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Home , Balotsav, Lauriya Araraj, Mahakali Caves, Mizhavu

IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM.

Post Maurya Art Indus Art The Indus civilization or the Harappan Sunga civilization, which flourished during the Bronze · Period of , , Age i.e. 2500-2000 BC is ranked among the four · hall (Prayer hall) with ventilated widely known civilizations of the old world. windows Extensive excavation work that has been done · Chaitya hall at Bhaja – Sunga period since Independence has so far identified more than · Chaitya hall at Karle – Andra period 100 sites belonging to this civilization. A few · hemispheric dome with Buddha’s prominent among them are Dholavira (), relic inside Kalibangan (), Lothal (Gujarat), · Famous stupas – , , Sarkotada (Gujarat), Diamabad (), Amravati Alamgirpur (U.P.), Bhagwanpura (Haryana), · Railings decorated with figures of animals Banawali (Haryana), Kuntasi, Padri (Gujarat) and and Yaksha and Yakshi Mauda (Jammu). · Sanchi stupa is most decorated Maurya Art : The Mauryan architecture was Three schools of art embalmed in timber.The art of polishing of wood Amravati - Use of marble reached so much perfection during the Mauryan - Amravatiand period that master craftsmen used to make wood Nagayinkonda glisten like a mirror. (First Imperial art) - Detailed ornamentation Court art / Popular art - Use of red buff (Sikri) · Wooded architectural aspects by sandstone · Art of polishing in pillars – Lauriya - First to build life like Nandagarh Pillar image of Buddha · Pillars made of Chunar sandstone - Developed during · Capitals mainly consists of Bull, Lion Kushans elephants - Standing figure · Lion Capital (National Emblem) of Kanishka and · Sanchi Lion Capital Buddha are famous. · Influence of Archaemenian and Gandhara - Influence of Indo Greek Hellenistic art art · Chief centres – Taxila, Sarnath

1 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. - Buddha shown as Roman peacocks and a deer) have been approved and Greek Gods by him. - Sculptures related to (ii) 2nd Major Rock Edict: Buddha’s life – Birth to (a) The land of Cholas, Pandyas, Satyaputras and Death and Buddistava. Keralaputra along with Ceylon is mentioned. - Stupas in Guldara, (b) Two medical services, one for human beings Loriyan Tangai (Swat and other for animals, were provided by the valley) state. - Minimum ornaments and (c) Emphasis on plantation of trees and digging use of schist marble and at road for wells have been recorded. grey sandstone (iii) 3rd Major Rock Edict: Asokan inscriptions have been divided into: (a) It mentioned about his order to yuktas, rajukas (a) Major Rock Edicts: 14 Edicts and two and pradesikas about their traveling across separate Edicts at Kalinga. the empire at every five years interval. (b) Minor rock Edicts: Can be divided into (b) Cordial relationship between son and parent, two subgroups. friends and relatives and generosity toward (i) The first group includes Minor Rock Brahmins and shramanas has been Edicts, Queen’s Edict, Barbar Cave emphasized. Inscription and Bilingual (c) Prohibition of killing and spending. Inscription. (iv) 4th Major Rock Edict: His firm (ii) The second group is entirely concerned convictions of dhamma and harmonious with the Buddhist community and social relationships have been claimed. includes Bhabra Insription, the (v) 5th Major Rock Edict: Emphasis of good Rummindei Pillar Inscription, Nigalisagar doing by him and his family; appointment Pillar Inscription and Schiem Edict. of office of Dhamma; welfare of people (c) The Pillar Edicts are seven in number. including Greeks, Kambojas, Gandharas, Major Rock Edicts Risthikas, Pitinikas, welfare of prisoners, (i) 1st Major Rock Edict: prohibited animal nobles, old, poor and servants, and thus sacrifice, especially during festive spread of dhamma have been claimed and gatherings, but at the same time killing of emphasized. three animals in royal kitchen (i.e. two (vi) 6th Major Rock Edict: 2 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. (a) Emphasizes on efficient administrative order. (a) Speaks of the similar attitude of Asoka (b) Contains famous instruction: “At all times, towards different sects. whether I am eating, or am in the women’s (b) Contains the famous statement: “Whosoever aprartments or in my inner apartments, or at honours his own sect or disparages that of the cattle-shed, or in my carriage, or in my another man, wholly out of devotion to his gardens – where ever I may be, my informants own, with a view to showing it in a favourabled should keep me in touch with public business”. light, harms his own sect even more seriously”. (c) Also contains another famous instruction “And (xiii) 13th Major Rock Edict: whatever I may order by word of mouth, (a) Tells about conquest of Kalinga where “a whether it concerns a donation or a hundred and fifty thousand people were proclamation, or whatever urgent matter is deported, a hundred thousand were killed” entrusted to my officers, if there is any dispute and therefore Ashoka felt remorse and felt or deliberation in the council, it is to be that conquest by dhamma was the foremost reported to me immediately, at all places, at victory. all times”. (b) Was the longest Asokan edict. (vii) 7th Major Rock Edict: Co-ordination, self (xiv) 14th Major Rock Edict: Speaks about the control and purity of mind among all sects texture of other edicts. has been urged. Few Important Informations about Edicts: th (viii) 8th Major Rock Edict: Talks about (i) The 6 Major edict contains the famous Dhammayatras. claim of Asoka, “All men are my children”. (ix) 9th Major Rock Edict: Instruction against (ii) Longest pillar edict “The Bhabra Edict”. trivial and useless ceremonies and (iii) Seven major pillar edicts – Appendix to emphasis on ceremony of dhamma. rock edicts. th (x) 10 Major Rock Edict: (iv) Four Minor pillar edicts: Sign’s of (a) Desirability of Asoka not for worldly fame Ashoka’s feneticism to ‘Dhamma’. and glory but the glory in sphere of dhamma. (v) The minor rock edict of Yerragudi is (b) Criticism of evil inclination. written in “boustrophedon style”. (xi) 11th Major Rock Edict: Glorification of (vi) Nigalisagar Inscription confirms the the gift of dhamma, the praise of dhamma, existence of Buddha Konakamma. (vii) Bhabra rock edict informs us about sharing and fellowship of dhamma. Asoka’s conversion to Buddhism. (xii) 12th Major Rock Edict: 3 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. (viii) Asokan pillar of Nandangarh bears the that are generally ascribed to the Mauryan phase. figure of a peacock, pointing to the They are: association (i) A railing(?) pillar from Arjunapura, of Mauryan kings with it. Mathura. (ix) Barabar cave inscription talks about (ii) The oldest part of Stupas. grant of Banyan cave to Ajivkas by (iii) Foundations of Chaitya halls at Sanchi Asoka. and Sonari. (x) Kandhar Rock inscription exists in (iv) Two Yaksha statues from Patna. bilingual form, one in Greek and another (v) Few sculptures in red spotted sand-stone in version. from Mathura. Stage-I Mauryan Art (c. 300 to 100 B.C.) (vi) Few sculptures of grey polished stones The sum total of the Mauryan treasury of from Sarnath. art may be said to include: (vii) A ribbed polished stone-umbrella from (i) The remains of the royal palace and city Sanchi. of Patliputra. (viii) A chauri-bearing Yaksha statue from (ii) A monolithic rail at Sarnath. Didarganj. (iii) The Bodhimanda or the altar resting on (ix) A more than life size Yaksha from four pilasters at Bodhgaya. Parkham. (iv) The excavated Chaitya-halls or cave- (x) A hooded serpent canopy from . dwellings in the Barabar and Nagarjuni (xi) Terracottas from Sarnath, Basarh, hills of Gaya including the Sudama cave Bulandibagh, Kumrahar etc. dated in 12th year of Asoka’s regin. All these works of Mauryan period have been (v) The non-edict and edict bearing pillars. divided into two general categories: (i) Court Art, (vi) The animal sculptures crowning the and (ii) Folk Art. pillars with animal and regal reliefs (i) Court Art is represented by pillars and their decorating the abaci of the capitals. capitals. (vii) The front half of the representation of an (a) highly polished, tall and well proportioned elephant carved out in the round form at columns with slightly tapering monolithic in Orissa. shafts standing free in space by themselves Along with these famous Mauryan art-works, there are the best specimen of Mauryan court art. are still other architectural and sculptural remains There are two types of such columns: (a) edict 4 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. bearing columns and (b) columns without any in the case of Basarh-Bakhira pillar which edicts. Columns of , , Allahabad, is heavy and massive, seem to have maintained Lauriya-Araraj, Lauriya-Nandangarh, a graceful and elegant proportion throughout. Rampurva (with lion capital), Delhi-Topra, (ii) Folk Art/Popular Art consisted of those , Sanchi and Sarnath represent the art-works which were probably not commissioned former category, while Rampurva (with bull- by the emperor; the patrons were obviously local capital), Basarh-Bakhira (with single lion governors or well to do citizens. Yakshi of capital) and Kosam (capital yet to be recovered) Besnagar, the Yaksha of Parkham, the Chauri- come into latter category. We have yet another bearer from Didarganj and numerous terracotta category which had dedicatory inscriptions such figurines belong to this group. as those of Rummindei and Nigalisagar. During this period, the first major works (b) All the Mauryan columns, no matter where of architecture and stone-carving were made. We they are set up, are chiseled from grey Chunar also know something of the building techniques Sandstone and have a lustrous polish perhaps and fortifications. From about 200 BC onwards of silicius varnish. large number of miniature reliefs, mostly either (c) The Mauryan column consists of four hand-modelled or pressed in moulds, came into component parts (i) the shaft, always plain and existence. In the Ganga Delta at simple, circular in section and slightly Chandraketugarh, there was a factory for such tapering upwards without any base works; and at PATNA have been excavated some whatsoever; (ii) the capital of gently arched superb terracottas of dancing girls, modeled in bell shape in form of lotus petals; (iii) the full round. As a result, dynastic guilds of sculptors abascus square and plain in the earlier and artisans seem to have grown up which were specimens and circular and decorated in the in a position to carve colossal stone-dedicatory later ones: and finally (iv) the crowning figures, sometimes mis-called Yakshas and animal, seated or standing. Yakshis. (d) Mahapadmananda has been referred to in Unfortunately, however the three- the Puranas as Sarvarajocchetta, dimensional form and advanced techniques of the Sarvakskatrantakanripak and ekrat, the Mauryan art was given up during post-Mauryan supreme monarch. phase. (e) The surface of shaft is cut and executed in remarkable precision and accuracy, and except 5 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Important Columns Its Capitals animals, those from Pompeii (before 79 1. Rampurva Column Lion (Single) AD) and at Begram (c. AD 100).

2. Rampurva Column Bull (Standing) Gupta Art 3. Lauriya Nandangarh Lion (Single) Three types of Temples 4. Basarh-Bakhira Lion (Single) (a) Square base - paneled roof 5. Sarnath Column Four Semi lions united (b) Rectangular base - shikhar back-to-back (c) Circular base - projections at 6. Sanchi Column Four Semi lions united the corner , back-to-back Manyar Math 7. Lauriya-Araraj Garuda Capital ,Rajgir 8. Rummindei Horse Capital · Seated Buddha (Sarnath) and Standing 9. Dhauli Stone Elephant Buddha (Mathura) · Painting – Buddists and court scenes Few Important Information: (Ajanta and Ellora) (i) The Sarnath capital is one of the finest Gupta Art and highly finished examples of column- Between Fifth and Seventh century, we find a art. unified Gupta style of Buddhist Art established in (ii) The elephant of Dhauli belongs to the North . The accounts left by Chinese pilgrims popular tradition of arts. describe numerous monastery shrines throughout (iii) The rajakumbhakaras were the special , Bengal and Orissa, many of which have class of potters who were commissioned long disappeared, though a few have been located for royal art-works. and excavated. (iv) At Kaushambi, we have excavated a (i) Buddhist Art palace with a substantial tunnel-vault (3rd (a) There were 100 feet-high stupas and century BC), and at Rajgir, some superb multi-storeyed monasteries built of wood, brick cyclopean fortifications have been and stone; and each site was filled with images, witnessed. large and small, cut in stone, modeled in terracotta (v) A flowery and jeweled opulence, or stucco and cast in bronze. combined with erotic charm, appears full- (b) Among the excavated sites is the earliest fledged in the earliest known ivories, of the great Buddhist universities. in representing gorgeous girls and fantastic 6 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Bihar, which consists of clustered courtyards and (a) Temple architecture buildings of different patterns, including stupas, (1) The fundamental pattern behind the Hindu many of which were decorated with particularly temples was very simple. The sacred numinous fine stucco sculptures of Buddhas and object stands within an enclosure and a cell. Bodhisattvas. The cell is raised on a plinth and to it may be (c) Buddhist art was, however, showing a appended extra features, the common-most decline during Gupta period. Even the being a portico and a decorated door frame. at Gaya in Bihar was cut down in about 600 AD Then came an ambulatory crowning tower by a Hindu King (Shashanka) and shrine and few other features in accordance with converted into Hindu uses. regional tradition. (d) In North-East, however, Buddhism (2) Temples in Gupta period were built at Sanchi, flourished greatly under the Pala dynasty where Tigwa, Khob, Nachna Pipariya, Bhumara, another Buddhist university was founded (at Deogarh, Darra, mandsor, Bilsad, Gadhwa, ) and enormous effort was devoted Tumain Bhitari, Erah, Pawaya, to the elaboration of schools of philosophy, logic, Ahichchatra, Bhitragaon, Ramtek and ritual, medicine and magic – to which incidentally, Mandhal just to mention some important Hindus were also admitted. temple sites. (ii) Hindu Art: Hindu art developed later (3) Free-standing temples are the distinguishing than Buddhist art in India as a whole because the feature of the Guptan temple architecture as oldest form of Brahmanical Hinduism did not the growth of image worship necessitated an demand any permanent installation for its independent sanctum for the deity and thus sacrificial rituals. Despite the disclosure made by cave became inadequate for this function. Basenagar (M.P.) inscription which speaks about The earliest examples of temple architecture the worship of Vasudeva around mid-2nd century came from the Sanchi hills; at Bhumara, BC, the natural tendency of Indians were to adore there is an early shrine with an ambulatory; and make offerings at any place in the countryside we have yet other examples from Mathura where the divine seems to show its presence. But which housed the icons of Vishnu and Shiva; this tendency made a successful alliance with at Kunda, was also a very simple cell, restored Indian theory of kingship around 2nd century A.D. in Gupta times. resulting into ‘dynastic deities’ and thus acquired a sense of permanence. 7 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. (b) Cave Architecture exciting movement, Guptan sculpture suggests Not all Hindu temples of this time were free- serenity, security and certainty. standing temples. The Buddhists in Deccan (1) In this phase, India produced some of her most continued to excavate their shrines in hill-sides tryly religious art, especially in the lovely as cave-temples and the Hindus imitated these, Buddhas of Sarnath. Most famous of these is often cutting temples adjacent to those of the the icon of the Buddha “turning the wheel Buddhists. of the Law” (i.e., his first sermon where his (1) The oldest Deccan cave was situated at Bhaja. delicate fingers formed the Dharmachakra (2) The most famous cave groups is that of Ajanta Mudra. in Maharashtra where no less than 27 caves, (2) In the region of Gwalior and Jhansi, an some of them going 100 feet deep into the excellent school of Hindu sculptors existed rock, were excavated in the horseshoe curve resulting in depiction of Hindu gods and of a hill side. The earliest caves date from mythological scenes in the temples of the 2nd century BC, while others are as late as Deogarh. the 7th century AD. (3) Equally significant is the charming relief of a (3) Even more impressive are the later cave dancer accompanied by girl musicians, found temples of Ellora which are no less than 34 at Pawaya, near Gwalior. in number. The crowning achievement of the (4) Perhaps, the most immediately impressive of Ellora is the Kailashnath temple, excavated all Gupta sculpture is the Great Boar carved by Krishna I, a Rastrakuta ruler. in Udaygiri Cave near Bhilsa. (4) Another group of temples is situated at (5) The most ornate and beautifully composed Mammallapuram and they are 17 in number. example of Gupta temples is the fragmentary The most famous of these were the “Seven temple of Vishnu at Deogarh. Pagodas” influenced considerably by (d) Painting Dravidian style. (1) Painting was a developed art during Gupta (5) Another group of these cave temples was period. Literary evidences talk about the those of Elephanta famour for the ‘Great existence of professional artists. Trimurti figure of Shiva’. (2) Remains of Gupta paintings may be witnessed (c) Sculpture in the Caves at Bagh (Cave-IV), Ajanta If Gandhara and Mathura arts are marked by (Caves-XVI, XVII, XIX, I and II) and Badami sensual earthiness and that of Amaravathi by (Cave III). 8 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. (3) Ajanta murals supplied the norms of all · Rock cutouts, temple architecture contemporary paintings. The representation attainted its climax. of Bodhisattava announcing his renunciation · Stressed on Central Chamber of Shrine (Cave I) and that of Indra and his entourage · Evolution of high vimans and flying to great Budha in Tushita heaven (cave monumental gopurams (broad and high XVII) are the masterpieces. storeys) Pallava Art · Brihadeswara temple at Tanjore (build by · 4 styles – Mahendra, Mamalla, Raja Rajaraja I) Simha, Aparjita · Gangaikonda Cholapuram (known for · Mahendra - Life like with great size lingam of solid granite) images of king and queen The Prathiharas

· Mamala - Seven Pagodas The Pratiharas, who ruled over an extensive (Raths) named after five Pandav Brothers, empire from Ujjain during the 8th and 9th centuries, were among the significant successors their wife Draupadi and the rath of the Guptas. The Pratihara temples of Central · Raja Simha - Kailashnath temple represens perfect manifestation of India have their own unique designs and Dravidian style decorative schemes. The important temples of · Aparjita - Sculpture has Ujjain include the Mahakaleshwar temple, which resemblance to Guptas; Nandis outside has one of the twelve Jyotirlingas of India, Kal shore temple; Descent of Ganges Bhairava temple, which finds a mention in the Chalukas Art Skanda Purana, and Mangalnath temple, which · Mix of northern and southern art is regarded as the birthplace of Mars, according · Virupaksha temple (Dravidian influence) to the Matsya Purana. · Majority shows northern influence The Palas

· Temples are richly decorated The Pala School of Architecture (8-13th Centuries · Durga temple, Lad Khan temple AD) flourished in Bengal and Bihar under the Pala · temple Badami and the Sena rulers. Nalanda was its most active Chola Art centre, whose influence was spread to Nepal, · Contined Pallava and Chalukyer tradition Myanmar and even Indonesia. Stone sculptures of this period are found at Nalanda, Rajagriha, 9 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. , Rajashahi and other places. The Pala architecture, the finest examples being their forts School of art is seen at its best at Nalanda and and palaces. The Rajput palaces are complex several sculptures belonging to this period have compositions built as inner citadels surrounded been unearthed in excavations. by the city and enclosed by a fortified wall as at

The Chandelas Chittorgarh and Jaisalmer. Some forts, such as those at Bharatpur and Deeg, were protected by The Chandelas of Jijihoti or Bundelkhand were wide moats. known as great builders during the l0th-11th centuries. It is they who built the temples at The oldest surviving palaces date from the mid- Khajuraho justly famous for their graceful fifteenth century and are found at Chittor and contours and erotic sculptures. These 22 temples Gwalior. The Man Mandir, the largest palace in (out of the original 85) are regarded as one of Gwalior, was built by Raja Man Singh Tomar world’s greatest artistic wonders. The Khajuraho (1486-1516). The Man Mandir has two storeys Temples do not illustrate a development over a above, and two below, ground level overhanging long period of time but were built within a short a sandstone cliff. This gigantic cliff is punctuated period of hundred years from 950-1050 A.D. The by five massive round towers, crowned by domed Khajuraho Temples have highly individualistic cupolas and linked by delicately carved parapets. architectural character and are generally small in The whole facade is enriched with brilliant blue size. Each temple is divided into three main tiles. compartments - the cella or garbha griha, an assembly hall or mandapa and an entrance portico · The city of Bikaner is encircled by 5.63 km or ardha mandapa. Some temples also contain long stone wall in rich pink sandstone. There the antarala or vestibule to the cella and the are five gates and three sally ports. transepts or maha-mandapa. The Kendriya · The Jodhpur Fort dominates the city, which Mahadev temple is the largest and most beautiful is surrounded by a huge wall with 101 of the Khajuraho Temples. The Shiva Temple at bastions, nearly 9.5 km long. Visvanath and the Vishnu Temple at Chaturbhanj are other important temples at Khajuraho. · The Meherangarh fort stands on a cliff with a sheer drop of over 36 metres. Rajput Architecture · The foundation of Jaipur, the fabled “pink The Rajputs were great patrons of art and city”, in 1727 AD represents the final phase 10 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. of Rajput architecture. Built by Jai Singh, these temples were mainly carved out of rock faces Jaipur represents a fusion of Eastern and and the use of bricks was almost negligible. Western ideas of town planning. The city is However, in later years Jains started building enclosed by a wall and has bastions and towers temple-cities on hills based on the concept of at regular intervals. The City Palace is at the ‘mountains of immortality’. center of the walled city and is a spectacular Compared to the number of Hindu temples in synthesis ofRajput and Mughal architectural India, Jain temples are few and spaced out. styles. Surrounded by embattled walls, the temples are · The famous building Hawa Mahal, or Palace divided into wards, guarded by massive bastions of Winds, (1799) has a five-storeyed at its ends, with fortified gateways as the main symmetrical facade composed of 953 small entrances. These temple-cities were not built on a casements in a huge curve each with a specific plan; instead they were the results of projecting balcony and crowning arch. sporadic construction. Natural levels of the hill on which the ‘city’ was being built accommodated · The Jantar Mantar, the largest of five various levels so that as one goes higher the observatories built by Jai Singh II in the early architecture and grandeur increases. The only eighteenth century, is another interesting example variation in these temples was in the form of of Rajput architecture. frequent chamukhs or four-faced temples. In these the image of a Tirthankara faces the four sides, or Jain Architecture four Tirthankars are be placed back to back to face The contribution of Jain art to the mainstream art four cardinal points. Entry into this temple is also in India has been considerable. Every phase of from four doors. The Chamukh temple of Adinath Indian art is represented by a Jain version and each (1618 AD) is a characteristic example of the four- one of them is worthy of meticulous study and door temple. understanding. Jain architecture cannot be accredited with a style of its own, for in the first The great Jain temples and sculptured monuments place it was almost an offshoot of Hindu and of , Maharashtra and Rajasthan are Buddhist styles. In the initial years, many Jain world-renowned. The most spectacular of all Jain temples were made adjoining the Buddhist temples temples are found at Ranakpur and Mount Abu in following the Buddhist rock-cut style. Initially Rajasthan. Deogarh (Lalitpur, U.P.), Ellora,

11 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Badami and Aihole also have some of the Indian and the Islamic elements led to the important specimens of Jain Art. emergence of a new style of architecture called the Indo-Islamic Architecture. The Indo-Islamic Architecture Temples in India Indian architecture took new shape with the advent Hindu temples were not meant for large of Islamic rule in India towards the end of the 12th congregational worship. Pillared Mandapas with century AD. New elements were introduced into elaborate sculptures, sadas for dancing & wide the Indian architecture that include: use of shapes circumbulating passages with other deities placed (instead of natural forms); inscriptional art using around the main deity constitute a temple decorative lettering or calligraphy; inlay complex. decoration and use of coloured marble, painted The prominent forms of temple designs are the plaster and brilliantly glazed tiles. In contrast to North Indian Temples & Southern Indian Temples. the indigenous Indian architecture which was of There were changes in styles, but certain basic the trabeate order i.e. all spaces were spanned by rules fundamental to Hinduism were followed means of horizontal beams, the Islamic regarding the position of the garba griha, directions architecture was arcuate i.e. an arch or dome was of the other deities, etc. adopted as a method of bridging a space. The concept of arch or dome was not invented by the South Indian Temple Structure - Dravida Style Muslims but was, in fact, borrowed and was This is the style that developed in the Dravida further perfected by them from the architectural Desam. The Vimana and the Gopurams are the styles of the post-Roman period. The Muslims distictive characteristics of the Southern style. The used the cementing agent in the form of mortar Vimana is a tall pyramidal tower consisting of for the first time in the construction of buildings several progressively smaller storeys. This stands in India. They further put to use certain scientific on a square base. The Gopuram has two storeys and mechanical formulae, which were derived by seperated by a horizontal moulding. The Prakara experience of other civilizations, in their or the outer wall, envelops the main shrine as well constructions in India. Such use of scientific as the other smaller shrines, the tank. principles helped not only in obtaining greater The Pallavas, the Cholas, the Pandyas, the strength and stability of the construction materials Vijayanagar rulers, the Nayaks all contributed to but also provided greater flexibility to the the Southern style of temples. architects and builders. This amalgamation of the 12 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Pallava temples the Gopurams and the size characterises the Pandya Gopurams. The Pallava shrines normally have a Somaskanda relief panel. The typical Pandya style can be seen in the

Some of the Pallava temples: Sundara Pandya Gopuram added to the Jambukesvara temple Eastern Gopuram, Great Rajasimha temple Temple, Chidambaram.

Olakkanesvara temple Mukundanayanar temple Vijayanagar temples Shore temple at Mamallapuram Talagiriswara temple at Panamalai in South Arcot Kailasanatha The main contributions of the Vijayanagar period temple at Kanchipuram (Rajasimha & his son were the tall massive gopurams and the multiple Mahendravarman) Vaikuntha Perumal temple by mandapas. Unlike the Chola style, where the entire Nandivarman temple structure was usually a unified whole, there were numerous mandapas, pillared halls, shrines Chola temples to minor deities, tanks, etc. Another major feature

The Cholas erected several temples and also is the carved pillars - with the rearing simhas renovated earlier brick structures in stone. (lions), yalis (lions with elephant trunks).

Early Chola temples: The important temples from the Vijayanager

Sundaresvara temple at Tirukattalai (Aditya I) period: Vitthala Swami temple, Vijayanager The Vijayalaya Choleswaram at Narthamalai pillars and gopurams of the Ekambaranatha Komganatha temple at Srinivasanallur (Parantaka temple I) Brihadiswara temple at Tanjavur (Raja Raja Nayak temples Chola) Brihadiswara temple at Gangaikonda The Madurai and Tanjavur Nayaks made great cholapuram (Rajendra Chola) Airavateswara contributions - the main characterictics of this temple at Darasuram (Raja Raja II) period being the elaborate mandapas of the Kamaparharesvara temple at Tirubuvanam hundred and thousand pillared type, the high (Kulotunga III) gopurams with stucco statues on the surface, the

Pandya temples long corridors. The Pandyas mostly concentrated on the Gopurams, the main entrance. The basic structure 13 and style was maintained, but the decorations on IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. The main temples representing this style in all Hindu temples, there is the kalasa at the top various portions are and the ayudha or emblem of the presiding deity.

The Ranganatha temple at Srirangam - for the Some of the temples of this style are : increase in the no. of enclosures · The Parasurameswara temple at The temple at Rameswaram - for the long Bhuvaneshwar corridors · Brahmesvara temple in Bhuvaneshwar The Subramanya temple at the Brihadisvara · Lingaraja temple temple court at Tanjavur - for the fine vimana with · Anantha Vasudeva temple ardha and maha mandapas. · Rajarani temple North Indian Temple Structure - Nagara Style · Sun temple at Konarak In the North Indian style, the shrine is a square at · Jagannath temple at Puri the centre, but there are projections on the outside Temple Structure of Western India and the leading to cruciform shape. When there is one Deccan - Vesara Style projection on each side, it is called triratha, 2 The Western Indian and the Deccan temples, projections - pancharatha, 3 projections - basically evolved from the North Indian style. saptharatha, 4 projections - navaratha. These Early temples of this style are: projections occur throughout the height of the structure. This style is found mostly in Orissa, · Lakshmana temple at Sirpur Rajasthan and Gujarat. · Vaidyanatha Mahadeva temple at Baijnath The temples of Orissa are the ones which can be described as the typical Nagara style. These · Sikara temple at Baroli temples escaped the destruction due to invasion. · Kesavanarayana temple at Amarkantak The temples as well as the literature laying down the rules and mode of construction have been well · Viratesvara temple at sohagpur preserved in Orissa. The temples at Kajuraho represent the typical Vesara style. The Chandellas used the coloured In this style, the structure consists of two buildings, sandstone (pink, buff colour or pale yellow) to the main shrine taller and an adjoining shorter construct these temples. Granite stone temples also mandapa. The main difference between the two is exist. These temples dedicated to Saiva, Vaishnava the shape of the Sikhara. In the main shrine, a bell and Jaina sects do not show great variation in style shaped structure adds to the height. As is usual in between one another. 14 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. The prime temples of this tyle are: and monasteries. These date from the 2nd to 1st - Lakshmana temple centuries B.C. After a period of more than six cen- - Parsvanatha temple turies, excavations once again revived during the - Visvanatha temple reign of the Vakataka ruler Harishena. The sculp- - Kandariya Mahadeva temple tures contain an impressive array of votive fig- - Charsath yogini temple (rough granite) ures, accessory figures, narrative episodes and - Lalguan Mahadeva temple (Partly granite & decorative motifs. The series of paintings is un- sandstone) paralleled in the history of Indian art, both for the - Brahma temple wide range of subjects and the medium. The caves - Matangesvara temple depict a large number of incidents from the life of - Vamana temple the Buddha (Jataka Tales). Overlapping figures - Jawari temple suggest that the perspective and colors are - Devi Jagadambi temple harmoniously blended and that the line work is - Adinatha temple sinuous. Cave Architecture in India Bhimbetaka caves

The earliest man-made caves date back to the 2nd Bhimbetka is located in the Raisen District of century BC while the latest date to the 7th century about 45 km to the southeast of AD. The splendid sculpture and lovely frescoes Bhopal near a hill village called ‘Bhiyanpur’. adorning these caves make them one of the Bhimbetaka, discovered in 1958 by V.S. glorious monuments of India’s past. Wakanker, is the biggest prehistoric art depository in India. Atop the hill a large number of rock- shelters have been discovered, of which more than The cave temples of Ajanta, situated north of 130 contain paintings. Excavations in some of the Aurangabad, were first mentioned in the writings rock-shelters revealed history of continuous of the Chinese pilgrim Huen Tsang who visited habitation from early stone age (about 10000 India between 629 AD and 645 AD. These caves years) to the end of stone age (c. 10,000 to 2,000 were discovered by the British officers in 1819 years) as seen from artificially made stone tools AD. The thirty temples at Ajanta are set into the and implements like hand-axes, cleavers, rocky sides of a crescent shaped gorge in the scrappers and knives. Neolithic tools like points, Inhyadri hills of the Sahyadri ranges. trapezes and lunates made of chert and chalcedony, The earlier monuments include both chaitya halls 15 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. besides stone querns and grinders, decorated bone Jogeshwar and objects, pieces of ochre and human burials were Located in the western suburbs of Bombay, it is also found here. second largest known cave after the Kailasa cave in Ellora and houses a Brahmanical temple dating back to the 6th century AD. The 6th century Shiva temple in the Elephanta caves is one of the most exquisitely carved temples Excavated between the 1st and 2nd centuries, the in India. The central attraction here is a twenty- Kanheri is a 109-cave complex located near foot high bust of the deity in three-headed form. Borivili National Park in Bombay. The Kanheri The Maheshamurti is built deep into a recess and caves contain illustrations from Hinayana and looms up from the darkness to fill the full height Mahayana Buddhism and show carvings dating of the cave. This image symbolizes the fierce, back to 200 BC. feminine and meditative aspects of the great Karla and ascetic and the three heads represent Lord Shiva About 50-60 kms away from Pune, these are rock- as Aghori, Ardhanarishvara and Mahayogi. cut Buddhist caves dating back to the 1st and 2nd Aghori is the aggressive form of Shiva where he centuries BC. The caves consist of several viharas is intent on destruction. Ardhanarishvara depicts and chaityas. Lord Shiva as half-man/half-woman signifying the Dances forms of India essential unity of the sexes. The Mahayogi posture Bharata Natyam symbolises the meditative aspect of the God and Bharatanatyam is the most popular of Indian here Lord Shiva is shown in his most quiet and dances and belongs to the South Indian state of serene form. Tamilnadu. Its antiquity is well established. In the Mahakali Caves past it was practised ad performed in the temples These are rock-cut Buddhist caves situated in the by a class of dancers known as the devadasis. It Udayagiri hills, about 6.5km from . These was a part of the religious rituals and has a long were excavated during 200 BC to 600 AD and are and hoary past. The kings and the princely courts now in ruins. They comprise of 4 caves on the patronised the temples, as well as the various southeastern face and 15 caves on the northwestern traditions sustaining the dance form. face. Cave 9 is the chief cave and is the oldest The salient features of Bharatanatyam are and consists of a stupa and figures of Lord Buddha. movements conceived in space mostly either along

16 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. straight lines or triangles. In terms of geometrical in this dance form. The martial movements of designs, the dancer appears to weave a series of Chhau have led to another interpretation of the triangles besides several geometrical patterns. word as meaning ‘to attack stealthily’ or ‘to hunt’. LateRukmini Devi, Bala Sarasti, Sudha Shekhar, Three styles of Chhau exist born from the three Mritialini Sarabhai, Indrani, Yamini different regions of Seraikella (Bihar), Purulia Krishnamurthy (West Bengal), and Mayurbhanj (Orissa). Martial Chakiarkoothu movements, strong rhythmic statements and

This dance form is believed to have been dynamic use of space are characteristic of Chhau. introduced to by the early Aryan Kathak immigrants & is performed only by the members Prevalent in the North as a classical dance form, of the Chakiar caste. A highly orthodox type of Kathak has a long history. Nurtured in the holy entertainment, it can be staged inside temples only precincts of the Hindu temples, Kathak has over & witnessed by the Hindus of the higher castes. the centuries attained refinement and enriched it- The theatre is known as . The story self with various hues and embellishments. Kathak is recited in a quasi-dramatic style with emphasis means a story teller and it developed as a dance on eloquent declarations with appropriately form in which a solo dancer tells and interprets suggestive facial expressions & hand gestures. The stories from mythology. only accompaniments are the cymbals & the Jaipur, Banaras and Lucknow are centres,Sitra known as the mizhavu, made of copper with a Devi, Birju Maharaj, Sambhu Maharaj, Lachhu narrow mouth on which is stretched a piece of Maharaj, Anand Sankar,Durga Das. parchment. Kathakali means a story play or a dance drama. Chhau Katha means story. Belonging to the South-West- With origins shrouded in mystery, the Chhau ern coastal state of Kerala, Kathakali is primarily dancer communicates inner emotions and themes a dance drama form and is extremely colourful through cadences of body flexions, movements with billowing costumes, flowing scarves, orna- and kinetic suggestions. The word Chhau is ments and crowns. The dancers use a specific type interpreted differently by scholars. ‘Shadow’, of symbolic makeup to portray various roles which ‘Disguise’ and ‘Image’ are the most common are character-types rather than individual charac- interpretations due to the extensive use of masks ters. Various qualities, human, godlike, demonic,

17 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. etc., are all represented through fantastic make- nights to unfold the entire story of Lord Krishna, up and costumes. the style is almost akin to Kathakali. The world of Kathakali is peopled by noble he- Kuchipudi roes and demons locked in battle, with truth win- Kuchipudi, like Kathakali is also a dance-drama ning over untruth, good over evil. The stories from tradition and derives its name from the vilage of the two epics, the Mahabharata and the Ramayana, Kuchipudi in the Southern State of Andra Pradesh. as well as the Puranas constitute the themes of In recent years, it has evolved as a solo dance for the Kathakali dance dramas. the concert platform and is performed by women, Vallathol Narayan Menon, Kunju Kurup, Kala though like Kathakali it was formerly the preserve mandalam Krishnan, Shanta Rao. of men. The female roles were enacted by men

Koodiyattam and even today, the tradition boasts of gifted male dancers enacting female roles with such Practised and preserved by the consummate artistry that hardly anyone would community in Kerala, is the oldest notice them as male dancers. surviving link with ancient Sanskrit theatre. A Manipuri precursor of Kathakali drama, Koodiyattam has several conventions which reflect the aesthetic Manipuri dances originate from the North Eastern conventions of the Natyashastra. The stylised state of Manipur and derives its name from its mode of acting, the same character playing native state. Intensely devotional in mood, the different roles, the use of the spoken word akin to Manipuri dances are a part of the daily life of the chanting, stories within stories, flash backs, Manipuri people. Essentially presented as a group improvisations, eye expressions (netrabhinaya), an dance with gorgeous, colourful costumes and extensive gesture vocabulary or ‘hastas’, body gentle, swaying petal-soft movements, Manipuri movements (angika abhinaya) and facial dances create a hypnotic impact. The dances are expressions (mukhajabhinaya), the use of Sanskrit influenced by the religious movement of by the main character and by the court Vaishnavism, the worship of Lord Vishnu, and jester or vidushaka who comments, satirizes and have flowered in exquisite Rasalila performances, ridicules the protagonists... these are the salient the favourite dance in a circle by Krishna with his features of Koodiyattam. milkmaids. Various types of Rasalilas are

Krishnattam performed on special occasions and festivals. It is intended for presentation on eight successive 18 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Mohiniattam Yaksha Gana Mohini Attam as a dance form has developed in This belongs to Karnataka & has a rural origin. It Kerala. Performed by women it has graceful, is an admixture of dance & drama. Its heart lies in gentle bobbing movements. Mohini means an en- Gana meaning music. It is about 400 years old. chantress and a dancer with enchanting move- The language is Kannada & the themes are based ments, dressed in a typical white saree with gold on Hindu Epics. The costumes are almost akin to border, hair gathered in a bun on one side and with the Kathakali ones & the style seems to have golden jewellery epitomises the image of a beau- drawn inspiration from Kathakali. As prescribed tiful maiden. Apparently it resembles the in the Natya Sastra, it has the Suthra Dhara (con- Bharatanatyam dance form but is quite distinct in ductor) & the vidushaka (the Jester). its execution of movements, usage of hand ges- Painting In India tures and its stark, simple costume. The tradition of painting has been carried on in

Odissi the Indian subcontinent since the ancient times. Standing as a testimony to this fact are the Odissi has been revived in the past fifty years and exquisite murals of Ajanta and Ellora, Buddhist can be considered as the oldest classical Indian palm leaf manuscripts, Mughal and Kangra dance on the basis of archival evidence. The form schools of miniature Indian paintings, etc. Infact, belongs to the East Indian state of Orissa. Odissi records have been found that indicate the usage has a close association with the temples and its of paintings for decorating the doorways, guest striking feature is its intimate relationship with rooms, etc. Some traditional Indian paintings, like temple sculpture. Tribhanga, the three-body bend those of Ajanta, Bagh and Sittanvasal, depict a characterises this dance form. It has a vast range love for nature and its forces. of sculptural body movements which gives one With time, Indian classical paintings evolved to the illusion of the sculptures coming to life. become a sort of blend of the various traditions influencing them. Even the folk painting of India It is performed solo & because of its ready mass has become quite popular amongst art lovers, both appeal, it is also known as the poor man’s at the national as well as the international level. Kathakali. Kunjan Nambiar evolved it & brought Most of the folk paintings reflect a heavy influence out the social conditions of his time, the distinc- of the local customs and traditions. In the tions of class & the weakness & whims of the rich following lines, we have provided information on & the great. The dialogue is in simple Malayalam the famous paintings of India: & therefore ensures mass appeal. 19 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Cave Painting Bagh Paintings Cave paintings of India date back to the prehistoric , situated on the banks of the Bagh times. The finest examples of these paintings River, have been excavated on the rock face of a comprise of the murals of Ajanta, Ellora, Bagh, lofty hill. The wall paintings of these caves date Sittanavasal, etc, which reflect an emphasis on back to period between 5th and 7th century. These naturalism. Ancient cave paintings of India serve paintings represent the mast exquisite traditions as a window to our ancestors, who used to inhabit of Indian art form. these caves Sittanavasal Paintings Ajanta Paintings Sittanavasal is the site of an ancient Jain Ajanta caves are located at a distance of Monastery, located at a distance of around 58 km approximately 100 km from the city of from Trichy. The monastery is known for housing Aurangabad. Most of the paintings seen in the some of the most exquisite frescoes in a rock cave. Ajanta Caves, date back to the period of the Most of these cave paintings are based on the Mahayana sect of Buddhism. The themes of most Pandyan period of the 9th century. The themes of of these paintings revolve around the life and these paintings include animals, fish, ducks, teachings of Lord Buddha. This includes the Jataka people collecting lotuses from a pond, two dancing stories related to the various lives and incarnations figures, etc. Apart from that, one can also find of Buddha. Calligraphic lines characterize these inscriptions dating back to the 9th and 10th paintings, which can be classified into portraits, century. The ceiling of the Ardhamandapam is narrative illustrations and ornamental decoration. adorned with murals from the 7th century.. Ellora Paintings Madhubani Painting are nestled amidst the Chamadari Madhubani painting originated in a small village, Hills, lying approximately 18 miles to the known as Maithili, of the Bihar state of India. northeast of Aurangabad city. Paintings can be Initially, the womenfolk of the village drew the found in five caves. However, all of them are today paintings on the walls of their home, as an preserved only in the Kailasa temple. The rock illustration of their thoughts, hopes and dreams. paintings of Ellora were painted in two different series. The first series, which were done when the With time, the paintings started becoming a part caves were carved, revolve around Lord Vishnu of festivities and special events, like marriage. and Goddess Lakshmi. The second series, painted Miniature Painting centuries later, illustrate procession of Shaiva holy Miniatures paintings are beautiful handmade men, Apsaras, etc. paintings, which are quite colorful but small in 20 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. size. The highlight of these paintings is the of the Pahari paintings around the mid-17th intricate and delicate brushwork, which lends them century. Apart from the illustrations of the a unique identity. Bhagavata Purana, Ramayana and Ragamala Mughal Painting series, artists also made paintings on rumal Mughal painting reflects an exclusive combination (coverlets) for rituals and ceremonies. of Indian, Persian and Islamic styles. As the name Chamba Paintings suggests, these paintings evolved as well as Chamba paintings are quite similar in appearance developed during the rule of Mughal Emperors in to Mughal style of paintings, with strong India, between 16th century and 19th century. influences of Deccan and Gujarat style also. The Pahari Painting late 17th century witnessed Chamba paintings of Pahari painting is the name given to Rajput Himachal being dominated by Basohli style, which paintings, made in the in the Himachal Pradesh ultimately gave way to Guler painting tradition. and Jammu & Kashmir states of India. These Garhwal Paintings painting developed as well as flourished during Garhwal Paintings originated in Himachal and the period of 17th to 19th century. Indian Pahadi were first dominated by the Mughal style. Later, paintings have been done mostly in miniature it started reflecting the cruder version of Kangra forms traditions. Types of Pahari Paintings Guler Kangra Style Paintings Basohli Paintings The nature Guler Kangra style of Himachal The town of Basohli is situated on the bank of the developed somewhere around the year 1800. It was Ravi River in Himachal. This town has produced a more naturalized version of painting, with visible splendid Devi series, magnificent series of the difference in the treatment of eyes and modeling manifestations of the Supreme Goddess. Apart of the face. Landscapes were also commonly used from that, it is also known for the magnificent as themes. Along with that, this style also depiction of the Rasamanjari text. Artist Devidasa accentuated the elegance and grace of the Indian painted it under the patronage of Raja Kirpal Pal. women. Gita Govinda of 1730 is also believed to have Jammu Paintings Basohli origin. Geometrical patterns, bright colors Jammu paintings of the late 18th and early 19th and glossy enamel characterize Basohli paintings. century bear a striking similarity to the Kangra Bilaspur Paintings style. Shangri Ramayana of the late 17th and early Bilaspur town of Himachal witnessed the growth 18th century was produced in Jammu itself. 21 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Jasrota Paintings early 17th century. The Mughals ruled almost all Jasrota paintings are mainly found in Jammu and the princely states of Rajasthan at that time and Kashmir and revolve around court scenes, events because of this; most of the schools of Rajput from the life of the kings, allegorical scenes, etc. Painting in India reflect strong Mughal influence Kulu Paintings Schools of Rajput Painting The paintings of Kulu style include a Bhagavata Starting from the 16th century, when the Rajput Purana, two Madhumalati manuscripts, etc. Painting originated, numerous schools emerged, Mandi Paintings including:

Mandi, situated in Himachal, witnessed the · Bikaner School evolution of a new style under Raja Sidh Sen (1684-1727). During that time, the portraits · Bundi-Kota Kalam School depicted the ruler as a massive figure with · Jaipur School overstated huge heads, hands and feet. Other works were characterized by geometric · Kishengarh School compositions and delicate naturalistic details. · Marwar School Mankot Paintings Mankot paintings of Jammu and Kashmir bear a · Mewar School resemblance to the Basohli type, with vivid colors · Raagamala School and bold subjects. In the mid-17th century, Amber and Jaipur portraitures became a common theme. With time, The paintings of Amber and Jaipur show strong the emphasis shifted to naturalism and subdued Mughal influence. However, at the same time, the colors. bold compositions and use of abstractions reflected Nurpur Paintings regional characteristics. The 18th and early 19th Nurpur paintings of Himachal Pradesh usually century saw Rajput paintings illustrating episodes employ bright colors and flat backgrounds. from the life of Krishna. The other popular themes However, in the later periods, the dazzling colors of the 19th century were Ragamala and devotional were replaced by muted ones.. subjects. Rajput Painting Bikaner Rajput painting originated in the royal states of Rajasthani paintings of Bikaner were also based Rajasthan, somewhere around the late 16th and on Mughal tradition. Apart from the Mughal style,

22 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. the paintings of Bikaner also reflect marked theme of this style consisted of the depiction of influence of Deccan paintings. During the late 18th the love between Krishna and Radha. Other century, the city started showing conservative popular themes included the poetry of Sawant Rajput styles with smoothness and abstractions. Singh, Shahnama and court scenes, etc. However, they were devoid of any pomposity and Kishangarh School is best known for its Bani flamboyance. Thani paintings. With the demise of Savant Singh Bundi and his leading painters, this school lost its glory Rajput paintings started originating in Bundi and started breaking down. around the late 16th century and reflected heavy Malwa Mughal influence. Wall paintings, dating back to One of the most conservative Rajput Painting the reign of Rao Ratan Singh (1607-1631), are Schools of the 17th century, Malwa was highly good examples of Bundi style of paintings. The influenced by Chaurpanchasika style. The time of Rao Chattar Sal (1631-1658) and Bhao emphasis was laid on strong colors and bold lines. Singh (1658-1681) saw great emphasis on court At times, one can also observe a remote Mughal scenes as themes. Other themes include those influence on these paintings. based on the lives of nobles, lovers and ladies. Marwar Kota The earliest example of the Rajasthani paintings Kota paintings look very natural in their of Marwar is that of Ragamala, which was painted appearance and are calligraphic in their execution. in Pali in 1623. In the 18th century, the most The reign of Jagat Singh (1658-1684) saw common themes included, the portraitures of vivacious colors and bold lines being used in nobles on horses and darbar scenes. With the portraitures. With the arrival of Arjun Singh (1720- arrival of artists like Dalchand, Marwar paintings 1723), the painting started depicting males with a also started reflecting Mughal influence. long hooked nose. 18th century was also the time Mewar for hunting scenes, Ragamalas, and portraits as Mewar school of Rajput paintings concentrated the themes. Ram Singh II (1827-1866) ordered the on its conservative style, trying to avoid the depiction of worship, hunting, darbar and dominance of the Mughals. The earliest example processions in paintings. of the Mewar School is that of Chawand Ragamala, Kishangarh dating back to 1605. One can observe heavy Kishangarh style of painting was basically a fusion similarity with the Chaurapanchasika style, of Mughal and regional style. The most common 23 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. especially the flatness, the bright colors, and even painting. It is said that the death of a high priest’s common motifs. Towards the end of the 17th son in a particular kingdom led to widespread century and the early 18th century, Mewar style despair. The people of that particular kingdom saw revival and late 18th century again witnessed prayed to Lord Brahma, asking Him to bring the its decline. From mid 19th century to mid 20th boy back to life. Moved by their prayers, Lord century, it continued as a court art. Brahma asked the king to paint a portrait of the Tanjore Painting boy on the floor. Thereafter, He breathed life into Tanjore Painting is one of the most popular forms the portrait and the boy became alive again. It is of classical South Indian painting. It is the native believed that this was how the first Rangoli art form of Thanjavur (also known as Tanjore) city painting got made. of . The dense composition, surface Another legend has it that one day, God, richness and vibrant colors of Indian Thanjavur in one of His artistic spells, extracted juice from Paintings distinguish them from the other types one of the mango trees to be used as paint. He of paintings then used the paint to draw the figure of a beautiful woman. It is said that the painting of the woman Rangoli was so magnificent that it put the heavenly maidens Rangoli, one of the most beautiful and most to shame. Thereafter, Rangoli became a popular pleasing art forms of India, is comprised of two form of women self-portrait. Even Chola rulers words, ‘rang’ meaning ‘color’ and ‘aavalli’ have been known to make quite extensive use of meaning colored creepers’ or ‘row of colors’. Rangoli as floor paintings. It is also said that Rangoli basically comprises of the art of making powder or sand is used for making Rangoli designs designs or patterns on the walls or the floor of the because the combination of the colors and the house, using finely ground white powder along design fragility signifies the impermanence of life with different colors. Numerous households in the and maya. Indian subcontinent make use of Rangoli designs Rangoli Designs & Patterns for decorating the courtyard of their house. The traditional form of Rangoli made use of Origin of Rangoli designs and motifs based on nature, such as mango, There are a number of legends associated with creepers, flowers, swans, peacocks, etc. Even the the origin of the Rangoli art in India. The earliest colors in the traditional art form were extracted mention in regard to this art form is found in from natural dyes, like barks of trees, leaves, Chitralakshana, the earliest Indian treatise on indigo, etc. However, the practice is not much in 24 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. use now. These days, synthetic dyes have more or the festival. It signifies that the people coming to less replaced the natural dyes of the earlier times. the house are welcome inside. The materials used in the Rangoli patterns of today Rangoli in Different States give either a very flat appearance or a 3-D effect. Rangoli art is known by different names in Rangoli designs used presently include, different parts of the country, such as: geometrical patterns, the swastika, lotus, trident, · Chowkpurana (Uttar Pradesh) fish, conch shell, creepers, leaves, trees, flowers, animals, etc. · Madana (Rajasthan)

Making of the Rangoli · Muggu () Usually, the colors used for making Rangoli comprises of a coarse grained-powder base into · Rangoli (Gujarat, Karnataka and which other colors are mixed. However, one can Maharashtra) also make use of colored powder for impressive In the northern parts of India, Rangoli designs are decorations. It is best to make Rangoli on a coarse made with traditional wet colors. On the other base, such as sand, marble dust, saw dust, etc, as hand, in the southern parts of the country, Rangoli it provides a good grip and at the same time, one patterns drawn with the help of powder colors are is able to sprinkle colors with greater control. The more common. colors used are, by and large, very fine pigment Alpana (Bengal) powders like gulal or aabir. Alpana, the form of Rangoli practiced in Bengal, One can also try colored powders used at home, like indigo and spices like rawa, turmeric, rice is a natural representation of the artistic sensibility flour, wheat flour, etc. Whatever design you decide of the people. Practiced usually by the womenfolk to draw, make sure that it is an unbroken line, with of the state, the art form represents an no gaps in between. It is said that a broken line amalgamation of the past experience as well as gives an opportunity to the evil spirits to gain entry the contemporary designs. Even though the basic inside the home. designs are more or less same, new forms and new Rangoli and Diwali colors are being tried on a large scale. Rangoli occupies a special place in the festival of Aripana (Bihar) Deepawali or Diwali. Since, the art form is an Aripana art form is a variation of the Rangoli, expression of warm hospitality, it is used by almost practiced in the Bihar. It usually comprises of line everyone to decorate his or her courtyard during drawings, illustrated on the floor of the house. 25 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Aripana patterns are a part of each and every received global recognition also and their paintings auspicious ceremony in Bihar, be it a puja, a vrata have fetched millions of dollars in international (fast) or a samskara (mundan, vivah, yajnopavita, auctions. From the paintings revolving around etc). On the eve of a ceremony, Aripana designs religious topics to the abstract ones, Indian painters are prepared in the courtyard, on the door front have covered almost each and every arena. In the and a number of other places. following lines, we have provided information Kolam (Kerala and Tamil Nadu) about the famous painters of India: Kolam is the name given to the art of Rangoli in Abanindranath Tagore southern parts of the country, mainly the states of Abanindranath Tagore, the nephew of Kerala and Tamil Nadu. The Hindus residing in Rabindranath Tagore, was born on 7th August these parts make use of this art form on a large 1871. He was one of the most prominent artists of scale. The female members of the house usually the Bengal school of painting, along with being draw Kolam designs in front of their homes, with the first major supporter of swadeshi values in the the help of rice powder. Indian art. Aipan Amrita Shergill Aipan is one of the traditional forms of Rangoli, Amrita Shergill, one of the most famous painters practiced in the state of Uttarakhand, now of India, was born on 30th January 1913 in Uttaranchal. The art is associated with a great Budapest city of Hungary. Her father, Umrao Singh degree of social, cultural as well as religious Shergill Majithia was a Sikh aristocrat, who was significance. In Uttarakhand, Aipan designs are a scholar in Sanskrit. Her mother was a mainly drawn at places of worship, along with the Hungarian singer, Marie Antoinette Gottesmann. main entry door and the front courtyard of the F.N. Souza house. Francis Newton Souza was born in the year 1924 Indian Painters in Saligao, a small town in the state of Goa. Indian subcontinent is famous for being the home Tragedy struck him at a very young age, when he country of a large number of exceptionally brilliant lost his father. He was also bogged down by a artists, including painters, writers, singers, etc. The serious attack of small pox. Such incidences art of painting in India dates back to the ancient provoked him to create his own niche in this world. times, as is evident from the cave paintings of Jamini Roy Ajanta and Ellora. Many painters of India have Jamini Roy was one of the greatest painters of the 20th century. He was born in the year 1887, at 26 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Beliator village in Bankura district of Bengal. His into one. Rabindranath Tagore started composing father, Ramataran Roy, was a middle class man art works at a very tender age. who resigned from government service to pursue Raja Ravi Varma his interest in art. Raja Ravi Varma was born on 29th April 1848, in Jatin Das Kilimanoor, a small town of Kerala. He is known Jatin Das was born in the year 1941 in the for his amazing paintings, which revolve mainly Mayurbhanj district of Orissa. He is counted around the great epics of Mahabharata and amongst the most creative artists of India and is Ramayana. proficient in painting, graphic art, sculpture, Satish Gujral murals and even poetry. Jatin Das received training Satish Gujral is one of the greatest as well as the in the field of art at Sir J. J. School of Art in most versatile artists of the Indian subcontinent. Bombay. He is known for making some of the most exquisite M.F. Hussain paintings, graphics, murals and sculptures, apart M.F. Hussain, or Maqbool Fida Hussain, was born from indulging in architecture and interior on 17th September 1915 in Pandharpur town of designing. Maharashtra. He is one of the most famous artists S.H. Raza of India, both at the national as well as the S.H. Raza was born as Syed Haider Raza in the international level. year 1922, in the state of Madhya Pradesh. One of Nandlal Bose the most distinguished artists of the Indian Nandlal Bose was born in December 1882 in subcontinent, Raza has been settled in France since Bihar. A protégé of Havell and Abanindranath, he 1950. However, his ties with India remain as strong is today regarded as one of the most prominent as ever. artists of the modern India. Nandlal Bose attended Calcutta Government College of Art between 1905 Tyeb Mehta and 1910. One of the internationally recognized artists of Rabindranath Tagore India, Tyeb Mehta is a multitalented individual. Rabindranath Tagore was a multitalented Apart from being an exceptionally good painter, personality. He was a Bengali poet, a Brahmo he is also a brilliant filmmaker Samaj philosopher, a visual artist, a playwright, a a small village, known as Maithili, of the Bihar novelist, a painter and a composer, all combined state of India. Initially, the womenfolk of the village drew the paintings on the walls of their 27 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. home, as an illustration of their thoughts, hopes · Brocade works are called Amru in pure and dreams. With time, the paintings started silk and lavish women flowers are becoming a part of festivities and special events, Kimkhab. Important centres – , like marriage. Murshidabad, Surat, Thanjavur. CRAFT · Block printing has best known varieties Handicraft as Palampore and Machilipatnam. Three prominent categories - · Tie and Dye (Chunari and Charcola) are 1. Metal Work excellently developed in Sanganer and 2. Pottery and Terracota Gujarat. 3. Marble and stone carving. · Embroidery work includes Batik Metal work includes (Masilipatnam), Kantha (Bengal), - Metal casting sculpture (Chamba) Pichwais (Nathwara), Patta Chitra - Bell Metal work (Kamrup, Ratna) (Orissa), Kathiawari (Gujarat), Ruman - Silver work (Vadodara) (Chamba), Chikan (Lucknow), Naga - Masks in sheet metal works (elhi) shawl, Chain stitch Handicraft (Kutch). - Art metal ware (Chandigarh) Archaeological Survey At present there are 44 Pottery and terracotta work includes site museums under the control of Archaeological - Kagzi (soft clay) work – Alwas Survey of India with its head office in New Delhi - Clay images – Kolkata under the Director (Museums) assisted by one - Blue pottery – Jaipur Superintending Archaeologist (Museum). - Black pottery – Azamgarh The Epigraphy Branch, Mysore continued its - Terracptta – Bankura, Gorakhpur extensive epigraphical survey, copying, - Camel hide work – Bikaner deciphering and publishing inscriptions in Sanskrit Marble and stone carving works are largely and Dravidian languages during the year. The centred in Jaipur and Agra. technical staff of Epigraphy Branch, Mysore Stone carving – Chennai, Hyderabad, Agra visited Chittoor and Ananthpur Districts in Andhra Ivory work – Hoshiarpur Pradesh; Hassan, Mandya and Districts · In the Handloom category, the prominent varieties includes – in Karnataka; Vellore, Nagapattinam, Thanjavur · Patola work in silk has Cambay and, and Tiruviramesvaram districts in Tamil Nadu; Pattan pattern is largely centred in Gorakhpur, Basti and Faizabad districts in Uttar Gujarat. Pradesh, discovered and copied 13 inscriptions. 28 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. Archeological Survey of India is the nodal The Archaeological Survey of India, an attached agency on behalf of Government of India for Office of the Ministry of Culture coordinates the World Heritage related matters. Apart from submission of dossiers for inscription on the World rendering technical advice from time, World Heritage List as well as other matters related to Heritage Section coordination with the various the Convention. At present India has 28 sites on Ministers (Central and State), UNESCO offices the World Heritage List. (Paris and New Delhi), World Heritage Centre and These are- PRI to UNESCO. World Heritage List of (i) Agra Fort UNESCO. (ii) Ajanta Caves Jantar-Mantar, Jaipur is the latest site under (iii) Buddhist Monuments at Sanchi Cultural Category inscribed on the World (iv) Champaner-Pavagadh Archeological Park Heritage List in July, 2010 during 34th Session of (v) Chhatrapati Shivaji Terminus the World Heritage Committee Meeting, held (vi) Churches and Convents of Goa on July 25 to August 3, 2010-at Brasilia. (vii) Elephanta Caves Currently the ‘Hill Forts of Rajastahn’ is under (viii) Ellora Caves consideration of the World Heritage Committee (ix) Fatehpur Sikri for inscription in the World Heritage List. In (x) Great Living Chola Temples January 2012, Oqtab Shahi Monuments of (xi) Group of Monuments at Hampi Hyderabad and Great Himalayan National Park (xii) Group of Monuments at Mahabalipuram were submitted by India to UNESCO. (xiii) Group of Monuments at Pattadkal World Heritage Convention: India ratified the (xiv) Humayun’s Tomb, Delhi. ‘World Heritage Convention’ in the year 1977. So (xv) Kazranga National Park far 188 countries have either ratified or approved (xvi) Keoladeo National Park the Convention. This Convention links the (xvii) Khujuraho Group of Mouments concepts of nature conservation and the (xviii) Bodh Gaya preservation of cultural properties.There are (xix) Manas Wildlife Sanctuary currently 936 properties on this list, which (xx) Mountain Railways of India includes of 725 cultural, 183 natural and 28 mixed (xxi) Nanda Devi & Valley of Flower properties in the territory to be considered for (xxii) Qutab Minar inscription on the World Heritage List. (xxiii) Red fort Cpmplex (xxiv) Rocak Shelter of Bhimbetka 29 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. (xxv) Sun Temple, Konark drawn up by UNESCO. India has eight items on (xxvi) Sunderbans National Park this List: (xxvii) Taj Mahal (i) The tradition of Vedic Chanting (xxviii) Jantar Mantar, Jaipur (ii) Kutiyattam: Sanskrit Theatre (iii) Ramlila: the traditional performance of the India submitted ‘Santiniketan’ and ‘Western Ramayana Ghats’ (sub-cluster nomination) for inscription on (iv) Ramman: Religious Festival and ritual the World Heritage List. In 2011, India has theatre of the Garhwal submitted three items for inscription on the World (v) Novrouz Heritage List. These are Great Himalayan National (vi) Kalbelia: folk songs and dances, Rajasthan Park, Qutb Shahi Tombs of Hyderabad (3 sites) (vii) Mudiyettyu: Ritual Theatre and and Hill Forts of Rajasthan (5 sites).These Dance,Kerala submissions are under consideration in UNESCO. (viii) Chhau dance Convention for the Promotion and The National School of Drama is one of the Safeguarding of the Intangible Cultural foremost theatre training institutions in the world Heritage: and only one of its kind in India. It was set up by India ratified the UNESCO Convention for the the Sangeet Natak Academy in 1959 Safeguarding of Intangible Cultural Heritage as one of its constituent units in India and became (ICH) in the year 2005. So far 142 countries have an independent entity in 1975. ratified or approved the Convention. India Sahitya Akademi is a national organization which participates regularly in the various meetings of strives to work actively for the development of the Convention. The Convention seeks to Indian letters and set high literary standards to safeguard and ensure respect for ICH of the foster and coordinate literary activities in all the communities/groups/individuals concerned as Indian languages and to promote through them the well as to raise awareness of its importance and cultural unity of the country. The Sahitya Akademi to provide for international cooperation and maintains a unique multi-lingual library at Delhi assistance for these items of heritage. One of the with books in English and Indian languages. activities of the Convention relates to drawing up Lalit Kala Akademi, National Academy of Art, of a Representative List of ICH. So far, a New Delhi, was set up by the Government of India Representative List of 232 items of ICH has been as an autonomous body, on August 5, 1954.

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Sangeet Natak Akademi – The National Rajiv Gandhi. The key objectives of the Centre is Academy of Music, Dance and Drama – was to preserve, innovate, promote and disseminate the established by a Resolution of the Ministry of arts of Jammu and Kashmir, Haryana, Himachal Education, Government of India on May 31, 1952 Pradesh, Punjab, Rajasthan, Uttrakhand and the and was inaugurated on January 28, 1953 by the Union Territory of Chandigarh under the broad first President of India, Dr. Rajendra Prasad. disciplines of Sangeet (Music), Natak (Theatre), West Zone Cultural Centre (WZCC) with its Lalit Kala (the field of visual arts such as paintings, headquarters at Udaipur in Rajasthan is one of the sculptures, graphics, photography, ceramics and seven Zonal Cultural Centres set up in February other allied arts) and Sahitya 1986 under the direct initiative of the Ministry of ‘Minjar Mela’ at Chamba (Himachal Pradesh) Human Resource Development, Government of ‘Shravni Mela’ at Jogeshwar (Himachal Pradesh) India. ‘Navi Saver’ at different villages of Patiala district Nariyal Purnima, Daman and Silvassa (UTs) (Punjab) Pushkar Fair, Pushkar Chhinj Mela’ at Babehali village of Gurdaspur Tarpa Festival, Silvassa (U.T.) district (Punjab) Ganeshotsav, Goa Kinnaur Mahotsav’ at Recong Peo (Himachal Natyotsav - Theatre Festival, Curchorem (Goa) Pradesh) Rangshala – Monthly Theatre Shows, Udaipur The South Zone Cultural Centre (SZCC) takes (Rajasthan) up programs on its own based on necessity and Balotsav, Goa sponsors programs to various cultural Shilpgram Utsav 2010, Udaipur organizations and temples. The South Zone Saptrang- Lok Tarang – 2010 (Commonwealth Cultural Centre, Thanjavur and Art and Culture, Games 2010, Delhi) Government of Puducherry jointly organized the Beach Festival, Diu Poet Bharathidasan Vizha at Kumba Kalai Diu Festival, Diu Arangam, Puducherry on April 29, 2010. Martial Arts Festival, Madgaon South Zone Cultural Centre, Thanjavur presented colourful and vibrant North Zone Cultural Centre, an autonomous traditional art forms as detailed below: body under the Ministry of Culture, Government 1) Thappattam Kolattam Dance Tamil Nadu of India, was inaugurated in November 1985 by 2) Dhollu Kunitha Karnataka the then Prime Minister of India, Late Sh. 3) Kerala 31 IAS ART AND Ultimate Learning Experience (P) LTD GS TSP 2014 DIRECTION STUDENTS ONLY CULTURE INSTITUTE FOR IAS EXAM. 4) Mathuri Andhra Pradesh Tagore in a befitting manner. The National 5) Veera Bathara Karnataka Committee is to consider policies and lay down 6) Kathakali Kerala guidelines for the Commemorations. The National 7) Karagam & Kavadi Tamil Nadu Committee held its first meeting on 20th May, 8) Chandamelam Kerala 2010. On 9th May, 2010, the Hon’ble Prime Eastern Zonal Cultural Centre organized a Minister inaugurated a specially curated Tagore programme by Gurus and Sishya under the scheme painings Exhibition at the National Gallery of “Guru Sishya Parampara” at Srijani, Modern Art, New Delhi. On the same day the Lalit Shantiniketan. At present the following art forms Kala Akademi, and are included under Guru Sishya Parampara SAhitya Akademi jointly organized a cultural Scheme: programme. “Rabndra Pranati”, based on Tagore’s No. Name of the Gurus Art forms State works, at the premises of the Sangeet Natak 1.Arjun Borba Korba Dance Jharkhand Akademi, New Delhi where the Hon’ble Finance 2. Somra Tirki Data Nritya Jharkhand Minister released a special Rs. 150 3. Krishna Tamang Flute Instrument Sikkim commemorative coin. 4. Kishore Thapa Instrument Sikkim All India Library : 5. Ram Kumar Mallik Drupad Dhamar Bihar Raja Rammohun Roy Library & Foundation, 6. Sona Devi Godna geet Bihar New Delhi Gandhi Smriti and Darshan Samiti, New Delhi 7. Kamla Das Gajir Pot Tripura Inauguration of Weaving Centre at Changangei 8. Saran Molsom Dance & Song Tripura Uchekkon (Imphal West, Manipur) 9. Dinabandhu Sarma Nangeli Geet Assam Maulana Abul Kalam Azad Institute of Asian 10. Monranjan Roy Puppetry Assam Studies, Kolkata 11. Daya Nayak Singha Nrutya Orissa Indira Gandhi Rashtriya Manav Sangrahalaya, 12. Arjun Sabar Soura Nrutya Orissa Bhopal 13. Dibakar Soren Santhal Natua West Bengal The Centre for Cultural Relations and Traning 14. Taran Singha Lahankari West Bengal (CCRT), New Delhi Rabindranath Tagore A National Committee Central Reference Library, Kolkata National Library, Kolkata under the Chairmanship of Hon’ble Prime Eastern Zonal Cultural Centre, Kolkata Minister has been constituted on 27th April, 2010 North Central Zone Cultural Centre, Allahabad with various dignitaries to commemorate the 150th West Zone Cultural Centre, Udaipur Birth Anniversary of Gurudev Rabindranath South Central Zone Cultural Centre, Nagpur 32