu temple-garbha-griha.
mbolic rising above the priest who faces it to carried the chanting of the sacrificer above. The cts built Walls SLIITounding the imaginary pillar into being with its highest point being co-axial
a single room and porch in the fourth century on. This room is the garbha-griha and known chamber with one curtained door to create an r vigraham within the sanctum and known in which the priests offer pujas. There is a specific the extent of Af as prescribed
ha Immandapa to the square Im hic Wledic
T: Lld lateT ៗulating the hat gave rise of the Walls e marriage of tanu and the Plate 29 De giri. Entrince Dr.
cient temples

Page 79
SPEAKING OF ARCHITECTURE - GARBHA - GRIHA.
an encyclopaedia of Indian mythology.
More mandapas or halls namely the mandapa and wasanta mandapa surrounded th into the other through archways. The main ter simple with square carvings generally with ab threshold into the sacred precincts. (Pl-29)
The plan of the temple resembles a m
and feet pointing east. Each section of the tem Temple Plan Fig-12 a & b)
& Vinayagar
Vinayagar
haks hin kurthy
6
سمت۔ "س
Fig-12a Temple Plan

AND HALLS 61
maha mandapa, sthapana mandapa, stamba s artha mandapa with each mandapa opening mple door at the entrance below the gopura is rass knob or bell in the centre. The door is the
an lying on his back with the head on the west ble corresponds to different parts of the body. (
Chario Citiðkorndis
Wa
a Ayyaaraf
- ་་ ་་་་་་་་་་་་་་་་་་་་་་ - - - - - Afumnughan
ܥ
Sa ne es va ri r
H h Vahana ། Mالم
uf YA
у Nandi . . y
YA r -- g e- :
Z p r R tC.
-- سمبر 纥 s , s s Gعلم
裂 بہ Vs -
-- f :
y T
1首长 cy" 一上弯丛士一、 - - -------- ہ۔ 4 ۔۔۔۔۔
at h i kara
Na di
t W ^、 Wat i ra var − 贾 Anto a la Arava a Vinayagar Shanmugam
Kod i p. Statiopats
O. P. p.
Nife Plaes

Page 80
62
While the worship of the Hindus is mc were important for cultural activities and relig pilasters, niches carved with scrolls, sculptures
YOGA CENTRES OF CONSCOUSINESS
“The Hindu Temple originally consisted with a portico. This was later raised on which was reached by a flight of stairs. enriched but never substantially changea
Notes
This becomes significant because when mantras a the sanctum vibrates with maximum amplitude esp a rich negative ion is formed during abhishekam - 1 haemoglobin in the blood. Ions are rich near seash reason why temples were built in such areas in olde
 

THE CREATIVE TOUCHES OF THE CHISEL
re individualistic than congregational, the halls ous discussions. These were built with pillars, and paintings.
aha,Srafa
Ajna oha-Griha)
Suddha
Mandapa)
Anahata - (Maha Mandapa)
Manipura -- Sthapana Mandapa)
Svadhishtana (Stampa Mandapa)
Fig - 12b Plan super imposed on the yoga
Muladhara CentreS. (Sabha Mandapa)
of a single square cella, the garbha-griha a platform and surrounded by a cloister, This basic type was later elaborated and Z.” Francisco Abbate.
tre chanted molecules in the air column inside
ecially to the Pranava Mantra Om. Furthermore, medical science tells us that ions fix oxygen with ores waterfalls and hilltops - this explains the
in days.

Page 81
Temple Tower
Τς temple tower rises above the universe and symbolises “the mac says Subhash Kak. The vimana an entrance respectively.
The Vedic rituals anteceded la rituals emphasised the propitiation of the the architects designed structures with fluc the Hindu temple fulfils all these conditio pierced by the sun windows which now a longer a fire chamber, would have served : Havell. The earliest known sikharas have relates it to the sacrificial rites of the Vedi gopura and the walls of the mandapas. Hu stones into beautiful designs and laid one is a story of faith and devotion - a prayer monuments and legacies of engineering Hindu thought infused life to hard granite, one experiences as he approaches a temple
The temple tower reflects a unity : The upward thrust of the super structure rep A Hindu viewing the beautiful temple to inside, is awakened to the Lord's presence
P-30. The T
 

63
garbha-griha. It represents the infinite rocosm at various levels of expression,” d the gopurao rise above the sanctum and
ter architecture and temple towers. The fire god Agni. To keep the fires burning, as for the smoke to escape “The sikhara of S perfectly - the tall spire over the shrine are only ornamental since the shrine is no admirably the purpose of a chimney,” says sun emblems and the very name viimanalo c era. Intricate carvings adorn the viimana, ndreds of craftsmen hewed and carved the on top of each other. Temple construction in stone. These structures were exquisite skill. The craftsmen's chisel inspired by giving each an indefinable something that 2 even today.
and inner truth in its immensity and beauty. presents the individual quest for the Infinite. wer outside and the image regally attired
hree Temple styles.

Page 82
54
The temple tower whether it beth or the gopura makes Hindu architecture rel uniform. The temples are broadly classi two - the Northern and Southern styles ( The Northern is referTed to as the Nagara has a curvilinear sikhara developing conve similar to the chariots of the Wedic age - th of Khajuraho is an example (Pl - 30a). The known as the Dravida style has a ziggurat I developing a concave curve as in the g Mavididapuram in Sri Lanka (P1- 30b). T striking feature of the Nagara style ( is the immense vaulting spire rising up W, orinamental turret crowned by the amala aIllalaka is a stone, resembling a flat flut supporting an inverted pitcher, while the Lower consists of a series of horizontal With ranges of cells at each level and crow conical cap that resembles a miniature stu
薪”
“
" آله آیاتی
SI
rԸէ:t by peri
i tyre | caIT
S.
eacl
Wal
whik
LLII i Th
the
հաց
тері thւ:
chal
Plat: 30b Mavididapuram Sikhara, Sri Lanka — Lrilvidil style – bild
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
e Williana markably ified into PI — 30). style and x curves e sikhara
Southern ike tower opura of he most 超 Pl - 30a) ard in an kal. The !
ed melon
Dravida Plate 30, Khajuraho Sikhira - Nagara
stylę L:TT:::S TIT. the Author's Colle:Liu II
"ned by a
The gopura is constructed with a le base and superstructure of brick. It is angular in plan and the exterior is covered sculpture. Relatively small in the earlier od, the gopuras grew in size from the lfth century until the colossal gateways le to dominate the temple complex. Often tries of gopura are to be found at a shrine h providing entry through a new enclosure l.
The towers, according to Havell, :ther they be a pyramid of sorts or Willincar, stand for Siva’s Cor Wishnul abade, ' Hindu sees these towers as embodying presence of divinity. For example the e towers of Tiruvannamalai or Madurai resents the Imany planes of existence and Konarak to Wer represents the heavenly
TIL,

Page 83
SPEAKING OFARCHITECTURE - TEMPLE TOWERS
Between the Drawidla alıd the Naş known as Chalukyan. Some refer to this si two main styles. The beautiful medieval S Deccan (P1 – 30c) arcexamples of this sty sikhara and stupa combined in one temple
"The Whole object of the temple forver the Infinite God Who could be reached til ir7sir alled dar the base” Prabuddha Bhara
Nites "literally means "cow fort" - the gateway of the c. * As quated by Kalaippulava T K, Navarat na III - Sol '" The witina na is the lower ower the sancTLim. Wim Indian Art, "But the Ary:In history points to the the conical mud huts of Mesopotamia and Persi
one Aryan family and there are remarkable rese
 

5
ara styles of architecture is a third group yle as Wesera - a compromise between the aiva temples of Ittagi and Balagami of the e. In Ittagi, one sees the symbolism of the
WYET.
ി ,
/
.م. _
W.《 " ' A
YANG இ
《 ۔
娜艇 麗
- ն "A
khEITE – Weser style
yiti
s aesthetic ar 7 ad sy'n bolic. It points to 'ards trough prayers and offerings to the image
fs.
|title.
th. Indian Sculpture in Tamil p 14. In: Ile:LIts charict. Havell adds in the Hall Book of 'onclusion that the sikhara derives ultimately from ..." The Aryans of India and Mesopotamia were
mblances.

Page 84
66.,
Growth of the Temple
In lay out the temple is a meta ) The garbha-griha represents
fect. This reminds us that the design and intricate car Wings on the gopu multiplicity of the universe. Embellishm gopura to denote the gods, men and demon the spiritual emotion of the architect. Each and self-contained pattern is complete in it
FOR1,45 (JF __س--" "---- E.HL' TE-, FLES يتيتيت
EL . El a UPTATEME
H HL ETHIFT! ČīL.A. H. F. HAH
Trill | 3. DLPtt. A TIr Pál AlHúLL C'Eu ErTARA ! Fd E.P., F.C. Wrth
REALIT, ER 2 on EJu, HH H
HAT3 r.
Plate 31 - Forms of Early Temples Cirlesy - Indian Architecture Perry Brown
 
 
 
 
 
 
 
 
 
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
phor for the human body, (see pages 36-37
the head while the entrance represents the
body is the temple of God. The massive
ra represent the unity that lies beneath the
Its are added at successive levels of the
s. The forms, line, colour or shape, suggest
section of the gopura replete with its details
self. At the same time the individual details
complement and heighten each other and appear to recede when viewed as a whole. This brings a
unity to the entire structure.
There are two broad temple types in the history of religious architecture from the Gupta period. The first is the flat roofed square Sanctum with a small pillared porch in front. The other is a square sanctum with a fiat super structure above it. The earliest examples of the first category are temples at Sanchi (Pl – 31-2 and Pl - 33) referred to as 'Temple No. 17.' Tigawa (Pl-34) and Gwalioraround 300 AD. In the Sanchi temple, the pillars of the porch have a lotus capital. The Kankali Devi templc in Tigawa retains elaborate pillars
with capitals of vase and foliage.

Page 85
蔷 P|| 321 - Lidkhail I-IIIpll: 5th centuI AI colles Indian art-Roy C. Craven
The second category is the forerur on the square sanctum but instead ofa fia as in the Ladkhan temple at Aihole (PIs - super structure - the sikhara. The sikhara
Fola 5 .با است NU. 17 Guptau Telliple 5th ceilitur courtesy Indian Architecture - Percy Brown
Pallava rock-cut shrines. Other examples Bhitargo an and the stone temple at Deogar on a square pedestal with a many sided st: shape of a broad vase topped with a moti temple with its lion Inotifs evolved from at Tigawa and Eran had Tetained these As the various phases in the growth of the ter the Ladkhan temples.
 
 
 
 
 
 

PI32h - Durga temple (5th century AD |Էlit
ner of later temple architecture. It is based it roof, there is a flat super structure above 31-3 and 32a). This became a pyramidal of the Durga temple at Aihole (PIs - 314 and 32b) is one of the earlier
examples of the pyramidal super
臀
structure. The Kapoteshwara leIllple belongs to an even earlier period (fourth century AD) (PI-35). Sculptural forms decorate the gable while the walls are plain. The main temple is a cella type building With a A small monolithic votive shrine
Which is hic forcTLI I ICT LC) the
of the sikhara type are the brick temple at h (P1-36). The distinctly shaped pillars are aff. Each pillar has a capital tapering in the f of lions or a lotus. The Besnagar Wishnu
the Asokan monolith columns. The shrines
Jkan ColumIls five Centllrics late:T. OIC Sccs
Imple in the Tuins of the Nach na Parwati and

Page 86
  

Page 87
of the tower though ruined, is visible. Foul Teplete with typical (Guptan embellish ment narrative sculpture adorn the walls.
These small temple units mark th
Plate 36 Deogarh Siva Teriple fith century AD
with the Asokan bell capital displaying the columns may be simple but mark the begin a refreshing vitality and pulsate with the n Gupta capital is the "purna kalasa, 'literally forerunner of the was and flower Illotif, a where water in the vase Ilourishes the plant,
"A", I dia 77 temple... is ir 7 its ir 7777 osť reality" the Co.s7ri7ic Spirit, ar dyppeal tard Caspiration
Notes 'Saint Tirulular says, 'Oon udambuaalayam." th:
"Remembering Hindu Traditions." * Sri AllTobinde,
 

r porticoes with of nate doorways (Pl - 28)
, carved panels with sensuous figures and
c beginnings of temple architecture - the curvilinear Northern style, the Ilarative
scrolls, the columns and the door jailbs,
A comparative study of the Hindu temple at TigaWa (P-34) and the Buddhist temple at Salchi (PI-33) shows the former. marking the commencement of an exciting architectural tradition while the other
marks the end of a school. Both temples belong to Ilore-or-less the early mid fifth century based on the sanctum cull portico style with columns and elaborate doorways. The Sanchi pillars are classically Buddhist 2 end of the Buddhist period. The Tigawa nings of a tradition - "its forms, ripple with ervous energy of exuberant youth." The IIleaning the bowl of plenty. This was the beautiful symbol typifying renewed faith
ar altar raised to the l'iv'ite e : Civili I to the Infinite." Percy Brown.
3 body is the temple of Giaid. Fr. Til the Huillor's book

Page 88
70
Dravidiana Architecture
he Pallava and Chola dy architecture, literature an
to the twelfth centuries (l East Asia and China, Mercantile guilds lik flourished. Port cities such as Nagapattina
Talmil Cultural influence overseas is dem
Malay, Jawa Illese, Sunda Inese, Balinese, d) derived from the Pallava grantha script, T government and inscriptions record the d
Political consolidation coincided with Sai
 

THE CREATIVE TOUCHES OF THE CHISEL
Tlasties infused a fresh energy into the art, deconomy of Tamil Nadu from the seventh
PI-37). There was a brisk trade with South
e the WanigTamam, Ayyavole and Nagarattar m, Mahabalipuram and Karaikal prospered. onstrated by the fact that the scripts of old ild Filipino, Canılıbodian and Thai were all
lle: Tallilland was Illoted for its vibralt local
eliberations of the ur, sabhail and nagaram. wite religious fervouT.
Plate 37 The gateway of ThruvLIII.L.III:li - Typical Dra widian Architecture. from the Author's collectil

Page 89
SPEAKING OF ARCHITECTURE - DRAVIDIAN ARCHI.
The beautiful South Indian temple the Cholas in Tanjore, the Pandyans in C Madurai and Srirangam, the Hoysalas in Aihole, Badami and Pattadakal reveal the s
art.
The Pallavas laid the foundations Cholas, Pandyans, Vijayanagar kings and gopura. The Vimana rises from a square b gopura is the tower at the entrance; it is c numerous temples of varying sizes somes landscape of Tamil Nadu.
The Deccan had a distinct and vib
Ellora. The Rastrakutas, Hoysalas and th temples in their style. Examples include B
"In the South of India, the well known exa over the area below the Orissan border; H Southern point of the peninsula. ... The S
venerated and the one at Rameshwaram
style.” Prabuddha Bharata.

TECTURE 71
's built by the Pallavas in Mahabalipuram, hidambaram and Tanjore, the Nayakas in Belur and Halebid, and the Chalukyans in sheer elegance and sophistication of Hindu
of the Dravidian architectural style. The the Nayakkas perfected the vimana and ase culminating in a rounded cupola. The blong with a vaulted roof at the top. The steeped in hoary antiquity characterise the
brant school of its own with beginnings in e Vijayanagar dynasties built marvellous elur, Halebid and Hampi.
mples of the Dravidian temples are spread yderabad and Mysore down to the extreme Shiva temple at Chidambaram is the most exhibits all the beauties of the Dravidian

Page 90
he Orissa, Buildelkhand comprise the early medi
Puri, Konarak, Khajurah invasions. Waves of invaders repeatedly ra time. It stands today as a sentinel of the F temple provided a forum for community a
to have a narrower focus - Worship and pri
The influence of the Gandhara S
location. The Turks destroyed most temp however, one discerns an interesting blen and triangular symbols, the pyramidal roof and Ionic types were effectively adapted in
The Solanki dynasty of Rajasthan were unusual temple builders as Well. The speak of a glorio LLs past though in Tuins toc famous for its terracotta temples.
"Each terriple is a paean to the greatest so
 

THE CREATIVE TOUCHES OF THE CHISEE.
Chifecture
Polill: 38 Killi, Rajasthan Siguri Tles wara Temple Curtesy Tridia Perspective
and Gujarat Schools of Architecture eval North Indian style. Bhubaneshwar,
and Mount Abu survived the Muslim zed Somnath but the people rebuilt it each Hindu resurgence. While the South Indian activity, the North Indian temple appeared
ayer.
school was evident in Kashmir given its les there. From the fragmentary Temains d of style and local creativity. The trefoil sand fluted pillars reminiscent of the Doric 1 all tellples.
(Pl-38) and the Malla dynasty of Bengal
Solankis built the Kiradu temples, which lay. The Mallas built the city of Wishnupur,
ce or earth, the Pargaria. "

Page 91
TEMPLES
emples in c or p or a te
the whole spectrum of
Hindu Culture. Temple architecture is a timeless art based on the principles defined in the Wastu and Silpa Shastras. It represents the universe carved in stone (pl. - 39). Tellples act as bridges linking religion and psychology, The warious sanctificd acts within the temple have a parallel in our inner World of
thought,

73
W W
W.
《
P1: ilSoutherTi gapura of the Temple in Madurai

Page 92
74
tone architecture in India
created rock-cut replicas o at that time. There were a from the Mauryan period onwards (arounc
The original vaulted-timber struct Gupta stone structures indicate a new ph into elaborate temple structures by the six namely the flat roofed small shrine and th and Deogarh (Pl-36). One witnesses the the pyramidal sikhara over the square sanc terrace with shrines in the four corners tha
The elaborate entrance to this shrine (Pl - figural motifs of worshippers at the base o the garbha-griha with its Super structure at and sculptured walls. To this day the gal structure. Architects introduced extension
pillared halls and relief panels. The diffe from the nucleus into the grand elaborate 1
The rock-cut caves of Barabar a
Lomas Rsi cave for example (Fig - 06 : rather plain and unadorned cave shrines, Satavahanas, Chalukyans and Rashtrakuta Bhaja and Nasik withstood the vicissitud out of solid rock. They consist of huge a designed after the primitive Toda tribal h belonging to the Chalukya era of the lat impressive.
“It will undoubtedly be conceded by tho, for certain qualities, the Indian buildings
elaboration of detail to be found nowhere

THE CREATIVE TOUCHES OF THE CHISEL
begins with the cave temples. Craftsmen f vaulted timber structures used for prayer series of rock-cut chambers and shrines
third century BC).
ures were irretrievably lost, but the earliest ase in temple building. Those developed th century. The examples of the Gupta era 2 adjoining porches are at Sanchi (Pl - 33) beginnings of a Super structure in Deogarh, tum. The sikhara is at the centre of a large at indicate an expansion from the nucleus. 28) consists of several panels of floral and f the doorway. These buildings emphasize the centre and its finely carved doorways bha-griha is the nucleus of every temple s around this from time to time and added
rent phases of temple structures evolved
emple architecture of the Hindus.
ind Nagarjuni belong to this period. The and Pl - 26) is simple but elegant. From temples developed in splendour under the as. The temples and monasteries of Karle, es of history because they were excavated ld spacious chambers with their entrances uts (See page 57). Cave temples of Ellora
e fifth and early sixth centuries are more
se who are familiar with the subject that, are a fancy, a lavishness of labour; and an
else.” Fergusson.

Page 93
DRAVIDIAN TEMPLES
he rock car Wings and the Pandya, Hoysala, Nayakk. Were truly memorable and in South India. The exquisite modelling of and pillars appear to impart life into the sti LIldoubtedly stood like soaring towers in t of awe and ecstasy is felt within as the struc psyche. A temple with the Nandi is purely TeInple in the Andhra Pradesh has a beauti
W 扈
A typical Dravidian T. Kakatiya Style, Courtesy
 

7
5
tellples of the Chalukya, Pallava, Chola,
a and Wijayanagar Schools of Architecture
represent the best of classical architecture
the figures along the outer and inner walls
ll serene figures. These temples must have
he imperial cities of yesteryears. A feeling
tures and the carvings grow on ones visual Drawidian in style (Pl - 40). Hanamkonda
fully carved Nandi in the quadrangle,
W W
W
W W
Implc with the Nandi - Temples of South India

Page 94
76
CHALUKYAN ARCHITECTURE.
he Chalukya dynasty intr
from the sixth to ninth
Badami and adjoining ar. cave temples whose grandeur is unmatch at Badami, Aihole and Mahakuta, reveal the great Virupaksha temple at Pattadak contribution to art is priceless.
In the words of Settar, “The Ch monumentalise the mid-Deccan; to system and Jainism through temple media betwe complex which was to distinguish itself ur (Middle) and Dravida (Southern). In fact, the lower Deccan to adorn the inner surfa
of Hindu gods and to introduce the techn were to guide the tools of the artisans throu 30b) The monuments consist of rich carvi
ingenious designs.
The Chalukya temple builders to builders had left. Excavations at Aihole a built on the debris of their predecessors, the co-location of the two artistic traditic
demonstrate the attempts of peoples of
several centuries," observes Settar.
The temples of Badam1 and Aihole based on earlierrock-cutsanctuaries at Bara School achieved subsequent perfection in sacred temples at the mouth of the ravine was panoramic and evoke a haunting myst

THE CREATIVE TOUCHES OF THE CHISEL
oduced peace and stability in the Deccan centuries. It chose the rugged hills of eas of Aihole and Pattadakal to excavate d to this day. Several sacred monuments elegance in design. The Chalukyas built al in the eighth century. That dynasty's
alukyas could claim.... to be the first to natically popularise Saivism, Vaishnavism :en the coasts; to evolve an architectural der the names, Nagara (Northern), Vesera the Chalukyas were among the earliest in ce of the temple with an impressive array ique and terminology of architecture that ghout the medieval period.” (Pls - 30a and ings, exquisite images and trehliswork of
ok up the threads where the Megalithic ind Pattadakal reveal that the Chalukyas ihe Satavahanas. "It is interesting to note ons — Megalithic and Chalukyan - which different millenniums to bridge a gap of
mark the start of Chalukyan architecture bar, Nagarjuni and Lomas. The Chalukyan Ellora and Elephanta. The location of the oetween two ranges of red sandstone hills ery asone strolls through the Valley in the

Page 95
TEMPLES - CELARLUKYAN ARCHITECTURE
early hours of dawn. Inspired by Saivism, - the figure of dancing Siva in one shrine Saiva affiliations. (see pages 182 - 184)
The artists chiselled the rock-cut geological formation on earth namely the G old. The kings dedicated these temples to Subjects relating to Siva and Wishnu are aisles and ceiling. The temple in cave three
are framed by delicately moulded colullins
The Ladkhan and Durga temples Sivalaya (Pl - 41), the Bhutanatha tem Badami and the various temples at Pattad
architecture.
The builders built the Malegitti Si appears to stand precariously on the gig central shrine, a square columned hall and
rich with friezes of mythical dwarfs harm
Plate 41 Malegitti Siwa Temple Courtesy Marg Magazine
the temple a special sanctity. This free star later date. It is a good example of the West Nagara — North Indian style mixes with || different to the earlier Chalukyan temple:
 
 

lihole is resplendent with detailed carving
ind the linga in the other clearly point to
ave temples at Badalini out of the oldest Indawana Plate said to be millions of years Siva, Wishnu and to the Jain Thirtankara. carved on panels and columns along the is dedicated to Wishnu. While the carvings With unusually faceted shafts.
at Aihole, (Pls 32a and b) the Malegitti ble (P1 – 42) and Mahakuta temples at akal, are Imagnificent Chalukya pieces of
|valaya temple on the bluff of the hill that intic boulder. It is a small temple with a i entrance porch. The chiselled panels are onising architecture and sculpture to give
Plate 42 Bhutanath Temple at the edge of the lake Ibid
ding stone temple of the Chalukyans is of a ra style of architccture where the evolving hat of the Dravida - South. This temple is at Aihole.

Page 96
78
The Bhutanath temple located at wonder! The temple was WTapped in the like a pale thin blanket lending to the templ as if the whole had been blessed by the to taking to see the Weil of mist at early daWI
shrillic of Lord Bhutanatha. This Was a Ill
sense of Illystery. The temple appears as if giant rock. Much of the stone Work inside
The Ladkhall temple at Aihole Chalukyan structures of the sixth century elaborate structure more like a Deccan :
the Wooden counterparts of an earlier per walls to admit light inside. The temple hall sanctull in the centre has a smaller flat TC
floor, The artist portrays tremendous skill
weaving the sculpture into the architectur:
The Durga temple (PIs - 31-4 and standalone structure. The super-imposition Buddhist upsidal structure makes il intere: sloping roof supported by columns. With h. walls are perfect in craftsmanship (Pl - Il
Plate 43 Temples at Pattadakal I [[TLTT1 the A|
 

THE CREATIVE TLCHES OF THE CHESEL
the edge of a lake is another Chalukyan arly morning mist. It clung to the gopura le and the water a faint whisper of unreality uch of the Maker’s fingers It was breath1 receding upwards to reveal the immortal Inforgettable experience that introduced a the architect had placed it at the feet of the
has unfortunately been da Imaged.
Pils - 3 - 3 Ind 32a) is One of the Oldes ; it is unusual in that it is essentially a flat style house' with a gable roof resembling iod. There are perforated Windows on the is unusual with its carved pillars while the ofed structu Te Cover it introducing another | and achieves harmony of proportions by
il schelle.
32b) belonging to the seventh century is a of the Nagara style: sikharaonan essentially sting. It is a semi-circular sanctuary With a eavy brackets. The sculptures adorning the
9).
epresenting Dravida and Nagiri styles Li tliilor's collecticin )

Page 97
TEMPLEK – (CIHAIRE. LUKYAN ARCHIITECTURE
Pllie 4.4 Till: Wir Co b-LLrlesy IIldi.
The temples at Badami are Dravi sees both the Dravida and Nagara styles of mature phase of temple building (Pl - 43). Wirupaksha temple (P1-44) symbolises the It is essentially a Saiva temple with a cent The ornamental Mithuna sculptures and In: Ramayana and Puranas add to the beauty
Plate 45 Sculptured figurines - Wirupaksha Temple pillars |իiti
 
 

7.)
a Perspective
dian in style. However, at Pattadakal one tellple architecture co-exist representing a The Dravida style seen in the monumental grandeur of the Pattadakal temple complex. ral structure and detached Nandi pavilion. arrative sculptures from the Mahabharata, of the temple. Animal, floral and figure

Page 98
80
carvings blend harmoniously with the ove temple exudes warmth despite the passage very rare buildings of the past in which t it and wrought it with their hands.” The complete maturity of Indian art and is n monuments.o The Nagara school in the P striking resemblance to the temples at Bhu
"To the chronicler of Indian art anc and the Temple complex nearby at Aihole a temple building art which is the legacy of some two centuries from about AD547 to 7
Notes
Chalukyan Backdrop - Roots, Relations and * Percy Brown - Indian Architecture p 84. * T.S. Satyan - Indiar Perspective April “95

THE CREATIVE TOUCHES OF THE CHISEL
rall structure of the temple (Pl - 45). The of 1300 years. It is indeed, “one of those he spirit lingers - of men who conceived Pattadakal cluster is said to express the ow included in the world heritage list of apanatha and Galaganatha temples has a baneshwar.
darchitecture, the sandstone hill at Badami ind Pattadakal is a grand nursery of Indian Chalukyan kings who ruled the region for ʼ53. ʼ T.S. Satyan.
Relevance.

Page 99
KALLAS TEMPLE OF ELLORA
6 6 T great achievements at Ellic
carving. Here the greatest c
set in a range of hills evert today from all parts of the world.' The ti Sahydri range are a tribute to the architec Jainism. It was interesting to see elegant the silent contemplation of the Buddha, Im.
Woven into this beauty are the spiritual r
breathtaking in its grandeur and beauty,
The huge monolithic shrine of ti complex - the crowning achievement of Rashtrakuta rock-cut Kailasa temple of E a grand copy of the Wirupaksha shrine at amazing one with its grandeur and beauty. gothic cathedral.
Cal TTTel Berkson w Tites that the was organised, "on an autocratic, hierar kings and Brahmin priests fixed at the ranks defined almost entirely by the pric
 

S.
raare the culmination of a tradition of rock incentration of sculpture and architecture be caTwed, beckons Lhousands of visitors irty three cave temples nestled within the Lural genius of Hinduism, Buddhism and Hindu sculptures, austere Jain images and wing before us against a varied Scene and
2alities. Ellora is a serene artistic legacy,
le Kailasa temple is the epito Ille of this Deccan architecture. The cighth century llora (Pl - 46) had Chalukyan roots. It is Pattadakal excavated out of the cliff-side The elaborate temple has proportions of a
Platc46 – Ellora Kailasanatha Temple Courtesy Indian Art
ociety that constructed these monuments hical, vertical plan with warrior chiefs or pper level of a graduated series of lower
essions of its members." The kings and

Page 100
82
priests provided authority and resource Linskilled Workers collectively transforme
of Siva's abode in the Himalayas. The Wh
Plate 47a-Ellora sculptured plinth - a herd of
see Tingly supporting the temple
feet tall and similar to the Sea Shore temp courtyard and sculptured pillared cloisters: one gets the impression of Siva's heavens the courtyard is the shrine dedicated to the smaller shrines dot the terrace by the mair
The narrative relief panels feature stories from the Ramayana. The sculptor incorporated a variety
of moods in presenting the theme of
Ravana attempting to Illove Mount Kailasa (P-47b). Theartistingeniously portrays the tremor by depicting Parvati clutching Siva and the maid in flight. The chiaroscuro effect of deep shadow and broken light heightens the effect. The artist depicts Siva as pressing his foot down and portrays Ravana's failure! This is unique for its dramatic Vigour and quality. F
 
 

THE CREATIVE TOUCHES OF THE CHE ISEL
while skilled architects, sculptors and the rocky hill scarp into the mystic vision Ole temple appears to rest oil a sculptured plinth consisting of a herd of elephants (Pl – 47a). During the monsoons, Water cascades over the crescent moon shaped
scarp of rock.
The aesthetic vision
of the architects transformed
a rock into a treasure trove of
sculpture exuding a timeless
warmth. The elaborately carved wimana is hundred le at Mahabalipuram. The assembly hall, a are included. Through the dimly lit recesses, slittering in the sunlight. At the entrance to : Nandi. The linga is the moolamurti. Five
shrine
KWEM M
9.
殖
late 47th Ravana attempts to move Mount Kailasa

Page 101
TEMPLES-KAILASA TEMPLE OF ELLORA
Another important cave in Ellic structure. A number of pillars support the on the inner terrace depict Saiva and V. Narasimha (Pl - 149) are two exquisite ca
As we walked through the rockElephanta, a sense of timelessness arose. Sunshine enlivens the rock-face. The whi of the efforts of the great builders. The sl generations who hewed out shrines and chi makes each temple a masterpiece of sculpt chiselled top to bottom out of a single roc that it required generations of planning an Hindu shrines in the caves exhibit a style. are totally different from the Jain and Bud
As the centuries have moved th colourful past shines through the pallid aesthetics - namely that man and nature, i
awe inspiring and enduring insight to eter
"These marvellous rock-cut temples stanc artistic sensibility and the inner sophistic romanticism of rock-cut archi technique.
Notes
Carmel Berkon in the article which appeare S.K. Saraswati- A Survey of Indian Sculptu

83
ora is the Dasavatara, a two-storied Saivite upper floor of the Siva linga temple. Panels lishnava themes. The Dance of Siva and
rvings.
cut temples in Ellora, Badami, Ajanta and
There is silence all over while the brilliant
sper of mantras and shadows reminded us
ow work of countless craftsmen of several
selled sculptures with enormous dedication,
lure and architecture. The entire edifice was
ck. The architecture of these shrines shows
d co-ordination to give the final shape. The , a creative vision and execution skills that
ldhist temples.
rough the passage of time, the rich and present underscoring a principle of Hindu
in creative union give us an unforgettable,
nity.
das a testimony to the architectural genius, :ation of those who delved deeper into the
ʼ V. Ramashesh.
i in the Taj Magazine. ure p 163.

Page 102
84
MAHABALIPURAM - THE ART (
he Shore temple at the old one of five ill pressive mo)
being Konarak, Jegan nat
The Mahabalipuram complex he Pallava style. The Pallavas borrowed
the idea of the rock-cut shrines
from the Satavahanas, The Pallava
artists had to work on granite using special techniques for excavation and
embellish illent unlike the Satavahanas
who worked on softer materials. They
produced unique temple structures that
reflect their imagination and creativity. A
The Pallavas excavated the
rock-face into pavilions or Illandapas W.
and carved the Inonoliths into rathas and
structural te Tiples. The temple complex consists of five rock-cut monolithic TP)
temples, cave shrines excavated on the sides of the rock, sculptured bas-relief on the edge of the hill and the elegant Sh
|T1118.Լ. ԼII11,
The Rathas" (P - 48b), in the forI prototype of Dravidian temples with the Walls. Each Ratha is a unique replica of each is an exquisite Siwa Iemple sculptur of the rathas, the Draupadi Tatha which is from Buddhist prototypes, the vihara and

THE CREATIVE TOUCHES OF THE CHISEL
DF THE PALLAS
port city of Mahabalipuram (Pl - 48a) is |numents that stånd by the sea — the others h, Rameshwaram and Elephanta,
:wn from solid rock is an apogee of the
late 48a Mahabalipuram adjoining Shore Temples
illustrating the in Lerchange: vyf sy Lubolis||11 from the Author's collection
ore Temples. This is a veritable open-air
of chariots are based on the architectural
ir towers, pillared halls and sculptured a Wooden structure. Though incomplete. 2d out of granite. Except for the smallest almost collplete, the others are derived
il chaitya hall. In the Dharmaraja ratha,

Page 103
TEMPLES - MAHAHALPURAM
extra storeys were added as living quari for monks, while Bhima's ratha is of
Wesera style - an elongated building wit barrel roof terminating in a semi-dome. plastic adornments melt into an architect patterin influenced by the Amaravati Siche **Solitary, un Illeaning and clearly nevet us as none of the interiors is finished, Sphi
like for centuries, the monoliths have st
sentinel over mere emptiness.”
The Mahabalipuram temples remarkable for their sculptural embellishme The panels depict the story of Durga slaying demon (P1-158) and Wishnu in the Mahishas Mardini Mandapan.
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Plate 49 Mahabalipuram Bas Relief |Էitl
Bhagiratha was unable to perfor Ill the shra the drought and undertook penance to bril
 
 
 

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The bas-relief in Mahabalipuran is a striking piece of workmanship - a Veritable fresco in stone (P - 49). This bas-relief is over eighty feet in length and twenty-three feet in height, inspired by a Panchatantra fable conceived on an epic scale. A natural cleft divides the whole area and the artist uses this to
represent the river Ganga. To the left is Arjuna where Siva is seen granting the Pasupadaasthra to him, the Kiratarjunya Sceile. Others consider this to be that of
the emaciated figure of Bhaghiratha. The legend of Bhagiratha is interesting. King dda ceremonies for his ancestors owing to
Ing down the water froi in the heavens. He

Page 104
86
Succeeded and the artist ingeniously uses the flowing Ganga. The episode together elephants, deer, cat and calf in relief are re
The Pallava artists transformed th graceful plastic form that imparted a certa in a slight side profile and created a sense whole scroll is balanced and integrated.
The two Shore Temples stand in offering to the glory of Ishwara (Pl - 47). W towers for the first time on a quiet evenin with the sun’s rays glistening obliquely anc it against the crimson background of the se
The larger temple is a many ti exquisite relief carvings. This is the Ksha is a Vishnu temple with Saiva antecedents Simheshwar. Small sculptures of Nandibu the two temples.
Just outside the temple complex Yalimandapam which appears at first sight sea is the Eastern side of the boulder and leading up to it. The actual cave consists o of the boulder with empty niches and an a or Vyala heads mistakenly called 'tiger hea by the Pallava monarch Narasimha Varm Acoustic theories could be linked to these
effectively combined - a marvel of mediev
The entire edifice of Mahabalipur commentary on the glory of the Pallava kin India."o “Of all the great powers that tog none had a more marked effect on the arcl

THE CREATIVE TOUCHES OF THE CHISEL
he natural cleft in the middle to represent with the descent of Ganga, the standing markable.
e granite bas-relief into a soft, supple and in visual depth. They chiselled the figures
f the images emerging from the rock. The
majestic dignity and appear as a Pallava e were awestruck when we saw the temple g. They epitomize beauty and tranquillity reddening the temple edifice, silhouetting :tting sun.
ered pyramidal structure designed with itriya Simheswar. The smaller of the two s. It consists of five tiers and is the Raja ills in varying sizes and positions encircle
Saluvankkuppam, is the Tiger cave' or as a huge boulder. The section facing the scarved at a height of six feet with steps f a pavilion excavated on the Eastern face ched frieze of eleven large rampant lions ds.” This is the Sangita Mandapa created an who was a musician par excellence. 'allava creations. Music and art have been
all creation.
am is a solemn work of art - an eloquent gs and the ancient art and culture of South ther made the history of Southern India, itecture of this region than the earliest of

Page 105
TEMPLES - MAHABALIPURAM
all, that of the Pallavas, whose productions style,” according to Percy Brown.
Even though the tradition of rockthe Pallava dynasty, the age-old tradition a built, carved and furnished the famous Pall of the hammer on the chisel still echoes where craftsmen continue to work on g tradition.
"Even after centuries the archaeological perform a beautifully conducted orchestra solid with raw authority, embracing wit feminine grace. In the vast courtyard of – myth, poetry, religion and art - all coa stature. 'Madhumita Ghosh.
Notes
These rathas are named after the five Pandava bro these characters from the Mahabharata had nothi way of identifying the structures
7 Percy Brown - Indian Architecture p 96.
The weapon which could destroy the enemy. Arju Based on the author's Compendium of Notes - th Dr V. Premalatha has made a contribution in her was the stage of an open-air theatre; the soundo performance, instead get absorbed and pushed ol and discovered to my delight that the cutting oft and the overhanging elliptical arch frieze of Vyal maximum comfortable acoustic property to this explains and adds that since the only course fort treated to soft, pleasant and enduring sound.
S.Pathmanabhan - Temples of South India. Percy Brown - Indian Architecture.
9

87
provided the foundations of the Dravidiar
cut temple building ceased with the end of nd sophisticated skill of the craftsmen who ava style has survived. The rhythmic sound through as one drives to Mahabalipuram
ranite blocks as inheritors of the ancient
ensemble at Mahabalipuram continue to of wind, water and sand. The stones stand hin its folds the finery of bass-relief with monoliths, an old theatre re-enacts itself
lescing quietly, but with an unannounced
thers and the consort Draupadi though in reality, ng to do with the rathas, perhaps this was a popular
na's prayer was answered. he original source has been omitted. research studies, wherein she says that this pavilion f the sea and rushing breakers do not disturb any ut, mellowed and softened. “I experimented singing he niche in the elevated place with flanking alcoves a heads both frontal and lateral, was only to secure elevation when the musician performs in it,” she he travelling sound is frontal, the audience is

Page 106
88
THE CHOIL CONTRIBUTWOW
hile the Cholas date
was only in the ninth for an empire. The beginning. However, the early examples freshness in contrast to the declining Pall style introducing a new complexion to Hir
consolidation the rulers focussed on the ac
with deep devotion as an outpouring of T
"The Chola sculptors conceive like giants
Plate 50 Srinivasanalur Temple 940 AD - A small temple of the early Chola perio, Ibid
tower which rises several floors - the
Wimana at Gangaikonda Cholapuram, has eight and at Brihadishwar in Tanjore has thirteen levels (Pl - 51). The tower at the entrance, the gopura
is a SIIlaller edifice. The Cholas
became one of the grandest temple builders with the construction of the
temples in Tanjore and Gangaikonda
Cholapuram (P|-52),
 
 

THE CREATIVE TOUCHES OF THE CHISEL
back to the Sangam age (1st century AD), it 1 century that Parantaka laid the foundation emple structures were few and SImall at the a Te complete in their design and display a awa style. The Cholas perfected the Pallava du architecture. After political and military iministration of their land and built temples eligious fervour. Fergusson remarked that,
and finish like jewellers."
A classic example of the
Chola temple in the early phase is the
Koranganatha temple at Srinivasanalur in Tiruchirapalli (PI — 50). This is a Small, exquisitely built temple. At and architecture flourished over time. The
Cholas perfected the vimana, the towering
structure above the sanctum. The wimana
is a square structure in the ground plan
with a receding ziggurat like storied
I, 51 Tanjore Brihadiswara Temple wimana over the ine and the golpura On the left Courtesy Indian Art

Page 107
TEMPLES - THE CHOL., CUNTRIBUTION
The Tanjore temple was built ath extra-ordinary vision, planning, organisati This temple was earlier called Rajarajesw. Was later called Brihadis war temple. This instance, Saint Appar(Who belonged to the as "Tanjaitaalikkulam." The Cholas enla grandest temples in South India, " "Nam ( we built Sri Rajarajes Wa Tam the sacred LeT Lus the story.
The villmana, ardha mandapa and || complex. The Inandi mandapa is a later the presiding deity of the temple. The lir as the sanctum wall. There are imposin Siva (PI – 53), a bronzereplica.ofsculptu Subramanya in the temple, Fergusson ref exquisite piece of Dravidian architecture. by horses belongs to the sixteenth century. in the Wijayanagar style. It has been built
The vimana is fifty feet tall embellished
III
W
Plate 52 Gangaikonda
 

89
Ousand years ago. Its construction required Oil and deployment of labour and resources, Taill, the temple of the God of Raja Raja. It telliple existed in the sixth century. In one : seventh century) refers to the temple pond rged this Small shrille Imaking it one of the :dupicha thiruka Tali Sri Rajarajeswaram.”
Tiple in stone is one inscription which tells
maha mandapa form a single architectural addition. Brihadishwa T = the Linga — is ga chiselled out ofblack granite is as tall g images of Aghora Bhairava, Tandawa ral beauty in Stone, Wannadeva, Nandi and ers to the Subramanya Shrine as being an This shrine in the shape of a chario drawn It is a later addition built by the Nayakkas in the shape of a chariot drawn by horses.
with exquisite carwings. In the sanctum
| Cholapuram Temple

Page 108
90
is Subramanya seated on the peacock with
single stone and on either side are the stan
The vimana (Pl - 51) is imposing crowning the pyramidal vimana,which giv marvel of structural engineering. This to of the day is there a shadow outside its pli should tread on the shadow of the temple.
One hundred and eight poses are s are referred to as "Karanas. The sculptor poses in stone here. These are the earliest c lexicon of Bharata Natyam. The unfinish poses, were said to be inserted between the sanctum contains religious and secular mu frescoes were painted over by later generat
original paintings have re-emerged to educ
The Brihadishwar temple belongs to Cholapuram in Tiruchirapalli and Airav trinity, “is not orchestral but monumental achievement as well as by the artistic w Lord of dance (Pl - 53) is an example of temple.
The Gangaikonda Cholapuram m Tanjore temple (Pl - 52). It was richer important feature here is the assembly hall later became the model for the thousand pi Chidambaram.
The kings Rajaraja Chola and his The father constructed the temple in a spi as a reminder of the glory of the Tamil em
Siva. It is indeed the grandest achieveme

THE CREATIVE TOUCHES OF THE CHISEL
the tiruvasi behind - all carved out of a
ding images of the two consorts.
and awe inspiring. The monolithic cupola ses it a height of two hundred feet,' is a wer is so ingeniously built that at no time
nth - the idea being that no man nor beast
poken of in the Bharata Natya Shastra and schiselled and codified eighty one dance arving “in situ” in South India - a veritable led seals of the remaining twenty seven other poses. The passage surrounding the rals similar to those in Ajanta. Many of the ions. With the later murals peeling off, the :ate us on tenth century Schools of Art.
a Chola trinity that includes Gangaikonda ateshwar at Darasuram in Tanjore. This , judged by the totality of their structural orkmanship of the details.”o Nataraja the the scupltural beauty in the Brihadiswar
onument built in 1025 is a replica of the and grander, albeit neglected today. An and its one hundred and fifty pillars which llared halls of the temples at Madurai and
son Rajendra Chola built these temples. rit of thanksgiving which serves not only pire but as a monument of his devotion to nt of Dravidian architectural art. Rajaraja

Page 109
TEMPLES - THE CHOLA CouNTRIBUTION
W
W
Plate 53 Natih rajal the Lord of di:
 

W
/ W
《 W
W. / W W
W
”
III.ce in the Brihadis War temple
91

Page 110
92
Chola “was an ardent Saivite. This Chola
the celebrated Saints, Appar, Sambandhal Chidambaram temple. The recovery of t greater than his conquests and the temp
similar temple in Gangaikonda Cholapura
The Airavateshwar temple, with and dance, is rich in decorative exuberal sculptures together with the narrative sc the plinth of the shrine, inspire devotion. mandapa extension in the form of a cha: sculptors of Konarakadopted this style a c temple.
"The vimana and gopura attract the devo, our admiration, for the wealth of art lavis
Notes 'It is said that the granite stone was carried up as However, Dr. R. Kalaikovan, Director of the Dr. Research in Thiruchirapalli says that it is a struc rock. A. Ranganathan - Jewel in the Southern Crown. He retrieved the lost Devarams.

THE CREATIVE TOUCHES OF THE CHISEL
monarch retrieved the lost Devarams of
and Sundarar, from a sealed room in the he lost hymns was his greatest triumph, le Brihadishwar. Rajendra Chola built a
m to emulate his father.
its wealth of sculptures illustrating music nce and artistic finish. The Nitya vinodha ulptures of the sixty three Saiva saints on
An important feature in the temple is the Iriot with horses drawing the chariot. The
'entury later in building the famous chariot
tion of the worshippers from afar and claim hed on them.” J.M. Somasunderam.
lanting scaffolding from a distance of four miles.
M. Rasamanikkanar Centre for the Historical ture made of many stones but appears as a single

Page 111
CHINIDAMBARAM - DRAJVIDIAN
he Pandyans, who succe School of architecture. T
to the gopura, the to Wer ) expressed their religious sentiments wit structure of some ancient shrines in the skill. The sanctity of each temple was ma
courtyards and circumambulatory passage
The origin of the temple in Chidam
religious significance of the place is great.
 

9
3
ARCHITECTURE
litical Fromm, in Chidambaram - the ஆடிாக -- II Lili Tierred North : :::» « » տառա gopura, culminating
"A il i TT1 yıl ilT
framm thic Author's
collection
eded the Cholas, continued the Dravidian hey shifted the emphasis from the villana it the entrance to the temple. The Pandyans h a difference. They expanded the basic ir kingdom embellishing them with great intained by high peripheral walls, enclosed
2s. With grand gateways (gopuras).
baram (P-54a) is shrouded in mystery. The It is associated with the legendary figures of

Page 112
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Plate 54b Chidambaram - The golden canopy oft
contributed a section to the complex.
Tradition has it that the temple can Simhava IIIlan II (550-575 AD) was cure lank. As an act of thanksgiving, he built a
halls and gopuras making it a vast religio
The Cholas lavished expansion Nataraja, their favourite murti, by tiling roof of the Chitsabhai with gold (P - 5. building four gopuras, four prakaras improving the Chitsabhai, the Kanakasat
and the Nrita Sabhai in the ninth century,
The artist combined the exot
and esoteric aspects of Siva worship. In Sanctuill is the Akasha linga," a subtle per vading symbol of God. A wcil separates
iTillage of Nataraja from the sanctum.
The tellple is an encyclopaedia dance in stone (IPI – 55). The graceful figu of da Il seuses each represent a karana or da:
 
 
 
 
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CRISEL
he stillւttյm
Wyagrapatha' and Patanjali. It Was the cornerstone of Saivite
piety and linked to the saints Sambandhar, Appar, Sunda TaT and Manikkavasagar. The
, inscriptions on the walls of W the temple go back to the tenth E. century. The construction of the massive gorpuras of this
ancient Illonument extended
over several hundred years
where various dynasties
ne into prominence after the Pandyan King
d of his ailment by a dip in the Sivaganaga
temple here that was later expanded with
Llis complex.
th:
4b).
and
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of
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Plate 55 Chidambaram-Dance panel SCILI TILLITcd Tepresentati VIII Ibit
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Page 113
TELES - CHI AM BARAM
pose with the relevant stanza from the Naty on each side make up the one hLIndred and { Shastra. The first karana is at the botton C
botto Ill of the second pillar and so on. The posed in dance, stamp the rhythm of mu works of art life and movement. The Stone
terms of reference for the revival of Bhara
One sees the magnificent sculptur through the cosmos to the accompaniment inner gopura. The art work is rich and inva as an effective commentary on the dance image a relevant verse of the Natya Shast characters, describing the particular karana and angharas. The rhythm and postures ofth of the figures. There is also a wealth of other pieces of Ardhnarishwara, Bikisha-atana (Pl—56), Tripurantaka, Dakshina murti and Gajasamharamurti (P - 57) are cameos in
5ԼLillԸ,
Sundara Pandyan Tirugopura is the Weste T11 gopura built by Sundara Pandyan. One sees the carved miniature dance poses of Nataraja together With the descriptive slokas from the Natya Shastra in the inner face of this gopura. These are the only authoritative and systernalised representations of the Lasya dance for 11 described in the Natya ShastTa. On the outer face of the gopura is the Imagnificent image of Surya with a halo of light and lotuses in his hand. The image of Subramanya riding the peacock is placed in another niche. A special shrine with a

95
ra Shastra inscribed. The fifty four karanas eight poses described in the Bharata Natya f the first pillar; the ninth karana is at the se astoundingly beautiful representations sic as it were and give these Illarwellous pillars are veritable treatises that served as
a Natyam in the early twentieth century.
of Nataraja in the Tandava pose swirling
of thousands of storic dancers, in the East luable not only from an aesthetic angle bլյլ modes of the Natya Shastra. Below each ra is inscribed on stone in legible grantha and explaining the hastas, karanas, sthanas e dance form can be seen in the arrangement
stone work with artistic skill. The exquisite
Platie 56 Siva als Biksha-atail: Courtesy - The University's Environs
in a niche. Nartana Winayaka is portrayed
vimana has been built for the Kshetrapala

Page 114
Կն
Pillaiyar referred to as Kulothunga Chola
The Pandyan monarch Kopperu thirteenth century. One sees a wealth of ic Siva as Kalyanasundara, Ardhanarishwar some of the more important sculptures. Ti faces Nataraja in the sacred hall known as
The Wijayanagar king, Krishna De the King of Orissa, built the Northern gop representations of Durga, Wishnu and the face of this gopura. The depiction of Siv: foot-Wear is unusual giving a sense of Ino
and the makara kundala, His ears ornameI
The sanctum is the Chitsabhai v
Sivakamasundari in the adjoining lef cha Iimber. To the right of this is an el Impty Sanctum, where Siva is worshipped as the invisible presence in our lives. The Akash: Linga represents Siva as beyond form and is all empty space with a yantra and golden arch, This space is the Chidambar: Rahasya' or secret. A priceless six inch
ruby Nataraja multi is worshipped daily.
Worship in this telliple is carried on by a unique clan of Saivite priests, the Dikshitars who have served here for untold
centuries. It was Hiranyavarman who brought three thousand Brahmins from the shores of the Ganga to serve the Lord. Today they claim their ancestry to the
Tillai moowaayiravar wholl Saint Sundara

THE CREATIVE TOUCHES OF THE CHISEL
Pillaiyar.
ljinga I built the Southern gopura in the onography on the outer face of the gopura, 'a, Tripurantaka and Gajasamharamurti are here is a large Nandi in the quadrangle that
| Ponnallıbalann.
2wa Raya, commemorating his victory over ura around the sixteenth century. There are
Wedding of Siwa and Parwati in the outer
a as Biksha-atana with traditional wooden tion. The jataamakuta. His head ornament,
lts stand Cout.
Platic 57 (Gaja salı hara Murilli
Iեit
r spoke of in his Tiru Thondar Puranam,

Page 115
TEMPLES - CHILAMBARAM
The golden hall or Ponnambalam Sabhai (P - 58) is designed like a chariot Here, Siva is found in the posture of Oorth
III.*
The Raja Sabhai is the thousand p witness the temple ceremony, the more ir June and the Maargali Thiruvaadirai in D. On the ninth is the ther or chariot festivalw exquisitely carved wooden chariot. On the Siva is carried from the thousand pillared
six Illonths.
Each visit to the sacred Shrine of C
that gives us the feeling that we had ind more the Nandi at Tirupenkur reminds outside; the Nandi “Inoved in order to
98).
 

97
stands in front of the sanctum. The Niritta drawn by horses complete with wheels.
luva Tandavam lifting one leg high in the
illared hall where devotecs congregate to nportant ones being the Aani Uttaram in ecember. Each festival lasts for ten days. then the uttsawamurti is taken round in the tenth day is the darshan when the Dancing
hall back to the sanctum to rest for the next
hidambaram is an exhilarating pilgrimage
శస్త్రీ
it graphic representation,
led witnessed the Cosmic Dance. Further s of Nandanar who worshipped from the
give him the vision of the Lord (see page

Page 116
98
"The carvings in the Chiadarn bara ir 7 Temmy
executed than any other of their class so sc
Notes ' Tradition has it that Patanjali, the author of the Y worshipped the Srimulaan anda T Sivalingan in Ti The Saiva saints belonged to about the 6", 7" and It is believed that Lord Siva callic down to the DE disguised as a mendicant-biksha-atana, callying raised a sacrificial fire from which first a tiger, the Him. He skinned the tiger and wrapped the skin a and nut His foot on the dwarf and danced. And I " In Hindu tradition, the Lord is worshipped as Prth or air and as Aakasha or ether." Aakasha is Ille while God is chidaakasha, the "spirit space," Th shrine - Chid ambar III where "chid Teans con LIII measurable space. Siva is worshipped as Prithivi or earth ion Kanch Tejas (or fire in Tiruvannala Talai; as Way LL CIT ait in Chidambara Rahasyam is the secret of Chidamba Tradition has it that a dispute arose between Siva Kali, as to who was the better of the two in danci Oorthuva Tandava listing up one leg to the level leg lifted up, puts the thilaka on Kali's forehead.
 

THE CREATIVE TOUCHES OF THE CHESEL
Nandi at Tiruplenkur where Nandanar Worshipped from the
Lutside, the Nandi "moved" in order to give hir 11 the vision of thc Lord,
le cre riore graceful a nore elegaty
ar as I kr 7o 11" ir 7 South India. " Fergussor.
nga Sutris and Wyagrapatha (one with tigerfect llai waith artin arch Lind 2C) (1 BC).
8- Ceh Liris. Tukavanam to subdue the insolence of the rishis, a bowl. The rishis sensing that this was Siva in a serpent and lastly a dwarf rushed in turn upon round his waist; the snake. He were round His neck , this spot als the legend goes stands the temple. vior earth, as Ap or water, as Tejas or fire, as Waayu e "material space" and is regarded as jadaakasha : mystic chidaakasha gives the name to this sacred sciousness and "ambaram' means aakasha - vast
puram as Api I water in Janbukeswaram: as Kalahasti and as Aakasha in Child:Limba Tam. am – the Wid
Ill is consort Uma in hc manifestation as g. In the ensuing contest, Siva performed the f His crown. It is in this pose that Siva with one

Page 117
VIJEN GAR ER
out hell IIldia was Vulnerab
in the late eighteenth centl
1300s to deter Musliili ico
people south of the Krishna River provide country where art, architecture and the ecc of the Deccan extended their sway over T. united the region. Today Hampi on the ba: spread of majestic ruins.
The Wijayanagar rulers like the P temples and built new ones. In enlarging needs of an evolving ritual and ceremony temple enclosures. The pillared kalya na m annual ImalTiage — the Tirukalyanam''
observances of the deity.
The magnificent Tuins of Ha Impi, the centTe of the Wijayanagar Empire combine the lavish Hoysala style with Pandyan features. In Hampi the Vittala temple (P-59) is placed against the backdrop of rock formations. It is the most splendid building covered with elegant inscriptions. Wittala Panduranga. a representation of Krishna, is A. the presiding deity. The temple is ornate with the garbha-griha in
the rear surrounded by the artha
mandapa and the maha ima Indapa, The delicately carved pillars form a
 

99
Le to the depTedations of the Delhisultanate Iry. The Wijaya Ilagar dynasty arose in the noclasm. The sacred trust reposed by the d the necessary strength to build a stable nomy flourished. These illustrious rulers
amil Nadu for almost three centuries and
inks of the Tungabhadra River is an arid
andyans before them, expanded existing the temples, they closely adapted to the . This resulted in more units. Within the Andapa Was introduced at this time for the
W W.
WAW 編
唇 繳
Μ W. W
%'
燃
ANE 屬
Plate 59 Hampi – Vijaya vittala Na Tasin linha, Temple: Courtesy Discover India
ويلا

Page 118
Plate 60 — Wijaya vittala Stone Chariot |bili
Inedieval atmosphere!
Within the temple area is the huge half IIletres tall, (P-59) 'overpowering iI of Narasimha is not the usual form of In guardian deity of the temple. It depicts Na on the left lap. Dr M.S. Nagaraja Rao o closely corresponds to a dhyana sloka, pop of the same figure is carved on a bouldern
Amidst the ruins, the only Standing This is a white soaring tower amidst the prin The great water reservoir built by the Kin S besides these. This reservoir was recently brought from a distance through a series of with steps arranged in a series of pyramid
inscription indicates its exact position maki
Much like Pompeii, Hampi was an a
 

THE CREATIVE TOLUCII ES OF THE CHISEL
colonnade and give the temple a serene grandeur. The famous monolithic stone chariot (Pl - 60), carved with rotating wheels, is in the courtyard of the temple. We were particularly lucky to witness a ritual in this temple - an offering of Karnatic music to Wittala Panduranga, which is an ancient mode of worship where the priest dresses up the image with garlands of flowers to the
accompaniment of classical music played on the nadaswaram and tha will (the clarinet and drum). It was an un forgettable
experience made unique in its
: Inonolithic figure of Narasimha six and a its presence and virility. Here the figure an-lion but a seated version more as the rasimha in a yogic position with Lakshmi bserves that iconographically this figure ularly known as Bellary. A smaller replica earby.
sikhara today is the shrine of Pampapati. newal boulders that are a million years old. of the Vijayanagar dynasty is magnificent excavated by archaeologists. Water was stone channels and beautiful monuments s. Each block of stone with its Kannada ng any reconstruction effort simple.
Incient settlement that had its antecedents

Page 119
TEMPLES – WLAVANAGAR ERA
in the second century; yet with a difference,
the ruins, boulders and the Tough terrain,
ruins cover a large area, "of mind-bogglin
and adds, "if the scale of the city is overwh
grandeur. Wast shapely boulders litter the r
AW Ά 狄
W KAWA % 胃
*
Intrical carings of th Hazara Rama Templc, CoLLrtx
stunning, with rocks realing up, keeling ovel
only nature could contrive.'"
"Clothed ir 7 the earlı” 777 or 77 ir ag sa F1, the ".
waranth, the ruggedress of the Terra li trid
adał to the splendour of the scenie remiridi,
now been roused for its sleep as structur
c/o Vijay'a Pagar s porry) ar al glory for the
777 er77) rials proclair 77 ing the d'Plasty's lovej
Notes
"Bill Aitkin Essay on Hampi.
 
 
 
 
 
 
 
 
 
 
 
 
 

101
The city lives on unlike Pompeii. Despite people continue to inhabit the place. The g, torm ented terrain, says an art critique el Thing, the Setting is one ofunforget table
iver area ........ The natural architecture is
isy of South Indian Temples
and balanced improbably in choreography
l'ins (y the 1er ple corplex glow in C1 rare The large Worlleders sa "Y" o 7aling the ferry) se g o 77e of its past gra 77 deur; for Harripi has gs are being lineathed. Gone are the day's
temples with their rich carvings remain
for beat' aard Truth. "

Page 120
O2
NAKAKKA STVLE
鄉
W W. W
W
W
/
Plate fill — St. Luther Ti gopLIT Celirtesy III
W
 
 
 
 
 
 
 
 

TIIE CREATTWEI TLCHES ( OF THE CHES EL
W %
W
W /
a of the Templc in Madurai lia Perspective

Page 121
TEMPLES - NAYAKKA STYLE
he Nayakkas of Madurai iu
temples. The modest gopu
domed finial. This Ilmarked
temple architecture that culminated in the
62)
The Nayakkas emphasized the t importance. The Meenakshi Temple in achievement. It has twelve gopuras in all different heights and tiers. Each gopura lea large With a maze of pillared corridors that to the main sanctum face the four directions gopura has concave edges embellished V beautiful finish.
Pl:ıLe f52 M.[:Ldurai Me:emak,shi "¥, Imıri
from the A Lith
The Meenakshi Temple is the nucl has existed for over two thousand years. F of the Waigali river testifying to the fact tha: the time of Augustus Ceasar who ruled in 2.
 

O3
Improved and expanded earlier Pandyan era tra of the Pallava period was replaced by a the mature phase of the Dravidian style of Madurai Meenakshi Temple. (PIs - 61 and
emple entrance and the gopura rose in Madurai is an impressive architectural | - four outer and eight inner gopuras of ds into a temple courtyard. The complex is lead to sanctums and halls. Four entrances s and above each is a gopura. The Nayakka
with sculptures which gives the whole a
län Temple KcITii (temple pUnd) it's collection
cus of the ancient city of Madurai which toman coins Were excavated on the edge it it had a flourishing trade with Rome at 5 BC. Madurai features prominently in the

Page 122
104
classic epic poem, Silappadhikaram. Thes inextricably woven with Madurai. Temple
festivities which commemorate his life.
The Meenakshi Temple is named a has it that a baby girl stepped out of the and his queen who prayed for a daughter. inherited the throne on the death of the kin was the Lord she had sought. Tradition go Somasundarar and married her (Pl - 137). T in the Tirukalyanam festivities on the first
The Temple is a complex of manyu the Vijayanagar and Nayakka rulers, each shrines, the Temple of Siva and Parvat with their own enclosures, pillared halls a grew in size during the course of six hu the Sundareswar Shrine is the centre of features, large sanctum and mandapas, the
figure of Meenakshi with a parrot on hers
The Meenakshi shrine opens into carvingsportray the eightsaktis. The inner aayiramkaal mandapam is another edifice with wonderful and the elaborately carve hall.'The columns are so arranged that the the Northern entrance to the hall are a set (
small columns elaborately carved out of a which produce musical tones when tapped are embellished with carvings of the Siva Gajasamharamurti and the wedding of N of Siva Dakshinamurti in silent commu the Saiva Saints are works of artistic perf depicts the divine marriage of Meenakshi

THE CREATIVE TOUCHES OF THE CHISEL
tory of the Saivite saint Manikkavasagar is
chariots are drawn during the Avanimoola
fter the daughter of a Pandyan King. Legend (agna performed by the Pandyan monarch This girl became a strong personality and g. When she saw Siva she realised that this es on to say that Siva arrived in Madurai as to this day the divine marriage is re-enacted day of the solar New Year in April.
inits built at different times by the Pandyans, adding their section. There are two main i as Somasundareswarar and Meenakshi, and corridors added over time. The temple ndred years from 1190 AD. Even though the temple complex with its architectural entire complex is named after the beautiful
shoulder in the adjoining sanctum.
ihe 'ashtasakti mandapam, where beautiful sanctum with the thousand-pillared hall the , which belongs to a later period. This hall d pillars surpass those of any other temple y appearina Straightline from any angle. At of musical pillars that consist of twenty-two single stone. These appear as slender rods ... Most of the walls and pillars of the temple and Meenakshi legends, Ardhanariswara, Aeenakshi and Sundareshwara. The figure hion with his devotees and the images of ection. The ceiling in the Unjal mandapam
to Somasundareswarar.

Page 123
TEMPLES - NAYAKKA STYLE
The sacred pond (Pl - 62) is the Po lies in front of the main shine. Spacious Saivite legends surround the kerni.
The Madurai temple is the last m in South India. The ancient city of Kannal Sambandhar, passed from one conqueror century when the Vijayanagar rulers took the mid sixteenth century by the Deccan Madurai as the Nayakkas. In the seventeel huge complex Temple City. Each time we and their tiers of sculptural decorations, v ancient city where the past lives alongside a gentle continuity.
"The Temples of Madurai, Sri Rangam the distinct stamp of the architectural g Meenakshi Temple at Madurai is a good
complex itself is a miniature city." G. Rav
Notes
Fergusson Tradition has it that Indra found the Sivalinga,p)

105
tramaraikulam, the legendary lily tank that
:orridors, with exquisite murals depicting
anifestation of Hindu temple architecture i and Kovalan, of Pandimadevi and Saint o another until around the mid fourteenth
over. After these rulers were defeated in Sultanate, the Viceroys continued to hold nth century the city was transformed into a visit this hallowed city with its tall gopuras we are overwhelmed with our love for this
the present. There is no archaic past, only
, Tiruvannamalai, Rameshwaram.... bear 2nius of the Nayakas. However; of all the d example of the Nayak style. The temple
indran Nair:
esently enshrined in the sanctum, here.

Page 124
O
HOYSALAS OF KARNATAKA
he Hoysalas Tuled South
Halebid and Somanathpu
Structures with flat roofs.
S [TLIC[LLTC.
The Hoysala monarchs patronize inclusivism. The juxtaposition of Hindu a
in soft stone was intricate, polished and or
The Somanathpur temple (Pl - 6. architecture. The temple has three domesh exquisite triple shrine structure located on the other two face the North and South. L. a vimana intricately carved over each san
six pillars, each with a different design is
Plate 63 Samnathpur – Kes Courtesy India
as Na Tasimha pillar, rotates on its basc. A
parallel mouldings characterise the outer W
 

THE CREATIVE TOUCHES OF THE CHISEL
Karlataka frol 1000 to 1346. The Belur, temples are characterized by multiple low Belur and Halebid have no towering super
d the Hindu and Jain sects in a spirit of ld Jain illagery was common. Their work
I1:11:.
i) is a fine example of medieval Hoysala aped sikharas and is a “Trikuta chala” — an a plinth. The main shrine faces East while ord Wishnu is the presiding deity. There is ctum. A navaranga mandapa with its forty Llnique. The column in the centre, known
hawa Temple triplic shrine
Perspective
cloister-like wall encloses the sh Tine and
alls. Within these lines are endless scrolls

Page 125
TEMPLES – HOYSALA& OFKARNATAkA
of exquisitely carved panels and bracket fig Mahabharata, and the Puranas, Friezics ofe
Epics and Puranas, and miniature erotic scu
Wä II.
The Hoysaleswar temple in Halebid (P1 - 64) is an architectural masterpiece. The bejewelled and ornate details of workmanship are poems in stone. The sculptors treated stone as ivory and undertook filigree Work with great finesse. It is one of 雛 the most exquisitely carved temples in India and resembles a jewel casket. Halchidmeans ruined city in Kannada. While the temple is incomplete. it remains a masterpiece of Hoysala Craftsmanship - a flat twin roofed temple dedicated
Lo Siwa with LWC) sanctums of
almost identical size joined
together. Each has its Westibule
and an unusually big Nandi '
mandapa. The figure of an Plate 64 elegantly chiselled Nataraja is
oil the intel, which Illins over the foLIT do
based on legends from the epics ador in the Soulthern Shrine is called Hoysaleswara wil after the qui cell,
At the Belur temple, pujas are Teg
Chennakesawa. This temple belongs to th
 

|7
ures, depicting scenes from the Ramayana, lephants and horsemen, episodes from the
lptures feature the railed pa Tapet and front
W WAWA KAKAWAWA - Halebid Hoysaleshwar Temple - Kaumari the
feminine Principle Ibid
3rways. Intricately carved endless scrolls : Outer Walls, The Linga enshrined in the
1 ile his Consort Santales Wari, Was Illa med
gularly offered to Wishnu also known as e twelfth century and has a six feet tall

Page 126
108
Vishnu Murti. The temple is on a raised There is a gopura at the entrance. The rail horizontal lines while the walls depict sto The "madanikas,” or bracket figures in outer pillars. “For sheer beauty of form. of finish, these have few parallels in the Temples of South India. We were impr mirror and admiring her beauty. The pil intricately sculptured and adorned with fi built as a thanks giving on the occasion Vaishnava roots.
"Hoysala architecture has that indefinal
from mere decorations to significant worl

THE CREATIVE TOUCHES OF THE CHISEL
platform with no Super structure over it. ing of the platform is elaborately carved in ries from the Ramayana and Mahabharata. 7arying poses of dance are placed on the delicacy of workmanship and perfection country,” says Padmanaban in his book, essed by the figure of a damsel holding a lars in the pavilion inside the temple are gures. Tradition has it that this temple was of King Vishnu Vardhana returning to his
le something whichelevates the structures
is of art.”

Page 127
MEDIE VAL NORTH, INDIAN TE
Medieval North Indian architectul Ti
and Gujarat Schools of Architecture. The L and Kajuraho tellples are well known thol temples of Mount Abu belong to the Guja
Plate 55 Bhubanesh War.
(froT1 the A Lith
 

109
MPLES
e is grouped into the Orissan, Bundelkhand ingaraja, Muktesh war, Konarak, Jagganath igh some of them are dilapidated. The Jain rati School of Architecture.
Orissa Lingaraja Temple Cor’s collection)

Page 128
1)
ORISSAN SCHOOL OFARCHIT
rissa has been
a centre of art,
årchitecture,
dance and literature. The School
of Architecture is known for its
iconographic sophistication and class. Bhubaneshwa.T (Pl - 65),
Puri and Konarak form a cultural
triangle which Witnessed intense artistic creativity for more than a millennium. To this day, centres
like the Stone ClrWer's Lane
and the Sudarshall Crafts Centre
continue the art of Orissa.
The Lingaraja temple (Pl - (6a) in Bhubaneshwar
da Les back La 1000 AD. The tall
and stately sikhara dolinitiates
the temple complex and town
of Bhubaneshwar. There are
foLIT halls each leading into the Cather. These are the bhog, Ilat, jag Iohan a and jagmohan mandirs belong to in Carlie erected at a later period. The gracefully
Orissan text. This has developed in to the four corbelled walls curving inwards gen the sikhara crowned by the flat fluted Sto Northern style. The horizontal mouldings
add to the beauty of the temple,
 

THE CREATI', ETOLICHES OF THE CHISEL
ECTURE
i fiha Bhi Lubinęsh war, (Orissal linga Taljal Temple
(TOT 1 thị: A LI HIT's "I'll :: til T1)
nd garbha mandirs.“ However, the garbha ir period while the other two mandirs were curving towers are referred to as duel in rekha which rises from the square base as tly at the top and leads to the mail tower,
ne, the Illalaka that curves illWard in the
and the invaluable carvings on the exterior

Page 129
TEMPLES — () IR RT55AN SCHOOL OF ARCHITE IL TRE
The adjoining Parasura Illeshwar
and is the oldest edifice in the Bhuba Ilesh
temples that reflect the cha III and accom Temple belonging to the eighth century st:
The Mukteshwar temple (P - 66b) smaller size. It was built two hundred years had acquired a pyramidal roof. The elega transition in architectural style. The telliple
mortif. The Dance of Siva in Odissi style II
A major centre of Hindu pilgrima one of four centres made famous by San fine Orissan architectural beauty. Lord Jay has had tribal antecedents, though now ass patron deity of Orissa. The temple festival
Wit.
These ferry) lles, "cc) 77Sr ir te la Corl7F) Tie stolg fert startec with the Constricts. "eccle it's clir 77 YX JY the V77 je s fic". Li gCITY" het Weert (77-chitects (777dsculptor's 777(7de The и оld." - Raja Parija.
Nes
Percy Brown - IndiaT Architect Lire (14.
** Different Halls including the su III:tr11,
" Uday McTay – The Goldc II Tria Tıgle- BhubH TIL: shw
- Essay - Temples of Bhubaneshwar,
 

tellple dates back to the seventh century wa T coTT|plex. There a Te other well known plishment of the Orissan style. The Waital
inds out with its links to tant ra.
is a gem ()f Orissan Architecture despite its later and the asseIIibly hall - the JagmohanIt stole archway at the entrance marks a is completely covered with chaitya window lakes the temple famous (P - 113).
Platւ ճճի Mukteshwar temple
ge is the Jagannath temple at PLI ri. Puri is karacharya. The temple is an example of gannath, the presiding deity of the temple
similated into the Waish Ilava fold. He is the
is one of India's most Well known religious
'ere record of Kalingari stile of architecture. 7 of the Partistra Freshi'ar terple in 650 ria terrile of (). The perfect symphory
te 1777 les y C) 777e if the fir 7 est is "Y'actres ir the
HT, PLI Ti, KKHT i Tik,

Page 130
KONARAK - THE BLACK PAG(
he Konarak (Pl – 67) is a the movenent of the SuIl balanced proportions and edifice conjure up a festival of music an figures appear three-dimensional. The sc create life-like images whispering the pas
atc 7 Kla from the Autl
The stone chariot appears to rise f dawn. At dusk, one is reminded of the We loosens his courses and unyokes, Nigh (Rig Weda 115, 4), This alegory perhap idea of the sun striding across the sky, in S
 

THE CREATIVE TOUCHES OF THE CHISEL
DIDA CELEBRATING THE SYLWNW
narchitectural masterpiece that celebrates It is built in the form of a chariot. The Well the countless sculptures that decorate the dance dedicated to the rising sun, These
ulptor has varied the figure proportions to
it.
--
獸
ak Black Pagoda lor's collection
"om the deep blue sea in the early hours of lic hymn which says, "When the Sun God t swiftly spreads her garment all over" motivated the architects to conceive the
1.

Page 131
TEMPLES - KONARAK
The temple represents a colossal carved wheels and drawn by seven capariso from the depth of the blue ocean to ride in represents time as it unfolds through the alongside the steps that lead to the terrace, si the seven days of the week. The twelve pa wheels represent the twelve months. Each represents the cight quarters into which da. night are divided.
Surya is represented in three ima the rising Sun, the meridian Sun and the si Sun on the west, The stone workmanshi the three serene figures is excellent. The of the sun at appropriate times reflects the of dawn, noon and dusk. The Sun God ha: consorts here. He is flanked by two guar portrayed with sword in hand, that is (month ) and Samwatsara (year). Both Te time and watch over the ordered course of seasons and years. The artist represents th in a frontal position in the samabhanga post his charioteer and kneeling maidens. A cl trefoil shaped arch capped by the kirtin mask frames the head. There is a min stupika on either side. There are seven hor a plinth at the base (PI-68).
Witnessing the rising sun from t sanctum was a scintillating experience. W appeared to encircle the temple lighting it With sounds of cymbals, trumpets and dar
The temple has a staggering varie where beautiful maidels are seen in

| 13
chariot with twelve pairs of exquisitely ned horses. This symbolises the Sun rising ts chariot across the heavens. The chariot
Illovement of the Sun. The seven horses
gnify
rs of
heel
and
geS - Lting p on
light glory
5 fouT
'dia Ins
Masa
gister days,
|SL| 11
a with
haitya
lukha
Platic (38 — Koharak Sun God SITyal Temple - Black Pagoda Temple Ibid
lature
SST1
he sea with its soft rays flowing into the We shut our eyes for a moment as the sun in its stride. The Whole temple came alive
ce steps to match the rhythm.
y of dance sculptures in the Natyamandapa arious poses (Pl - 69). The sculptured

Page 132
胃』 ," ''" + reT:
Polille fio? Kipri Erik — Scrolls of damcc mL dras |իiti
With the precision of a cameo.
While the architecture of Oriss,
CXtra Wagance, the interiors of temples reI Lingaraja and the Konarak temples. The Worldly pleasures energised by the war IIlt
and austere interiors,
The crotic sculptures in Konarak gestLITes pOrtray the Sensual Side of hum: has represented some of the Vivacious kai luxurious and with voluptuous charms. (se
"The Iriarch of the Sun Chario I carries in life-cycle. Not one aspect is left out. The ssore. The effect Is One rascorpsefeness. 1
(he belief that the life Cycle Inisfgo on.“
 
 

THE CREATIVE TOUCHES OF THE CHISE
embellishments represent every form of life froll the sensuous to the
refined.
The square portion at the base has three tiers in diminishing sizes With considerable space in between where the artists have sculptured figures playing on musical instruments. The intricate tapestry of stonework on the exterior Walls of the temple is a sheer delight. Groups of figures blend into the architectural scheme forming part of the geometrical figures, animals,
birds, foliage and fabulous figures
a portrays its exteriors with a graceful
Ilain un-adorned. This is true of both the
' erotic sculptures on the outside signify
h of the sun. This contrasts with the bare
stand out as well. A variety of engaging
in life. To the artist, art is a-moral and he
nyas in remarkable Ways - pliable, subtle,
e pages ll8 – 119)
its raspy parade the actions of a complete
il77agination of Par has pour « rhyth:71 in)
he sits rays circling the temple reaffirm
Sardeep Silas.

Page 133
BUNDELKHAND SCHOOL - KH
hajuraho and its environ:
The vibrancy of life an
intricacy of the chisels of sandstone withits yello WandbrUWIn IOIlesl. of the sculptors. The architects of the Illedics for the lasterpieces in stone. The beautiful and exuded energy. The figures had War while beauty and grace are captured in dit radiant young bride in her robe of red silk into stone, bearing aesthetic and bewitchin is famous for these sculptures, a number of Somnathpur of the Hoysala, Badami of th Wijaya Ilagara temples have many such beil
Madurai has erotic sculptures on the gopur
Plai Le 7 [ ) Kaj Lira ho Kamd
 

AJURA AYO
s provided a truly memorable experience. d range of emotions, brought out by the the sculptors, enthralled us, The Windhyan ent itself to the gentle and delicate handling alages were grand temple builders fallous apsaras carved in stone were spell binding mth and passion. Movement dominates ferent moods. Khajuraho "glows like a ..” portTaying the Kamasutra transformed gly erotic sculptures. Although Khajuraho other temples have them, Belur, Halebid, e Chalukyan, Hampi and Lepakshi of the tiful sculptures. The Meenakshi temple of
|aliya TetTitle.

Page 134
|
The Chandela Rajput kings initiated the Bundelkhand School and
constructed the lovely group of temples at Khajuraho in the cleventh century, The Jain, Waishnawa and Saiva sects contributed towards the temple complex with a series of towers that resembled
mountain peaks.
Lying deep within the temple
complex is a Saivite shrine, the Kandariya Mahadeo temple (Pls - 70 and 71). A tall
tower is built over the main shrine With
SIlhaller towers that lead from the entrance.
The temple spires rise progressively to le Whole complex an appearance of a central
structure is one of grace and elegance.
The Chaturbhuja temple is a perfe the builders sought to portray Lord Wishnu The exterior and the interior are carved wit
The Sivaratri fast in February conti of Siva. Priests officiate at a ceremony W villages. The villagers have kept this Siva la Ilıp alive.
According to Dr Punja, 24. the Chandelas built the Khajuraho temples as chariots for the gods
the Lord. This fascinating theory 4 屬 gives the temples a unity of リ theme and purpose. The temples are elaborate Works of art. The
 
 
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
W స్
*
狗 翰 /// ஜீ 鬣% W 麓 醬 缀
高
岛
క్ష్ W W W 缀 麗 W s 臀W W
A All A
Plate - 71 Mahilico Temple
ad the eye to the main tower, giving the
peak surrounded by smaller peaks. The
ct example of the Khajuraho style where 's mountain Mandara with several spires.
h graceful sculptures (P1-72).
inues to be observed here as the wedding vith the participation of the suITounding
tratri tradition and the daily lighting of the
Plate 72 Erotic Templc carvings

Page 135
TEMPLES - KHAJURAHO
figures portray the tranquility of a fulfill sensuous while the figures with varying en carvings represent a transition from the st
Dr. Punjarefuted the earlieridea of were indecent and offensive. The scul meaning and have a base of a deeply relig
One may ask why the Chandela sculpture. Hindu philosophy tells us that it, leads to the liberation of the Soul. No o sculptors of Khajuraho.
“Tantricism celebrated the pancha makar (sexualactivity), mamsa (meat) and mudr the bondage offlesh. This is one possible of Khajuraho.'
Notes 2. Pran Nevile - Rhythm and Melody in Stone.
An interesting temple in Khajuraho is the Pranna an interesting bearing on modern times. Prannat who built this temple in honour of his Guru. Hi violence. It is interesting to note that, Mahatma this very philosophy.
Dr. Punja is an art historian who speaks of the t death - and unending continuum.

117
led human love. The mood is sublime but
notions are more serene than erotica. These
ensual plane to the absolute. (Pl - 72)
the westernarthistorians that the sculptures ptures are symbols of deep philosophical ious, ritual and philosophical attitude.”
is adorned temple walls with such erotic sensual fulfillment rather than the denial of bscenity is attached to erotic figures by the
as - matsya (fish), madira (wine), maithun a (gesture) to release the human spirit from
! explanations for the sculptural sensuality
thji temple built in the Bundelkhand style. This has hji, a Sufi saint was the Guru of Maharaja Chatrasal s philosophy was inter religious concord and nonGandhi was a Pranami, centuries later a follower of
emples as representing the process of birth, life and

Page 136
18
EROTIC MOTIFS
I the start, artists chisell |Tore amorous pieces i Orissa and Buildelkhal Worldview Where certain connotations col the Tantric code. The tradition is linked to Sadhalla is based on the realisation of In
individual and the Absolute.
These erotic sculptures represent Ilot the beginning of this art but perhaps the final phase of such representation in art. In ancient times, erotic art was closely linked to fertility rites and three goddess were connected with these rites. They are the Panchachuda goddess with five Weapons in her head gear, the Steatopygous goddess found in ring-stones and Laija Gauri, a nude lotus headed goddess,
The Panchachuda goddess Wears five Weapons or ayudha on her head and her cult is from Bengal to Punjab and belongs to the second-first century BC. The Tamluk Panchachuda erotic Illotif is elaborately sculptured and is presently in the Ashmolean * Musculin, Oxford. (Pl — 73a). A number of such terracotta figures have been found from sites in the Ganges valley. The Steatopygous goddess cult is from Rajgir, Patna and Taxila and belongs to the thirdsecond century BC. She is portrayed in

THE CREATIVET CHES OF THE CHISEL
"d simple mithuna but gradually portrayed 1 Mathura, Aimarawati, Nagarjuna konda, d. The tradition was part of the Tantric ld only be understood by those who knew bridal mysticism and fertility rites. Tantrik
W
W
W
on-duality, that is the union between the
W
W
W.
Plat: 73 al Tu Ilıkluk Parichlachulda Eric Motif 2nd-1st century BC

Page 137
TEMPLES = EROTICMCTIFS
பந்தார்ார் - Raj,
yn fwyfwyfwyfwyfwyfwyfwyfwyfwyfwyfwyfwr", "W dans
Yrwywyr" yw'r "W"yr", "ryw" yw Gau
Spa I
Alla
b) Til
scul
Th
I11:1t
Տllց
A 5. 線。 է:Ilէ: WW 扈 Will
"FFFF" W *17 W WZW, W illu
OMAM JimMiżuri li li Sat
Platae 73b Rajgir - Mother Goddess and her partner Erotic IIIotifs - 2nd century BC
fiց of the total scheme of temple architecture, and are motivated by deep convictions, in religious sect.... The eminent scholark
reflections of the infinite joy of creation a
Tantrik thought introduced a stra abstraction and mystery, ardourand passio reconcile power with Illelting tenderness, meant in reality tot elicit a profound awar
grandeur and tension that Tantrika medita
According to Hindu traditions t IT1a Triage of Iman and WOII han is sacra mer
sacrament. In the Hindu view of art, Mul
 
 
 
 
 
 
 
 
 
 
 
 
 

| 19.
gir (P - 73b) with rituals in music and cing with her male partner. The Lajja |ri cult belongs to the first century AD ining Karnataka, Maharashtra, Gujarat and thabad. The sculptures from Darasuri III g this cult closer to present times.
The female figurines in erotic lpture were marvellous plastic beauties. re is a harmony of limb and movement ched by the expressions of face. These gest the surge of primordial energy. The motif is often a metaphor for cosmic rgy in Hindu thought where mind unites In matter. The depiction of the semi-nude ale forms conveys a sense of Illyslery and siveness and gives the viewer a vision of
yan, Siva III and Sunderam. (see Pl - 72)
There call be little doubt that erotic
ures in religious art are an important part Obviously they fulfil a particular function ot necessarily connected with any specific Krishna Dewa speaks of these sculptures as
nd of the union of the individual With God,
Inge blend of grandeur and lyrical quality, Il * The tant rika images of Imyriad couples, poise with sense of dynamism." These are teness of life in its full comprehensiveness,
tion imports into man's vision."
he exalted marriage rituals show that the Ital and these erotic sculptures convey this ilk Raj Anand says that this is interpreted

Page 138
120
with the highest spirituality as a symbo
human Soul.
In comparing the paintings of R Leucippus' and the carved images of the at Konarak, on sees that the master pair respectively, have portrayed seduction w subject literally and as if historically recc conceived. The one painted the visual vie conception of the Spirit.
"A whole millennium after Bharhut an and her tribhanga bend' reappears at ( Museum), Khajuraho and Bhubaneshwar At Khajuraho, Bhubaneshwar; Konarak, Tantrika ideology has superimposed upon intimacy between the life of vegetation a feminine as the very source and symbolo, and generation of the universe. The delig
woman elicits become initiations into
Mukerjee.
Notes o Devangana Desai - Shades of Eroticism in Tem
Radhakamal Mukerjee - The Flowering of India 29 bid
30 bid
Prof. James Marshall Plumer - The Philosophy * The threefold inflections or tribhanga pose of th Radhakamal Mukerjee - The Flowering of India

THE CREATIVE TOUCHES OF THE CHISEL
of the union of the divine Soul with the
uben of "The Rape of the Daughters of erotic sculptures on the temple of the Sun ter and the anonymous master craftsmen fith a difference - The one portrayed the orded; the other abstractly and as eternally w of the flesh, the other carved a symbolic
d Sanchi, the fertility goddess Vriksaka yaraspur (Gwalior Fort, Archaeological and fifteen centuries later at Konarak....... Puri and elsewhere in the middle ages the the ancient popular myth of the spiritual ind the life of woman, the new idea of the fBeing and becoming, of the manifoldness thts of the senses and the acts of love that the metaphysical reality. ' Radhakamal
ple art - symbols and manifestations.
n Art.
of Nakedness. e nude Yakshi. n Art.

Page 139
MEDIE JAL STONE TEMPLES IN
ashmir was a Hindu kinų
after the Sage Kashyapal
and Buddhist intellectual
philosophy flourished here to influence the of the original distinctive Kashmir architec the Karkota dynasty under King Lalitadit temples at Buniar, Martand. Pandrethan a of the Kashmiri, in style. The trefoil and LT with Imouldings and the double pent roofs ( School (Pl = 74a).
The architectural style created by 1 in that the roof of the sanctum has a rec horizontal steps. The Mariand Suryao tem this type of architectu Te.
Plat: 74 — Kiislı Emir -- M: from the Aut
 

WKASHMIR
gdom in 1000 AD. The land was named lar. It had earlier been a centre of Hindu activity. Saivite and Mahayana schools of development of Indian thought. Wery little ture remains today. The Hindu temples of ya exemplify Kashmiri architecture. The nd Payar are the better known instances iangular arrangements, the tri-lobed for In Figs-3, 9 & 10) characterise the Kashmiri
the Karkota dynasty in KashTimir is distinct tilinear sikhara with eaves raised in two
ple though in ruins is the best example of
in TATA
W
* * ந் *
*
魔リ
தி
AS
FE = நீர்" ನಿನ್ನು
WS
纷
Tiland Surya Temple in Tuins llւյr's ctծllectinn)

Page 140
TH
fille
Plate 74b Kashmir Mariandriangular the
style (refer figure 9
(from the ALLlr's collection Sury
re-modelled as a Waishnava shrine. The
Solar affinities in Waishnava worship Would have facilitated the change over. The Surya image in the sanctum is Imissing. The monumental quality of the brolize Surya from Kashmir which is presently housed in the Cleveland Museum gives us an idea of What it
WC) Lild hal We looked like. III this Historic
temple, the IIlain temple hall is so ingeniously built that the light from the SLII falls on the particular carved stone
pillar nailled after each month.
The Buniar temple complex is perhaps the best preserved Kashmiri st0ne temple today. A g Teater part of
 

TITE CREATIVE TOLICITES OF THE CHISEL
The eighth century Martand temple - 74b) dedicated to Surya, the Sun God. le largest shrine. In the Words of Kalhana, it liberal King built the Wonderful shrine Marta Iida With its walls of stone and cnclosures". The temple's sanctum is angular enclosed by columns. An imposing ance hall with trefoil arched doorways add he beauty of the temple. This tellple was lstated by Sultan Sikandar in the invasions he fourteenth century, Dr P.K. Acharya es that this edifice "coImpares wellin beauty Imagnificence to PalTyra or Thebes... " temple niches are empty but were once d with the Hindu illages associated with SLL in and Wishnu (Pl – 74c). Originally Lord a presided at this Temple and later was
Plat: 74 i Cal SLITy El Call the CILI Ler wa|| (ITIST the Author's Colcction)

Page 141
TEMPLES - MEDEVAL STONE TEMPLES IN KASHM
the temple remained intact as it was cons the limestone used in the Other temples. exhibiting some of the typical Kash Illiri platforII. The corbelled corners not only that the roof was pyramidal.
W
;
嵩
W W. 鄉
E. 扈 f 激/
*
W
Pl: Le 75 k:15h Illir - I
The Pandrethan or PL Tamadhista eighth century. The temple had been subn preserved intact. It is a tall shrine With dis trefoil and triangular openings. The mou and demonstrate skill in Workmanship. I Kashmiri in style. This must have been b wooden beams. The top most slab of the With a beaded border and with figures wil
|COLLIS.
The Maheshwara MLTiti (Pl – la
temple. Chamunda, the Mother Goddess. Buddha, the scated Buddhas and Wishnu ( sculptures of this temple,
 
 
 
 
 
 
 
 
 
 
 
 
 
 

|R. 123
tructed With granite stones as opposed to
The Ludov is the earliest stone structure,
features - the trefoil arch and elevated
suggest a lantern ceiling but also indicate
ീ, 鷲
ந்
W * 塑猕
- Pandrether Temple
Էitl
Μ
na Siya temple (P - 75) belongs to the merged under water and foliage and hence stinct doorways and a systeill of alternating ldings along the plinth remain under Water has a "lantern ceiling which is typically ased on the Wooden models of intersecting :eiling is carved into a twelve petalled lotus hich give the impression that they hold the
42) is an imposing relief sculpture in this Ganesha (Pl – 104), Padı Thapani, the standing
Chaturamana (P1 – 155) arc solle of the Cother

Page 142
A small but exquisitely detailed st is at Payar (P1 - 76a). This is composed and standing only about six metres high triangular pediments. Siva is a six armed carrying the Irishula and the khatvanga,
in the salt Lllil.
Plate 7 (sa Kashmir = Payat Teimple Erik
"The architectural style of the Kashinn ir' 1which the sancti/r77 uSually" ha s' (I fa fir7co sanctim is of the phala I PISCI77aCJ ("Pe 11'ihi
.4siar 7 Peo y»/e:S.
Nըtes "The rectilinear type is Teferred to as philanisan referred to as latina with superimposed horizo! The Konarik temple in Orissa is another SLI)
 

THE CREATIVE TOUCHES OF THE CIIISEL
Irine also belonging to the Karkota dynasty, "entirely of only ten stones plus the base .." replete with the typical trefoil arch and | figure (Pl - 76b) in the urdhawajanu pose
a ritual sceptre. The Sivalinga is the image
Plate 76b Kashmir-Siva's Dance — Payar Temple Iեlւ
regio 17 is distinct: Unlike other regions ir7 or sekhari spire, the roof of the Kashmir
ea Yves raised ir 7 tivo s Tages. " Arts of South
a spire as opposed to the curvilinear sikhara which is tal roof slabs. a temple of a later date.

Page 143
BENGALIARCHITECTURE
he Palas and Senas had
into oblivion for several
of the sculptural and arc again. One could glean the Hindu cultural remains of mosques in Gaur, Pandua anc clearly the effect of Mohammedan iconoc with the material from the Hindu city of L became the convenient quarries of the Mol of temples indiscriminately in the constru the glory of the Sena dynasty for it was du making Bengali art truly special.
A small doorway belonging to th in the Adina mosque is a good example have been originally the entrance to the s mouldings along the doorway are fashion (the endless serpent). The adjoining trefoi vase and foliage motif.
Besides this, the tomb and its mos on the site of another Vaishnava temple. two compartments though defaced and stri antarala and the assembly hall of this Vai compartment face the four quarters and th Within the mosque are engraved pillars frc
The unfinished Khandiya Deul architecture. None of the Bengali temples it is observed, "a richly ornamented temp structure than one with a portico for in th greater brilliance.”

125
built up a Bengali tradition that lapsed centuries. With the Mallas the flowering hitectural development of Bengal began movements in Bengal through the ancient the Adina Masjid. The Masjid explains
lasm for this monument was constructed
ukhnauti. Many of the ancient Hindu sites
hammedans who used these carved stones
ction of mosques. These stones speak of uring this period that plastic art flourished
e Vishnu temple of the eleventh century, of Hindu art. This doorway, which must anctum, is a square topped opening. The ed like a rope which represents the sesha
1 niches are Gupta in idiom based on the
que of Zafar Khan Ghazi, have been built The tomb structure clearly shows that the pped of its sculptures, must have been the shnava temple. The four doorways to the e sesha emblem could also be recognised. om a Buddhist chaitya.
is a good example of Bengali temple possess a portico or mukha mandapam and le without a portico appears a more pious
le former the lamp of sacrifice burns with

Page 144
126
In general the Bengali temples fro) complex. Perhaps to the Bengali, the god that they were enshrined in small building
From the meagre ruins and mainly the temples of Bengal can be classified in super structures. These are the rekha or si
over which is the sikhara and the bhadra C
top. The heavily damaged brick temple at temple. It consists of a sanctum with a sik
window motif speaks of the Buddhist influ
Three distinct movements illustrat
in Bengal could also be discerned from
see the Orissan School of Architecture.
an indigenous style of more recent times sociological aspects of the people. The Vi group and are still standing though negle the end of the first millennium, was part c was responsible for the monastic settlem
third was the Eastern School of Archite
which influenced art in neighbouring Bl
Mohammedan invasion.
During the Malla era (from 162
music flourished. The Vaishnava movemer
fifteenth century was a landmark in the cu movement was reflected in the beautiful Malla kings to enshrine their divinities. Th famous for its terracotta temple art and mu smothered during the Mohammedan rule, of the Malla kings blossoming out into an e that still stand with singularly enriched de the ancient terracotta art immortal here,' s

THE CREATIVE TOUCHES OF THE CHISEL
m medieval times have been small and less
S and goddesses are so human and loving s like the homes of the people.
from the collective manuscript illustrations, to two main types based on elevation and khara type consisting of a square sanctum frtiered type with either a stupa or sikhara Sonatapala is a good example of a Bengali hara rising to about fifty feet. The hitya
1ՇՈCՇ.
ing the course of architectural development the material that is available. Firstly we Though of ancient origin this represented based on the ancient folk architecture and
shnupur temples belong to this indigenous cted. The second movement belonging to of the Hindu Buddhist development which 2nts of Bihar and the Gangetic plain. The cture under the Pala and Sena dynasties urma. This ended with the advent of the
2 - 1758) art, sculpture, architecture and it spearheaded by Sri Chaitanya around the ltural history of Bengal. The impact of this emple of unusual architecture built by the heir style is distinct and Vishnupur became sic.“o Fortunately this art which was almost regained its past glory under the patronage ra of efflorescence. “The terracotta temples corations, remind one that the kings made
ays Prof. Pranab Ray.“

Page 145
TEMPLES - BENGALL ARCHITECTURE
| visinuրա
Pacha Fitrial TOWC1
The temples bear different name consisting of a single tower - ek ratna, wi sanctum, However, in the Shyam Rai bric] pancharolina, which is unusual in a Hindu 1. four quarters, each embellished with three decorations in terTacotta. Intricate designs
Walls and columns of the temples.
It was fascinating to see that the terracotta panels in the temples. At the base followed by cows and cowherds. In certaint and decr are seen in the panel. Above this and armies marching by, royalty moving E scenes come next. Above the Columns in t
Ra Imlaya Illa and Mahabharata are marTated sees a gallery of figures dancing in a circu besides Radha playing the flute; this rasa
The Ras Mancha is more of a pt. regularly performed. This strLIIctu Te has a is decorated with the images of Radha anc
glow to the structure,
The Jorbhangla is another temple, at of two traditional Bengali huts joined togethe
 

|27
-- ShyHITI Rai Temple r om a sleping, TJHUs
is but are essentially Waishnava temples hich rises from a sloping roof above the k temple (P - 77a) there are five towers - emple. There are four entrances facing the sculptured arches flanked by ornamental
from nature and Ilnythology decorate the
re is a distinct order in the setting of the are birds and animals panelled horizontally emples as the Jorbhangla, horses, elephants comes the second row with hunting scenes und women sporting ämorously, Religious
le friczes of the arches the Stories from the
in carvings. In the Shyam Rai temple one lar panel with the centre figure of Krishna illa of Radhakrishna is unique,
rformance hall where rasalila used to be
pyramidal roof and stands on a plinth. It
| Krishna in terracotta giving a rich brown
Iemple with a difference. Its appearance is that
with a single tower on top (PI-77 b). One of

Page 146
28
the hutsis the shrine while the otheris the por lila (Pl - 77c).
Plate 77 b - Wishnupur - Jorbhangla Temple
In general the Wishnupur temple: curved roofs reproducing the bamboo thatc architecture and terracotta temple art and ol Originally black basalt was brought dowr this was abandoned and terracotta began to and sleepy look paying a silent tribute to t that has to be seen to be believed.
"The people of Bengal consider" God to it is Siva, Durga or Krishna, God is alwa worship God as their own son or daughter: baby, This kind of intimate religious appro the building of large temples un necessary absence of many big temples in Bengal" 'S
 

THE CREATIVE TOUCHES OF THE CHISEL
ch. A carved panel relates the story or Krishna
Plate 77c - Wishnupur - Jorbhangla Temple Panel depicting Krishnalila
s are characterised by the use of simple hed roof of Bengali cottages. The unusual (namentation of a rare kind are fascinating. from the hill-side but due to difficulties be used. Today Wishnupur wears a forlorn
legenius of the architects. It is something
Pe 7 'e7', 77ec7;" &arici decar" ore. ... JVeter 1's considered a member of the family, to as their affectionate nother; affectionate Pach, a simple and honely assair. nade " and was the main social cause for the
w'a 777 i Sorl77 es varananada

Page 147
கொழும்பு தமிழ்ச்
ബ്രിട്
INDIC TRADITIONS OF SOUTH
The Indic traditions in the South E is probable that seamen, traders and immig areas and the steady flow of traders resu practicing their arts, religious customs anc Unlike the coming of the Europeans to A encountered only a backward population, t with a rich civilization that had traits in c India. The Indian civilization transplantec the epigraphical and archaelogical docum it and the Sanskrit civilization of Bengal
spread by sea and in a sense by"osmosis
Plate 78, Jawa — Prambanan — the glory of Hinc
shores of India. from the author's collection
 

༡ -17742་ཐོ་ 29
EASTASIA
ast Asia date back to prehistoric times. It Tants founded Indian settlements in these lted in the founding of Indian kingdoms using Sanskrit as their sacred language, America and Africa where the foreigners he Indians encountered a people endo Wed om Imon with the civilization of pre Aryan l into these areas could be recognised in ents. Perhaps the only difference between and the Dravidian countries is that it was
while the latter was spread by land.
Indic traditions
influenced the Visual arts of Southeast Asia through t trade and commercial links. Indonesian and
Cambodian architects adopted Hindu-Buddhist concepts and redefined Indian nor Ills. This led to Y a distinct Hindu Jawa nese : - Khmer school. The
architectural masterpieces
reveal a skill and finesse lar beyond the on a colossal scale
unrivalled in India.

Page 148
130
PRAMBANAN IN JAVA
he excavations in Ban Ch
reveal that human civili
South East Asia. The wor appear to have lived in these early cultur Javanese elites adapted Hindu norms a political consolidation and imperial exp facilitated the adoption and indigenisatic art, architecture, music, dance and religio politics, metaphysics, mathematics and me
There were several Indianized pr the third and sixth centuries AD. The Sri V dominated much of the region given its Buddhas and Bodishatvas in a style remin have been found in Palembang. The Hindi the relay of South Indian culture to Java. Java. The Javanese evolved an elaborate Hindu Buddhist prototype.
The magnificent Hindu and Budc Borobudur in Java, and Angkor Wat and expressions of Indic art. The kings initia culminating in two enormous architectur Borobudur and the Hindu Lara Jonggran Mataram dynasties.
These temple cities, "embody in the beliefs of India. The tales of the Ramayana the Jatakas were depicted on the walls o Siva Natyes Wara and Natakeshwara-dasabl while there is reference to the festival m

THE CREATIVE TOUCHES OF THE CHISEL
lang in Thailand and Hoa Binh in Vietnam zation might well have first emerged in d's first rice cultivators and metal workers es. Centuries later the Cham, Khmer and ld practices in order to achieve greater ansion. Maritime trade links with India in of Hindu traditions be it in literature, n. Indian learning offered systems of law, dicine.
incipalities in Sumatra and Java between ijaya kingdom, a mercantile confederation antage position in the Strait of Malacca. Iiscent of the Amaravati school sculptures uized Mataram dynasty in Java facilitated The Pallava School influenced the art of
architecture of their own around the basic
Lhist temples at Prambanan (Pl – 78) and Bayon in Cambodia are perhaps the best ted several Superb stone-cut monuments al complexes, - the Mahayana Buddhist g at Prambanan under the Sailendra and
ir designand architecture the cosmological , the Mahabharata, the Vishnu Purana and their shrines ...... The Dance images of nuja are mentioned in Kambuja inscription anifestation of Siva (Utsava Murti) for

Page 149
TEMPLES -- PRA, MBANAN IN JAWA,
religious processions as in SC) Luth Indial."
The Javanese School of Architectul
unlike India, Stonework is conceived at adorning the walls. The temples have el shrines in the Dieng Plateau Were dedica activity, The Jawa nese interpreted the WCl4
expression of divine power identified with
Plate 79, Jawa - Tjandi Punt: Devil Dienց - Iեiմ
Panangagungan with eighty One moni
Was identified With the Sacred MOL|nt Mel temples Tjandi Puntadewa (P1 – 79). Tjand (P1 - 80) and Tjandi Mendut belong to the century. The Tjandi Loro Jonggrang and Borobudur belong to the ninth centLITy. were the pre-eminent temples in this regic Tantric Buddhist and is were designed to a specific conception of the universe. Arc I met this challenge by introducing a se splendid Timon LITTnents of which Borobud the most evolved architectural structure. I
of the impressive monuments created by
 

re did not emphasize the pillar and column s a solid mass with figurative sculptures Inclosures around the central shrine. The
ted to Siva in a region of high Volcanic anic turbulence of their landscape as an Siva during the eighth and ninth centuries, The Dieng Plateau was a tellple city and all early place of pilgrillage. The tellples Were single celled shrines With receding staðreyed TiOOfis III Ollil Led 01 a broad plinth where horizontal lines were emphasised. Each temple had an inner ermeclips Li Te. The door ald Window franmes
Werc elaborately carved alld a kiTimukha symbol crowned each doorway transforming the Takara Lorana arches into arabesques. The exteriors of the temples were relatively plain except in the
Tjandi Mendut neaT Yogyakarta, Moulint
ITIS
LL. Thic
i Bila
eighth Tjandi
Tllest:
Il, The
2Xpress
hitects
ries of
LIIT WATES
t is CIC
T11 al II. IL Plat: 81) Jawa - Tjandi Bima. Dieng
|bitl

Page 150
132
is not Imerely a temple but a complete exp from the lowest IIlanifestation of reality att
spiritual enlighten ment,
Two of the finest specimens of Agastya are from a Siva temple, Tjandi Bal and girdles are reminiscent of the late Pa represented in the form of a bearded Brahm while a regularity of design gives the face a linked to Brahma (P1- 144), is indigenous
The great monument, Lara Jongg! There were originally no less than 232 tem it easily the largest temple complex in Jawi! with four gates and eight principal temples. mountain. Facing east is the central and la high dedicated to Siva. The temple propero pyramid (Pls - 81 and 82) raised on a richl it from three sides. The richly sculptured t contains scenes from the Ramayana. It is in the corresponding balustrade of the Bral (P-83a) in the Wishnu temple illustrate to Wishnu and Brahma are smaller and We
The Trimurti here was enshrined in separ
Plate 81 Prambanan — Central Java's greatest archi
achievement - Ibid
 

THE CREATIVE TOUCHES OF THE CHISEI
osition of doctrine - a Buddhist transition
he base through several planes to ultimate
Javanese sculpture namely Wishnu and non. Wishnu's gallents,(Pl -145) its folds lava and early Chola styles, Agastya is in sage. Both these figures lack movement fixed dimension. The Agastya icon, often
to South East India.
rang or Prambanan was built in 900 AD. ples incorporated into the design, making a. The plan was centred on a square court The temple complex represents the cosmic rgest temple one hundred and twenty feet ccupies the summit of a truncated terraced y carved plinth with stairways that lead to halustrade on the lower part of the terrace
robable that these scenes were continued
ima temple low in ruins. The relief panels the story of Krishna, The shrines devoted tre built on either side of the main shrine.
a te temples with their Tespective wahanas
/
tectural Plate 82 Tjandi Siva Prambanan"
/ W

Page 151
TEMPLES -- PRA, MLBANAN IN JAWA
housed in Sima
temple struct.
sacred sikhara
The a II
Siwa, with four
A skull and a
serpent is His expression bal
of Mahakala :
Plate 85a-Prambanan Motif Several panels
On the: lahil III ple:
carved images poses based on the Natya Sastra. The Nai animal representation in Asia. The images (Pl - 157) are included.
The temple complex belongs to an “Prambanan represents the apotheosis of S
It exhibits the same ardour and spiritual id
Pli 8 —
 
 

33
ller shrines standing opposite. The central Ire with several horizontal belts and the
spredates Khajuraho,
tist has chiselled the image of the standing arms each carrying a traditional Weapon.
crescent Immoon ador His head while the
sacred thread. The youthful and meditative ances the otherwise severe image. Figures
and NaIndish Wara are Steen OIn either Side,
on the outerbalustrade portray exquisitely ; of Siwa (Pl-83b) and His tandawa dance ldi in this temple is perhaps the grandest ofAgastiya, Ganesha (PI-83c) and Durga
era when a Saiya revival occured in Jawa,
haiwislill as Borobudu T des of BuddhisI 11.”
ealis IndisceITied in Borobudur,
Siwi ir relief

Page 152
刚 comple ݂ ݂ (C0ver) couldh
宛 《 W Walking tellple:
only tri
of a cc)
Wiew t
superio
Ilmore di
shrines
圆 I Illa SC Lil
Plat: 83: Jaya (Fish Els al TC) )
There are several panels on the outside ball all carved exquisitely with the images of Si to the Natya Shastra. One sees replicas o. Nandi here to be the best artistic represen With the images of Ganesha, Durga and th
closely Tesembles the Parak Tamabahu statt
"Reprefirio 77 S T 77 ci decoratīvo 77 777 ake the a 7" thar to sculpture retairiling however all the Erlity of the recrry? d'y 'Becoming has II. W in sc I p r iire Thar 7 in7 Borob idurr art d Prairirnl episodes Which are linked together tide". figure is (1hsoltitel tiniqire arteds incere fri é of body, there broads the ineffable myster Razılığı kayırıcı : Mı, kerjere
NIG
Any religious structure in Java is refered to as 't
El Pyramidal wer. This was the basic type on wi Wils. Eised
*** History of India III and Indonesia. In A II p. 20Ġ.
 

THE CREATIVETOUCHES OE TIE CITSEL
Even though much of the Prambalan 'X stands in ruins, the magnificent edifice
is grand, inspiring and beautiful. One ear the echoes of laughter in the wind while g along the corridors and stairways of the s. There is no sense of defeat in the air
iul Imphant exhilaration at the timelessness lossal structure. Coomaraswally is of the lat the Prambanan reliefs are if anything ir to those of Borobudur and certainly ramatically conceived. The aspect of the
despite their rich ornamentation is more ine. It is possible that the complex served
ya | Tlausoleum as well as a temple.o
ustrade of the Prambanan temple complex, vain the Tandava poses. These correspond f the images of Nataraja. Critics view the tation of an animal in Asia. Other shrines
e Sage Agastya dot the perimeter. Agastya
le in PolonTaruwa, Sri Lanka.
of Pra rri bartar approximat e to Iapesiry ! (ligit' agrice of Borobudur. The here been Fiore sincerely expressed PICT77777, C31'er". The F27 'O CEF5 ilo 77 of his rica i 7 T Incaster Pla circ) in ecch as which ever
pressio o face, gese and pose ' of The Orieress (Irld harritori” of life. "
1:III. di:" this hals an indic cultural background with LLL LL LLLLLLLHumLLLLm LLLLLLmLLLLLLL aa CltLLL LLL LLL LLL

Page 153
KHMER TRADITIONS OF ANGI
he Indian-influenced king
century AD and marked
Funan was a major port period succeeded it from the sixth to eight period (pre Angokrian) is similar to thos images represent the Sun considered as Si Brahmana in Angkorian epigraphy. Nume sculptures and inscriptions survive from Cambodia and the sculpture already show: of the Angkorian period.
Jayavarman II established the pri
Cambodians then controlled an area that
of Thailand. The agricultural Surplus assC pinned imperial strength and expansion. existed in classical Cambodia. Suryavarma the construction of Angkor Wat in 11 12 A
world.
The charm and architectural granc
ensemble. The Structures that Stand tod
where palaces, public buildings and hous According to Indic and Khmer traditions,
houses while all others, including kings li
Angkor in Cambodia and Pramb No monuments in India approximate the The Buddhist shrines of Bayon and Borc Javanese dimension accounts for the uniq
redefined an elaborate architecture of thei
Each culture reflected its distinct genius. T

135
(OR
gdom of Funan had its origins in the first the glorious start of Cambodian history. facing the South China Sea. The Chenla h centuries. The iconography of the earlier e of the Zorastirans. Perhaps some of the aka Brahman who is designated as a Saka rous archaeological remains, monuments, "pre Angkorian' epoch of the history bf
s a richness that anticipates the exuberance
osperous Angkor empire in 802 AD. The included South Vietnam, Laos and much ciated with a hydraulic civilization under Hinduism and Mahayana Buddhism co
n II in his devotion to Vishnu commissioned
JD. This is the largest Hindu temple in the
leur ofAngkor make ita splendid religious ay once belonged to a grand metropolis es built of wood have long since decayed. the gods alone had the right to live in stone
ved in wooden structures.
banan in Java reveal a Hindu inspiration. grandeur of Angkor Wat or Prambanan. budur are equally grand. The Khmer and leness of South East Asian art. The Khmer
r own based on an initial Indian prototype.
his was possible because the Indians never

Page 154
Plate 84 Linga at Phnom Kulen early 9th cent courtesy - Art of South East Asia-Philip Raws
king. Each Angkor king established hims All-reaching power of Siva Wishnu and b The temples were built with this idea in mi in Siva and occasionally Wishnu. At the his personal mausoleum, his funerary. Ho Buddhism' became the Court religion wh Bodhisattva of compassion for sponsorshi
Thus, Angkor was pre-cminently monarch. It was planned, built and rebuilt influenced by Indic culture and adapted t built to link royalty and divinity in life and underpinned imperial authority.
The Hindu and Mahayana Bud foremost architectural Wonders of the wo
a spcctacular administrative and religio LL.
802 - 1432 AD when Khmer civilizati
creativeness. It was the classical age of: construction of extensive irrigation syste
conquests and set backs. Coedes speaks
 

THE CREATIVE TOUCHES OF THE CHISEL
W engaged in military conquests - instead there Were only ties of trade and culture. The Indic traditions Were adapted as seen in epigraphical and archaeological evidence not to mention the contemporary culture of Cambodia.
The augustan period of Angkor begins with the rule of Jayawarman II* who set the precedent of the "God King' - the Devaraja. The essence of royalty
was supposed to reside in a Linga
(Pl – 84) that linked Siwa with the elf as the Universal monarch similar to the ecame identified with the sovereign deity, ind. The fount of royal divinity was reposed king's death, the central temple became |Wewer, during Jayavarman VII, Mahayana ere the king looked to Avalokateswara, the
p of his reign.
a centre for the Veneration of a divine based on Teligious and political conceptions o local traditions. The stone temples were
to allow the two to merge in death. Religion
hist temples in Angkor rate among the rld. They constitute the sacred skeleton of scentre. The temples were built between on was at the height of its extraordinary abundance, leisurely temple building and mns. Yet it was also fraught with tu Timoil,
of the civilization that developed in the

Page 155
TEMPLES - KHMERTRADITIONS OF ANGKOR
Mekong valley as having created an efflo beautiful flowers that Indian influence has
effiorescence of Khmer civilization.
The Khmers redefined Indic tradit
Wat was initially a Vaishnavite structure, ever ruled Angkor was a god on earth and t universe with Mount Meru at the centr universe structured according to tradition by each successive Khmer ruler - general number of towers. The moat represented til the irrigation system of the country. Thus, represent the universe where the elements
elements into one system.
The temple form in Angkor evolvi multi-towered structure built on terraced p brick, laterite and finally sandstone as Kh This lent itself to relief carvings of Angko
There are several major monume undertaken with consummate skill. To my Wat, Angkor Thom and Banteay Srei to m
Angkor Wat
As I walked along the inner causewa loomed big before me, breathtaking and of symmetry and religion, portraying dev shelter for the gods and introduced a mys the greatest Khmer Kings, built this large expression ofmassiveness and ornamenta
Angkor Wat, the Supreme mast Khmer power and represented the highes

3 /
rescence of civilization - one of the most
produced beyond India. Angkor marks the
ions and made it their own. While Angkor it also symbolized temporal power. Who he capital city took the form of a miniature t. Angkor was conceived as a symbolic al Hindu cosmology. A temple was built ly a pyramid of five levels crowned with a he encircling cosmic ocean and was part of the Angkor craftsmen used architecture to
light, water and air connect the structural
S.
ed from a single tower at ground level to a yramids. Materials evolved from wood, to mer civilization reached its full flowering.
r’s finest temple architecture.
nts in Angkor - each a fascinating edifice mind, the three remarkable ones are Angkor ention just three.
y and crossed the moat, Angkor Wat (Pl - 85)
unique. From a distance, it was a blend votion to Vishnu. The architects provided terious ambience. Suryavarman II, one of
and magnificent temple. It was the ultimate
detail.
erpiece of Indo-Chinese art, symbolized
tachievement. Its architecture is majestic

Page 156
38
alld the tellple glows at Sunset. With a love
This delightful complex has a stup Which signifies the direction of death. W an anticlockwise direction as in the prac form evolved into a multi-towered structul
pyramids. The series of relief panels - one While the other the inner walls of the lower
Da Il els include reliefs of the "apsaras, or hi
Pli ol 85 KITIT T THI FrC III this: All thor
battle scenes from the Ramayana and the
Suryavarman a Vaishinavite, portre Ra T11a|— the tVy () 2:1 Wa t;urs ()f Wis|1T1 u iT1 the
beautifully portrayed with the Kauravas a
directions. The battle of Lanka With Rall
Ravana and Suryavar IIlan's triumphant mil A famous bas-relief scene is the represent: a cosmic event before creation. The cary
the sea in search of the elixir of immortalit while the devas hold the tail. Mount Mand
 

TITE CREATIVE TOLICITES OF THE CHISEL
tliness that touches ones heart."
en dous lay Out. The temple faces the West e viewed the bas-reliefs of the temple in tice of Hindu filnerary rites. The temple re With Vaulted galleries raised on terraced decorating the pilaster surfaces and walls, "galleries Were treasures of art. The former
eavenly nymphs. The latter panels include
W W
W W. W. /
A / WA SESSWWWWWWWWWWWSE,
iris-Angkor Walt 's collection
Mahabharata.
lys the strength and Valour of Krishna and
bas-reliefs. The battle of Kurukshetra is ld the Pandavas charging-in from opposite a on HalTILL Iman’s shoulder, the tel headed litary Conquests are IIleticulously depicted. tion of the churning of the Ocean of Milk ing depicts the gods and demons churning y. The demons hold the head of the serpent
ara is at the centre chu Thing the Water.

Page 157
TEMPLES – KIMER TRAIIITIONS OF A&G KOR
These scenes sculptured with gre: movement and intricate detail. The gal link the individual temples into an comple
Angkor Wat Teplicates the si universe in Illiniature. The central t
represents Mount Meru surrounded by 1 peaks, court yards and a moat. These intended to represent the many continent oceans in the classical Indian geography. statue of Wishnu hewn from a single sand block was placed at the gate tower. Wish portrayed with eight arms and holds a S Inace, disk and conch. In the main hall, the is represented in a future heaven sculp with apsaras who wait to receive him death (Pl – 86a )
T11
three store
central clus
tallest tWe
ensemble.
the comple
moat leads
gateway. A gaTuda, the
This statue
as the godthe temple sculptural
S.
SII
Plate 86bBas relief-thekings
architectural
divine counterpart Wishnu cnthroned on Garuda - İbil
 

139
at skill and artistic beauty reflect graceful
leries · Mgr. E.T."
after Platic 8Éia con the walls of Angkor Wat
sāls - levelly ryplis
hid
2 central temple complex consists of y's raised in three successive stages to a ter marked by cupola-topped towers. The T gives an architectural unity to the entire
A wide TT1 erat filled with wateT su Tounds
2x. A stone causeway placed across the
to the main entrance with its imposing gold statue of Lord Wishnu mounted on eagle was the central deity in the sanctum.
also represented SLITyavariman II dcified king. Although Wishnu was the main deity, pays hoillage to Siva and other gods in the
:Imbelishments.
ryawarman II built Angkor Wat as a vast
edifice wiec his remains were deposited

Page 158
14{}
and his identity with Wishnu reaffirmed. H
Plate 8 sic Figure of Haril qualities of Siva and Wishi East Asia-Pl
bas reliefs (Pl – 86b) which also reveale.
were widely venerated in eleventh centur
Angkor Thom
The last imperial ruler in Callibodia was Jayavarman VII who A
decificated thic i Chau 1115. He
built the new fortified city of Angkor Thom With Eg Bayon (Pl — 87) at its center. 籃 The city is surrounded by a A. 激 moat and high walls. The
more important monuments
within Angkor Thom include Baphoun and the
 
 

THE CREALIVE TOUCHES OF THE CHISEL
is Waishnawite beliefs were reflected in the
1411 - image combinestle 1LI – couri esy – ATL dif South millip Rawson
d that Siwa, Wishnu and Harihara (Pl - 86c)
y Indochina.
fi "##### 7 Khmer Traditions – Angkor Thorn – Bayụn
|իitl

Page 159
TEMPLE8 – KH XIER TRAIITIONS OF ANGKOR.
terrace of Elephants. Angkor ThoIT) too re
many seas.
ALFFF"
Platie 88: The Toad to th:3011th ||
Bayon is the second most popula corridors, precipitous flights of Stairs, an
crowned with two hundred and sixteen SIT
Buddhist divinity.
I was awe struck to see the IllagI city of Angkor Thom to reach Bayon thr Bayon faces cast, The entire complex W sun penetrating the silhouettes of tall tree shades of light inch by inch. At a distance stones heaped one on top of the other but
series of Lowers,
The causeway that leads across t by parapets lined with two rows of giant in (asuras) on the other, fifty four on each side the naga. This once again portrays the PLIT milik (Pl - 88a). The causeway leads up to sandstone elephant and crowned by the hu
facing the four directions,
 

|4||
2presents Mount Meru surrounded by the
繳
flanked by the Devils Ltd Nagels
r temple after AngkoT Wat. It consists of d a collection of fifty foLIT gothic towers
liling faces of Avalokiteswara, a Mahayana
lificent Workmanship as I approached the ough the Southern gateway one morning, was a marvel of creativity with the rising is and revealing the Illany stone faces with , the entire View appears to be a jumble of
In closer inspection it reveals an ascending
he moat to the three entrances is protected mages of the gods on Une side and demons supporting a gigantic Illany headed serpent, "anic legend of the churning of the ocean of the monumental gateway decorated with a
ge faces of the Bodhisattya Avalokiteswara

Page 160
42
The Buddhist temple of Bayon views the stupendous Angkor Wat with modest proportions although blessed wit Bodhisattva. This gives it a haunting amb:
WS
carved
iIm the li
devaraj;
of towe
enigma
at other
best kIl
two sq
bas-reli
the thir
- =====۔۔ " آئے۔ - الذي أسس . Plate 88b - Frieze along the walls in and the
three tiers - Ibid
clegant artists portrayed Illore as they nal Tated Worker portrayed battles, court life anc These are more lively and vital than An Epics. The first level in the outer Wall de scenes of everyday life: on the second, or Khmer soldiers going to War and fierce ba portrayed with great skill (Pl - 88b).
Banteay Srei.
Banteay Srei (Pl – 89) represents example of Khmer craftsmanship. It i century Siva temple of great beauty built sandstone by a Brahmin of the royal hou
is referred to as the Citadel of the Wall
rcial Imla line is Tribhuwa Thaillahcs wara, The :
 

THE CREATIVE TOUCHES OF THE CHSEL
is small compared to Angkor Wat, One a sense of awe while Bayon has Ilore h the towering compassionate faces of the ience. The imposing stone pile of fifty four in BayoInı is alını architectural rarity... Each is
with four identical faces of the Bodhisattva
ikeness of Jayavarman WII to reinforce the a cult. As I zigzagged through the labyrinth rs, Isensed the benign Bodhisattvas Smiling tically, at times level with IIly eyes while * TTnoments elusively froIT1 above. Bayon is
own for these Illysterious giant faces.
Bayon has a three tiered structure. The first uare levels decorated with extra-ordinary efs cover its outer walls. These lead up to d circular level where you find the tower gigantic faces. The relief panels are less than those of Angkor Wat. However, the literary episodes in three tiers. The stone everyday scenes of the ordinary people. gkor Wat’s static renderings of the Hindu picts wivid
hic scacs, the
titles at Sea
the fill cSt
is a Lenth
On Teddish
sehold. It
Plate 89-Banteay Srei-Siwa Tellple - Ibid
an and its
Sandstone

Page 161
TEMPLES = KI I MER TRADITI UNS UFAN, INGKUR,
temple faces East — the slant rays of the risi
in three concentric cnclosures With towers
towers and libraries of the inner courtyardar
Il monuments. The two i Iller enclosures a Te ||
relief panels are decorated with male and relief work is a masterpiece in Workmanshi In the inner most enclosure lies the rais
terrace with three sanctuary towers. Six she stairways with paired guardian figures le. up to the platfoITT, The striking feature oft central sanctually is its Sillall doorway whi is about 108 centimetres. Not much spa
exists between the three sanctually towers (
-90),
Classic carvings depict delic: female figures in traditional skirts holdi
lotus flowers. The recreation of scenes frc
the Ramayana adds colour to the library linte
Most lintels a Te within the in IleT sa Ilıctul
Plate 91 a Siva and Uma insand stone 10th centuryKhiller divine was Ilhall and felale-bid
 

143
ing sun gives it a rich glow. It is arranged
on citler Side of the Illail entrance. The
C. Smaller in size coillpared to other Angkor linked together by six long galleries. The female divinities. The jewel like filigree
ht:
chl
Ավ:
Pl
團
屬
t
激
Plate 90 Entrance to Bantcay Srci
III i
line sees Siva Nataraja in the Eastern tower ortrayed with several aims that hint of a yclical motio||1. Indra, kubera, and Siri are me of the other figures frozen for eternity in the pink walls. The temple is Cambodian
idiom. The wealth of detail with Hindu
ymbolism in the Khmer traditioIl is in fact
le essence of Angkor!
These artistic creations are perhaps he finest stone carvings of the world. The

Page 162
144
sandstone preserved the exquisite workina only be understood in light of Hindu icon
the inheritance of all IllaПkпd.
Plate 9 lb Calcidia's 1:
III other Khmer traditions, We See S male and female (Pl – 91a) and Lakshmi a: "Caribodia's ancient temple city is one Masterpieces al decorative details (s. Vivel ruir 2, S F Y','i'e das a l'este 777 er 7 t’ to the specife greatest civilization. It is an enduring mo)
l'opes (I d'Ispiratio 7s, Angko:
Notes
"Pierre DLIpı07ıl iri "Lal statit Lizqir e:, pire Hillgkorifenile:. ' Lokesh Chandra in Devaraja in CäIIlbodiäIl Histo in the Airey. Brah Ilana which lent him charisma " He was Terely converting to Buddhism that was
the ChaT115 de featcdthic Khmers. The ecolor:lic ci thought to be needed. " Coedes-Indianised States of South East Asia " Somerst Maughan says, "Angor Wat is impressiv Sunset or the White thrilliance of the Ilion to give
 

THE CREATIVE TOUCHES OF THE CIISEL
Inship and detail. The events portrayed can ography while the beauty and elegance are
kshmi iu Prasa Kravan
Siwa and Uma where the Khmer divine was
3 in Prasalt Krawan (Pl – 9 lb)
of the 11'orders of the orieri tal worlad. Is o/ curchitectural style, its annwe inspiring Țcular achievements of South East Asias
2 ( 72 erat To The people of Cari77 bodia — their
Iy says that Jayavarian perfor Inca Wedic rite as |tic : Lithority the religion of the Ilasses. It was at this time that Ist was sa high that Mahaya Illa Buddhis III. Walls
c rather than beautiful; and it needs the glow of it a loveliness that touches the heart."

Page 163
THE SIRI LANKAN CONTRIBU HINDUN ARTAND ARCH
The Polonna
he aesthetic movements
influenced the developme
in Sri Lanka. Religious and ideals both Hindu and Buddhist, ins
and architecture in both lands. The Anura
Polonnaruwa and Kandyan periods are t periods in the development of art in Sr. The Buddhist aesthetics of Magadha, Mat Amarawati influenced the Amulradhapura The Gupta and Pallava art also had its as witnessed in the images of Buddha
Isurumuniya sculptures,

145
"TWON TO
ΙΤΕΟΤΙΝΕΕ
ruwa Period
in India
nt of art
tradition
pired art dhapura,
he three
i Lanka.
hura and
School.
S impact
and the
A Pol Ill:LILIWa BI bilge

Page 164
146
egalithic urn burials i dated to 300 BC and v
in South India. An e etymologically linked to the word Tamra South Indian coast. South Indian trade
lucrative commerce of Sri Lanka invaded commercial, military and dynastic interac continued in the first millennium. Tamil ainnurruvar, and mercenary contingents annexed much of the island in the tenth cen the thirteenth century and expanded to its g The kingdom had a distinctive jurispruden chieftains owing allegiance to the kings o in the fifteenth century.
The Chola and Pandyan Schools traditions of the Polonnaruwa period; fo Polonnaruwa and the Parakrama Bahu imag The late Pandyan, Vijayanagar and Nayakk In modern times, South Indian craftsmer to the Temple of the Tooth, renovate the
Square,
Ananda Coomaraswamy describe Ceylon through out history. He cites ther A.M. Basham writes that "an importants and produced works similar in style to thc referes to the bronzes saying, "This appar the best specimens particularly of Siva dis those of the best South Indian specimens, one observes an inevitable affinity in the that the Polonnaruwa bronzes for the mo: workshops, or at least, if they were familial

THE CREATIVE TOUCHES OF THE CHISEL
n Pomparippu in north west Sri Lanka are ere linked to similar Dravidian settlements arly name of Sri Lanka was Tambapanni barani, a name of a river in the adjoining 's eager to monopolize the increasingly the island in the second century BC. The tions between Tamil Nadu and Sri Lanka mercantile guilds like the ticai aayirattu made Sri Lanka their home. The Cholas tury. A Tamil kingdom emerged in Jaffna in greatest influence in the fourteenth century. ce and society of its own. Mukkuvar Tamil f Gampola/Kandy held sway in Batticaloa
influenced the architectural and cultural ir example the Nagaraja Guardstones of ce of Potgul Vihara are South Indian in style. a styles helped define the Kandyan period. were brought in, to introduce additions Kelaniya temple and build Independence
s South Indian craftsmen immigrating to sign of Kirti Sri Rajasinha. The historian chool of bronze casting existed in Ceylon se of South India.” Senarath Pannawatta 2ntly was a case; but when one compares overed in Polonnaruwa or elsewhere with which are of the same era or a little earlier, ir poses and finish permitting no doubts t part belong to the prolific South Indian with every point of unerring.conventional

Page 165
SRI LANKAN CONTRIBUTION — POLONNARUWA PEF
iconographical detail of their deities befor of correct iconography and the physical
requirements in Hindu statuary.'
A quotation from bronzes in Cey reads, “The Saiva bronzes of Polonnaruw; old Buddhist works. They may have been to the prolific South Indian School of e Madras Natarajas and the Tanjore Siva.'
In his essay, “Ceylon asa Provin says that many bronze and copper images style have been recovered from the Saiva ti these were imported from the mainland Ceylon, cannot be determined.” These b precision which comes only through tradi based on Saivite thought and experience.
The Polonnaruwa contribution to
Polonnaruwa was the medieval capital city from the Hindusage Pulasthiyar. Hence thi Sri Lanka from the tenth to eleventh cen
The Cholas renamed the city Jana-nathanatha mangalam', the auspicious city ofth another inscription we read, "Nikaril Chol - Pulainari or Jananathapuram in the Cho dynasty with links to the Pandyan court la dynasty, namly Vikramabahu I and Gaja E
The Saiva temples in Polonnaruw growing Tamil population. Their architec Chola influence. A hundred years after the legacy of art and architecture faded. The sl The ancient Buddhist and Hindu temples forest cover for over five hundred years.

IOD 147
e whom they prostrated daily. The concept completeness of an image were sacred
lon chiefly in the Colombo Museum 1914 a are in all respects very different from the cast in Ceylon, but as a group they belong arly medieval bronzes represented by the
ce of the Chola Empire,” Nilakanta Sastri of Hindu deities and saints in South Indian
emples of Polonnaruwa. He adds, “whether or made by artists who had migrated to ronzes are considered to have a sense of
tion." These traditions must necessarily be
Hindu art and architecture is considerable. of Sri Lanka. The name of the city is derived e term Pulasthiya Nagara. The Cholas ruled turies and Polonnaruwa was their capital. puram. One temple inscription reads "Jana e Lord of the people, a reference to Siva. In a valanattu Pulainariyana Jananathapuram la land of peerless fertility.” A Sinhalese iter defeated the Cholas. Two kings in this Bahu II, followed Saivite practices.
a were built to provide for the needs of the tural style and epigraphic evidence reveal Cholas had left, Polonnaruwa with its rich 2eping ruins yielded to the whims of nature. of the region lay hidden amidst verdant The ruins were excavated hundred years

Page 166
148
ago. With the turn of the twentieth century giving us a wealth of information about Hindu art and architecture.
The plastic art in the medium o images found in the Saiva shrines of Po Nataraja, Siva and Parvati, the Nandi, t were largely found in Siva Devales No 1 neglected, most of these priceless images make-shift underground chambers and la could well have been indigenous and able their Indian counterparts.
The Cholas emphasized Saiva wo tradition is important to understand the bro that the basic elements of South Indian H Polonnaruwa. Saivism developed widely centre of religious and artistic expression.
Nataraja
Several bronze figures of Siva as N Saivite shrines in Polonnaruwa, especially
The Polonnaruwa artist represent holds the drum, another holds the fire, the points to a raised foot. The other foot is on pages 173 - 178) on the sculpture of Natar rhythm and serenity rather than destructio)
Benjamin Roland describes the Sri Lankar
“The figure, a perfect fusion of gracious rhythm, lacking the us a cadenced movement commun
embracing position of the arms a

THE CREATIVE TOUCHES OF THE CHISEL
several sculptural marvels were unearthed the wonderful Sri Lankan contribution to
bronze is beautifully represented in the onnaruwa, namely the fine specimens of he Saiva saints, Surya and Vishnu. These and 5. Even though the temples remain have been saved for posterity initially in er in the Colombo Museum. The artisans to produce images of great beauty as did
rship in the island. A knowledge of that nze iconography. It was in the ninth century indu religious tradition was introduced to in parts of Sri Lanka. The temple was the
Nataraja were found amidst the ruins of the
Siva Devales l and 5.
s the Lord of Dance with four arms; one hird indicates the abhaya pose and the last
Muyalakan. He wears the tiger skin. (See aja). The whole image suggests a gracious
l.
. Nataraja thus —
serenity and balance, moves in slow and |al violence of the cosmic dance; this is icated largely by the centrifugal spacend the suggestion of the figures revolving

Page 167
SRI LANK AN CONTRIBILITIKIN — PILINNAK FWA, PEKI
in space. The turning effect that ci
armıs olc bichild ar Cothic" and the
directions of the limbs, give som in Mannerist sculpture that see.Ils inspection of the image from every abstraction of modelling and icon
of a diagram."
The image of Siva as Nataraja (Pl Work of elegance measuring three feet in
Of South India. At the base of the tiITLI Wasi.
W PANNYA W W KWA
44. 74% سy
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Plate: 92 — Siwa, as NataTajai — Aadavallan Courtesy - Plonnaruwa Bronzes - Sir P. AYITLI Fhail chial:Lil
rear locks "whirling in the dance. At ti
base of the crown is a skull which is said
symbolise Sivas destructive energy. Siv Wears the Ganga and the crescent mo, on these braids. The Ganga symbolis fertility," while the crescent Indon on til left symbolises Siva's grace and glory. It
the symbol of time. In the image where t
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

| 4)
)mes from the arrangement of the multiple torsion of the figure, emphasised by the :thing of the effect of figures serpentinata to coerce the beholder into a consccutive
y angle. Although cast in human shape, the ographic explicitness give them the power
| - 92). da Incing on the tiruwasi is a grand leight. It is similar to the Nataraja images is a pair of dolphins known in Tamil as Tilaka Tals. The maka Tas are not always included in the tirou wasis of the Nataraja Sculptures. In certain Nataraja sculptures,
the tiruvasi has been left out (PI-93a).
In one image, the artisan braids
the hair and ties it into a knot to form
the crown. He so fashions the hair that
it gives the effect of movement with the
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Page 168
5)
braids have been left out, one sees the G
crescent moon OIn either side of the crow
represents Nataraja as Wearing a garland sacred thread and a pair of anklets. Sinal body symbolising Kundalini.
The artist has portrayed him c. another image which measures two feet in tiruvasi is missing, the crown different a foot higher and stretched out. In the third r ( Pl - 93b.) of Nataraja, the braids ofhair an are both absent. This is similar to the Ta
piece.
Siwakami
The Polonnaruwa sculptures refe an exquisite piece of work in the charact
p
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THE CREATIVE TOUCHES OF THE CHISEL
anga and the 1. The artist of skulls, the
cs ador In his
ifferently in height. The ld the raised
presentation
d the till wasi
Plate 93b. A third representation
njore bronze of Nataraja - Ithid
to Parvati as Sivakami. This statue is :ristic tribhanga pose (Pl - 94). The artist ortrays her, standing on the lotus and asting firmly on the left foot. This imparts sense of movement. She wears an longated crown. The Illinangala sutra or the acred nuptial chord is placed round the eck. Elaborate ornaments adorn her neck, houlders and alms. She wears the sacred read as Siva does. The upper portion of le body is bare but a that, a bifurcated arment is draped around the waist. This is eatly pleated round each leg. The waist is lorned with jewels. The right hand is in Le kataka hasta pose while the lefthandis racefully placed on the side.
enarath Pannawatta speaks of her as." The half nude charming standing goddess

Page 169
SRI LANKAN CONTRIBUTION — POLONNARUWA PEF
Parvati is easily a magnificent ar nineth century Indian copper P. D. Rockerfeller III collection. S life and like music to the eye is how an unknown gifted artistha representation of his favourite go in all her perfection and glory not also before a whole world of class
Serene mercy is evident in this countenance and a delicate stance. The jew The figure reminds one of the dhyana slok
“Syamam divinetram dvibhujam tr savyapasavya sthita kunchitanghi savyotpalam satkanakastanadhya hastanyalambam parameshwarim
“The supreme goddess Parameshwari (is) t three-curved, (her) left foot planted firmly her left hand, the other hanging loosely; (s
In the early sixties an Amman statu the Siva and Vishnu temples. A parrot w one of the Meenakshi Amman in Madurai.
Other Images
There are other sculptures of Siva f dancing pose as the Lord of the evening d of art is the Somaskanda murti with his the artist places the images of Siva and U holding a battle axe in the right hand, a de in the abhaya pose and the left in the katal right hand while the left indicates the vara

OD 151 ی
piece and is almost identical to the mid rvati now in the world renowned John erene and pretentiously throbbing with his simple and noble figure. One can see l triumphed in the portrayal of an iconic ddess inducing her to unblushingly pose only before thousands of her devotees but ical art as well.'
figure. The artist has chiselled á calm els enhance her beauty and sophistication.
ibhangam rim
tam.”
he one who is dark, two-eyed, two-armed, and the right raised slightly; a blue lily in he is) possessed of golden breasts
e, a little over four feet was found between is carved above the right wrist reminding
'om Polonnaruwa. One sees him in a semi ance Sandhya nritta murti. Another work :onsort Uma (Pl - 95). In this sculpture, main one block. The artist portrays Siva r in the left while the right lower hand is a pose. Sivakami holds a lotus bud in her a mudra.

Page 170
Images of Surya, Chandeshwar
and the Saints of the celebrated devotiona
The Chandeshwara image is a piece offi is found in all Siva temples where devot
of Chandeshwara tells us that Siwa pleast
Polski
sage bestowed on him a garland of cassi: deeply moved. The artist captures this llc. pallis holding the garland With deep re'
than the images of the other figures from
W W
W W
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W VN W. W A.
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Politi ir Hill II
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
a an apotheosized devotee of Siwa (Pl - 96) |l hymns, have been found amidst the ruins, Line iconography. The Chandeshwara shrine
ces end their prayer at this shrine. The story
ridal murti With Umä |hiti
å flowers. Tradition has i Lhal the Saint Wa5
Illent of ecstasy portraying him. With folded erence. The figure is slightly more stocky
Polonna Tuwa, but the tilt of the face and its
W
AEWAW
dres war. LIid SLLryal
|Hitl

Page 171
SRI LAN KAN CONTRI HLUTION — POLONNA RUWA PER
blissful expression convey the inner feelin
The sculptor represents the relig saints Appar, Sambandha T, Sundarar and artist was to reveal the peace and serenit face of the icons. These are not portraits bl calm achieved by the conquest of the five evokes are effectively conveyed. The porti
express the deep faith the artists had in the
The individual genius of the ar. remain anonymous. His unknown life mer
characteristic of all religious art.
For example, one witnesses bot of Saint Sundarar (Pl – 98) The figure, an | his rapture in witnessing the sacred dane the exquisite gestures of his hands sugge
to the Dancer who not only appears real ti
# "A
PL '97 SAN I'W
***|KEA,3; SLUTNI), R', ER
that is depicted tallies with Saint Serkilar Opus, the Periya Puranam. The poet’s an not different. The poet's descriptive verse
 

I 153
gs beautifully.
ious idealism of bhakti in the figures of Manikkavasagar (P1-97). The aim of the y of self-realisation through the form and
lt the Iles of devotion in bronze. The inner
senses and the power that such self control rayal of a rapt face and reverential attitude,
: worship and service of the Lord.
tist enables him to focus oil his Work and
ges in the perfection of his creation. This is
h serenity and ecstasy in the bronze image expression of perfect art in metal, portrays c of Siwa in Thillai. The slender form and
st a trellulous Imovement paying homage o him but fills his inner being. The delight
5AMBA*) ou R. AFPAR
's description of Sundara I, in his Magnum d the sculptor's depictions of Sundarar are
is itself a precious gem:

Page 172
**Indu wal sadaiya nadu 111 ananda e
tanipperum kuththan wa ndha perinbha Velleththul thil:
marilla ITnagilshiyil magili
"... he revelled in the flood of delight at t dance of boundless bliss: and his wh blossomed under the power of unremitting artist captures the moment when Sundar: aware of the Lord's dance and portrayshin of effusive devotion, Sundarar stands in
With the Dancer. The hands are raised b suspense and this arrested movement conve of breathless wonder and awe. The express face and the tenderbalance of the limbs gen effectively portray the inner ecstasy of Even though his attire is that of a bridegroo as Zimmer says, "in the imperviousness of
ir- ''ll things.
It would be appropriate to digri art by looking into the fascinating story of to the service of Siva. It is only then that piece of sculpture could be understood. T Himself) produced a document on his We and there with stopped the marriage cerem. to a temple in the adjoining village and w; "I saved you since you were marrying the always be attired in all this finery.” Sunda him down to earth where he had to Worl birth, two marriages, skin ailment and loss
Despite tribulations his love for God and h
The sculptural effect of the artistap

THE CREATTVETOL CHES OF TETE CHISEL
Ma laiyil
ith thu
thar; '''
հc unique ble being joy." The I became
in a state
toxicated
ut held in
lysa Sense
ion in the
tly poised
Sundarar. A # m, it rests Platic 98 — Saint Sundarur all material Courtesy - Ideals of Indian Art
НHvcli
2ss a moment to understand this piece of Sundarar’s illumination and consecration the devotional spirit behind the creative he story is that an old priest (Lord Siva dding day claiming him as his bondsman iny. The priest led the groom and his party inished inside. A Voice was heard saying, Wrong girl. May you sing my praises and rar's infatuation for two women brought out his karma and undergo travail. His of sight were part of a pre-ordained plan. is faith in Hirn Ilever SWerved.
years soft and gentle transmitting a softness

Page 173
SRI LANKAN CONTRIBUTION — POLONNARUWA PEI
to the skin, a tenderness to the limbs, anda Ganguly speaks of this image as the visi figure has a wonderful quality of breathl contributed by the artist to the great gallel
The artist portrays the spirit of bh expressed in the rapt face and reverential own creation. This is essentially a charact the Gothic art of Europe asking for no rev masterpieces are unsigned.
"The Polonnaruwa Bronzes are characte
tradition and practice.... and are a music
Notes
Kalaipulavar Navaratnam-The Tamil Elements i. * A curator of the Kandy Museum - his article “Uni Director Conservation UNESCO Cultural Triangl “An Inspiring Contribution to the Royal Asiatic So Pulainari or Jananathapuram - Arch. Report for 19 - Studies and Translation p 76. Pulainari is the al form of Polonnaruwa. o In Saiva Siddhanta, there are three entities — Pati,
Pasam that ties up the Soul Pasu, preventing it fra and in Saiva Siddhanta, they are not two entities God pervades and energises all Souls yet stands a energises every other sound, but also remains dis For the story of the descent of the Ganges, see pag Within the human frame work are the Chakras, th the muladhara to the head, the sahasra or the thou anahata, vishuddhi and ajna in the body. Former curator of the Kandy Museum - "Unique " Zimmer - Sacred Image and Classical Art p. 15

OD 155
sense of delight and joy to the countenance. ple incarnation of devotion and adds, “the 'ssness and is a distinguished masterpiece y of classical Indian sculpture.”
akti - Sundarar's child like faith perfectly attitude and merges his personality in his eristic of all Hindu art which it shares with vard. The artist has no biographers and his
"rised by the precision that comes of long
to the eye.” Sir P Arunachalam
n Ceylon.
que Hindu Bronzes of Polonnaruwa.”
2 Project ciety in 1915 on Polonnaruwa Bronzes. )09, Session Paper VI od 1914 - Sir P. Arunachalam oridged form of Pulastiya Nagaram and is the Tamil
Pusu, Pasam - God, Soul, Bondage. It is bondage or pm uniting with God Pati. God and Soul are eternal nor yet one,' - suddha advaita - Pure non dualism. part, just as the letter 'a' which underlies and tinct and is the first sound.
ge - 71 - 72 e pranic vital centres - from the base of the spine usand petalled lotus through swadhistana, manipura,
Hindu Bronzes of Polonnaruwa

Page 174
156
ARCHITECTURE
pread amidst the Buddhis Small but significant Hin temples based on their ar Two Sivalayams are considered veritab conform to conventional Dravidian relig
Hindu temples in Polonnaruwa were Siva
While a majority of temples withe the ravages of time and remain as embo
sculptural art. These remain elegant and g
These temples have a similar arcl have been excavated and are traditional in sanctorum is the Sivalinga in each of these
Subramanya have been included in the in
“The temples stood within a brick the East. The only exception was the Vis main shrines were constructed of stone w The antarala and garbha-griha of all Saif slabs and the Sanctum was surmounted b contained at least three storeys. The dom circular or octagonal. ...The discovery of of some of the temples indicates that a loc
in Polonnaruwa.”
The Siva Devale No 1 (Pl - 99a architecture that belongs to the twelfth c Siva Devale I is the choicest example of a throughout the Island and liesjust south of ruins of Buddhist and Hindu shrines, com

THE CREATIVE TOUCHES OF THE CHISEL
shrines of Polonnaruwa are a number of
lu shrines. These are identified as Chola
chitectural style and epigraphic evidence. le gems of Chola architecture in that they ious architecture. Seven of the fourteen temples in close proximity to each other.'
red with time, Sivalayas 1,2 and 5 survived diments of Sri Lankan architectural and
raceful, rich in metal sculptural art.
nitectural design. Siva Devales 1, 2, and 5 structure. The moolamurti in the sanctum
temples. Separate shrines for Ganesha and ner court yard.
prakara or enclosure and had entrances on hnu Devale 2. Four or possibly five of the hile the others were of brick construction. vite temples were flat — seiled with stone y a dome in brick or stone. Each vimana le was ornate and graceful and was either a substantial number of bronzes at the sites :al school of bronze casting had developed
), is an exquisite expression of Dravidian entury. Sir P. Arunachalam writes"* “The Hindu temple found in Polonnaruwa, if not the elevated quadrangle within which lie the bining the architectural features of Ceylon,

Page 175
SRI LAN KAN CONTRIBUTION — POLONNA, RUWA, PER
Plate 99:1 Siyadeval NC.
"The design, and form and the S symbolically represented the ideas of Hin conceptions and myths recorded in its was
in his essay - Temples of Siva in Polonna
An interesting caption is seen in FairTer's bool "In almost every detail, the thing is finds Hellenic memories in the purit
..............Tradition calls this low
of Polonnaruwa asserting that this W misleads oIle, for this temple is not :
is not Buddhist but Hindu, it is not a
The Tooth Relic, we kTKOW, Was trea
Saivite shrine. So beautiful and Oil:
This temple is one of the main Illon proximity to the quadrangle containing a cot the remains of this tellple, H.C.P. Bell says
"With the exception of the "Gal-N constructed entirely of gleiss, stra Ing the “Dalada Maligawa" or shrine C
Buddhism has naturally attracted thi
 

) II) 57
India and Cambodia in a
strange and not inharmonious grouping." The temple is noted for the precision with which the stones were cut,
It was delicately fitted with carved stones in the Pandyan
traditions. The stones used
W in this temple have a rare
Whitish green sheen.
iculptural panels on the Walls and towers du coSIIlology, religious ideology and the it literature,” Writes Prof. S. Path Illa Inatha I1
L.
k, Old Ceylon, where he writes,
perfect, and perhaps it is more than fancy that y of its line and the perfection of its proportions 'ely jewel of stone Work, the Dalada Maligawa
as the shrine of the Tooth Relic. Here tradition
Sinhalese but Tamil of the finest architecture; it
shrine of the Tooth Relic but a temple to Siva. sured in Wata-de-ge, and in all probability this
te, is Some family chapel...."
Illents of Pololnaruwa and is located ill close
erie of Buddhist monuments. Commenting on
; inter alia =
ihare this striking ruin of the Saivite cult, ely for years pastandstill popularly mistermed yf the Tooth Relic, the palladium of southern
e chief a LleInLion of visitors Lo PolonnaLILI Wa.

Page 176
158
“Like the similar Saivite shrine
though slightly smaller, structure triplet of united yet distinct parts open to the sky, preceded the ant the grabha griha or inner most sa
slabs.
“It still further resembled the sister
from basement to dome, of ashla exteriorly on similar general lines. niches — but exhibiting many artis
surface adornment not bestowed c
“In style the architecture of this h Not a finer example exists in Ceyl
was finished in stone - and th
completely disappeared. None of
the fallen members recovered fro)
have formed the superstructure o
flat trabeated ceiling is still in po facing the cella's exterior wall on
irregular rubble packing behind;
of having spread; the steps at the
longer exist; the greater part of th course has vanished; and but one when the Devale was sacked and
“Yet withal the excellent preserva
has stood the stress for centuries i
“Inside, the walls of the vestibule as are exteriorly those of the form
some lateral bulging.
"Displacement - chiefly of walls

THE CREATIVE TOUCHES OF THE CHISEL
Siva Devale No. 2, this more ambitious, comprised no more than the customary . An outermost mandapam, walled in but arala or pronaos, and the domed viimana, inctum, both roofed and ceiled with stone
Devale No. 2 in being wholly constructed, ir dressed and moulded, with walls faced pilasters and halfpilasters flanking central tic modifications in form supplemented by
n the less ornate temple.
landsome ruin is pronouncedly Dravidian. lon... The cupola – if, as is most probable, e horizontal ceiling of the vimana have
the slabs have been so far identified amid
m the debris around, all stones which may f the antechamber have also gone, but its sition; a considerable portion of cut-stone the north has fallen out, exposing the loose at other points the walls show clear signs : front (east) entrance to the propylaea no e wall of the mandapam above the lowest or two images have survived the evil days partially destroyed.
tion of so much of the maltreated temple as s surprising.
and adytum are virtually as perfect as ever; er everywhere and of the shrine at back for
labs, was to be expected from the forces of

Page 177
  

Page 178
Pl Si
chaitya Windows. The building is well pri the ornamentation applied with judicious i
The temple referred to as Siva Dev; and Walls have collapsed. From these ruin ardha mandapa and thrce other Ina Indapa
Devale 2 which is of granite.
Among the Stone illages retrieve are to quote Prof. S. Path TT1a Ina than, “A TI seated posture; a pillar with sunk relief fig sapta maatri; al fou T a Timed Wishnu in thic depicted with two hands; a bas-relief of: shoulder and something on the left palm."
In 1960, the archaeological rese
disco Wered several caches of rare Workma
buried in earthen pots amidst the ruins of
artifacts must have been fashioned daring t
 
 

THE CREATIVE TOUCHES OF THE CHISEL
'titlւ: Valւ: ԻվԼ, 2
oportioned and harmonious in outline and
restraint.
ale 5 is in complete ruins - its superstructure s, one could glean a garbha grilha, antarala,
S. This is brick built resembling the Siva
d from the debris of architectural remains
oughly car Wedi bas-relief of Gamesha in the urine of the saille god; sculptured slabs of staanaka pose; a bas-relief figure of Kali a seated deity holding a club on the right
archers while working in Polonna luwa nship of bronze figures nearly packed and Saiva and Waishnava temples. These rare he augustan Chola years (P-100). Though

Page 179
SRI LAN KAN (COUNTRIBUTION — POLONNA RUWA PER
essentially Saiva in tradition, a few Waishn inch tall Amman figure With a par Tot on h tall Winayaka seated on a lotus pedestal an the rare pieces. In another cache, Nataraj: Dewi, Nandiandan Linusualifigure of Kara
Pl: (). REI
Siva as Sandhya Murti N
"Art af Polonnarsya reveals extencive So
the presence of Tamil craftsmen in the reg
Shries are similar to the terriples in Tani
ԿtiԼը:
Prof. S. Pathi Ihalathan states that the architectural are found at several locations in the city. Scirile at Temples of Siva in Sri Lanka p.76 * Polonmaruwa Bronzes and Siwa Worship p.74– a l* Tbil
The Archaelogical CoIIIllissioner who conducte H.C. P. Bell ASCAR p"36,
 

Eava figul Tes have also been unearthed. A 52 er wTist, a 37 inch tall Nataraja, a 23 inch d a 30 inch tall Wishnu, figure were along 1. Bhairava, Skanda. Nadiana Ballakrishna. likkal Ammaiyar have been found.
W. ( FAKA
it discoveries
andi Consort of Siva
| ľh Iridia iryfrience, This cozrld be dire ro ion, The ground plans af several Buddhisr
"Ναι", ".
| Temains of mul less than fourteen Hindu temples Te fkhInd in isCollation while others are in gra Lupus.
s told hy Sir P. Arunachalam
d excavations at the site.

Page 180
162
A COMPARATIVESKETCH
ON HINDU AND WESTE
“A great oriental work of art does comes to it solely in a mood of a sten in iunieliness, in the Solitude capable of long and deep meditat with the conventions of material li
Our travels through Rome, Flo Persipolis and Cairo on one hand and the st Cambodia and Sri Lanka on the other hel The contrast of Western art with Hindu philosophy. Both Greek and Hindu artists the Hindu artist introduced a vision of in a profound serenity and saintliness that re It blends art and piety, beauty and holines an inwardness born out of meditation. W something nearer is felt - a yearning for a
The European art critic initially Indian art. They surmised that the Gandh dian iconography. Ananda Coomaraswam the ideal type of Buddha was of foreign o influence on Indian art was ultimately neit Hellenised. She continued to live her life
is Macedonian storm.” Gandhara sculp
raftsmen striving in vain to interpret Indi
The symbolic and abstract natur “It scrupulously avoids illusionistic effect ephemeral world of senses, instead, obje prototypes, whose source is the inner worl proach to art avoided portraiture and physi

THE CREATIVE TOUCHES OF THE CHISEL
NSCULPTURE.
not easily reveal its secret to one who sthetic curiosity ....... ; but it has to be of one's self in moments when one is ion and as little weighted as possible fe,” Sri Aurobindo.
rence, Athens, Petra, Jerash, Jerusalem, udy of Hindu sculpture of India, Indonesia, me to understand Sri Aurobindo's Words. 1 sculpture owes itself to differences in found truth and joy in beauty. However, ner truth into his work. Hindu art radiates flects the introspection of Indian thought. S. All Hindu sculptures portray repose and hen one admires a Hindu icon in solitude, contemplative and inner life.
thought that classic Greek art influenced ara School provided the foundation of In7 once accepted such thoughts arguing that rigin. He later came to believe that Greek er profound nor important. “India was not of 'spiritual isolation and forgot the passures were the work of late Greco-Roman In ideals.
of Indian art owes to its religious nature. , evoked by imitation of the physical and its are made in imitation of ideal divine of the mind,” says P. Chander. This apallikeness. The artists never represent the

Page 181
ACOMPARATIVE SKETCH ON HINDU AND WESTERN
gods as men. This contrasts with Western : physique. To Hellenic artists the naked fo
Western art is realist and naturalist. The be
art belonging to the fourth and third centu perfection that exalts the human body. The ality while the Indian figure symbolises dł
Sri Aurobindo emphasises this f pressed was fine, gracious and noble but that spiritual depth and extension which deeper self-experience. The Greek repre Olympus. It has in it no touch of mystici
IՈՇՈ,
Sacred Hindu iconography alo Wrapped up in a self-contained aloofness. vasive stillness. The images radiate a selfmeditative silence and the lyrical appearan
aura draws one closer to these pieces of ar
The Renaissance sculptures on th ness. Renaissance art is aimed at the purel patrons sponsored artists, the works of art wealth. The Indian artist instead remained
onlooker into a worshipper.
The Hindu sculpture is inward lo medium for something higher, beyond the arrest the eye but to evoke a transformatio
Each figure, in Renaissance art, c the Belvedere or the Discobolus in th figures portray a moment in time. They figure exists in time and space. On the not represent a precise event. The artis

SCULPTURE 163
art which glorifies the beauty of the human rm is, 'the noblest and most expressive." autiful and a few rare fragments of archaic ties BC at the Museum of Athens present a Greek form portrays intellect and person
lyana - a meditative state.
act by saying, “What Greek sculpture exwhat it did not express and could not was the human mind needs for its larger and sentations of the gods belong entirely to sm. The gods are but grand and beautiful
ng the inner and outer temple walls are Hindu sculptural figures exude an all-perabsorbing tranquillity. The deportment, the ce quietenthe onlooker's mind. The Serene
t.
le other hand lack inward silence and aloof
y aesthetic, l'art pour l'art'. Since wealthy tended to reflect the strength and power of
anonymous. His creation transformed the
ooking with a touch of mysticism. It is the material. The aim of the sculptor is not to n in the viewer.
lepicts a moment of action. The Apollo of he Vatican Museum are examples. The render a specific event immortal. Each other hand, in Hindu art, the figures do t captures instead the whole meditative

Page 182
164
being.
The artist, for example portra has skillfully captured Sundarar's who resentations of Siva or Durga, the abh transcend time. One offers protection a Lord of dance participates in the unfold ing is one aspect of His Divine essenc form. These three images do not represt very forms and mudras are beyond tim
"The Indian ideal claims every recurrent theme is the beauty of conte of the naked human form, to Western Symbols, not the proud and conscious instead of these, all thoughts that lead Sal life, hints of the infinite, whispers f. mists, flowering trees, what ever tells ourselves. These are the themes dwelt
Notes 1 Ananda Coomaraswamy – “Indian art is trar
representation of perfect man but with the in
2 Encyclopaedia Vol. 17.
3 Culture of India as envisaged by Sri Aurobir
4 Ananda Coomaraswamy - Did Greece influe
original of the fourth century BC
5 A copy from the original Greco-Romana art
6 A copy from the original Greco-Romana art
7 "The human form was perhaps the only aspé
concerned with; the love of nature and these
idealise natural forms, namely vegetable and For example the idealistic rendering of trees beautiful and has hardly an affinity with Gre

THE CREATIVE TOUCHES OF THE CHISEL
ys Sundarar in homage to the Lord. He le being oblivious to others. In the repaya and vara mudras are gestures that nd the other bestows grace. Siva as the ling theatre of life and existence. Dance. His infinite nature assumes specific ent a particular moment in action. Their e. Each viewer becomes a devotee."
where its votaries and the chosen and mplation, not of action. Not the glory art the noblest and most expressive of assertation of human personality, but us out from ourselves into the univer
rom secret sources - mountains, water;
of powers and presences mightier that on, cherished and preferred." Binyon
scendental. It is concerned not with the
timation of divinity.”
hdo.
nce Indian Art. A Copy from the Greek
of the fourth century BC. of the fifth century BC.
:ct of nature that the Greek artist was
inse of unity with it, guided the Hindu artist to
animal forms and cover surfaces with these. together with figure sculpture at Barhut are
ek creations.”

Page 183
LLLLLL LLLLLE LLLLL LLLLL LaL LLLLL KLL LLLS0LLLL
EK
Saint Chanic: Teceiving l
 

SCULPTURE 15
KK | W
W W
garland from Siva and Parvati

Page 184
| foof
SCULPTURES
indu Art
C c || eb T : Les
divinity be it Siwa, Parwati, Wishnu or Ganesha With the caveat, “Ekam sat. Vipra
bah Ludha wa dal ti” that is God is
Olle although called by various Names. Siva is the Supreme Lord of the Saivities and Wishnu of the Vaishnavites. The Hindu
represents them in Stone and bronze. Siwa sometimes appears as the great yogi Wrapped in the Imajestic stillness of meditation, as the dancer moving to the cosmic rhythm, as the handsome bridegroom with his bride Parvati
or as Ardhanarishwara and others,
cach with a different meaning. Wishnu likewise is portrayed as
the standing Wishnu, the reclining
Wishnu. Waraha, Narasimha, Rama or Kris
 
 

THE CREAT WETLICHES OF THE CHISEL
Ganesha – Hoys: la sculptural art Courtersy - Indian Art by Roy C. Craven
hila.

Page 185
SCULPTURES
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167
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adu Sculpture

Page 186
168
indian iconography whethers
monisism. A Hindu sees a un
icon or stone sculpture depic with a prayer inviting the deity to bless material representations of the invisible S was a response to the need of the devot devotion on one such image or pratika. Tl of the worshipper as the Almighty. The dev not the metal or stone itself.
The various murtis in the templ polytheistic. The different gods are but th forms in reality are stepping stones in one is One and he is the transcendental. He is energy, vast compassion and bliss. Though One he appears as many. Hence, the appar sculptures and the endless scrolls (Pl - 10 and invisible ideas of the craftsmen of a b
of our ancient thought.
Most Hindu sculptures have an e a profound serenity and saintliness. So graceful, subtly blending art and piety, bea art embodies Truth, Beauty and Grace. I since ages past. The reconciliation of t characteristics.

THE CREATIVE TOUCHES OF THE CHISEL
tone or bronze is premised on Advaita or ity that underlies all existence. The bronze ts divinity. The artist works on the image his work. To a Hindu, these images are Supreme one. The development of images ees. They could focus their thoughts and ne image is identified in the consciousness otee worships the divinity represented and
es of the Hindus do not make Hinduism le manifestation of the same Truth. These
's quest for the unknown. To a Hindu, God formless and his essence is one of infinite
formless, he assumes many forms. Though 2nt multiplicity of the Hindu pantheon. The l) are visual commentaries on the abstract
ygone era; nay they are the documentaries
legance and sensitiveness of line radiating me are outstanding examples, calm and uty and holiness, in perfect harmony. Such t has excited the curiosity and admiration
he sacred and the mundane are its chief

Page 187
GANESHA
anesha is the God of 1
Ganesha, Vinayaka or C in Burma, Cambodia, In and Tibet. He is the Patron of the arts
bountiful source of all things mundane ar art of these regions. In Thailand, Cambodi since the seventh and eighth centuries. Cai Vigneshwara meaning the ‘remover of ob
favourably with those in India in image, st
The artist has a vibrant capacity t iconography is unique whether in stone, m
elephant's head representing "Om” the Pra
Ganesha is elephant-headed and sometimes wears a serpent as his sacred t In one he holds a hatchet, in another a goa Sweetmeat, the modhaka. The goad cuts symbolic of cutting away false fears. The
The mouse is the vahana of Ganesha and :
a mountain of merit that one may have gai
In Havell's words, "....... the Indi conception of Ganesha in a serious mood, imbued with something of the mystery (
solemnity, carried out with magnificent st
Among all the images of Ganesha, in sculptures and temple friezes. From th is the ultimate reality. It says, “After p)
the universe, there existed the long nig

169
beginning and the remover of obstacles. ianapathy is venerated with deep affection dia, Indonesia, Nepal, Sri Lanka, Thailand
and sciences, remover of obstacles and hd Divine. He is extremely popular in the a and Vietnam he has been the major deity mbodian inscriptions refer to Vignesha and stacles. Some of the sculptures compare yle andiconography.
o represent Ganesha in varying poses. His etal or wood. He has a human body and an
anava sound underlying creation.
pot-bellied. He has one broken tusk and hread. Artists depict him with four hands. d, in the third a noose and in the fourth the through the deceptive while the hatchet is noose is used to restrain obsessive desire.
represents the craving which can eat away
uned in life...
an genius has here given us a really noble as a personification of man's animal nature, of the Sphinx and a certain super-natural rength and breadth of modelling.”
, Nritya Ganapati (Pl - 105) is most popular
ne Ganesha Purana we understand that he
ralaya, the great deluge which destroyed ht of Brahma. There was pitch darkness

Page 188
W4 Still
obst
Plate 102 Ganesha - Orissa Temple
Kedareshwar Temple 10th century TE
(from the Author's collection)
back
symbolising his circuitous course guidi
devotee through life's perplexing detoure.
Tradition has it that the Ga
sculpture came to Southern India from B. (Watapi) when the Palla wa King Narasimhav; captured Watapi and brought back the im: Ganapathy. In more recent times, the Ga sculpture is traced to one of the cave temp South India at Pillayarpatti. In this small h cave, a huge Ganesha was sculptured it relief style on the rock-face. The Pillay: Ganesha Tesembles the Mukkuruni Winaya the Madurai Meenakshi Temple, except f fact that at the former Ganesha is a Wali Vinayakaro which is rare while the other
has the usual left side bend.
A bronze plate with the recognis:
 

THE CREATIVE TOUCHES OF THE CHISEL
ywhere, a great stillness. Through this ness suddenly emerged a beautiful sound 1." A soft light followed the vibrations Om,” the first dawn heralding a new sun.
Great God had appeared in the form of ya Ganapatiblowing the conch, dancing in t abandonment, swirling and whirling his "ements. He called to his presence Brahma, Inu and Siva and commissioned them to
te, preserve and destroy the evils therein
While Ganesha is the Remover of acles, he also obstructs our way when we In the Wrong path. These guide the devotee
( onto dharma. His emblem is the swastika
ng the
LTnesha
adami
LITIT : Hi
age of
Inesha
bles in
Lillock
1 bas
Tpatti
kar in
or the
Plate 103 Ganesha — Jageshwar Temple El Impur Tbitl
" Stilt Llo
able figure of Ganapathi belonging to the

Page 189
SCULPTURES - G., NESHA
Plate 104 Ganesha - Kashmir Pandrethin Temple-mid 8th century
|եitl
Platae I COf (ianesha in terraccolt La 3rd century - Kurihool Andhra
Puls CLIrtesy India. Perspective
pre Christi
(Western Ir
A II mara yati c
iconographi
ATc
impressive
Orissa and
the Uttar F
representec
to Paidret
with two
as hera Illb
T
remarkably piece found
 
 

| לין
Plate 105 Dancing Ganesha - Madhya Pradesh (GwalioT Music LL11 IIեid)
ını era has been Linearthed ilı Luristan
'an)." The elephant headed Gana from !ould represent the beginnings of the later c form of Ganesha.
theologists have found a very
Ganesha image in Kedaresh war in
in the Jageshwar temple complex in Pradesh (Pl - 102 and I (03), Ganesha i in Kashmiri art (Pl - 104) belongs
han Where he is seated oil a throne
io Ills, Here the artist depicts Ganesha
: adoration of Ganesha in sculpture is universal. A dancing Ganesha is a rare in the Gwalior Central Museum (Pl - 105).

Page 190
72ן
LTT Platile 107 Ganesha in Stone fith century-Barda Muscl III Iblii
From the third century, a terra cotta Ganes
and another presently is the sixth century
An unusual Ganesha has been discovered
"Gamesha is a sy'n bol of social order Car 2d
which mart shares with the animal creati
Ganesha, his son, stands for Manas - the
Niles " Ideals of Indian Art - Ganeshal in Sculpture p 85. The Waltel Liththu inscription on one of the pillar could be: ascribed to the fith century AD) ir Lus s.) is similar to the Tirupparamkunram cave temple repeated. Dr R. Nagaswamy ascribes this to the Walampuri - the trunk is bent to the right. I. K. Sarla. The Development of early Saiva Airl Manickawasagam in his article (el Cialeshal - T Ibid. Sartill qLicles the opinions of Ananda Coon
"
 
 

THE CREATIVE TOUCHES OF THE CHISEL
W
Plate 108 AT Linusual Garlesha from Cartibodil
W
ha has been collected in Kurnool (Pl – 106) Ganesha in stone from Baroda (Pl – 107) in Cambodia (Pl - 108).
stability': cr7 cotheos is o all'Ihe qualities 27. Siva is the syrrhol of the Soul - Al Friart,
Pir Tid. " Intell.
3 Tefers to "ErLi-k:LLLLIT," ai nalile of a place. LT and me say to an even earlier period. This inscription
real Madurai, wher: the World'Erl-kall Llr is Sigill era.
and Architecture 72 and p 73 - as mentioned by S. 1: HiTILL. maras Wailly and C. Si V.I.LIlalluli.

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TEDANCE (OFS/4
Foot held aloft gives release
Figure 13-The Cosmic Dance of Siva as N Destruction, Obscuration a
By the
 
 

173
Crescent moon Matted hair
Agni - destruction
Veil - obscuration
-arch of flames
1 - Muyalakan - evil being trampled
*ồ):.
ataraja representing Creation, Preservation ind the Granting of Grace author

Page 192
174
iva is the Lord of Dan creative rhythm of existe The dance represents the the universe. It connotes the incessant r Dancer is the ancient court of Tillai, the n mystico symbolis, Nataraja is one of the ri of Nataraja is found in Tamil Nadu, Mah Lanka, Cambodia, Thailand and Vietnam.
Lord Siva performs four dances a the Sandhya Tandava, which is captured in " is one of true movement rather than the according to Anne Marie Gaston.o The on the burning grounds. The famous Tan manifestation as Bhairava, accompanied b in Ellora, Elephanta and Bhubaneshwar. T where five separate dances depicting the in contrast to Dakshinamurti the divine I energies revolve round him. He is movem - the spiral force of yoga which creates, Nataraja bronze in the Brihadishwar temp dance. The fourth is the celebrated dispute the better dancer of the two. This dance is to have lifted his leg to mark the tilakam this is seen in the Nataraja temple at Chid
Nataraja symbolizes joy. The anc out of joy; and continues by joy; it proce Upanishad reiterates that life is endless. N
dance over the aeons.
In portraying Nataraja (Front Pi holds the drum that represents creation; th

THE CREATIVE TOUCHES OF THE CHISEL
e — Nataraja. The Dance represents the nce. It symbolizes the ecstasy of motion. creation, preservation and destruction of hovement of energy. The holy seat of the agnificent temple of Chidambaram. Of all chest in its suggestiveness. Representation arashtra, Orissa, Karnataka, Himachal, Sri
s Nataraja. The first is the Evening Dance, Pahariminiature paintings. The impression suspended animation of Ananda Tandava,” second is the Ananda Tandava performed dava pose portrays Siva in His destructive by Devi. The Ananda Tandava is portrayed he third is the Nadanta Dance (front piece) Panchakritya are combined in one episode, eacher, where Siva is still and the cosmic ent himself in the Nadanta Dance, -kinetic preserves and destroys the universe.” The le reflects the aesthetic significance of the between Nataraja and Kali, as to who was called the Lalatatilaka because Siva is said on her forehead. An exquisite sculpture of ambaram.
tent Upanishads say that creation emerges ds towards joy and it enters into joy. The ataraja, the Lord of Dance, will continue to
ce and Figure 13), the upper right hand e upper left hand within the ardhachandra

Page 193
SCILPTURES-DANCE OF SIWA
mudra holds fire representing destruction. balances these beautifully by placing the firc
creation and destruction. Hindu art blends
sees these in its totality whether it be goo ugliness. Menon in his essay on the Myst dance of Siva as the incessant throbbing of the cosmic process and the most fascinati
destruction, of birth and death."
The artist portrays the abhaya mud that connotes preservation (sthiti), He dep left hand pointing across the chest to the ul raising the left foot aloft and ignorance wit These gestures suggest the Swirling energ movement effortlessly. Auguste Rodin, a gestures in the Thiruvalangadu and Wela
X
》/> اللاتينية Μ ※ Z/X/7/7
Figure 14 the figure of Nataraja fits into the shat konam-six pointed star-interlocking triangles The figure explains that life is essentially made up of five elements. There is a continuous effort to supress civil and thal life is rhythmic, vibrant and cyclic at the end of which is bliss
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

175
" These two depict opposites. The artist 2 on the same levelas the drum Teconciling opposites effectively and the Hindu mind d and evil, Joy and soTTow orbeauty and ique of the Cosmic Dancer speaks of the the Universe. "It is the artist's concept of Ing sy'ılıbol of the process of creation and
ra, fear not through the lower right hand icts a nugraha or grace through the lower plifted left foot. He symbolizes refuge by h the right foot on the demon Muyalakan. gies of the universe. He co-ordinates the famous French sculptor viewing these inkan ni bronzcs said, “gesture can well contest for superiority in gracefulness with the gesture of the Wenus de Medici's which defends its cha Tims by the arms while Nataraja does the same by ingenious
gestu Te.”
The artist includes the crescent
moon and the Ganga adolining the head; the serpentadorining the body and the tiger skin wrapped round the waist. The sacred thread and unmatched carrings' have been included. He places the image on the lotus pedestal, the tiruvasi fringed with an arch of flames representing the Pranawa mantra “Om,” the mystic syllable. This is the basic image (Fig - 14) varying in details as seen in stone and metal images. Ananda Coomaraswamy interprets this figure saying, "he wraps about him as a

Page 194
176
garment, the tiger fury of human passion; as a necklace; and beneath his foot is for
Polonna Tuwa bronzes for more details of
The artist introduces the concept a beautifully calm, Serene and still count philosophy as described in the Tiruvatavu like the heat latent in firewood, diffuses
the Il dance in their turn.' Ananda Coo
could create so well an image of that ince
Modern physicists see the Dance of art and physics. Einstein viewed Nataraja: Capra in the Tao of Physics, links Nataraja. artists of the tenth and twelfth centuries
magnificent bronze sculptures of the dan balanced, and yet dynamic gestures exp) Physics has thus revealed that every suba dance but is also an energy dance - a puls: The dance of Siva happensat each momen not only at the cosmic level. As one grai of time dies the next grain comes along an there is new creation, "* Nataraja is gran in conception and synthesizes science religion and art making it poety and non
the less science.
Several bronzes depict the sam dance in different poses. These belong t the Pallava and Chola periods. Pallav bronzes are comparatively small, exquisit miniatures. The image of Nataraja fron Kurum (P1-109) is a Pallava piece referre to as Natesa - a rare representation know,
as urdhawajanu.

THE CREATIVE TOUCHES OF THE CHISEL
the guile and passion of mankind he wears wer crushed the embodiment of evil." (See Nataraja).
of compassion by chiselling the face into tenance. The whole image signifies a deep rar Puranaill, "Our Lord is the Dancer, who
His Power in Illind and matter and makes
maraswally asserts that no artist of today
issant energy behind all phenomena.
Siva as a metaphor that ties together myth, as his favourite image of the cosmos. Fritz of to the subatomic dance. He writes, "Indian have represented Siva's Cosmic Dance in cing figure with four arms whose superbly ress the rhythm and unity of life. Modern tomic particle not only performs an energy
CoLurtesy Marg MagaziTıc

Page 195
SCULPTURES - DANCE OF SIWA
pose is is unique
workma!
iwe: hoc
Muyalak
Sivä. T1
– the jal
and Gat
obl ongly
Plate 11) - Nalesa-Nellur where Muyalakan the demon appears different Workm
|hiti figure ( Delhi), from Tiruvarangalam belongs to the The artist makes the figure less awesome a of fire thereby freeing the gestures and
dance.
Another image of Siva ;
置
Toliale Ill Naticsa in Challu TL 105e = Tiruvaangalam 10th century Iիitl
 
 

77ן
A multi-aimed Natesa in the urdhvajanu from the temple at Nellur (P1 - 110). This 2 with eight hands, a rare feature in bronze nship - the bronze includes a snake with ds that is linked to one of the hands.
can, the demon appears cheerful next to chair of the dancer is an elaborate coiffure
tamakuta replete with the crescent moon ga. The tiruvasi or the arch of flames is
y shaped."
Chola bronze Work blends delicacy of anship and aesthetic charm. The Nataraja presently in the National Museum in New e tenth century and depicts the chatura pose, Indvigorous (Pl - 111) by removing the aura lessening the rhythmic movements of the
AS
Plate: 112 Vislı tipiharına = Kilappudda Tılır – Pallava 8th century Courtesy Government Madras Museuil

Page 196
78
Vishapaharana (Pl - 112) belonging to the the Pallava style. It is from Kilapudunur The artist dexterously represents the jatam yajnopavita.
"There is a great contrast between the el (Nataraja) and the vehement overpowerin, reliefs. ... We feel that the (bronze) scult express the abandon of the youth, yielding the dance.' Havell.
Notes 'Siva in Dance, Myth and Iconography - p. 48 The related myth is, that Siva conquered a mi
until the demon fell down dead. He then tore round him dancing the terrible dance of victo
The Panchkritya dances are Kalika Tandavan Tiripura Tandavam and Urthuva Tandavam. shristi or creation, sthiti or preservation, sam and anugraha or the granting of grace.
'Siva takes the form of Dakshanamurti as the
supreme. The spiral force in symbolism is sel on which he lies or in the churning of the Co. Dance interprets metaphysically the ancient god of the whirlwind. b) The word nadanta comes from the root 'n
'Hara's drum is creation; his gesture of prote His foot planted down is obscuration; his foo Tirumantram
"The unmatched ear-rings convey the fact tha Feminine principles. The kundalam in the rig the thodu in the left lobe is the female half.
The dance is identified with the Maha Mantra summarizes the legend as told in the Koyil P
In the chapter, Buddharaivaaithil venra char
'Capra says that when he became aware of ev in a gigantic cosmic dance, I saw the atoms participating in this cosmic dance of energy. that moment I knew this was the Dance of Si speaks of the dance as the reality of modern Dance and that he perceived the different pat
Subhash Kak-The Wishing Tree.

THE CREATIVE TOUCHES OF THE CHISEL
eighth century is a rare representation of and is presently at the Madras Museum. akuta of Natesa and the sacred thread the
gant grace of this most delightful bronze energy of the Elephanta and Ellora bastor was chiefly absorbed in the effort to itself wholly to the rhythm and ecstasy of
ghty elephant demon that He forced to dance off his blood dripping skin and wrapped it ry. n, Gowrie Tandavam, Samhara Tandavam, The Panchakrityas are the five divine acts hara or destruction, tirobhava or obscuration
silent imparter of wisdom, the teacher en in Hindu art as Vishnu’s serpent Ananta, smic Ocean to get the nectar. The Nadanta Vedic concept of Rudra the great "roarer, the
ad' to roar. ction is preservation; his fire is dissolution; traised in dance is Grace abiding.V2799
Siva is an embodiment of the Masculine and ht lobe depicts the male half and
m Om Namasivaya. Coomaraswamy uranam in "Aims of Indian Art.” ukkam - verse 75 2rything around him as being engaged of the elements and those of my body I felt its rhythm and heard its sound and at a.” Swami Chinmayanada says that Capra hysics knowing that it is veritably a Cosmic erns, orders and rhythms in the dance.

Page 197
DANCE OF SIWA INSTONE
iwa was venerated th Tough
theatre. There are several
Anne-Maric Gaston Writes
always gone hand in hand for her; it was to first discover its sculptural representatic were for Ills of Nataraja other than the on
bronze."
M
 

179
1 the centuries as the Lord of dance and
representations of his dance in stone. , that the study of dance and sculpture had the Nataraja pose in Odissi that led her ins in Orissa, and to appreciate that there
e so frequently depicted in South Indian
Plat: || || 3 || Bhi Libicshly, – Dance of Siva in stune – the arch is replaced with 1WL Sւ:Tբլ:Ilts Courtesy IndiaT Art Deneck

Page 198
ISO
Marshall identified a torso excava
Nataraja (see pages 25 - 26); however, a Nataraja only begins with the Gupta era, C Nachna Kuthara near Bhumara in Uttar F
“Siva dancing in a Kudu is identified as Bumara, says R.D. Banerji.' It show's th which became a typical feature of later Na which three Teillain. One left hand is throw
and the third holds an object beside the Nataraja is the Pallava representation in th
to the seventh century.'
The Nataraja sculptures on the te the uplifted left leg positioned across the b. feet are on the ground with one heel lifled: positioned differently. Each depicts the da regions. In Bhubaneshwar, the dancing Siwa is Natambara (P1 — 113) which is
now in the British Museum. This is the
twelfth century sandstone figure dancing on a lotus. Instead of the aura of fire, the upper hands hold two serpents over the head. Another serpent replaces the sacred thread. The artist ingeniously creates a sense of rhythm by introducing two smaller figures in identical poses standing on either side, representing the drummer and musician. The very air behind the dancer appears to resound to the beat of
the drum and nadas Waram,
The Dance of Siwa with ten arms (Pl - 1 l 4) dancing to an orchestra in Bhubaneshwar and the Dance of Siva in
the Mukteshwar temple also in Orissa are unique examples of workmanship.

THE CREATIVE TOLT THES OF THIE CHISEL
ted at Harappa as a possible forerunner of positive identification of Siva dancing as )ne early example is the bust of Siva froll radesh, dated to before the fifth century, Siva tandava," in the Temple of Siva at c bust with the right arm across the body, taraja images. The image has four arms of In upwards with the palm facing backwards head. The first southern representation of
|e cave temple at Siyamangalam belonging
mple walls of Bhubaneshwar do not have ody unlike the Chola bronzes. Instead, both as in Odissi dance form. The hands are also
ance pose characteristic of their respective
W W
W ܕ ܢ . ീ 《 W
W
E.
四 * M *
']; #
P|ale 114 Bhuhämesh war – Siwa With 10 àITT15 (from the Author's collection

Page 199
SCULPTURES-DANCE OF SIWA INSTONE
Plate 115 Elephanta-magnificent fragment of the Tandawai - 5th century AD Courtesy - Ideals of Indian Art - Havell
Relief panels in Elephanta (P - the fifth and eighth centuries respectively efectively relied onlight and shade to em space imparts a feel of realism as the ima artists depict power and sweeping mover
silence and movement, creation and destru
Even though both figures are disf strength and vigour. A dynamic energy pe beyond the frame of the figure creating rhy
countenance in Elephanta is still, Serene ar
There are several Nataraja relief temples at Pattadakal, Aihole and Badami. art where each is a masterpiece distinguish
Of liIle.
In Aihole the artist vividly portrays The aims Swing upwards. This creates a sel that the figure is about to detach itself front on his raised foot and not on the demon W
unusual (Pl - 121).
 

Pla Le | 15 Ellora Templc - Siwa's Ta mdawram 8h century AD Courtesy - Ideals of Indian Art-Havell
115) and Ellora (P - 116) belonging to depict the Dance of Siva. The artist has phasize the contours. The manipulation of ges appear to emerge out of the dark. The ment by the extra pairs of arms. There is
Icticoll."
igured, one witnesses an infused sense of rmeates each work and appears to spread thmic movements of dance. Yet, the facial
ld detached.
panels in the Virupaksha and Papanatha Chalukyan artisans created these works of
ed by controlled movement and clearness
the concept of Siva as the Lord of Dance. nse of motion that conveys the impression the Wall. The portrayal of the Lord dancing ith the upper hands holding the Snake, is

Page 200
W TAF
Platc 117 Badami - Dance of Siya = 18 arms (from the Author's collection
A sophisticated depiction of Si as Gajasurasamhaara (P1 – 118) dancing the Elephant demon is part of the Illonolith pillar in the seventeenth century Wirateshw. temple in Perur. The eight-armed fig. balances on the head of the demon. T
upper most arms stretch out the eleph: skin forming a halo, while the next set be the Inoose and the goad. which Lamed t elephant. The two hands bare the tusk a the drum which represents the beat of til while the last pair bare the trident and t characteristic alms bowl, the bikshapath This Tefers to the legend where the dem assu IIled the form of the elephant. While t Dancer Wears a garland of skulls to deno timelessness, he appears in a simple mann
effortlessly eradicating ignorance.
 
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
The representation in Badami is more vigorous (P1-117). The presiding deity here is Siva. The artist portrays him as having eighteen arms with one holding the trident. The several arms spanning the figure make it one of the finest evocations of the Lord of Dance, "startling in the intensity of Illovement which makes the impact... of rhythmic splendour on the Worshipper ..... Imake us almost leap with ecstasy on the threshold of the shrine." This early icon of Nataraja belongs to the sixth
century.
Plate 118 Perut – Siwa is Gajasamhara murti
17th century (from the Author's collection)

Page 201
ScULPTURES-DANCH OF SIWA IN STONE
Ww "W
Plate 119 Aihole - Siw als Wrishabal Wahama — DOLI Tiga Teriple Courtesy — Art of Indial II Asia - Zimmiller
where the Lord destroys Tripura the three cities of the demon king provides the basis for the relief panel. Siva the divine
archer travels across the heavens in a
chariot drawn by Brahma. The artist has chiselled the figure to give the impression
that the bow is drawi and the missile just released. In the background is the apparition of the dynamic hero leaping across the sky. Stone Workers depict the strength necessary to destroy the demon by the stance of the figure, standing not erect but leaning slightly backwards.
 

In the Durga temple at Aihole, we sce Siva as Wrishabavahana standing by Nandi. The face is one of calmness and the eight arms form a background to the serene countenance of the figure (Pl – 119). The interpenetration of energies of the arms, suggesting the essential dynamism of God, flows into the flowering personality so that the worshipper grows into the fullness of
Siva's restrained power in himself.'
In the eighth century Kailasa temple at Ellora (P1-120), stone masons
depict Siva as Tripurantaka. The legend,
Plate 12 Eilora Siva as Tripurantaka - Kailasarall:Temple Courtesy - Art of Indian Asia - Zilliner

Page 202
184
Plate 1:21 Dalcc of S Courtesy Anne
 

THE CREATIVE TOUCHES OF THE CHISEL
i'," yayithi : HTT1s maric Gaston

Page 203
SCULPTURES-DANCE OF SIWA INSTONE
The plastic forms of the Chalukyar workmen are refined. The figures are slim and less stocky, Movement and strength characterised by SWaying outlines impart : lyrical rhythm to the figures. The Dance (). Siva with ten arms is another rare piece 0. Chalukyan sculpture (PI-121),
One sees Siwa as Mahayogi (Pl - 122 or supreme Ilmaster of meditation I modelle in the temple at Deogarh. The artist portray Siva in the garb of an ascetic seated Wit another yogi. The imagery belongs to thi Gupta period of the sixth century.
"The image o/Siva is et veritable e Each (II tribie, such as the fident, the Snak
ea r-rings, has sorrestory attached C/N 4'hic'' the only Hindu goal who dances in myth arit rimore fireqer 7 fly" ir 7 ca greca ser l'a riety' / Clar7 mythology of Siva fill of references to his
credited with the creation of darnice as (ara I.
Իլյtւ:
Siva in Dance. Myth and Iconography - p. 2. I Memoirs of the Archaeological Survey of India N
p.23 * K.R. Srinivasan speaks of this as being in the A.V. *** Punul is the sacred thread -- Yajnopa vita. This has
nimety tatvas - categories of the Universe. Ari Aurobindi-Indian Art III 235 - the Palla'', epical rhythm * Marg Publication of Art Karnataka. ՀՀ Tեiւ]
Ananda Coomaraswamy - History of Indian and I.

Platae 122 Desgarh Temple — Siwa as Mahayogi-Gupta Art Courtesy - History of Fine Art
ric clopaedia of mythological references, gard the skill in his crow, the Final ched
Ihe beholderiserie. ... Si y' is of
1 iconography. He is, however represe I led ce poses than other deities. Not only is the lifferent dances, but it is he who is usually
rt for." Afrie-Marie (as for.
o 16, 1924 – the Templics of Siwa at Bhumara
inibhajanas cave temple,
generally ninety six strands of thread representing
a creations do not have lyrical beauty; instead gTill
IndonesiaI1 A.Tt p l (55

Page 204
185
PARATI
6 6 Devil This unive protected by you. the Supreme KInc.
contemplation ...” the Dewi Mah:
Courtesy - Art Heritage of India - E. B. Havell
t
creative and dynamic mind. The female is or in Vigorous action poses. The artist conveys the compassion of Parvati, the deep meditation of Prajnaparamita seated in a lotus pose and the majesty of Durga. The Supreme Goddess presides over the World, as the creator and destroyer. The creative aspect is syInbolised in the Sri Yantra* ( P1 - 123a), or the “creative
embrace" (P - 123b).
The femminine lo veliness of the
numerous figures conveys profound mystery in the medieval carvings of
Khajuraho and Orissa. The apsaras and
 

THE CREATIVE TOUCHES OF THE CHISEL
"Se is bØTTn by you; this world is created and It is destroyed at the end by you. You are wledge as well as ignorance, intellect and
it maya-sixth century.
The tradition of female images in the Indus Walley culture reappears in he 1st century AD. "Post Wedic including panishadic literature is witness to the goddesses of India emerging afresh: generic n character ånd bestowing upon devotees
heir desired wishes.'
In Hindu art the benign aspect f power and cinergy a Te represented in le feIThinine idioIll. Sakti symbolises the
:OTIs are either in the gentle tribhanga pose
|?|:lle 123b Siva and Parvati-Generative
EITıbır:lice — Ellur from the A Lithur's collection)

Page 205
SCULPTURES - PARVATI
nayikas, suggest, "delight of the primordial of the universe and of every appearance..., religious thought that found the sex mot
explaining the conception and creation oft
Artists Inodel the feminine *
ideal in Parvati. The bronze figure from Nellur is a classic exallple of loveliness. Another beautiful image of Parvati in bronze is at the Copenhagen
Museum. The artisthas modelled her with
a crown in accordance with the norms W.
of temple carving of the Chalukyan and early Dravidian style (PI-124). She is portrayed as the Consort of Siva. The motifs of feminine beauty derived from the Mathura School of second century continue into the later metal images of the South. There is however, a slight
difference. Dravidian icons have more
W repris
nadas
“mag]
yQLIIlց து 8 varie Plate 125 Kuruvatti-Parvati in similar in the ornamentation to the Belur Hoysala period
figures
 
 

187
energy, Sakti that underlines the causation following up the entire medieval Indian if as the symbol of the Cosmic energy
the universe."
唇
W
W WW
W
W
/
崩
W 鄉 W
"S: /
TYPYWANIYYYYYY"
late 124 Parvati-Rajalila pose a relaxed pose Courtesy - Ideals of Indian Art - E. B. Havell,
gfaces, fish like eyes, noses with thin lon,
and long and slender limbs.
The icon (P1-125) from Kuruvatti ents Her gently dancing to the waram. There is a joyous rhythm in the nificent swing of Parvati's body, like a forest-tree swaying in the wind, in the curves of her richly wrought orna Illents, fluttering tassels and in the delightful little which balance the composition on eithe"

Page 206
S8
sid
Sul
Wi
тері to win the Lord. Bones seem to pierce the silent triumph of penance chiselling a gra
Plat: 127 PI," Li s III Courtesy A.T
 
 

THE CREATIVE TOUCHES OF THE CHISEL
le.' The artist chiselled the details with a
btle Illuance.
Another statue belongs to thirteenth Intury Belur (Pl — 126). Here the artist Lises hist to represent the goddess in the classic bhanga pose, the three bends in the body the neck, shoulders and hips. Kauillari another aspect of Sakti and one sces her agantly carved in the thirteenth century
oysaleshwara temple at Halebid.
The emaciated goddess depicted ith a pair of cymbals in her hand (Pl - 127) resents the austere penance she undertook skin in this figure and the artist con Weys the
|ce and youthful cha TT1n into heT. This figure
ീ/ # C
து/
W
。
mal Çar Karalakkal. I 1 IThaiyar L fliidian Asia.

Page 207
கொழு
SCULPTURES — PARWAII
is influenced by the tradition of the Indus W
We see the depiction of the same si bronze from Sri Lanka (P-128). There is and fragility. She unites with Siva, the gri to whom she is connected through all tir
ages and who is hers eternally as she is his,
Platic 128 Parwati as, LUTH - Sr from the Author's Collecti
"Devi is the Great Goddess. The invisible,
a 777s the Priliiforn. Friulticoloured Unity."
Nites * Uipal K. Banerjee - Essay on Dewi in Indian Aris, ' The Sri Yantra is a diagrammatic representation ol point of concentrated power represented as a dol. I triangle is the symbol of God manifested in the cowith aesthetics in the yan tram the impersonal for II bindu, the central point. When the triangle stands principlc. When the triangle stills inverted on its The two interlocking triangles syTThbolise the divin seat of Brahma, signifying creating. " Radhakamal Mukerjee - The Moral Role of Indian
Havell - Ideal of Hindu Artp 98. Zimmer - The Art of Indian Asia p 121. One is al Karikkaal AITTaiyaar, a saint of the fifth century, the form of a ghost so that she could walk up to sac
hards confirins the fact that this is more likely her:

மபு தமிழச் சங்கள்
Да) 4505 189
alley culture.
lory in a
W W W W 《 W W W
strength W.
W
at male
mes and
i Linkiai
the immanent, who gathers to her golden
Rorair Rollead.
India Perspective, fint.cr-locking triangles with Sakti as the central In the Iriangular symbolism, the equilateral smos, Hindu iconographical combines geometry | f the godhead develops geothetically from a
T1 the basc, it represents, the fikcussed masculinc apex, it significs the expansive feminine principle, e embrace. This is the six petal mystic lotus, the
| ATL p.81.
|so rei ininded here that this figure could be that of who is said to have requested the Lord to give her red Kailas on her hands. The pair of cymbals in her s - the pioneer of South Indian religie) Lis II Nusic.

Page 208
9 ()
ARDHANARISHAVARA
rdhana Tishwara represer reconciles light and dark The two while separate whose half is Woman. According to the R aahu" - every Woman is part man and evet
feminine principle complement each othel
Literary reference to Ardhanarishw vigorous Tandawa, while Parwati dances th of the dancing Ardhanarishwara, seen in centuries. The dancing icons in the Satrug BhubaneshwaT, a Te similar. The placement Parasurameshwar temple. The artist portre in Odissi dance style while Parvati hold while that of Siva's is big. The Nandi and
Satrugneshwar temple,
Plate 1249 Ardhanarishwara - Pa Tid
 

THE CREATIVE TOUCHES OF THE CHESEL
lts the combined male-female principle. It , creation and destruction, mind and matter.
are nonetheless united, Siva is the Lord tig Veda, o “striyah stheesthaa u me plumsa ty man is part woman. The masculine and
in a unity of spirit,
rara do not mention dance.” Siva dances the le feminine Lasya, There are rarc instances the Orissa figures of the sixth and seventh hineshwar and Parasura IIleshwar temples in of the feet depict movement (P-129) in the ys Siva with the trident and His foot raised s the miTor, Parwati Wears a small earing
Lion, stand on either side of the icon in the
surameshwar Temple - Bhub:Lineshwar

Page 209
SCULPTURES - AFR IHA NARISH WARA
century at the Mahakul, T.I. plc CouTtesy — Margi Magazine
 
 

19
The Ardhanarishwara figure in the Maha kuta shrine (Pl – 130) belongs to the 2venth century AD. A Chola bronze of rdhanarishwara of 1047 AD represents Inother fine example (Pl – 131). The artist
Ises the fell illine limbs with the male form.
Le balances the Siva half on the right and le Parvati half on the left by tilting the body the left. There is a beautiful finish with the
2male garment draped round the left leg.
nother Ardha Inari is from the TiTu velikadu
emple presently in the Tanjavur Art Gallery
P1 - 132).
period - 11th century |Էյlti
LLLL 00 LLLLLLLLL LLLLH LLLHHLaaLLLLLLL Temple presently at the Tanjore Art Gallery

Page 210
92
Plate -133 Kajuraha Ardhamarish Wara
Heavy physiognomic forms char Orissa and Khajuraaho (Pl - 133). Such ic. Chola bronze (P - 131) and the stone imag Witnesses a standing image in a ninth centl is Siva and the left half Parvati. The imagi
Lipper arms hold the trident and the mirror.
The concept of Ardhanarishwara cultu Te, (see page – 25 ) The several exampl their figures in a IIlore Tounded manner a
figures in stone. Stone lent itself Illainly to
"The Lach' is in Thee and Trol art in the I. And both are in me your hondsman. " Man,
Notes
" As told by AIIIle-Maric Gaston in Siva in Dance, Agrawala-Siwa Mahadewa pp 47-49. Siwaran
"Saint Manikkavasagar mentally envisaged such a Ardhanaiarishwara is the Lord's ancient form. He bumble bec, look at this ancient beauty - She weal rolled ear Tings, milk while aslı, sırıdalwood paste
 

THE CREATIVE TOUCHES OF THE CHISEL
acterise the Ardhanarishwara images of ons are less elegant when compared to the ge in the Mahakuta temple (Pl - 130). One Lily relief from Orissa where the right half
2 is a seated one in Khajuraaho where the
dates back to perhaps the Indus Walley es show that the metal craftsmen moulded
Ild achieved a never dimension than the
relief and had its limitations.
«';
ikke vasagaro"
Myth and Iconography p 139, referring to W.S. a Timurti, Nataraja pp 47 = 49 figure when he paints a ravishing picture of sings "Tholum thukilum surulthodium," " "O rs the garb of a skin and adorns Himself with 3, 1 Lender har TCL, i trilent :ridba Ingles,"

Page 211
DINE COUPLE
arly medieval craftsmen
Parvati im bronze and Stone
on Panguini Uttaram. In a marriage of Nanna I, the Illoon god with th known as Somes wara, the LoTd of the mobil the mountain king. The parallels suggest
Plate 134 Tiruvenkadu Kalyanasundarar with Pat
ir bror 17e Courtesy – Marg Magazille
The figure of Parvati is impressive Witl artist places Parvati's hand in Siva's and acceptance. One marvels at her blissful de
 

193
represented the marriage of Siwa and
2. Tradition has it that Siwa wedded Parwati
ncient Suilleria, the priests celebrated the |e daughter of the mountain. Siva is often in while Parwati is the daughter of Hiina wat, a possible link between the Indus Walley | civilization and Sumer. The heavenly marriage can also be viewed through .the lens of bridal mysticism الج
Several bronze pieces and temple panels portray the Illa TTiage of Siva and Parvati. Simplicity, N grace of form and beauty of detail characterise these nuptial pieces. Siva is known here as Kalyanasundarar, the handsome groom. The delicate chiselling imparts an inner beauty and tranquility.
The image of Siwa 6 as Kalyanasundarar (P1 - 134)
from TirVengaadu is a masterpiece
W of early Chola workmanship. The wati artist portrays a slender and graceful bride With a coy smile. He depicts contentment, silence and solemnity through facial expression and stance. h its immaculate beauty and grace, The her slightly bent pose gently conveys her
Imureness and ea Timestness, which Telate the

Page 212
194
Puranic story of the great penance she endured for this moment of fulfilment.
The refined Pallava workmanship of Siva as Kalyanasundarar holding the hands of his bride Parvati is unusual,
This is featured in the Chidambareswara
temple at Wadakkallatur (P - 135). The sacred thread hangs down to the waist in the Pallava style and falls over the right arill. Here it joins the waist band. The jatamakuta is elaborate and arranged with a multipetalled flower and crescent
TOT
Another bronze of Siva as
Wrishabhavahana and Parvati as Parameswari (P1 – 136) is at the Tanjore
Gallery. The goddess stands slightly
*
7 , Α/ Plalte 13 fi Tanjore: Wrishaba wahana Dewa with Um
- bid
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
Plate 135 Vadakkalatur Sivas Kalyanas un darar
and His Bride-bid
bent in abangha pose. Her garment is draped in a pleated manner clinging to
W the body. Siva is portrayed with His
feet crossed, as though leaning against
His wahanam.
A scroll in the Madu Tai
Meenakshi Amman Temple, portrays the Kanya dana (giving away of the bride) where Parvati's hand is placed in Siva's (Pl - 137), In another representation we see Brahma tending the sacred fire and invoking Agni as
the witness of the marriage.
The same nuptial ceremony is

Page 213
SCULPTURES-DIVINE COUPLE
carved in stone in Ellora,
(Pl - 138) and conceived
on a massive scale. The
carvings are awe-inspiring
in the Elephanta cave,
despite desecration by the #
Portuguese, The artist has effectively portrayed this scene in a colossal panel set against a dimmed recess.
He chisels a timeless scene
of tenderness and peace,
Sculpturing Siva as turning
gently to his bride and the bride's slender figure
leaning towards Siva, Zimmer observes th
of the creator is quick with the ardour of i
throbbing with the pulse of time."
Pltill: 138
Ell'ITFA Mi Tia bi
 
 

37 the marriage solemniscd by Wishnu
(from the Author's collection)
lat, "wherein the fire of life, the energy
ts eternal source and at the same instant
ge of Siya and Panati d

Page 214
scul
Pil,
held
with
KWA plac
Plate 139 Divine Couple - Orissa
from the Author's collection Telief
Ըլ 1111
right with witality and bewitching in charm an
completely free from all that is sensual.'
In chiselling these images in bror the more important Hindu Inuptial ritual invoking Agni as Witness, the giving aw: of the couple and the brides position bef
"The Titial figures of the livine cor" ir 7 the rock-car 777 ocide presen 7 Is The deity"
is relative ca 7d fra visier7r – a l'illa ser cgc i Ys
Nils;
"Myths and SyTThalsin Indian Art and Civilisatio
** Marg Publication — KATI 14 takal
Dr. Puja states that these temples were builti and Parati.
 

TE TE CREATIVE TOUCHES OF THE CHISEL
The bride and groom are seated on Tome in Orissa (Pl - 139), where i Siwa is rayed with his a III Tound Parvati. Figures evas and others callying garlands are carved he background. Ganesha and Karttikeya the drum and Wave a sword at the edge of
relief panel,
The Wedding cereillony is also ptured in Khajuraho, The artist portrays fati in one relief viewing herself in a mirror | by the left hand and aITanging her coifure the other. In another panel, the artist es Wishnus hand ower those of the couple veying the Supreme benediction. In a third sculpture, the artist places Parvati to the of Siva. These stone panels are, "throbbing
ld glamour and yet IIlassive in dignity and
1ze and stone, the sculptors have conveyed s that are practised to this day - namely ay of the bride Kanya dana, the garlanding
bre and after the ceremony.
cople l'hether they heir hrozze, in relie within the context of a family. In art all life
it the backdrop of eternity."
in p 119
In order to bring the guests to the wedding of Siva

Page 215
TRIMMLVIRTI
rishti or creation. Sthiti or
Connote the Wheel of time
Trimurti - BrahıITia, Wislını
Plal 4 Till (from the Auth
Early medieval artists chiselled co in Ellora and Elephanta. These images stan specimens of Hindu art, The craftsmen con
feel to their work.
There are three recesses in the Ele namely the Trimurti, Ardhanarishwara, a centre is the creation of a genius. It is Siw
The artist has circa Lcd al cal III. s Lill T in [T)
The heads on either side reflect the creative
a sensuous beauty and an awesome terror
 

197
preservation and Samhara or destruction
, This is tied in with the Hindu Trinity or
and Siva (Pl- 140).
Му. *
繳 T
= }
W W W
W
Inti = Elephanta Hr’s collection)
lossal compositions in a spirit of devotion
d out amidst the shadows and are the finest
bined an earthiness with a refined abstract
phanta caves. Each has a sculptured Illotif
ind the Divine Couple. The illage at the
a as Trimurti. in His universal dimension.
spective countenance that transcends tille.
: and destructive aspects. The artist infuses
into the faces respectively.

Page 216
198
Radhakamal Mukerjee has a difi Orthodox Brahmanical Trimurti, this mei
aspects of the Selfidentified with the cosm or the Absolute, in the middle; the frow Terrible One on the right; and the charini goddess or Walladeva, the Blissful One o
|decials of Indianı All,
The artist effectively reconciles symbolises the creative and protective
collintenance: Bhairawa embodies the with
with a frowning countenance. The arti
universal Witness. The head-dress, the In
and the skull crown of Bhairava are linked
This serene figure Teilminds one of Sri Sal
Omkaranath.
"Changeless am I formless and For bliss-consciousness am I;
I am Siwa, Siwa is in Inc.”
The artist here chisels the myster
dualities of phenomenal existence person
Several Western art critics consi
form and at the same time sublime in its sp.
of Hildu aesthetic visiol,
The Pandrethan and the Baram Lulla Maheswaras of Kashmi, are well known. The Pandrethan 4
Maheshwara (P1 - 141) belongs to the
Seventh century, Whereonesces Aghora
the fierce and Uma the benign, flanked
by the serene face of a meditating Siva

THE CREATIVE TOUCHES OF THE CHISEL
erent view. He argues that "Miscalled the taphysical image represents the three fold nic spirit - The serene Sadasiva, Tatpurusha ning, skull croWIled Aghora Bhairava, the 1g compassionate and bejewelled Uma, the sin the left, quotes Havell in his book - The
s conflicting principles. Uma or Parvati principle chiselled with a compassionate drawing and destructive principle chiselled st harmonises this through Sadasiva the atted hair of Sadasiva, the jewels of Uma dinto a Inaku tam synthesising the Oneness,
Inkara’s words to his Guru Gowinda pada at
Omnipresent,
y of the unfolding of the Absolute into the
ified in human existence.
der this a masterpiece of art, powerful in
Plät: 141 Kashmir – Pandiellen Trilliurti

Page 217
STILULF TLIES — TRIM LIRTI
in the
heads
The Ill
stands
Bhi Ta
Siva, | Kashn
Mah:
W positic A Trimu
and th
Th: St
the up
Plall: 142 Kashmir - Bara Ilm Lillä
Mahes AäT:1 MllITI and d
of tea
The headdress consists of the Illatted lo
the great Yogi, Siwa. Emerging froT Brahma whose left hand holds the kam and right hand expresses the dhyana I The third figure emerges from this to fo top Inost icon in the column. From this V column of three heads, other figures eme cither side representing the ganas oratte of the Lord. This monumental masterpi sculpture belongs to the sixth century Al figure intrigued Zimmer and he felt that elongating as he looked at it.
The visual representation of the T exists in South East Asia as well, A Bl
stone carving depicts Brahma, Wishnu at seated on a lotus. In Prambanan, the Ja
Craftsman portrays each aspect separa
 

199
centre. The elaborate coiffures of the three
blend, one feminine and two Imasculine,
Lassive Baratilulla Maheshwara (Pl - 142) out. Here the artist portrays the faces of lwa and Uma SImaller than the centre-piece A garland of flowers, a feature peculiar to
miri art, loops down to the knees.
The artist represents the Trinity in the shwara figure at Parel (Pl - 143). The ons differ from the standard Iepresentation (of
rti. Maheshwara is at the base of the column
e other two are placed one above the other. anding icon is clad in a thin dhoti like attire; lifted right hand holds the prayer beads epicts the vyakhya na mudra, the gesture
Liching. cks of
this is
adala
mudra.
IIll the
Fertical
rge On 'ndants
ece of
). This
it kept
rimurti
|1|T11Է է:Է
ld Siwa
"T3||1:Տէ:
Plate 143 Parel-Mahleswara 6th tely in Century
(from the Author's collection)

Page 218
Plate 14 Jawa - Brahma-IIn the greal brih Illa mical ITILIllcInts of Hindul A. It Courtsy Ethnological Museum - Leyden
YYYYYYYYYYYYYYYYYYYYYYYYY
the creator is the personification of praye The four heads of this statue represent thi foLIT quarters of the earth. The two hand in front hold a vessel with the elixir of lift
While the two hands I either side cac
hold a ka IllaIldala, a Water contailler, Wate
significs the creative element; lotuses res
con each kamanda la and becole Brahma
emblem.
The Wishnu image (P1 - 145 also comes from Java. The standing ico represents Wishnu's manifestation as th cosmic tree. He is the Preserver who keep
the balance between light and darkness
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
individual temples on the model of contemporary Pallava shrines in Tamil Nadu. The Javanese artisan sculptured the image of Siva in a standing pose with foLIT a Tills. He decorates the head with
the skull and crescent moon and depicts the sacred thread with the serpent chord. The appearance is stcII and severe. The artist however tones down the severity by chiselling a IIleditative and youthful
di Ilmensionin to the face. On either side are
images of Mahakala and Nandishwara,
W manifestations of the Supreme.
Prambanan included a polished image of Brahma (P1 - 144) which is
Plate 145 Java Wishnu- from the great Brahmanical monuments of Hindu Art CLLIrlesy Ethnolỵlgical Museum – Leyden

Page 219
SCULPTURES-TRIM LIRT
knowledge and ignorance. The artist depict the gadha, or Inace and the conch shell re. of the statue has not survived the vicissit
is distictly Khmer in tradition (Pl – 146),
W W
《
W / W
ന്ന
/
W W W.
/ழுது
from the Auth
*"Wish to the Vaish ra vires is Branlı 777', lo
The Saivires, represer 7's the 14'lı ole Ti'i77777"| different sects offer7 777akes India 77 religio Europears. It should alway's be remembe may stard for all three, but that a "Hiric
manifestation of all the powers of the O2
Notes ' Zimmer - Myths and Symbols in Indian Artani
Percy Brown - Indian Architecture p 88
 
 
 
 
 
 
 
 
 
 
 
 
 
 

2011
is him with four arms, The chakra or discus,
present his attributes. Un fortunately, much
ldes of time, The Trimurti from Cambodia
இயூ/ / / W
AW
W W W
W
- W
W
if I Callibodia Jr's collection
ishnu and Siva, In the Sarrie Way Siva, Io ri. This interchange of sy'777 hols bet 11'eer? is ideas see larged and confised to red, of only that aly one of the Triniti
iu deity inal be regarded as a symbol or
e (Go " M &T 'es'),
d Civilization p. 148.

Page 220
2O2
VISHNU
Ishnu, portrayed as a
the LIIliverse and restore
means to pervade. He is of which Rama and Krishna stand out. He royal houses and the guardian of Sri Lank
Wishnu perwades space as Akashi and Narayana, reclining on the primordia prosperity and beauty. His images are in
murti), standing (sthanaka Inurti) and seati
The scenes of Krishna and the
cowherd IIlaidens of Brindavan recurinar
and literature. Music, dance and painting portray the devotional movement centrec on Krishna. Brindavan is the metapho for the human heart, Radha represents the individual soul responding to the call ol Krishna. (P - 147). The Rajput paintings depict grace and beauty in the figures of young Krishna and Radha. Of all the Wignettes of Krishna's life, none has been Inore popularly sculptured, painted or danced than His childhood pranks of stealing butter. Stone workers have developed this theme over the centuries in
various temples,
There are two monolithic granite sculptures of Wishnu in Mahabalipuram. In one, the artist portrays Him as an eight

THE CREATIVE TOUCHES OF THE CHSEL
olar deity in the Vedas, is the preserver of r of the moral order. The name in Sanskrit chiefly known through his ten incarnations is the patron deity of the Thai and Nepalese
LIl Buddhism.
-garbha; He is Wishnu-Divakara, the Sun | Waters. His Consort LakshmiperSonifies three poses namely the reclining (shayan
ed (asana Imurti).
Plate 147 Hoysaleshwara Temple - as Krishna playing the flute froin the Author's collection

Page 221
SCULPTURES - WISHNU
armed king Supporting the heavens in one hand and
clasping the discus, Illace, Sword shield and conch in the others (P1 - 148). This W. is a characteristic example of the artist's treatment of W. a Puranic allegory. The eight a TI Ins of Wishnu- : Surya portray the rays
of the sun, spanning the
World. Brahma is seated on the lotus flower on the right CHL symbolising the rising sun. The setting su I disc. This depicts three strides of the sun. of Wishnu, Waraha at the top of the panel. guardians of the fouT quarters, The crafts this relief Wishnu is the All-pervading Self
There is vigour and the imaginative power
Na rasimha is conceived Ilmagnifice - 149). God appears in the for II of a man-li tee, Prahladha in this 9%. story froll the Wishnu
Purana. Prahlada's father
the demon king Hiranyakashipu demanded that his Son worships hirn, not Wishnu, the boy refused to do so. Prahlada
clailled that God was
everywhere in answer to 3 the taunt of his father. It
Hiranya struck a colull Il
Foilsilte froTill which Wish Inu in
 
 

le 148
rtesy Ideals of Indian Art-Havell
1 is on the left represented by the falling The artist includes the Boar incai Ination
The four figures at the base represent the Iman encapsulates a Puranic metaphor in of the Universe and upholds the heavens.
in this grani te relief.
Iltly in the Dasavatara cave ill Elora (Pl
on in answerto the call of a young devo
| -49 · Elli — Wishlil LI is Nair & Illi: Courtesy Indian Art-Denck

Page 222
2O)4
the foIII of a man-lion cInerged, chargin of the Iman-lion forn, His hands wielding Hiranya. He conveys strength and power
eight arms, the lion face and the effect of
The representation of Wishnu as Waraha the boar at Udayagiri belongs to 440 AD (Pl - 150), The image conveys strength and power, Wishnu rescues the newly blossoilled earth-goddess who plumImets down into the primewall Waters,
The boar is an animal falliliar with the
swamp. Stella Kramrisch recognises in this car Wing, "forces more vital and at the same time more ancient rising into gigantic appearance." The Gupta style in modelling is evident, The artist introduces a massive figure with the body of a man and the head of a boar that surges across the rock. He infuses a raw vigour into the episode. Despite the size and witality, he portrays a sense of ease and playfulness. The artist depicts Lakshmi in the hood of Ananta, a diminutive representation beside the huge Waraha thus accentuating the strength of the latter. The same moti cave. In this figure the Earth Goddess
Mahabalipuram a slimmer Waraha carries
In the Wishnu temple at Deogarh, t on Sesha naga with Lakshmi at His feel gracefull poise and calm detach Ilment of W faced Brahma is at the centre of the uppi elephant, Airavata is on the upper right Wh
left. Karttikeya on His peacock is on the

THE GREATIVE TOUCHES OF THE CHISEL
g at him. The craftsman portrays the paw
Various Weapons and the mocking taunt of
sul Illinovement in a dramatic way using the light and shade,
W 娜· 燃了。 葱 Plate 150 Udayagiri-Wishnu is Waraha-the Cosmic Boar rescuing the Earth Goddess 440 AD Curtesy Myths and Symbols of Indian Al - Zimmer
f with a slight difference is at the Badami is placed on Waraha's shoulder while in
the seated Goddess.
he Gupta sculptorsportray Wishnu reclining E (P - 151). One sees in this carving the 'ishnu as the transcendent deity. The three 2T portion of the panel. Indra on his white ile Siva and Parvati are placed on the upper extreme left. One sees the five Panda was

Page 223
STULPTURES — WISTINU
*S**T AZZA"7":'',"7":"", "7%
Plate 15 Desigarh - Wishnu Anantasayani -5th century - Ibid
sculptural scroll with a sense of supremed SWaying outlines impart a lyrical rhythm t
a seventh century Aihole temple.
There is a rock-cut relief
of the reclining Wishnu (Pl - 152) in Badami. The modelling emphasises power and strength. "The plastic content emphasises a latent energy that "7 seems to rise from deeper and more vital sources." The icon encompasses the entire scroll subordinating other ... figures,
The artist portrays Wishnu in His Wamana awatara at Badami. This
early Chalukyan piece of art depicts Wishnu as a dwarf. The artist effectively
 

2O5
on the frieze below. The classicism of Sa Inath is clear though less polished. The compositions at Deogarh, "tend to be dramatic; the carving and decoration, sumptuous, the sturdy forms recalling Mathura rather than the attenuated grace E of Sarnath."
谴 Thereisabeautiful representation of Wishnu, the king of Nagas at Aihole. The artisan depicts Him seated on the serpent Ananta. He bears the discuss and conch. In this panel snake goddesses and male figures present offerings to God. "The playful rhythm of their
sinuous serpentine bodies, drawn by a
Illost accomplished hand, fills the whole light said to belong to Wishnu's paradise." o the relief. This scroll is on the ceiling of
– 578 AD) - III

Page 224
KWASWANAWAG W 鄉 匆 A
W5% இ
驚 簇 Plate 153—Taxill:1–
of sculpture nurtured by respective dyn
characteristics. While the reliefs are A
bold and polished they are eclipsed 4 by the decorative motifs that crowd KIWA
the picture. The Lakshmi Narayana (P1 - 154) of the Hoysaleshwara temple for example is die Lailed in style, Hoysala art was elaborate
and ornate.
The recently discovered
Wishnu Chaturana of Kashmir is an image of "extra-ordinary W 2. quality and sensibility” (Pl – 155),
This is a rare piece since the artist
portrays the deity with three heads. Plate 1
The face of Wasudeva is at the
 
 
 
 
 
 
 
 
 
 
 
 
 
 

THE CREATI W'E TIU-THIES OF TITE CHISEL
renders the effect of the pigmy suddenly Waxing into a giant to appropriate three strides and destroy Bali by chiselling both side by side. The sweep of His a rills and the foot raised high above give the strength
and the power to impart realism.
One may secrewerberation of the
Mathura School in the Wishnu of Taxila.
Here the image is heavily built and the
con tours arc SIThooth and Tefiled, The dhoti
drape is conventional but inner serenity is lacking. (Pl - 153).
The stone worker portrays Wishnu and Lakshmi in a relief scroll at
the Hoysaleshwara temple. This belongs to the late Chalukyan era. Each school
asties in the Deccan developed distinct
54 Hoysaleshwara Temple-Wishill as Lakshini
N:Lilya II:

Page 225
SCULPTURES — WISHIN LI
LEI1tT
attrib
two
and \
clabic
FW
at thl I, Matt I thou, the C
ancie
%
Plalte 155 Kash TiT — Wishnu Chatura na Sees
(from the Author's collection
the \
dam:
that
and waistband are akin to the Gupta style. with the Maheshwara and Karttikeya of E torso with its massive portliness has de
represented in a frontal pose.
Kashmiri sculptLIITe is modelle the Gandhara school. The facial expres: reflect an Indian face while the garments and drapes are Hellenic in inspiration, stone and bronze images of the seventh eighth century are better examples of cl
Kashmiri art under the Karkota rule.
There is a Bengali statue of W belonging to the eleventh century (the dynasty), is interesting. The figure of Wis surrounded by symbols of His manifest: (Pl – 156). Beginning with the Matsya o
 
 

207
: flanked by boar and lion heads. The two utes, the lotus and conch are held in His ands while the other two rest on the mace sheel. The whole figure is massive with an rate crown and jewels. The representation shnu's Vishvarupa is effectively fashioned : top. One discerns the influence of the ura school of iconography in this figure gh Kashmiri art was essentially inspired by landhara School of Art.
The Vishnu torso from Barallulla, the nt shrine of Warahamulla, named after araha, belongs to the sixth century. One features typical of Kashmiri art despite the ge. The dragon headed torque is similar to found on the Ekamukhalingam. The dhoti The figure is stocky and compares closely Baramulla in ornamentation and dress. The
oth and a three dimensional view though
on
sions
folds
The
and
lassic
ishnu
Pala
u ISחו
ms°臀
Pl: 15 Wish Illi as Tri Willi fish from the Author's collection

Page 226
208
avatar at His lifted right hand, the others Kurma or tortoise, the Varaha or boar, N Parasurama, Rama, Krishna, Buddha and K aeon. Lakshmi and Saraswati, the goddes: are on either side. Vishnu as Trivikrama centre, covering the earth with the first ste above with the third.
"Vishnu, the Preserver; the second of the his colour is the deep transparent blue, 1 His upright rigid columnar pose fitly exp Universe, and what could better express hi vahan, Garuda, the eagle with outstretche
over a Himalayan valley. ' Havell.
Notes
The ten avatars of Vishnu are represented in eloq volumes for the dynamic Hindu way of life. With to lead a righteous life. To those who listen to His holds. Those who pay no heed to His call are taug become the victims of His chakra,” says Swami C °° Arts of South Asian Peoples - Encyclopaedia Brita The snake Ananta, which means 'one without an e Buddhisticonography this becomes asymbol, oft as dvarapalas, on either side of the sanctum. The s cosmic energy not transformed into the material uni

THE CREATIVE TOUCHES OF THE CHISEL
in a semi circle framing his head are the arasimha or man-lion, Vamana or dwarf, alki the form yet to appear at the end of this es of prosperity and learning respectively, - the one with three strides stands at the ), the sky with the second and the heavens
Trimurti, ruled over the firmament and pure as crystal, of the Himalayan sky .... resses His character as the Pillar of the s sustaining equilibrating power than His
dwings, poised motionless in mid heaven
ent images of "The very symbol of Vishnu speaks His conch in one hand, the Lord calls the people call, He assures peace, symbolised in the lotus He it by the knocks of his gadha. And the incorrigible hinmayananda.
mnica Vol 17 p 193. ld, physically supports all creation. In later Hindu nportrayed as a pair of door guardians known sha represents the “Remainder. It is the left over arse. It remains as potential energy.

Page 227
DURGA
he goddess can either ble di the vigorous defender of r
literally means fortress in S
Stone workers retained feminine b{ of Durga. The artists infuse a sense of time her detached attitude towards the battle. In
Cambodia and Sri Lanka.
Durga as Mahishasura Mardini reminds one of George slaying the dragon. A Javanese bronze of the thirteenth century portrays Dewi Durga as Chandi slaying the demon Mahisha (Pl - 157). This six
foot tall figure is presently in the Leiden Museum, Holland. Though damaged, one could still discell a sense of peace and tranquility in its Imovement. The artist expresses the wara and abhaya Ilmu dras, that is the assurances of a boon and protection
to the faithful. Her well-chiselled face
exudes calmness and detach Illent at
her moment of triumph. Her eyes are half closed as though meditating, The treatment of her attire, garland
and other details adds grace to the
artwork. This is indeed the Jawanese
genius responding to the message of Durga.
 

Escribed as the de mure bride - Parwati OT
ighteousness in War - Durga. The word
Sanskrit.
:auty and charm in the triumphant figure :less Victory in each figure and highlight nages of Durga are found in India, Java,
"late 157 Javanese bronze - Durga als Chandi (from the Author's collection)

Page 228
Plat: 158 Durga — Rawana Phadi Calwe - Aihole Courtesy Marg Magazine
swaying outlines characterise the sculptul
This gives a rhythm and a lyrical dimens
* Platie 160 Ellora - Durga als Mahishasura Mardini Court csy Art of Indian A II. – Zimmer
 
 
 
 

THE CREATIVE TOUCHES OF THE CHSEL
The artist portrays Mahishasura Mardini as vigorously overpowering the demon with her spear in the Ravana Phadi cave at Aihole (P - 158). The treatment of light and shade within the cave infuses a sense of mystery. In the same Mahishasura Mardini theme at Badami (P1 - 159), the sculptor conveys her overwhelming power by introducing various Weapons. Slender
Plate 159 Badami Durga TemplcMahisha sura Mardini Courtesy Marg Magazine
to the Workmanship. There is a refined poise and balance in the sculptures.
There are differences between the seventh century Mahishasura Mardini sculptures in Ellora (P - 160) and

Page 229
SCULTURES - DURGA
Mahabali) time peri
The natur
extra dim
triumph. dyna llinic e
the sleIlde
to Strike.
one of te
forward to
T
strength a by introd
the Art of
achievem.
indecisive
presented,
of the adw
the demo
Plate 16 Mahabalip Lira II. Durga as
Mahishasura Mardini - 7th century slender fiց
Tեiti
bchild. H
transcends evil. She wears a karana makhuta, a crow Bangles cover her arms, similar to the dancing girl from Mohenjo Daro, The FA artist depicts the story using subdued 蟹剪 undertones and innuendoes in a gentle ... and less dramatic way to convey grace and compassion. The figures move through the story set against s a background of carved stonework. The slim figures in Pallava art E. resemble the earlier slender figures of Bhubaneshwar (Pl - 162),
Plat
 

21
iuram (Pl - 161) belonging to the same ld. The for Iller is massive and heroic, al lighting of the cave give the image an :nsion - one of stillness and yet incessant The sculptor uses the chisel to infuse nergies into the relief carving. He portrays r and nimble figure astride the lion poised The artist changes the leisurely pace into insion by depicting the demon moving
attack.
he Mahabalipuram craftsman depicts ind the ability to wield the fatal blow ucing several arms, Zimmer states in Indian Asia that "the subtle and unique 2nt of this master-piece is that, though an
fleeting phase of the encounter has been
the outcome is obvious from the attitude "ersary." In another relief, she stands on 1. Though damaged, one can discerIn the gure with ten arms. The trident is carved er closed eyes tell the viewer that she
the terrible and is one who eradicates
in, several necklaces and a jewelled belt.
c 162 Bhubaneshwar Waital DculPanc where the
ticillon's head is pressed down |bitl

Page 230
212
The sculptorportrays a more feroci figure of Kali (at present in the Governme fierceness through the restrained ornament the right and a natural rendering of the hai enigmatic smile. Her vara and abhaya mud
and not be disheartened since good always
"As all colours, white, yellow and others, in the end absorbed in Kali; and as the represented black to teach the worshippe
withoutgunas. 'Nirvana Tantra
Notes *The portrayal of Kali in black gives her mystery.

THE CREATIVE ToUCHES OF THE CHISEL
ous aspect of the goddess in another bronze nt Museum of Madras). He submerges the ation of the figure with the skandhamala on r. As Kali, She is the dark one wearing an lras urge her devotees to face the challenge
triumphs.
are absorbed in black, so are all elements absence of all colours is black, so is Kali
that the goddess is without substance and

Page 231
KARTTIKEKA
Ehrttikeya, Muruga, ShanImuk
K. War. The Tallis also we
occupies an important place in the Sinhal states that Skanda emerged in answer to th the demon king, Surapadman. The scene Lake in the Himalayas. Since the Krittika called Karttikeya. Seated on his peacock,
demon with His lance. The lance is symb
symbol by which he is worshipped. (Pl - 1
Poetry is another key expression Magnum Opus, the Tirumurugatruppada plu Illes of the peacock tingeing them with Murugan rising as the Sun froIIn the blue us that Murugan is the Infinite Reality exi in the cavern of our heart removing the in removes the outer physical darkness. This
and together with the five sense organs for
 

21
a. Skanda, Guha are the names of the God inerated Him as the patron of letters. He ese pantheon as well. The Skanda
le prayers of the gods, to rid the World of of Skanda's birth is laid in the Saravana
maidens (the pleides) nursed him, he is he led the gods to victory, destroying the
olical of knowledge and is often the only (53).
of Hindu art and Saint Nakkirar in his
Weaves a brushful of colour into the
1 golden hues spanning the sky and Lord green sea. The narrative description tells sting within each one of us - the Guhan ner darkness of ignorance just as the Sun Reality expresses itself through the mind
ms the six faces - Shan mukam.

Page 232
214
上 臀
Platc If4 The Maha Tanta – Sa. Ra Wa Na Pa Wa (fr) Til the Author's drawings)
Karttikeyas aarLi pada i Weedugal
Tirupparamkun ran, the sacred of MuTuga and Dewayani, Tiru associated With the vanquishing Tiru Avinankudi or Palani."
Tiruvera kam or better known as
as Swaminatha teaching Siwa l
mantra, Kundruth0raadal haS T
celebrated. Palamutircolai. the b
All these sacred structures with their py
upwards.
Murugan's temples Were built on secluded groves enabling the devotee to
Soul is at leis Lure froT1 lific.”
 
 
 
 
 
 
 

THE CREATIVE TOUCHES OF THE CHISEL
The very God of war Karttikeya is also Murugan, Alagan. He accepts the fierce aspect of Skanda in order to slay the asuras - the powers of evil in man and the World. He is Sanmugan
and Arumugan - Six is a sacred number
in respect of Muruga. He has six faces - Sanmugam and has six encampments,
His mystic mmantram is Sa Ra Wa Na Pa (, Va. (P1-164)
Tradition has it that Murugan waged his
battle from six holy abodes - the aaru padai veedugal. These encampments represent the six stages of spiritual
attainments as in the Kundalini in man,
or the six encampments are - "
shrine associated with the Divine marriage chendur (P1-165), the Shrine by the sea of the demonic forces led by Surapadman, spoken of as the third Padai veedu s Swamimalai is associated with Murugan 1e essence and mysteries of the Pranawa many shrines of which Tiruttani is most
teautiful sylvan encampment of Murugan.
Tamidal towers are graceful in the sweep
hill tops, along river banks and sea or in worship in treasured solitude, "Where the

Page 233
SCULPTURES - KARTTIKEYA,
Plate 165. The majestics (from the Auth. T
Siva is the Supreme deity of the Saivities. The symbolism conveyed in one of the chief agents of his destructive power is his son Karttikeya, the God of war,
An artist depicts the young War God in the Badami relief belonging to the sixth century. Here Karttikeya is Skanda who as an infant Tode the Peacock, fought the demons (Pl - 166) Surapadman and
saved the universe.
The Karttikeya image from Puri belongs to the Orissan School of Sculpture and is one of the few extant devotional
images therc. The Sanath idiom greatly
 

geplural of Tirucheldur 's collections)
W
FFFF" W
Plate 166 The young war God in Badalli-6th
LientLIry (froll the Author's collections)

Page 234
influenced the artin Bengal and Bihar. The (Orissan however is characterised by a hic::
by an earlier trend. This is seen in the Kart
In the (Guimet Paris, there is Khm
belongs to the seventh century. It is Illade
Mahesh Kumar Sharon)
Arare piece oficonography Was f Seen on his traditional mount, the peaco early classic statue has the cross cords nor
rides Kumara's traditional mount the peac
The Kartikeya sculpture from Wij belonging to the fifth century (Pl-170).
 

THE CREATIVE TOUCHES OF THE CHISEL
images are slim and slender. (Pl - 167) The
vier form and Tounded plasticity inspired
Etikeya image."
Platic 1657 A Karttikcya image from Puri (from the Author's collections)
er Skanda on his peacock (Pl – 168) This of sandstone and is preAngkor (Courtesy
found in Jawa of Karttikeya, the god of war. ck. (Pl - 169) Hayati Soebadio says, “the mally worn on the chest by young boys and
ck.
jayeshwara is a piece of Kashmiri artwork
This could be compared closely with the

Page 235
SCULPTURES-KARITIKEA.
Pläte 168 Khmer SkāT]{lã als scen in the Guillet Paris - 7tlı century Courtesy Mahesh KlLIlar Sharon
Gandhara Bodhisattva. The similarities ar
and it is his vehicle the peacock that identil frontal position, ornaments, hair at Tangem and folds are similar; the floral garlandloo.
to the scarf of the Bodhisattva. The dhoti
Plate 169 A rare piece of sculpture from Java Courtes y Art of Indonesia from the collections of thic National MuseLLIll.
 
 

'e striking. Stylistically they are the same fies the six-a II med Karttikeya, The massive ents, the ga Timents with the clinging pleats is downto the knee and could be coIllpared las been draped short up to the knee,
Plate ITC Kaitlikeya sculpture from Kashmir - 5th century AD | from thu: ALLLhitor's Lulleclit:Ils)

Page 236
Plate 17| Gupta Figure
Bılı yıl || Courtesy Encycl
A lovely Gupta figure of Murugan Gupta tradition combines refinement an reflects a meditative quest as he sits on the
- 171).
The Cambodian Kart tikeya is po
demon according to ancient PLL ranic tradit
 

THE CREATIVE TOUCHES OF THE CHISEL
of MuTugan - Bharal Kala h century AD |Copacidia Britannical
is i 1 the Bharat Kala Bhawa Il in Waranasi.
d a majestic serenity of expression. This
: peacock with its plumes spread behind (Pl
rtrayed by the artist as he battles with the ions (see page 219).

Page 237
SCULPTURES-KARTTIKEYA,
A Caribodian Kartikkuya - :
GuiIIlct IIlu:
 

219
scroll carving prisently in the CuII in Paris

Page 238
22)
The rare Wisvarupa image of Murugan is hands in the Rajagopura of Tiruchendur. and power into this figure through these S.
fill below.
"(His) six-foldface cloth glear, i. His Warrice befolker 7s "Fear Noti
In the heart of those who recoli, He cloth reveal His gracials Fe. This He appears to those who
Tre hallow'ec'Na Fire of "Mr"7 gC
Notes 39. TinuperLimkumTam – muladhara, Tiruchendur –
Tanipura, Tiruvera kalim -- SwamirTalai — anahati: Palai Iulircillai = ajillä, 40.Siddhar Bhogar sculptured the original Iloola In He convertedit into a bencficial amalgam and si |head. wicaring a lain cloth and holding the danda placed Him facing westwards. 41. In Orissan and Bengali folk-lore Karttikeya fea He appears as one with six faces and six hands in ti
 

THE CREATIVE TOUCHES OF THE CHISEL
Platic 172 Wishwa Tep:L of Murugan as seen in the RajaGopura of Tiruchendur TicTimple: Courtesy Prof. Raju Kalidos.
depicted with twelve faces and thirty two The artist has ingeniousny infused strength
everal faces and hands sweeping upwards
7 the gloon of fear: 7 per"i/s 2 uy 7 ho 2 vr7.d,.
if WMF s Nje
"If
I. "ʼ — SaIir7 t NaIkkir"ri r*
sviacdistana, Tiruva vinänkudi - Pall:Lini - 1. Ku Indrutha Tallidal ( Tir Lutta Ilii) - wisudhi,
urti out of nava pasarlam" nine poisonous Tinerals. culpLLIred a sliITn image: ofMLIrlugam With a sha W leTl yutha depicting Him with El Saintly expression and
turcs as a festility god. he folklife of Orissa and Bengal,

Page 239
EPILOGUE
he Hindus have always had
it is but natural that their al
that go with art and archit The art may appear strange while the hidd absence of the understanding of Hindu philo
The objective of Indian art was to All pieces of Hindu art, whether they be sac sculpture, architecture, music, dance or pa and peace. From the terracotta figures of the Mohenjo Daro and Harappa, Ellora and Chi and Angkor, one discerns the distinct pages i
indeed, epics in stone.
Having glossed through some exam by local ideas were exclusive to each regio them like a gossamer thread giving art its of the architect and the sculptor are inter-w Hindu temples some of the finest structure sculpture against the temple background tha
architecture.
All embellishments in the inner
atmosphere evoking the divine presence. which were chiselled and placed in the appr the genius of both the sculptor and the archit would not look better if placed anywhere e convey a meaning. As we have seen, Siva as Orissa, Elephanta and Ellora creates a sens the calm countenance conveys the message
the all powerful Siva becomes identified wit

221
a distinctive mode of living and thought and t is unique. The conventions and techniques ecture may not by easily understood by all. n message will remain unintelligible in the
sophy.
create a spiritual inspiration in the perceiver. :red mantras, poetry, hymns, bronze or stone inting, emanate vibrations of unity, vigour a peasant cultures of Kulli and Zhob through dambaram, Kashmir and Orissa, Prambanan n the glorious pageant of Hindu art. These are
ples we see that tradition of sculpture inspired n. However, Hindu thought weaves through inner unity. Furthermore the craftsmanship oven and this perfect symphony makes the is in the world. It is only when one studies
tone can really appreciate both sculpture and
and outer temple walls, create a spiritual The relief panels and the individual images opriate niches of the temple structures display ect. Each piece fits in exactly and to my mind lse. The figures were specially sculptured to Nataraja in Chidambaram, Tanjore, Badami, 2 of vigorous rhythmic movement. However, of divine reassurance and mercy. In Angkor, th the royal deity. In the portrayal of Durga as

Page 240
222
Mahishasura Mardini in Badami and Maha
importance of destroying evil. These are just
veneration.
Some of the sculptures look real. Th energy into them and one gets the feeling th to dance for us at any unexpected moment.
Cosmic Dance at Thillai.
The most important piece in a templ the linga is the symbol in the sanctum. In C the Almighty is portrayed as a void. In all ot whom the temple is dedicated is installed. O camphor that throws long shadows within th
in the sub-conscious mind as a luminous
traditions where the body is said to be the ti
deep within each person.
Thus the temple with its presiding
visual commentaries of the abstract and invi
era. Nay, they are, documentaries of the Sp later Rishi artists. I like to call these artists R.
artists who delved deep within and brought
It is through sculpture that the temp
without them architecture would have nor
events depicted on relief panels along the As he views them, he is transported to an in seems to play endlessly on his sub-conscio
cosmic truth is grandly and powerfully exp
"The Hindu figures are endowed with greatm quality lies in the direction of sensuous and rhythms are fluent and caressing. Seldom h, soft loveliness of the human figure”- S. Ch

THE CREATIVE TOUCHES OF THE CHISEL
balipuram, the viewer is made to realise the
two examples which to this day evoke deep
e artists have chiselled so much of power and hat the figures would step out of their niches so saints and sages, Nataraja did perform His
e is the image in the sanctum. In Siva temples hidambaram the concept of transcendence of her temples the image of the specific deity to ne sees this image by the flicker of lamps and e small room. The image to a Hindu emerges deity. This is in keeping with philosophical emple of Ishwara or God and the sanctum is
deity and its endless scrolls of sculpture are sible spiritual ideas of craftsmen of a bygone iritual thought of our ancient, medieval and ishis, for they were no ordinary craftsmen but
out what they had experienced for humanity.
les become meaningful places of worship and meaning. The pilgrim looks at the sculptural temple walls not as something outside him. mmortal realm with its rhythm. This tableaux us mind while his vision is enlightened. The ressed as “Lyrics of the Infinite.”
easure ofrhythmic excellence. The sculptural d melodic loveliness. The volume is full. The
as sculpture in stone so capitalised a certain
eney.

Page 241
EPILOGUE
SELECT BIBLIOGRAPHY
The Dance of Shiva - Ananda Coomaraswa
The History of Indian and Indonesian ArtA Handbook of Indian Art - E.B. Havell 1
Ideals of Indian Art - E.B. Havell 1911 Indian Sculpture and Painting - E.B. Have The Civilisations of the East - Rene Grous The History of Fine Art in India and Ceylo Indian Art and the Art of Ceylon, Central a Editor, Francesco Abbate.
Translated - Jean Richardson. The Art of South East - Philip Rawson 196 Ways to Shiva - Philadelphia Museum of a
Joseph Dye 1945 The Roots of Indian Art - S.P. Gupta. Indian Sculpture - Sivaramamurti 1955 Amaravati Sculptures in Madras Museum Indian Temples and Sculptures - Louis Fre Art and Thought - edited by Bharatha Iyer. Basis of Decorative Element in Indian Art Siva in Dance, Myth and Iconography - Ar Fundamentals of Hindu Culture - Sri Aurol
The Culture of India as envisaged by Sri A Glimpses of Ancient India - C.C. Dutt. Indian Art - 48 plates in full colour Margue The Flowering of Indian Art - Radhakamal The Wonder that was India - A.L. Basham
Elements of Hindu Iconography – Roa 19 The Development of Hindu Iconography - Origins and Development of Stupa Archite The ABC of Indian Art - J.F. Blacker.
Temples of South India - K.R. Srinivasan.

223
my 1948 - Ananda Coomaraswamy 1927
913
1 1928
Sct.
n-Vincent Smith 3rd edition
nd South East Asia - General
7
rt - Life and ritual in Hindu India
1956
deric.
- K.C. Aryan. une Marie Gaston 1982
pindo revised 1975
urobindo.
erite-Marie Deneck 1967
Mukerjee.
1963
55
J.N. Banerjee 1956
cture in India

Page 242
224
Introducing Indian Art - J.P. Guha. Indian Art - Symbols and ManifestationsIndian Buddhist Iconography - B Bhattac The Origin of the Buddha Image - Anand Transformation of Nature in Art - Ananda
The Discovery of India-Nehru 1945 Indian Art - R.C. Craven 1959
The Art of India - Stella Kramrisch 1954 The Hindu Temple - Stella kramrisch 194 Masterpieces of the Female Form - introd
(Taraporewala). Five thousand years of Arts and Crafts in The Heritage of Indian Art - Vasudeva S. Architecture of Bengal Bk 1 - S.K. Sarasv Saiva Art and Architecture in South India Art and Architecture of Ceylon - Polonnai The decline of Polonnaruwa and the rise c
Amaradasa Liyanagamage. South Indian Bronzes - O.C. Ganguly. Monumental Art and Architecture of India Myths and Symbols in Indian Art and Civ Heinrich Zimmer - translated by J Artistic Form and Yoga in the Sacred Ima Heinrich Zimmer-translated by C Khajuraho - Erotica anad Temple Archite A History of Fine Art in India and Ceylon Art and Architecture of India - Benjamin Religious Art East and West-B. Rowlan Our Oriental Heritage - Will Durrant The Art of Rashtrakutas - O.C. Gangoly The Art of the Pallavas - O.C. Gangoly 1 Early Chalukyan Temples - S.R.Rao 197, Early Chola Bronzes - D.E. Barrett 1965 Excavations at Harappa-Lothal Civilisation of the Indus Valley and Beyo

THE CREATIVE TOUCHES OF THE CHISEL
Marg Publications harya 1956 a Coomaraswamy 1927
Coomaraswamy 1934
6
uction by Rustam Mehta
(ndia and Pakistan - Shanti Swarup. Agrawala.
vati.
- C.K. Krishna Murthy. tuwa period - S. Paranavitana.
of Dambadeniya -
- K. Sunderam.
ilisation –
loseph campbell.
ges of India —
jerald Chapple and James B. Lawson.
cture - Maqbool Ahmed.
- Vincent Smith.
Rowland. 1967
d 1961
1958
957
nd

Page 243
SELECT BIBLIOGRAPHY
Indian Architecture - Buddhist and Hindu
The Art of India - Temples and Sculptures Indian Architecture - P.K. Acharya 1946
History of India and Eastern Architecture - Mohenjo Daro and the Indus Civilization —
The Buddhsit Art of Gandhara - Sir J. Mal
Indian Journal - The Solar Equation in An
Time, Space and Astronomy - Sub
Angkor and Introduction – G. Coedes 196 Devaraja in Cambodian History - Lokesh Tirumanathiram - Tirumular-translations
Adi Shankara - Life history. Complete Works of Swami Vivekananda la Periya Puranam - in Tamil. Periya Puranam - translation by Vanmikan The Cultural Heritage of India - Published
Institute of Culture, Calcutta.
Volumes 1 - 5
Indian Inheritance - Bhavan's Book Unive
Volumes 1 - 3.
Symbolism in Hinduism - Chinmaya Trust Indian Art - M.M. Derreck. Indian Ideal
Indian Thought and its Development - Alb The Significance of Indian Art - Sri Aurob
Medieval Sinhalese Art - Ananda Coomar
Gitanjali - Rabindranath Tagore. Ancient Indonesian Art - Bernet Kempers.
South Indian Influences in the Far East - N
Periodicals - Prabudha Bharati,
Bhavans Journal,
Vedanta Kesari,
Sivathondan,
Marg Publications,

225
- Percy Brown 1959
- Percy Brown 1959
- J. Fergusson (1899) later edition
- Sir J. Marshall 1931
shall revised 1960
gkor War - Subhash Kak 1999
»hash Kak 1992
3
Chandra 1995
1991
atest edition 1977
athan 1985
by the Ramakrishna Mission
rsity.
Publication.
ism – Surendranath Das Gupta. ert Schweitzer.
indo.
aswamy.
filakanta Sastri.

Page 244
226
Discover India, Tapovan Prasad India Review.
The Message of the Upanishads - Swami . The Vedic Reader - Macdonell - Oxford.
The Mahabharata - Romesh Dutt. The Mahabharata - C. Rajagopalachari. 1 The Ramayana - Romesh Dutt 1944 The Ramayana - C. Rajagopalachari 1959 Hinduism - Kalaipulavar Navaratnam. Hymns of saints Sambandhar, Appar and Thiruvasagam of Manikkavasagar. Medieval Sinhala Art - Ananda K. Cooma
Studies and Translations - Sir P. Arunacha

THE CREATIVE TOUCHES OF THE CHISEL
Rangananantha.
57.
Sundarar.
raswamy.
lam.

Page 245
GL OSSARY OF TERMS
Abanga - stance or pose. Abhaya mudra - gesture of reassurance. Adavallan - Name of Siva based on a parti Agama - South Indian text in Sanskrit on v Agni-Vedic fire god. Airavata - elephant vehicle of Indra, the sy Amalaka - a melon shaped feature appea motif is easily identified in Indian architect ple. With time it blended together with th emerged as the Kalasa of the Gupta era. Amman - Goddess or Sakti of the Lord. Anada tandava - a dance of Siva expressin Antarala - a chamber in front of the sanctul Apsidal - a circular termination as in the ch Arati - waving of camphor during puja. Architrave - the beam at the lowest levelo umn to column.
Ardha mandapam - the mandapam in front Atman - the embodied soul.
Asura - demon.
Avatar - incarnation of Vishnu
Bas-relief-carvings on lower projections.
Bhakta - devotee.
Bhakti - devotion to god
Bhoga mandapam - as in Orissan School of
Bhumisparsamudra - earth touching gestur
to witness his right to take his seat beneath
Bodhisattva-Buddha to be. Bracket - support.
Brahma - the creator.

227
ular dance pose. hich the Saiva Siddhanta texts are based.
mbol of the clouds.
ing in very early Indian art. This fluted ural features like the chaitya and the tema fluted bell shape on which it stood and
g Bliss.
.
aitya.
f the entablature which extends from col
of the main hall of the temple.
Architecture.
used by the Buddha to call mother earth the Bo tree.

Page 246
228
Cakra - the Wheel emblematic of the sun.
Canopy - covering over a niche in a templ Capital - upper portion of a column or pila Cella - small chamber, the sanctum known Chaitya - Buddhist temple.
Chakra - the wheel.
Chaturmukha lingam - fourfacedlinga. Chinmudra gesture symbolizing the reali Classical - style of antiquity. Column - vertical pillar.
Damaru - drum shaped like a hour glass. Devi-Sakti, the divine mother. Dharma chakra - the Wheel of Law. Dhyana - meditation. Dhyana Mudra - gesture of meditation. Dhoti - garment consisting of a piece of cl Dravida - the Dravidian style of architectu Durga - consort of Siva in Her terrible for
Facade - front view.
Florid style - showy style. Frieze - upper border.
Garbha-griha – the sanctum or cella is alsc Gana - one of Siva's attendants.
Garuda — divine eagle
Gopura - monumental gateway.
Hamsa - hamsa emblem of Brahma and in
trines to all realms.
Hasta - hand. Hinayana Buddhism - the early stages of

THE CREATIVE TOUCHES OF THE CHISEL
Ster.
as the grabha-griha.
sation of the Absolute
oth tied round the waist.
C.
known as the moolasthanam in Tamil.
i Buddhism of the flights of Buddhist doc
Buddhist thought.

Page 247
GLOSSARY
Icon - image; the image in the sanctum is Iconography - illustration of a subject by
Jainism - a sect founded by Mahavira in th
Kailasha - Sivas abode and is a peak in thi Kalasa - ornamental pot found in capitals the bowl of plenty which has produced the portraying the renewal of faith; the water Kalyana mandapam - hall of marriage int of the deities take place.
Karana - combined movement of hands ar
Karma - deed; acts of good and bad value: futues life.
Kirtimukha - a grotesque mask. Koil - kovil, koyil - all mean Hindu templ Kunchita - bent position of foot in dance.
Lalata tilaka - a dance of Siva making the Lat - pillar; the Asokan pillar with the will representing the four quarters, tell us that t here was a continuation of the ancient my Lattice - screen of cross pieces of wood ol Lakshana - physical sign.
Linga - a symbol of Siva.
Mahabharata - the great Sanskrit epic. Maha mandapam - great hall. Makara - crocodile shaped creature presur Mandapam - also referred to as mandapa - Mandir - temple. Maya - the creation of an illusion. Megalithic - structure in which there is a r Meru - world mountain of Hindu cosmolo
Mithuna - amourous sculpture.

229
referred to in Tamil as the moolamurti.
irawing of figures.
he sixth century BC.
Himalayas. . The Gupta capital is the "Purna kalasa', vase and flower motif- a beautiful symbol nourishes the plant.
he temples where the marriage ceremonies
ld feet in dance.
sentailing reward or punishment in this or
CS.
tilaka on the forehead of Parvati.
d beasts like the bull, lion, horse, elephant, he early Buddhist symbolism as expressed thology.
cement.
ned to symbolise the Ganges.
a large hall.
marked use of large stones.
gy.

Page 248
230
Monolith - single block of stone shaped in Moulding - the contour given to projecting Mudra - language of the hands and fingure Mukha - face (of lingam) Mural - wall decoration.
Nadanta - dance of Siva as Nataraja. Nadaswaram - a musical instrument - Winc Nagara - the Northern type of temple towe Nandi - the bull of Siva.
Nandi mandapam - pavilion where the sac Nataraja - Siva as Lord of dance. Nat mandir - dancing hall usually in the m Nattuvanar - the one who conducts a danc Natya - literally mime.
Nritya - dance. Nayaka, Nayaki-hero/heroine in art and p Padma - lotus flower. Panchmukha lingam - five facaed lingam. Parvati - consort of Siva.
Pilaster - square pillar from a wall.
Pitha – base. ~്.
Plinth - lower portion or base of a building Porch-structure in front of doorway. Pottu - or thilak a big dot in red or black of Pradakshina - circumambulation of a sacre Pradakshana padha - ambulatory passage. Prana - breath
Puja - ritual of devotional service; worship
Ramayana - an epic poem of great antiquit Ratha - a car used in temple ceremoies esp Reliquary - receptacle for relilcs. Renaissance - a period of art revival aroun Rib - projecting band.

THE CREATIVE TOUCHES OF THE CHISEL
o a pillar or monument. lines.
S.
.
r characterised by the sikhara.
'ed bull is installed.
iddle of the Orissan temple.
A مح۔
oetry
or column.
the forehead to indicate the third eye. d site.
y like the Mahabharata. acially in South India and Sri Lanka.
l the 14th and 15th centuries in Europe.

Page 249
GLOSSARY
Rishi- seer or sage of the Vedic age; a sag
Sabha mandapam - assembly hall. Sakti - the active power of God and thoug Samabhanga pose - is used for divinities i Sanctum Sanctorum – also known as sancta
referred to as moolasthanam in Tamil. Sandhya - evening. Sastra - a manual devoted to the rules of a
Schist - dark slate coloured rock.
Shrine - the sanctum or also referred as the Sikhara - spire ortower. In North Indian te which is curvilinear; in the South the term and its tower consists of gradually diminis Latina sikhara - a series of super spire over the sanctum
Phaamasanaa sikhara — rectiline generally low in height and confined to a r Silpa Shastra - an ancient Indian treatise on
umentS.
Sloka - Sanskrit verse.
Stele - uprigh slab. Sthapati - master craftsman. Stupa – originally a funeral mound. Surya - sun god. Sutra - sacred text in the form of a verse. Svastika - name of a sign.
Tabernacle - small movable sanctury. Tandava - dance of Shiva.
Tavil - musical instrument; a form of a dru Titanic - gigantic. Torana - gateway in the chaitya. Tower-sikhara
Torque - a necklace seen on sculpture.

231
e in general; also spelt as Rsi.
it of as His consort.
a state of spiritual equilibrium. lm - the holy of holies in a temple; it is also
craft.
garbha-griha. mples, the sikhara refers to the entire tower sikhara refers to the top most member only hingstoreys ortalas. imposed horizontal roof slabs with a single
ar in outline composed of horizontal slabs mandapa building temples and other religious mon

Page 250
232
Trefoil - arranged in three lobes. Tribhanga - a three bend position of the b used in dance and Sculpture. Trimurti - the Hindu triad - Siva, Brahma Trishula - emblem of Siva.
Urna - whorl of hair on the brow of the Bl Urdhavajanu - a dance pose with the knee
Vahanam - also referred to as vahana - the the mount is placed is the Vahana mandap. Vastushastra - rules of architecture. Vedas - ancient sacred texts of the Hindus Vedica - Buddhist railing. Vesera - type of temple tower found mainl Vestibule - ante-room. Vihara - Buddhistor Jain monastery. Vimanam - tower above the sanctum.
Vina - a musical instrument. Vishvakarma - the Lord of arts.
Yagasala - where yagam or homas are per Yajnopavita - the sacred thread. Yaksha - semi-divine being.

THE CREATIVE TOUCHES OF THE CHISEL
ody namely at the hip, shoulder and neck
Vishnu.
ddha.
up.
mount of the deity. The mandapam where
.
y in the Deccan.
formed.

Page 251


Page 252
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LVTORS PEL CAMITY) WAS
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Page 253
Ab Of the BOOk
This monograph, "The Creative Touches to Hindu art will reveal its secret and grande self and studied in moments of deep meditat
The growth of sculpture and architecture i Hindu in origin. Behind the technical to philosophical quests of the Hindu thinkers surveying sculpture, the author explains the posture or bhanga and position or stha accomplished. The rhythm and posture of B be witnessed in the arrangement of figures by Tantric thought is a blend of grandeur combined with ardour and passion. The au sculpture, music and dance introducing th dance. Erotic sculpture or mithuna is a mot
Hindus think in terms of the presence of Goa whose gopura is the vast celestial heaven Moola Murti filling the Solar system with Hindu and Buddhist dynasties covers a per the far East and reaching great fame not to LLL LYL L LLLL L L L L L L LLLLLL L ELLL LL0LL LLL00S at Pranbanan and Borobodur in Java, Ang Pagan in Burта.
Through the examples of sculptural pieces three fundamental characteristics which na
each is essentially religious in content
each is very traditional where the temple i. sculpture on iconographic norms found in t
each is symbolic in content where the symbo
LL LLLL L L L LLL LLLL LLLL LLLL LLLL LLL LLLLCCCL eloquent visual forms the whole message the
A Vijitha Y
 

the Chisel, explains that a great piece of r only when admired in the solitude of ones on.
Indic art is an imaginative creation purely ches and experiences of the sculptors, the ake the workmanship grand and subline. In it in Indic sculpture proportion or pranana, a have all been deeply deliberated and arrata Natyan and Odissi, for example, can in sculptural scrolls while Indic art inspired and lyrical quality, abstraction and mystery hor weaves a beautiful relationship between prominent theme in literature, music Canad of siringara rasa in sculptural form.
in the world and the whole world is a temple self and the Sun is the luminous Linga, the its radiance. Indic architecture inspired by iod of over five thousand years spreading to ly within India but also in South and South Buddhist temples and the elaborate scrolls
or Wat and Angkor Thom in Cambodia and
and temple architecture the author speaks of
e Hindu art special
based on religious tradition and adition and
lised ideas edify religious concepts.
philosophy and “renders in 5 ہزا 66 نOC C کہ{03
VYB-112,205 keep for mankind
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789 558 HO9 5492 www.vijithayapa.com
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