Page 2 :
INRTODUCTION, ❖, , A sculpture is a three dimensional form of visual art. It includes the art of carving,, constructing, casting or moulding in stone, wood, metal, fibre, etc., , ❖, , Nearly everyone who visits India or South India in particular, returns with an impression that it is a land of, temples. South India is dotted with a great number of temples; many of them are ancient and have, become places of pilgrimage. Apart from the cities, a good number of towns or villages have two or more, temples each. The temples believed to be the home of the God are spots of great admiration. Through the, temple, men try to give their religious beliefs a visual form to satisfy their sense of understanding. As a, result the temples tend to become aesthetic description of all religious symbols associated with it., , ❖, , Indian sculpture was mainly meant for temple ornamentation in the ancient and medieval period. It was a, gradual evolution starting from the rock cut-cave temples to huge rathas which finally led to the large scale, structural temples. It all began with the Gupta age (4th-6th century) though we have found evidences of such, shrines before that also. By the advent of 8th century this temple building took off all over India. Palas in the, east, Cholas and Pallavas in the south, Rashtrakutas and Chandellas in the central India built temples of, various architectural styles from 8th to 10th century. After this, temples were built in Vijaynagar, Mysore,, Rajasthan, Bengal and Orissa till 12th c. AD. In short, the great era of temple building, started at about 500 AD, and reached its climax in the great temple in Madurai (Minakshi Temple) and Rameshvaram (Rameshvaram, Temple) for instance in 1600 AD., , ❖, , The building art which developed in India during early centuries of Chirstian Era developed more or, less independently in the West, Sou and North of the sub-continent. But the basic impression for all of, the was the sayings and principles on which their construction was based were derived from a, common text-The Vastu Shastra.

Page 4 :
TEMPLE SCULPTURES - ICONOGRAPHY, Iconography means the symbolic representation attached to an image or, images. In this case it is of the gods, goddesses and other mythical, beings related to them. In Temples their place and existence is very, significant in terms of social, political or regional context., Temples comprise of elaborate sculptures and ornaments that are carefully, planned at their very beginning. For instance, river goddesses (Ganga and, Yamuna) are found at the entrances in a Nagara temple, Dwarapalas are, usually found on the gateway or gopurams of Dravida temples, similarly, mithunas (erotic images), Navagraha the 9 auspicious planets) and Yakshas, are also placed at the entrances guards. Various forms of the main divinity, are made on the outer walls of the chamber. The ashtadikpalas (deities of, direction) face eight key directions on the outer walls of the main chamber, and/or on the outer walls of the temple. Secondary shrines around the main, temple are devoted to the family or incarnations of the main god. Various, mythical creatures like Yalis and gavaksha motifs are carved at the, facade/front wall and interior walls to complete the architecture.

Page 5 :
DESCENT OF GANGA, , , Medium, , : Granite Rock (Relief Sculpture), , , , Period, Dynasty, Location, Courtesy, , : Circa 7th Century A.D., : Pallavas, : Mahabalipuram, Tamil Nadu, : Archaeological Survey of India, , , , , , DESCRIPTION : The earliest surviving example of a sculptural panel, in the world, belonging to the seventh and eighth centuries, is in, Mahabalipuram [also called Mamallapuram 50 km. south of, Madras (Chennai)]. It is a large rock face located near the rock, cut temples and five huge Rathas. The Pallava kings commissioned, the Descent of the Ganges, a giant open-air bas relief (low relief)., Pallava artists carved minutely a huge whale-back shaped, monolithic rock with exceptional realism, energy and charm., , THEME/SUBJECT MATTER : A low-relief sculpture depicting the legend of the fall of the Ganges from heaven.

Page 6 :
.. DESCENT OF GANGA, SCULPTURE : The sculpture was a live depiction of the, descending Ganga. A bearded thin, and starving, Bhagiratha wearing dear skin stands one legged, praying to, Shiva. Shiva is seen standing next to him with one hand in, the boon giving gesture or varada mudra. The small gana or, dwarf who stands below this hand could be a, personification of the pashupata weapon. The figures are, slim with a linear quality in an energetic state., , The relief is carved on a rock with a cleft, a small gap., Above the cleft stood a pool; at one time, water may have, flowed along the cleft. At the cleft water divinities. Nagraja, and his queen rush up from the depths for this wonderful, event. As the Ganges descends through the skies, the, deities on both sides of the cleft are shaken by the roar of, the river and hold their hands up to cover their ears. They, seem flying as their legs are bent, the front one more than, the other. Also seen are pairs of half-bird, half-human, figures, possibly kinnars or Gandharvas., On the lower side on the left, a group of Yogis have, gathered around a small Pallava temple. One of them sits in, front in a yogic gesture with two more further away.

Page 7 :
…DESCENT OF GANGA, The rest of the rock is covered with other life forms-gods and goddesses, humans,, animals, big or small. All of these are perfectly carved in typical postures of hurried, movement to witness the sight of the noisy descent of the river Ganga. A family of, elephants is superb in its amazingly life-like detail. The giant male elephant is, followed by the smaller female elephant with calves sheltered between their legs., Two lions at the ends of the relief are especially symbolic as the guardians of the, entrance. In this relief, in particular, they face inwards, indicating the level of, concern amongst all living beings about this dramatic and violent fall of the, Ganges. Monkeys, deer and a number of wild animals along with ascetics in, meditation have been carved. An interesting carving in the relief is that of a cat, posing like an ascetic standing on one leg intending to eat the innocent mice, playing around him., The Descent of the Ganges or the Penance of Arjuna is called "a fresco painting in, stone" because of the minute details in the figures like that of lice-picking monkey,, elephants of huge size and the figure of the 'ascetic cat' standing erect. A rush of, activity in all possible creatures is masterly done giving centrality to the main hero,, with other figures maintaining a correct balance. The details are just right- neither, too much nor too little as per the sculptor's close study of these forms., The volume , proportion and depth are all accurate. Through the story deals with a, crowd of figures, but sculptors have complete control on all elements of this broad, composition.

Page 8 :
RAVAN SHAKING, MOUNT KAILASH, , , , , , , , Medium, : Stone (Rock Cut Relief Sculpture), Period, : circa 8th Century A.D., Dynasty, : Rashtrakutas, Location, : Kailash Nath Temple (Cave No. 16) at Ellora, Maharashtra, Courtesy : Archaeological Survey of India, , THEME/SUBJECT MATTER : A high relief sculpture showing the King Ravana shaking the abode of Shiva, the Mt., Kailash. Full of strength and arrogance, Ravana tried to lift Mt. Kailash, the abode of Lord Shiva. But not a pebble, moved. Lord Shiva sat smiling at Ravana's childishness. Parvati, who was a bit frightened, cursed him that a woman, shall be the cause of his death. In order to teach Ravana a lesson, Lord Shiva merely pressed his big toe and Mt., Kailash became so heavy for him, that he almost got buried under it. Lord Brahma and Lord Vishnu sat quietly, watching the entire episode.., DESCRIPTION : Ravana shaking Mt. Kailash is a huge sculpture with the divine couple-Shiva and Parvati, in the centre. The heavenly maidens and gandharvas are sculpted around them., , seated, , In this remarkable scene the trembling of the mountain can be felt. Parvati is shown greatly agitated,, turning to Siva, grasping his hand in fear. Her legs are stretched and she is reclining towards her husband, while her maid runs off. But the great Lord is unmoved, pressing down the mountain with his foot. He looks poised, calm and charming., The volume of the sculpture is very well-defined resulting in a dramatic effect of light and shade., The lower tier of the sculpture has Ravana exerting all the force of his twenty arms against the mountain. The deep carving the multiple, hands brings out the effect of high relief. Ravana's body is angular and the hands are expanded on the sides of the wall., The gana (dwarf) figures are involved in their activities. The heavenly beings above Shiva and Parvati witnessing the event are shown in, a paused movement. The torsos of the figures are slender, arms are slim in full round. The gestures show the drama of the scene more, than the facial expressions. Attendant figures on the two sides are quite voluminously carved. They are frontal with slight inward, inclination., The high and low areas of carving in the space create contrasting light and dark. Flat wall and deep niches create heaviness in its, surface treatment. All images in the composition have natural proportions and are beautifully interwoven. The artists have successfully, shown the contrast of both rest and unrest in one sculpture.

Page 9 :
, , Medium, , : Stone (Rock Cut High Relief Sculpture), , , , Period, , : circa 9th Century A.D., , , , Dynasty, , : Rashtrakutas, , , , Location, , : Elephanta Near Bombay, Maharashtra, , , , Courtesy, , : Archaeological Survey of India, , THEME/SUBJECT MATTER : The three faced sculpture of three facts of Lord Shiva., DESCRIPTION : The cave temples of Elephanta (about 850 AD)found on a beautiful little, island about 10 km from Bombay are carved in the same style as the Ellora Caves., Elephanta is famous for its huge sculpture of Shiva showing him as the Trimurti /, Sadashiva/Maheshmurti or the symbol of Hindu trinity., , This remarkable sculpture more correctly named as Sadasiva or Mahesa (Great Lord) is more of a mukhalinga than a full figure of Siva., Certainly one of the most awesome images ever made, this triple headed sculpture symbolizes three aspects of the mysterious Hindu, divinity. The central head represents the meditative aspect of the god. Shiva as the Yogi Yogeshwar, in deep meditation praying for the, preservation of humanity. He looks gentle, meditative just like the preserver Vishnu. To quote JC Harle, "the expression of the central, face, sunk deep in contemplation and yet infinitely majestic.“, The right face is Aghora-Bhairava, a terrible or angry manifestation associated with the Vedic Rudra, his dreadful aspect as a god of, destruction whose anger can swallow up the entire world in flames leaving only ashes behind. He resembles a young man,, moustached, and angry., The third, on his left is his feminine aspect, Siva's Sakti. He is eternally connected as one with this Shakti or divine energy that forms the, universe. The face is of a young person with sensuous lips, symbolizing life and its energy. In his hand he holds something that, resembles a rose bud or a lotus; which again represent life and creativity. His right hand has been broken off; his left holds a matulinga, (citron). The face closely resembles Brahma, the creator or Uma or Vamadeva, the feminine side of Shiva., The biggest achievement of the sculptor is to carve three faces as one. He is one single god who is soft, calm or angry for the beings, created by himself. He is like a master who has to set them right too. The challenge of bringing out the expressions of all three facets, has been impressively met.

Page 10 :
LAXMI NARAYAN ( Kandariya Mahadev Temple ), , , Medium, , : Stone, , , , Period, , : circa 10th Century A.D., , , , Dynasty, , : Chandelas, , , , Location, , : Khajuraho, Madhya Pradesh, , , , Courtesy, , : Archaeological Survey of, India, , THEME/SUBJECT MATTER : The eternal divine couple Laxmi – Narayan,, presented side by side in eternal bliss., DESCRIPTION : The Chandelas built the famous temples at Khajuraho. These temples are regarded as one of the world's, greatest artistic wonders. The Kandariya Mahadev temple dedicated to Lord Shiva is the largest and the most beautiful of, the Khajuraho Temples., Lakshmi-Narayana as a manifestation of Vishnu, usually refers to Vishnu as Narayan, when he is with his partner, Lakshmi,, in his abode. Vaikuntha. Every soul in Hindu religion is said to be a spark of Lakshmi Narayan., The sculpture of this divine couple, Laxmi Narayan is in one of the corridors of the temple. The iconography is carefully, completed; Vishnu is shown with all features-a mace, conch, etc. Laxmi is clinging to Vishnu the Lord, the Narayana who, is fondly holding her. The posture symbolizes the relation of soul seeking its ultimate lord (atma and parmatma). The, figures look grand and godly. Khajuraho's sculptures are highly stylised with typical features, sharp noses, prominent, chins, long slanting eyes and eyebrows. They are almost in full relief, cut away from the surrounding stone.

Page 11 :
, , Medium, , : Stone, , , , Period, , : circa 13th Century A.D., , , , Dynasty, , : Ganga, , , , Location, , : 5th Temple at Konark in Odisha, , , , Courtesy, , : Archaeological Survey of India, , THEME/SUBJECT MATTER : A standing lady musician playing cymbals., DESCRIPTION : The supreme achievement of Odisha's architectural genius is the Sun, Temple at Konark built during the reign of Eastern Ganga King Narsimha Deva I (1238-64)., Wonderful sculptures beautify the vast outer surfaces of this architectural master piece., The Sun Temple was conceived as a huge chariot of the Sun God. with twelve pairs of beautifully ornamented wheels, pulled by seven horses. Thousands of images include deities, heavenly and human musicians, dancers, lovers in erotic, postures and numerous scenes of courtly life, ranging from hunts and military battles to the pleasures of relaxation., This sculpture in particular is that of a female musician-a cymbal player in action. She is leisurely standing with legs, bent and spaced out at the knees. She is holding the cymbals to her left side. She is ornamented with large earrings,, bracelet, armlet and a loincloth, part of it hanging in the centre. The round face has beautifully carved features-arched, brows, well defined nose, lips curved in a welcoming smile. The sculptors skill is clear in the handling of angles of the, moving body while playing the cymbal. She is a perfect example of sensual Indian female body with a narrow waist,, full breasts and hips. The limbs are flexible swaying with the music of the instrument.

Page 12 :
MOTHER and CHILD, , THEME/SUBJECT MATTER : A seated mother holding her child., , , , Medium, , : White Marble, , , , Period, , : circa 13th Century A.D., , , , Dynasty, , : Solanki, , , , Location, , : Vimal Shah Temple, Dilwara, Mount Abu , Rajasthan, , , , Courtesy, , : Archaeological Survey of India, , DESCRIPTION : The Vimal Shah Temple, one of the oldest finished example of Jain, Architecture is devoted to Adinath built by Vimal Shah, a minister of Bhimdev 1,, the Chalukya King (Solanki Maharaja) of Gujarat. There are intricate carvings on, all possible structures be it pillars, mandapas, arches, corridors or doorways., The details are so minute that the artist seem to have used a file rather than a chisel, to carve them., , In this sculpture a mother is sitting on a small lion like creature similar to Yali. Her one leg is folded as in padmasana and, the other hanging downwards touching the ground. A child is sitting on her lap looking upwards at her face. Her arms are, extended holding the child with her left hand and delicately carved lotus buds falling from above in her right hand. The, mother is heavily ornamented with a necklace falling between her full breasts, waistband emphasizing the curve of the, waist and a jewelled crown on the head. Her garment on the legs clings to the body with only a floral pattern showing in, a diagonal grid. There is a lotus bud creeper at the back of her head forming a semi circle almost like a halo. Facial, features show the influence of Khajuraho, with a round face, defined nose and lips, brow arch is not as high but the eyes, are elongated., This sculpture is an example of lavish carving done with patient labour on a rich material.