VIS 21B - Indian Art

High Priest, Indus Valley Civilization

Iconography: This is a stone bust of a high priest. The style of this bust is called “official” or “formal decorative” style. This style is characterized by decorative organic and geometric patterns as well as specific facial features. These facial features include a straight nose, elongated eyes, and thick, full lips.

Context: The function of this piece is open for interpretation. We might assume that this bust was probably used for ceremonial purposes. It could also be a portrait of an important religious figure due to the ornamentation.

Nude Male Torso, Indus Valley Civilization

Iconography: This is a 3D sculpture of a nude male body, yet we only have the torso to focus on. Compared to the High Priest, we see very smooth transitions from each part of the body, especially the transition from the stomach to the hips. This is called the “organic” or “naturalistic” style.

Context: There are two carved circles onto the shoulders of the sculpture. We don’t know what the stylistic purpose of these two circles are or what they represent, but they do separate the body, but they further highlights smooth transitions of the naturalistic style. This sculpture may have been a depiction of a clan leader, ancestor, or mythical figure.

Square Stamp Seal, Indus Valley Civilization

Iconography: The composition is a carved image of a seated shaman/yogi or Siva surrounded by carved images of animals. Notably, there is a visual hierarchy where the seated shaman or Siva is carved bigger than the animals, indicating its spiritual importance in its cultural context. Due to the nature of the carving, the most prominent element of art is line, which naturally emphasizes both positive and negative space.

Context: Square stamp seals were most likely used for personal ID. They usually had carved images of mythical creatures, humans, animals, and even written languages. Though we can’t read their language, these seal provide information on the Indus Valley peoples’ understanding of the body and their ability to depict smooth transitions from different body parts.

Lion Capital, Maurya Period

Iconography: This is a 3D sculpture of four carved lions seated on top of a pedestal. This sculpture is the perfect representation of the Maurya Period because of the combination of smooth polished sandstone and the intense texture of the lion’s mane. The most prominent principle of design in this sculpture is balance, seen in how the four lions balance each other.

Context: This sculpture is heavy saturated with cultural and spiritual symbols. For example, the lion represents not only the Ashokan king but also the Buddha. In addition to this, the wheels below the lion represent the Buddhist law or the physical act of teaching the Buddhist laws.

Chauri Bearer, Maurya Period

Iconography: This is a sculpture of a woman who is half nude. We know this sculpture is from the Maurya Period because of the smooth polished sandstone and smooth transition between each part of the body. Due to the naturalistic style, a certain method arises for sculpting the female body, this includes wide open eyes, thick lips, full breast, narrow waist, and wide hips.

Context: In this culture, the Chauri Bear is a ceremonial fan-bearer. They are a symbol in the Hindu and Buddhist religion. The higher status of the Chauri Bearer is signified by the bengals and beads.

Chaitya Hall, Shunga Period

Iconography: The Chaitya Hall is an example of rock-cut architecture, where a structure is cut from the rock or into the side of a mountain. The entrance to the Chaitya Hall is designed to look like a wooden structure with different levels of windows and corridors. On the inside there are no decoration, only simple, smooth walls.

Context: The Chaitya Hall is a worshiping hall with a Stupa. A Stupa holds the relics or remains of the Buddha and other Buddhist monks. People go to the Chaitya Hall to pay their respects to the Stupa from behind the rows of stone pillars.

Dream of Queen Maya from Bharhut Railing, Shunga Period

Iconography: The Bharhut Railing is a railing that surrounds the Stupa, carved with relief sculptures. The relief of the Dream of Queen Maya is heavy textured and your eye is drawn to the carving of an elephant (which takes up most of the space in the carving) that is slightly bigger than the rest of the figures. This suggests it is the focal point of the carving, which tracks with the story behind the carving.

Context: The Dream of Queen Maya is a story that is part of the Jataka tales, which tells the life story of the Buddha. In Queen Maya’s dream, she is visited by a white elephant that prophesied her son becoming the Buddha. A story like this one would be on the Bharhut Railing because the Stupa holds the remains and relics of the Buddha and other Buddhist monks.

The Great Stupa, Shunga and Andhra Period

Iconography: The Great Stupa is an example of structural architecture, where the Stupa is a massive dome with a torana or gate around it. On top of the Stupa is a harmika, yasti, a three layered chatra. People are able to walk around the Stupa and pay their respects.

Context: Stupas hold the remains and relics of the Buddha and other Buddhist monks. The Great Stupa is the biggest Stupa that holds the remains of the Buddha. The harmika symbolizes heaven or an enclosed spiritual space. The yasti symbolizes the axis of the universe and the chatras symbolize royalty and protection.

Torana and Bracket Figure, The Great Stupa, Shunga and Andhra Period

Iconography: Torana is another word for gate that surrounds the Stupa. The Great Stupa is balanced by the four Torana: The North Torana, East Torana, South Torana, and West Torana. The Torana is very decorative populated with a combination of both low and high relief sculptures and carvings. The Torana serve as entrances to the Stupa.

Context: The bracket figures hold up the Torana and are usually female tree spirits called Yakshi. The Yakshi are typical carved in the female naturalistic style: Wide open eyes, thick lips, full breast, narrow waist, and wide hips. These Yakshi are symbols of fertility and ensure the health of the site of the stupa.

The Great Chatiya Hall, Andhra Period

Iconography: The Great Chatiya Hall is an example of rock-cut architecture. It is very decorative compared to the Chatiya Hall, with elaborate pillars on the inside. When you enter the Great Chatiya Hall, your focus is directed to the large Stupa at the back of the room, larger than every other element of the hall.

Context: Just like the Chatiya Hall, the Great Chatiya hall is also used as a prayer and worship hall. People come to the hall to pay their respect to the stupa, a symbol of the Buddha.

Mithuna Couple, Great Chatiya Hall, Andhra Period

Iconography: On the facade of the Great Chaitya Hall is the Mithuna Couple. These are high relief sculptures of two couples. The couples stand in contrapposto and embrace each other. They are sculpted in the naturalistic style, showing smooth and natural transitions between the two bodies in an embrace.

Context: The couples represent or symbolize a union. They might represent love and devotion toward the divine; sort of union with the Buddha.

Portrait of Kanishka, Mathura Period

Iconography: This sculpture is made of red sandstone and relatively shallow in form and space. The sculpture is very geometric, seen in the overall triangular shape of the sculpture.

Context: Kanishka was the first king of the Kushan Period and he is believed to have been a great king. He was also believed to be descended from God. His iconic image is also on coins.

Seated Buddha with Attendants, Mathura Period

Iconography: This sculpture is carved from red sandstone and is a high relief sculpture. The sculpture is also very shallow in space and form. There is a visual hierarchy seen in how the iconic image of the Buddha is bigger than the carvings of the Apsara and the Bodhisattva of both wisdom and compassion.

Context: The Buddha is seated in a specific asana or the yogi posture with his hand up. This communicates the Buddha’s teachings and reassurance. The shallowness of the sculpture tells us that it was made for worship.

Buddhist Triad, Kushan Period

Iconography: This is a sculpture, made of gray stone, of the Buddha in a seated yogi position; on either side of him are two Bodhisattva standing in contrapposto. The Buddha has the typical Ushnisha hair style and elongated ears. Yet, instead of a smiling expression, this Buddha has downcast eyes, thin lips, and a straight nose.

Context: Due to the downcast eyes, thin lips, and straight nose, we see the presence of Alexander the Great and other European influences on Indian art. In addition to this iconic sculpture, the tree indicates the Buddha’s first sermon and purity is show by the Buddha sitting on a lotus flower.

Standing Bodhisattva, Kushan Period

Iconography: This is another sculpture, made of gray stone, of a Bodhisattva. This sculpture is very naturalistic, even realistic in style and depiction. There is a lot of movement in the Bodhisattva’s clothes and hair (seen in the fluidity of line). In addition to this, there is a lot of decoration on the body, even sandals.

Context: A bodhisattva is Similar to the Buddhist Triad, the Bodhisattva has downcast eyes, thin lips, a sharp nose, and a mustache, which shows the European influence on India during this time period (also how muscular the male figure is). A Bodhisattva is someone who is seeking enlightenment.

Standing Buddha, Gupta Period

Iconography: This is a sculpture of a standing Buddha made of red sandstone. This sculpture is a combination of both the Maurya and Gandhara style: Not wholly naturalistic like the Maurya, but smooth transitions from each part of the body and the same downcast eyes and narrow nose of the Ganada style.

Context: This iconic sculpture of the Buddha introduces us to the Gupta style: Round face, thick lips, wide shoulders, long stylized robe (helps move the eyes down the sculpture), decorated halo (complicated patterns and motifs), and various contoured lines in the hair.

The First Sermon, Gupta Period

Iconography: This is a very narrow and shallow sculpture of a seated Buddha. Behind the Buddha is a decorative and detailed halo. This sculpture is in the Gupta style (3 wrinkles on the neck).

Context: What’s interesting about this sculpture is that on the pedestal are relief carvings of typical symbols associated with the Buddha (the wheel, dear, and lion) but also relief carvings of people who donated money and offerings to the sculpture. In addition to this, this sculpture is designed to be worshiped from the front and the front only (narrow and shallow).

Bodhisattva Padmapani Wall Painting

Iconography: Large scale mural paintings; these murals were used as decorations in the Gupta Period. The Bodhisattva Padmapani mural is found in the Ajanta Caves (rock-cut structures). There is a visual hierarchy where the two major Bodhisattva are painted bigger than the rest of the figures. The Bodhisattva are in the Gupta style.

Context: The subject of the mural are the two major Bodhisattva: The Bodhisattvas of compassion (Padmapani) and wisdom (Vajrapani). This mural shows how these people truly understand the human body, showcased by the 3D form of the human body on a 2D surface (including color, shading, and highlights).

Boar Avatar of Vishnu, Gupta Period

Iconography: The subject of this high relief sculpture is Vishnu in his avatar form: With boards head. We have a full frontal view of Vishnu, with traditional wide shoulders and the smooth transitions between body parts. The visual hierarchy is obvious because Vishnu is the largest and most eye-catching figure of the relief.

Context: Vishnu is shown as a heroic figure in style and composition, who saves a river goddess from an evil king. Vishnu is known as the preserver, who can take on many forms or avatars.

Shiva Maheshvara Stone Relief

Iconography: The Shiva Maheshvara stone relief is found at the back of a temple (or Shiva Cave) and is a large scale stone sculpture (rock-cut relief). The Shiva was carved in the Gupta style with lots of decoration. On the side of the Shiva is an image of the dancing Ardhanarishvara. Also in the Shiva Cave, there are Garbhagriha, which have Linga shrines (symbol of creation).

Context: Shiva is a very popular deity and this sculptures shows the different sides of Shiva: The left face is male and shows anger, the middle face shows peace, and the right face is female and shows kindness. The Ardhanarishvara is half women and half man (male and female symbolic union).

Kailaszanatha Stone Temple and Shiva and Parvati on Mt. Kailasha

Iconography: The Kailaszanatha Stone Temple is massive rock cut sculpture. Within the structure there are various shrines (Nandi and Linga shrines). The decorations are on the outside of the temple (the inside is very dark because there are no windows). The major sculpture depicts Shiva and Parvati in the Gupta style, cut from the surrounding rock.

Context: The Kailaszanatha Stone Temple is dedicated to Shiva the deity of destruction and it used for worship. Shiva and Parvati on Mt. Kailasha tells the story of how Ravanda tried to shake the mountains but Shiva defeated him (Parvati is shown embracing Shiva).

Parashurameshvara Temple

Iconography: There are two parts of the temple: Shikhara and the Mandapa. The Shikhara is a vertical structure or tower with multiple layers of decoration. The Mandapa is below the Shikhara and is a sort of porch.

Context: This temple is dedicated to the deity Shiva. Shiva is the deity of destruction. Hindu temples are relatively small and free standing because they are not designed for people to go in to them. This why the decoration is on the outside.

Brihadeshvara Temple

Iconography: There are two parts to this massive temple: The Vimana and Mandapa. The Vimana is basically a tower and a garbhagriha. The Mandapa is a porch with pillars, like a hall or pavilion. This is an example of a Southern style of Hindu temples. These are very large and tall temples, with complicated designs and heavily decorated.

Context: This temple is dedicated to Vishnu, who is carved in the Gupta style.

Allegorical Painting: Emperor Jahangir Seated on an Hourglass Throne, Mughal Period

Iconography: The subject of this painting is the Emperor Jahangir during the Mughal Period. There is a visual hierarchy, where the Emperor Jahangir is drawn larger than the other figures in the painting. The emperor is seared on an hourglass throne surrounded by European delegates. The figures are pushed forward by the vertical composition. We see a Renaissance influence in the patterns and motifs in the painting (for example the cherub like figures above the emperor). This painting is rich in color and brightness (color and gold on paper).

Context: This allegorical painting shows the global contact between the Mughal Empire and Europeans. It also shows Jahangir as this messianic figure who will bring the Empire into a new era.