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Ancient Indian Art – a Formal Analysis Dr
Ancient Indian Art – A formal analysis Dr. Uma Chakraborty ABSTRACT Distinctive artistic activity in ancient India began with Harappan miniature art pieces. An art, monumental in conception and precise in execution is noticed in the Mauryan period.The native style of simplicity and folk appeal is best represented in the narrative Sunga art which forms a treasure house of fables, visually represented.The Kushana sculptures fostered a mixed culture with Graeco-Roman affiliation.The sensuous sculptural art that bloomed at Amaravati and Nagarjunikonda display a mastery in detailed ornamentation.The human figure, the pivot of Gupta sculpture expressed a characteristically refined taste and charm .The synthesis culminated in the Pala-Sena period is a fusion of classical mannerism with the indigenous style of Bengal. The magnificent open air bas-relief sculpted out of rockat Mahabalipuram glorifies Pallava art. Casting of bronzes under the imperial Cholas was an age of refinement of Dravidian art.This innovation and creativity exerted lasting influence on the art movement that glorify our cultural past. Key words : Art, sculpture, relief, terracotta, bronze, Introduction Art forms are expression of people belonging to different cultural and social groups. History of Indian art begins with the pre-historic cave paintings. It is considered as an evidence of a creative explosion when the minds of ancient humans became fully developed. Generally speaking Indian art is an anonymous art, as the sculptor or the artist never sought to glorify himself. He always gave his best as a humble offering to his patron, the king or exercised his imaginative impulse through his creations. -
Unit 26 Art and Architecture
UNIT 26 ART AND ARCHITECTURE Structure Objectives Introduction Background Architecnrre 26.3.1 Residential Architecture 26.3.2 Temples and Towers 26.3.3 Stupas 26.3.4 Rock-cut Architecture Sculptural Art 26.4.1 Gandhara School 26.4.2 Mathura Art 26.4.3 Amaravati Art Let Us Sum Up Key Words Answers to Check Your Progress Exercises 26.0 OBJECTIVES After reading this unit you will be able to : familiarise yourself with important trends of art and architectural activities between 200 B.C. to 300 A.D. learn about the techniques and styles adopted in the fields of architecture and sculpture, distinguish between the major characteristics and forms of the Gandhara, Mathura and Amravati schools of art, and learn about the impact of religious and social conditions on art and architecture of the period. 26.1 INTRODUCTION In some of the earlier Units (Nos. 3, 10, 11) we have seen how artistic forms had started emerging and to what extent they reflected the culture of a period. Works of art which were related to work processes of daily life and were not exclusively produced for a previleged group of society were many. They are found in the forms of rock paintings, terracotta figurines, toys, etc. Gradually works of art, manufactured by specialist craftsmen, came to be produced for exclusive purposes. The Mauryan period witnessed production of splendid specimens of art by the state. With the emergence of social groups who could extend substal patronage for production of specimens of art, new trends in art activities came about. -
Strategic Elements of Aramas
IJRET: International Journal of Research in Engineering and Technology eISSN: 2319-1163 | pISSN: 2321-7308 STRATEGIC ELEMENTS OF ARAMAS Partha Sarathi Mishra1, Ravindra Patnayaka2 1Assistant Professor, GITAM School of Architecture, GITAM University, Andhra Pradesh, India 2Assistant Professor, GITAM School of Architecture, GITAM University, Andhra Pradesh, India Abstract This paper focuses on selection criteria for strategic location of Buddhist monasteries that influence their way of living. Many physical components influences the livability and in the creation of serene environments. Buddhist history depicts the way of life of Bhikshu-samuha relied upon concentrating and vitalizing their senses in isolation through Ayatana, thus inferring undisturbed abodes. So, Sangha - Dharma had its implications in forming their functional living spaces. So the site selection criteria for Aramas have specific considerations such as: Water as an element control the human emotions and regulates materialistic and non-materialistic aspects. Another element which is nature’s canvas dealing with articulation of built spaces along with its magnificent scenic backdrop. Vista as an element gives us an idea of creating a platform for admiring the available panoramic view for regulating emotional and spiritual conscience. Further, Interaction spaces concentrate on creating a common platform for learning, performing prayers, meditation and social sharing. This paper explains these parameters of selection criteria for site selection through some case studies and -
On the Rock-Cut Temples of India
Journal of the Royal Asiatic Society of Great Britain & Ireland http://journals.cambridge.org/JRA Additional services for Journal of the Royal Asiatic Society of Great Britain & Ireland: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Art. II.—On the Rock-Cut Temples of India James Fergusson Journal of the Royal Asiatic Society of Great Britain & Ireland / Volume 8 / Issue 15 / January 1846, pp 30 - 92 DOI: 10.1017/S0035869X00142728, Published online: 14 March 2011 Link to this article: http://journals.cambridge.org/ abstract_S0035869X00142728 How to cite this article: James Fergusson (1846). Art. II.—On the Rock-Cut Temples of India. Journal of the Royal Asiatic Society of Great Britain & Ireland, 8, pp 30-92 doi:10.1017/S0035869X00142728 Request Permissions : Click here Downloaded from http://journals.cambridge.org/JRA, IP address: 130.159.70.209 on 09 Apr 2015 30 ABT. II.—On the Bock-Cut Temples of India, by JAMBS FERGUSSON, ESQ. Read, December 5, 1843. THERE are few objects of antiquarian research that have attracted more attention from the learned in Europe, than the history and pur- poses of the Cave Temples of India, but if we except the still unex- plained antiquities of Mexico, I know none regarding which so little that is satisfactory has been elicited, or about which so many, and such discordant opinions exist: and while the age of every building of Greece and Rome is known with the utmost precision, and the dates of even the Egyptian monuments ascertained with almost -
Aspects of Ancient Indian Art and Architecture
ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE M.A. History Semester - I MAHIS - 101 SHRI VENKATESHWARA UNIVERSITY UTTAR PRADESH-244236 BOARD OF STUDIES Prof (Dr.) P.K.Bharti Vice Chancellor Dr. Rajesh Singh Director Directorate of Distance Education SUBJECT EXPERT Dr. S.K.Bhogal, Professor Dr. Yogeshwar Prasad Sharma, Professor Dr. Uma Mishra, Asst. Professor COURSE CO-ORDINATOR Mr. Shakeel Kausar Dy. Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301 -
February 2021
Current Affairs – February, 2021 1 Art and Culture Madhya Pradesh Government Organises Kamdani: “Raag-Bhopali” Exhibition ♦ This is lighter needlework done on more Why in the news? lightweight materials such as scarves, veils, The Madhya Pradesh Government is organizing the and caps. ‘Raag-Bhopali’ exhibition to promote Zari-Zardozi Mina work: crafts of Bhopal. ♦ It is called because it is similar to enamel Important Points: work. ● The exhibition will be organized at Gauhar ♦ The embroidery is done in gold. Mahal in Bhopal. Ramateertham Temple ● This will give impetus to the ‘Ek Zila- Ek Why in the news? Shilp’ campaign of Madhya Pradesh. A 400-year-old idol of Lord Rama has been van- ● The main zari production Centre is Bhopal, dalised at the Ramateertham temple in Andhra Madhya Pradesh. Pradesh’s Vizianagaram. ● Embroidery done with metal thread is called This has given rise to political unrest in Andhra kalabattu and forms zari. Pradesh. ● Here, the metal ingots are melted into a metal rod called pasa, which is beaten to obtain a certain length after processing. ● Then pull it through a steel plate with holes to make it into a wire, and then perform the Tarkashi process to make it thin through a rubber and diamond mold. ● The last stage is called badla, where the wires are flattened and twisted with silk or cotton thread to form Kasab or kalabattu. Types of Zari Work: Zardozi: ♦ This is a heavy and delicate embroidery Important Points: work, using various gold threads, spangles, ● Ramateertham temple is a 16th-century temple. beads and gota. ● The temple is 12 kilometres away from Vizian- agaram. -
Buddhist Art in India
Buddhist Art in India Radha Banerjee Indian art is an expression of Indian life and thought attuned to its vast natural background and its socio- religious traditions. It is not exclusive or sectarian in the narrow sense of the term. Its style, technique or general tenor has nothing to do with any particular religious outlook. It is fed and fostered upon a vast store-house of Indian traditions, symbols and designs. The term Hindu, Jaina or Buddhist art is but a popular nomenclature to distinguish one group of monuments, including painting, cave-temples and architecture, etc., from another stand point of the predominance of one or the other religious theme. Hence, by Buddhist art is meant popularly those monuments and paintings which have for the main purpose the edification or popularization of Buddhism. Fortunately enough in India and outside where Buddhism did exist, or still exists, there are innumerable monuments representing different phases of Buddhism and these help us to visualize the trend of Buddhist art through the ages. In Buddhist legends and Mythology, Gautama Buddha has been represented as superior not only to the popular cult divinities of the soil, such as the Yakshas, Nagas, etc. but also to Indra, Brahma and others of the earlier Brahmanical pantheon. Everything with him has been described as transcendental. This is amply represented in Buddhist art. The Early Symbols and their evolution Buddhist art reflects very faithfully all the important aspects of Buddhism. In primitive Buddhism, Gautama Sakyamuni has been regarded as an ideal human being and quite naturally we find that the early Buddhist art of Bharhut, Sanchi, Bodh-Gaya and Amaravati and other places shows no anthropomorphic representation of the Master. -
BANARAS HINDU UNIVERSITY Department of History of Art Faculty of Arts B.A
BANARAS HINDU UNIVERSITY Department of History of Art Faculty of Arts B.A Guidelines Admission to B.A. Course (I Semester) in History of Art shall be open to candidates as per university rules. B.A. in History of Art is of 6 Semester Course. A student is required to earn 60 credits to have a B.A. degree in History of Art. There shall be following course category offered to the students: • Core Course 08 of 3 credits =24 credits (I to IV Sem.) • Core Course 08 of4credits =32credits (V & VI Sem.) • Core Course 01 of 4 credits =04credits (VI Sem.) (Field study Project/Dissertation) Total =60 credits Thus, the total number of courses will be: 17 Keeping in view the spirit of the subject, the exposure to Cultural studies, Museums or any Field Study Programme will be beneficial to the students. Therefore a course of Field Study Project Report/Dissertation is introduced, which will be submitted in the end of sixth semester followed by viva voce. The Viva-voce for the Field Study Project Report/Dissertation will be conducted for the students of VI Semester. The Board of Studies empowers the Internal members of the Board of Studies of History of Art to update/modify the syllabus as per the need of the subject and the faculty members, to maintain the true spirit of the semester system, and the need of the Department. As per the university guidelines, the Internal members of Board of Studies may add new papers to fulfil the required 60 credits. All the Core courses proposed by the Department are as follows: BANARAS HINDU UNIVERSITY Department of -
INTACH Efforts to Protect Buddhist Site
INTACH Efforts to Protect Buddhist Site drishtiias.com/printpdf/intach-efforts-to-protect-buddhist-site Why in News The Indian National Trust for Art and Cultural Heritage (INTACH), heritage lovers and officials have almost stopped the stone-pelting ritual at Bojjannakonda, a famous Buddhist site at Sankaram, near Visakhapatnam, Andhra Pradesh. On the Kanuma day during Sankranti, the villagers used to pelt stones at a belly- shaped object, believing it to be a part of a demon. Kanuma Day It is an important day during the Pongal and Sankranti festivals, which are both ancient harvest festivals that take place in mid-January, celebrating the movement of the sun reversing, marking the start of the end of winter. In Andhra Pradesh, the Kanuma festival is celebrated on the third day of the four- day Sankranti festival. It is an important festival of Telugu people and is dedicated to cattle and other animals that are an important part of the rural economy in Andhra Pradesh. 1/2 Key Points The main stupa is carved out of rock and then covered with bricks, with a number of images of the Buddha sculpted on the rock face all over the hill. Bojjannakonda and Lingalametta are the twin Buddhist monasteries dating back to the 3rd century BC. At Lingalametta, there are hundreds of rock-cut monolithic stupas in rows. These sites have seen three forms of Buddhism- Theravada period: when Lord Buddha was considered a teacher. Mahayana: where Buddhism was more devotional. Vajrayana: where Buddhist tradition was more practised as Tantra and esoteric form. The name Sankaram is derived from the term, ‘Sangharama’. -
Rock Art Research: Changing Paradigms
IFRAO Report No. 31 The Rock Art Society of India (RASI) in collaboration with The Archaeological Survey of India (ASI) will hold The RASI-2004 International Rock Art Congress, Agra nominated as The Tenth Congress of The International Federation of Rock Art Organisations (IFRAO) 28 November to 2 December 2004 Rock Art Research: Changing Paradigms Academic Committee Robert G. Bednarik, Australia; S. P. Gupta, India; Joerg Hansen, France; V. N. Misra, India; R. S. Bisht, India; Jack Steinbring, U.S.A.; R. K. Sharma, India; Jean Clottes, France; R. C. Agrawal, India; Fidelis T. Masao, Tanzania; Pisit Charoenwongsa, Thailand; Rakesh Tewari, India; Majeed Khan, Saudi Arabia; Jean-Loïc Le Quellec, France; K. K. Chakravarty, India; Mario Consens, Uruguay; G. L. Badam, India; Yann-Pierre Montelle, U.S.A.; Paul S. C. Taçon, Australia; Yashodhar Mathpal, India; Thomas Wyrwoll, Germany; Ashvini Kumar Sharma, India; Paul Faulstich, U.S.A.; Sadashib Pradhan, India; Alan Watchman, Australia; R. K. Chaudhury, India; Mila Simões de Abreu, Portugal; S. B. Ota, India; B. K. Swartz, Jr., U.S.A.; Graeme K. Ward, Australia; V. H. Sonawane, India; Matthias Strecker, Bolivia; Jane Kolber, U.S.A.; Dario Seglie, Italy; Alok Tripathi, India; Kevin Sharpe, United Kingdom; and Giriraj Kumar, India. Organising Committee S. P. Gupta, V. N. Misra, R. C. Agrawal, Giriraj Kumar, G. L. Badam, Ashvini Kumar Sharma, V. H. Sonawane, S. Chakraverty, R. K. Sharma, Amrendra Nath, K. P. Punacha, B. R. Mani, D. Dayalan, Ragni Roy, N. S. Bhatt, R. K. Agrawal, Munishwar Gupta, S. Pradhan, Dilip Padhi, S. B. Ota, K. K. -
Buddhist Tourism Report
TOWARDS SUSTAINABLE SPIRITUALISM Buddhist Tourism - Linking Cultures, Creating Livelihoods TITLE TOWARDS SUSTAINABLE SPIRITUALISM: Buddhist Tourism - Linking Cultures, Creating Livelihoods YEAR September, 2014 AUTHORS Public and Social Policies Management (PSPM) Group, YES BANK No part of this publication may be reproduced in any form by photo, photoprint, COPYRIGHT microfilm or any other means without the written permission of YES BANK Ltd. & ASSOCHAM. This report is the publication of YES BANK Limited (“YES BANK”) & ASSOCHAM and so YES BANK & ASSOCHAM has editorial control over the content, including opinions, advice, statements, services, offers etc. that is represented in this report. However, YES BANK & ASSOCHAM will not be liable for any loss or damage caused by the reader's reliance on information obtained through this report. This report may contain third party contents and third-party resources. YES BANK & ASSOCHAM takes no responsibility for third party content, advertisements or third party applications that are printed on or through this report, nor does it take any responsibility for the goods or services provided by its advertisers or for any error, omission, deletion, defect, theft or destruction or unauthorized access to, or alteration of, any user communication. Further, YES BANK & ASSOCHAM does not assume any responsibility or liability for any loss or damage, including personal injury or death, resulting from use of this report or from any content for communications or materials available on this report. The contents are provided for your reference only. The reader/ buyer understands that except for the information, products and services clearly identified as being supplied by YES BANK & ASSOCHAM, it does not operate, control or endorse any information, products, or services appearing in the report in any way. -
Syllabus Subtopic: Indian Culture Will Cover the Salient Aspects of Art Forms, Literature and Architecture from Ancient to Modern Times
13 January, 2020 Syllabus subtopic: Indian culture will cover the salient aspects of Art Forms, Literature and Architecture from ancient to modern times. Prelims and Mains focus: about the ritual and the Buddhist sites associated; about INTACH and its role in conserving Indian heritage News: After a sustained campaign, heritage lovers and officials have been successful in almost stopping the stone-pelting ritual at Bojjannakonda, a famous Buddhist site at Sankaram, 3.5 km from Anakapalle and 41 km from Visakhapatnam. About the ritual on Kanuma day The villagers, as a part of an ancient ritual, would throw stones at a belly- shaped object at the site, believing it to be a part of a demon. About the Buddhist sites Bojjannakonda and Lingalametta are twin Buddhist monasteries dating back to the 3rd century BC. These sites have seen three forms of Buddhism — 1. the Theravada period when Lord Buddha was considered a teacher; 2. the Mahayana, where Buddhism was more devotional; and 3. Vajrayana, where Buddhist tradition was more practised as Tantra and in esoteric form. The name Sankaram is derived from the term, ‘Sangharama’. The site is famous for many votive stupas, rockcut caves, brickbuilt edifices, early historic pottery, and Satavahana coins that date back to the 1st century AD. The main stupa was carved out of rock and then covered with bricks, and a number of images of the Buddha are seen sculpted on the rock face all over the hill. At the nearby Lingalametta, one can see hundreds of rockcut monolithic stupas in rows. Efforts of NTACH to protect the site from damage Following the intervention of the Indian National Trust for Art and Cultural Heritage (INTACH), the practice carried out on the Kanuma day during Sankranti has almost been done away with.