salwan public school · 1 pre-historic rock paintings and art of indus valley 24 10 2 buddhist,...

SALWAN PUBLIC SCHOOL

MAYUR VIHAR

PAINTING RECKONER

SESSION: 2020-21

NAME:

CLASS: XI SECTION:

Preface

The course in Painting at Senior Secondary stage as an elective subject is aimed to develop

aesthetic sense of the students through the understanding of various important well known

aspects and modes of visual art expression in India’s rich cultural heritage from the period of

Indus valley to the present time. It also encompasses practical exercises in drawing and painting

to develop their mental faculties of observation, imagination, creation and physical skills required

for its expressions.

The Ready Reckoner for Class XI has been prepared in conformity with the National Curriculum

Framework and latest CBSE syllabus and pattern. We believe, this text will make apparent the

content and scope of the Subject and provide the foundation for further learning.

With necessary assignments within each part, chapters are devoted to the subtopics, and the

assignments are designed according to the lower and higher order thinking skills. Chapter-

opening summary is intended to capture the reader's interest in preparation for the subject

matter that follows. In short, every effort has been made to gain and retain student attention—

the essential first step in the learning process.

INDEX

1. Objectives

2. Important Art Terminologies

3. Syllabus and Division of Marks

4. Prehistoric Rock Paintings

5. Indus Valley Civilization

6. Mauryan Period

7. Art of Ajanta

8. Temple Architecture

9. Bronze Sculptures

10. Some Aspects of Indo-Islamic Architecture

11. Sample Papers

Objectives

A) Theory (History of Indian Art)

The objective of including the history of Indian Art for the students is to familiarize them

with the various styles and modes of art expressions from different parts of India. This

would enrich their vision and enable them to appreciate and develop an aesthetic

sensibility to enjoy the beauty of nature and life. The students will also have an

opportunity to observe and study the evolution of its mutations and synthesis with other

style and the rise of an altogether new style. The students should be made aware of art

as a human experience. The teachers should be able to expose them to the wide range

of artistic impressions, the media and the tools used. The history of Indian art is a long

one. Hence the students would be acquainted with brief glimpses of the development of

Indian visual art as are required for concept formation. Examples included in the course

of study are selected because of their aesthetic qualities and are intended purely as

guidelines

B) Practicals

The purpose of introducing practical exercises in painting is to help and enable the Students:

- To develop skill of using drawing and painting material (surface, tools and equipment,

etc.) effectively.

- To sharpen their observation skills through study of common objects and various

geometrical and non-geometrical forms found in life and nature.

- To develop their skills to draw and paint these observations.

- To develop an understanding of painting-composition (The use of the elements and the

principles of painting -composition).

- To create the forms and the colour schemes in imagination with an ability to express

them effectively in drawing and painting.

- To express the different feelings and moods of life and nature in lines, forms and colours.

Painting Faculty, Salwan Public School, Mayur Vihar, Delhi

IMPORTANT ART TERMINOLOGIES

1. Six limbs of Indian Painting- Point, line, colour, tone, texture and space i.e. Sadanga

2. Fundamentals of Visual Arts- Elements and Principles of Art: Unity, harmony, balance, rhythm,

emphasis and proportion, abstraction and stylization

3. Drawing & Painting- Foreshortening, perspective, eyes-level, fixed point of

Vanishing point, ratio-proportion, sketching, drawing light and three shade, still- life, land-scape,

anatomy, vertical, horizontal, two and three dimensional, transparent and opaque.

4. Materials Paper (Cartridge, canvas, Hard- board Handmade, Pencil, water colours, acrylic

colours, etc.

5. Media of Composition- Collage, Mosaic, Painting, Mural, Fresco, Batik, Tie and Dye

6. Sculpture- Relief and round sculpture, modeling with clay, terra-cotta,carving in wood, stone,

bronze casting, plaster of Paris and metal welding.

7. Graphics - Linocut, relief printing, etching, Lithography, silk screen printing, letter press and

offset printing.

8. Applied Art - Book cover design and illustration, cartoon, posters, newspaper, magazine,

animation, printing, photography, computer graphic, etc

SYLLABUS AND MARKS DIVISION

One Theory Paper 30 Marks

Unit wise Weightage Time: 2 Hours

Units History of Indian Art Periods

Marks

1 Pre-Historic rock paintings and art of Indus Valley 24 10

2 Buddhist, Jain and Hindu Art 24 10

3 Temple Sculptures, Bronzes and Artistic aspects of Indo-

Islamic architecture

24 10

72 30

Chapter-1 Pre-historic Rock Paintings

(2500 B.C. to 1500 B.C.)

Pre-Historic Rock Paintings

Introduction

Period and Location 1) Study and appreciation of following Pre-historic paintings:

(i) Wizard's Dance, Bhimbethaka

(ii) Roaring Animal

Chapter-2 Indus Valley Civilization Introduction

(i) Period and Location.

(ii) Extension: In about 1500 miles

(a) Harappa &Mohenjo-daro (Now in Pakistan)

(b) Ropar, Lothal, Rangpur, Alamgirpur, Kali Bangan, Banawali and Dholavira (in India)

Study and appreciation of following: Sculptures and Terracottas:

(i) Dancing girl (Mohenjo-daro Bronze, 10.5 x 5 x 2.5 cm.

Circa 2500 B.C. (Collection: National Museum, New Delhi).

(ii) Male Torso (Harappa) Red lime Stone, 9.2 x 5.8 x 3 cms.

Circa 2500 B.C. (Collection: National Museum, New Delhi)

(iii) Mother Goddess (Mohenjo-daro) terracotta, 22 x 8

Circa 2500 B.C. (Collection:National Museum, New Delhi).

Study and appreciationof following Seals: (i) Bull (Mohenjo-daro)

Stone (Steatite), 2.5 x 2.5 x 1.4 cm. Circa 2500 B.C. (Collection: National Museum, New Delhi).

Decoration on earthen wares:

(i) Painted earthen-ware (Jar) Mohenjo-daro (Collection: National Museum, New Delhi).

Chapter-3 Mauryan Art (3rd century B.C. to 8th century A.D.)

General Introduction to Art during Mauryan, Shunga, Kushana (Gandhara and Mathura styles) and Gupta period:

Study and appreciation of following Sculptures:

(i) Lion Capital from Sarnath (Mauryan period) Polished sandstone, Circa 3rd Century B.C. (Collection: Sarnath Museum, U.P.)

(ii) Chauri Bearer from DidarGanj (Yakshi) (Mauryan period) Polished sandstone Circa 3rd Century B.C.

(Collection: Patna Museum, Bihar) (iii) Bodhisattva head from Taxila (Kushan period-Gandhara style)

Stone, 27.5 x 20 x 15c.m. Circa 2nd Century A.D. (Collection: National Museum, New Delhi)

(iv) Seated Buddha from Katra Mound, Mathura-(Kushan Period-Mathura Style) Red-spotted Sand Stone, Circa 3rd Century AD. (Collection: Govt. Museum, Mathura)

(v) Seated Buddha from Sarnath (Gupta period) Stone

Circa 5th century AD (Collection: Sarnath Museum U.P.)

(vi ) Jain Tirathankara (Gupta period) Stone

Circa 5th Century A.D. (Collection: State Museum, Lucknow U.P.)

Chapter-4 Ajanta Location,period, No. of caves, Chaitya and Vihara, paintings and sculptures, subject matter and technique etc.

Study and appreciationof Following Painting and Sculpture:

(i) Padmapani Bodhisattva (Ajanta Cave No. I, Maharashtra)

Mural Painting Circa 5th Century A.D.

(ii) Mara Vijay (Relief Sculpture)

Chapter-5 Temple Architecture Artistic aspects of Indian Temple sculpture (6th Century A.D. to13th Century A.D.)

Introduction to Temple Sculpture (6th Century A.D. to 13th Century A.D.)

Study and appreciation of following Temple-Sculptures: (i) Descent of Ganga (Pallava period, Mahabalipuram, Tamil Nadu), granite

rock Circa 7th Century A.D.

(ii) Ravana shaking Mount Kailash (Rashtrakuta period, Ellora, Maharashtra) Stone

8th Century A.D.

(iii) Trimurti (Elephanta, Maharashtra) Stone Circa 9th Century A.D.

(iv) Lakshmi Narayana (KandariyaMahadev Temple)

(Chandela period, Khajuraho, Madhya Pradesh) Stone

Circa 10th Century A.D

(v) Cymbal Player, Sun Temple (Ganga Dynasty, Konark, Orissa) Stone Circa 13th Century A.D.

(vi) Mother and Child (Vimal-Shah Temple, Solanki Dynasty, Dilwara, Mount

Abu, Rajasthan) white marble. Circa 13th Century A.D.

Chapter-6 Bronzes: Introduction to Indian Bronzes

Method of casting (solid and hollow)

Study and appreciation of following south Indian Bronze:

Nataraj

Parvati

(Chola period ThanjavurDistt., TamilNadu) 12th Century A.D. (Collection: National Museum, New Delhi.)

Chapter-7Artistic aspects of the Indo-Islamic architecture: (1) Introduction

(2) Study and appreciation of following architectures:

(i) QutabMinar, Delhi

(ii) TajMahal, Agra

(iii) GolGumbad of Bijapur

CLASS–XI (2020-21)

(PRACTICAL)

One Practical Pap 70 Marks

Time: 6 Hour(3+3)

Unit wise Weightage

Units Periods Marks 1 Nature and Object Study 50 25

2 Painting Composition 50 25

3 Portfolio Assessment 48 20

148 70

Unit 1: Nature and Object Study 25 Marks

Study of two or three natural and geometric forms in pencil with light and shade from a fixed

point of view. Natural forms like plants, vegetables, fruits and flowers, etc., are to be used.

Geometrical forms of objects like cubes, cones, prisms, cylinders and spheres should be used.

Unit 2: Painting Composition 25 Marks

(i) Simple exercises of basic design in variation of geometric and rhythmic shapes in

geometrical and decorative designs and colours to understand designs as organized

visual arrangements. 10 Marks

25 Periods (ii) Sketches from life and nature 15 Marks

25 Periods

Unit 3: Portfolio Assessment 20 Marks

(a) Record of the entire years' performance from sketch to finished product. 10 Marks (b) Five selected nature and object study exercises in any media done during the session

including minimum of two still life exercises. 05 Marks (c) Two selected works of paintings done during the year. 05 Marks

These selected works prepared during the course by the candidates and certified by the

school authorities as the work done in the school will be placed before the examiners

for assessment.

Note: 1. The candidates should be given one hour-break after first three hours.

2. The time-table to be so framed as to allow the students to work continuously for minimum

of two periods at a stretch.

CHAPTER-1 PRE-HISTORIC ART

Summary The distant past when there was no paper or language or the written word, and hence no books or written documents, is called prehistory, or, as we often say, prehistoric times. How people lived in those times was difficult to surmise until scholars began to discover the places where prehistoric people lived. Excavation at these places brought to light old tools, pottery, habitats, bones of ancient human beings and animals, and drawings on cave walls. By piecing together the information deduced from these objects and the cave drawings, scholars have constructed fairly accurate knowledge about what happened and how people lived in prehistoric times. When the basic needs of food, water, clothing and shelter were fulfilled people felt the need to express themselves. Painting and drawing were the oldest art forms practised by human beings to express themselves, using the cave walls as their canvas.

(2500 B.C. to 1500 B.C.) Study and appreciation of following Pre-historic paintings:

A Roaring Animal, Bhimbetka : In this painting, a wild beast (bison) is shown raging and attacking

a man. He has overpowered him as he has now surrendered and is lying on the ground. This could be the hunting scene where the beast has acted in defence because there are other human figures also surrounding it. This composition is coloured in red depicting the bloodshed caused by the attack. The flat forms and imagery of the animal and figures lack detail. But the large beast and small humans justify the sizeable difference in power between the two species.

Wizard’s Dance, Bhimbetka : In this painting, an animal is shown in the agony of death and the men

have been depicted dancing with holding hands of each other and a person is shown playing a big musical instrument and some are sitting to watch them. It is the initial painting which shows the celebration with full rhythm and movements.

This prehistoric painting help us to understand about early human beings, their lifestyle, their food habits, their daily activities and above all, they help us understand their mind- the way they thought.

EXERCISES

1. According to your observation how did the people of prehistoric times select themes for their paintings? 2. What could have been the reasons for depicting more animal figures than human figures in cave paintings? 3. Many visuals of prehistoric cave paintings have been given in this chapter. Among these which one do you like the most and why? Give a critical appreciation of the visual. 4. Other than Bhimbetka, which are the other major sites where these prehistoric paintings have been found? Prepare a report on different aspects of these paintings with pictures or line drawings. 5. In modern times, how have walls been used as a surface to make paintings, graphics, etc?

6. Mention the time period of Pre-historic rock paintings/Indus Valley Civilization. 7. Write the titles of any two cave paintings included in your course of study. 8. Give a brief introduction of Pre-historic Art. 9. Explain the following:-

a) Wizards Dance

b) Roaring Animal

CHAPTER-2 INDUS VALLEY CIVILIZATION

Summary The arts of the Indus Valley Civilisation emerged during the second half of the third millennium BCE. The

forms of art found from various sites of the civilisation include sculptures, seals, pottery, gold jewellery,

terracotta figures, etc. The artists of that time surely had fine artistic sensibilities and a vivid imagination.

Their delineation of human and animal figures was highly realistic in nature, since the anatomical details

included in them was unique, and, in the case of terracotta art, the modelling of animal figures was done

in an extremely careful manner.

The two major sites of the Indus Valley Civilisation, along the Indus River—the cities of Harappa in the

north and Mohenjodaro in the south—showcase one of earliest examples of civic planning. Other

markers were houses, markets, storage facilities, offices, public baths, etc., arranged in a grid-like

pattern. There was also a highly developed drainage system. While Harappa and

Mohenjodaro are situated in Pakistan, the important sites excavated in India are Lothal and Dholavira in

Gujarat, Rakhigarhi in Haryana, Ropar in the Punjab, Kalibangan and Balathal in Rajasthan, etc. Statues

whether in stone, bronze or terracotta found in Harappan sites are not abundant, but refined.

Study and appreciation of following: [1] Mother Goddess

Title- Mother Goddess

Medium- Terracotta

Date- Harappa Period (2500 B.C.)

Site- Mohanjo -Daro

Size- 22x8x5 cm.

Collection- National Museum, New Delhi

General Description: The statue is made of clay and then baked in fire as per the terracotta process.

This figurine is one of the finest examples of the terracotta. The baking is perfectly done to achieve an

unblemished red colour. Some scholars have identified it as “Mother Goddess”.

This is crude standing female figure adorned with necklaces hanging over upper part of the body and

wearing a loin cloth and a girdle. The most distinct feature of the Mother Goddess figurines is a fan-

shaped head-dress with a cup- like projection on each side. Rest of the facial figures are very crude and

distant from being realistic.

[2] Dancing Girl

Title- Dancing Girl

Medium- Bronze


Site- Mohanjo -Daro

Size- 10.5x5x2.5 cm.

General Description: This is one of the best-known artefacts from the Indus Valley. It depicts a girl

whose long hair is tied in a bun. Bangles cover her left arm, a bracelet and an amulet or bangles adorn

her right arm, and a cowry shell necklace is seen around her neck. Her right hand is on her hip and left

hand is clasped down in which she is holding a bowl. She has large eyes and flat nose. This figure is full of

expression and manifests that up to that time people knew the science of metallurgy and the knowledge

of casting a metal and they could create such a work of art.

[3] Male Torso

Title- Male Torso

Medium- Stone


Site- Mohanjo-daro

Size- 9.2x5.8x3 cm.


General Description: The male Torso is a red sandstone figure, which has socket holes in the neck

and shoulders for the attachment of head and arms. The frontal posture of the Torso has been

consciously a doped. The shoulders are well caved and the abdomen looks slightly prominent. This nude

Male Torso is considered to be a remarkable object that in its balanced lines stands somewhat equal to

the beautiful art of Gandhara two thousand years later.

[4] Bull (Seal)

Title- Bull

Medium- Steatite (soft stone found in river)


Site- Mohanjo -Daro

Size- 2.5x2.5x1.4 cm.


General Description: This seal is called Unicorn bull. The figure depicted on it is the mixture of two

animals. Up to neck it is looks like a horse, having single horn with special curvature and rest of the body

looks like a bull without the hump. Some inscriptions of symbols are made on it which have different

shapes.

[5] Jar

Title- Jar

Medium- Clay


Site- Mohanjo -Daro

Size- Height 21.75”


General Description: This Jar is made on a potter’s wheel with clay. The shape was manipulated by

the pressure of crafty fingers of the potter. After baking the clay model, it was painted with black colour.

The motifs are geometric form. Designs are simple but with a tendency towards abstraction. High

polished is used as a finishing touch.

EXERCISES 1. Would you agree that the people of the Indus Valley Civilisation were great art lovers? Give reasons for your answer. 2. What kind of similarities and differences do you find between present-day terracotta and the Indus Valley terracotta? 3. Seals were made of different materials. With the Indus Valley seals as a reference try to make seals with a different medium. Which are the animals that you would like to carve on your seals and why? 4. What do the art objects that have survived tell us about the daily life of the people of the Indus Valley Civilisation? 5. Give a brief introduction of Indus Valley Civilization. 6. Explain the following:-

a) Dancing Girl

b) Mother Goddess

c) Bull Seal

CHAPTER-3 BUDDHIST, JAINA AND HINDU ART

Summary

The Art during Mauryan, Shunga, Kushana and Gupta Period:

During the Mauryan period the forms of art reached at its apex. Most of the depictions were made on

walls of the rock-cut cave that were engraved or painted with different colours. We got some

masterpieces of art from the Mauryan period as Chauri Bearer or Yakshini of Didarganj, Patna, Bihar and

a Lion Capital found in Sarnath, U.P., both are well polished and finest sculptures of this period. Some of

the sculptures have been found which belong to Shungadynasty, but those are not so popular.

The most popular form of art we got from Kushana period and later in Gupta’s period.

In Kushana dynasty, two schools of art had been developed, one in Gandhara near Peshawar the first

capital city of Kushana that is called ‘Gandhara School of Arts’. In this school, the sculptures of Buddha

and and Bodhisattvas were made on granite in ‘Roman Style of Art’ on the basis of Indian themes. But

surrounding Mathura, the second capital city of Kushanas, the sculptures were engraved on easily

available red sandstone. The Hindu deities, Jain Tirthankaras and Buddha sculptures were made here in

great numbers on the basis of local traditions. It is known as ‘Mathura School of Arts’ or ‘Indian Style of

Arts’.

Study of following Sculptures:

[1] Lion Capital of Sarnath

Title- Lion capital of Sarnath

Medium- Polished Sand Stone

Date- Circa 3rd C.B.C. (Mauryan Period)

Site- Sarnath

Size- Height 213.5 cm

Collection- Sarnath Museum (UP)

General Description: The sculpture of four lions grouped together, is the capital (top part of pillar) of

the Stambha of Sarnath’s Deer Park, which was created during the time of Ashoka. It is believed that it

was at this site; Buddha preached his first sermon, thereby “turning the wheel of the law”. It was

excavated in 1905. The Chinese traveler Hsun-Tsang mentioned of a seventy foot high pillar with shining

polish standing at the same site.

This composite sculpture shows a highly advanced form of art. This sculpture has been adoped as the

emblem of Govt. of India.

[2] Chauri Bearer (Yakshini)

Title- Chauri Bearer (Yakshini)

Medium- Polished Sandstone

Date- Circa 3rd C.A.D. (Mauryan Period)

Site- Didarganj, Patna

Size- Height 64” (5’4”)

Collection- Patna Museum

General Description: The life-size standing woman known as Yakshini holding a Chauri (fly- whisk) in

her right hand is another good example of the sculptural tradition of the Mauryan period. The

characteristics of this statue are as follows: (i) It is tall, well-proportional, free standing sculpture of a

chatty young woman. (ii) She is adorned with jewels on the forehead, ear-ring, necklaces, bangles, girdle

over loin cloth and laces. (iii) Features of the face are sharp and smooth with proper roundness of

different organs of the body are praiseworthy. (iv) This Her left hand is broken. (v) The sophistication of

the image is shown very beautifully.

[3] Bodhisattva Head,

Title- Bodhisattva Head

Medium- Stone

Date- Circa 2nd C.A.D. (Kushana Period)

Site- Taxila

Size- 27.5x20x15 cm


General Description: The Boddhisattva head has typical Hellenistic elements that were grown over a

period of time. The curly hair of the Boddhisattva head has been shown with thick layer of sharp and

linear strokes. The forehead plane is large which has protruding eyeballs. The eyes are half closed and

the face as well as cheeks is not as round as the images found in other part of India. The ears of the image

are elongated especially the earlobes. The linearity and the outlines of the image are fine and sharp while

the surface is smooth. The expression of calmness is the centre point of attraction.

[4] Sarnath Buddha (Sarnath style)

Title- Sarnath Buddha

Medium- Stone

Date- Circa 5th C.A.D. (Gupta Period)

Site- Sarnath, UP

Size- Height 160 cm

Collection- Sarnath Museum, Varanasi, UP

General Description: The beautiful figure is seated in Padmasan, with upturned soles. His hands are

held in Dharmachakra Parivartan Mudra. The ear lobes are long and the eyes are half closed. The face is

calm and has a spiritual expression. Behind the head is a huge halo covered with a beautiful floral

decoration.

This sculpture is one of the best examples of Gupta Art. The matured simplicity and rational use of

ornamentation prove the greatness of the artist.

[5] Seated Buddha (Katra Mound,Mathura Style)

Title- Seated Buddha

Medium- Red Spotted Sandstone

Date- Circa 3rd C.A.D. (Kusana Period)

Site- Katra-Tila, Mathura, UP

Size- Height 75 cm

Collection- Government Museum, Mathura, UP

General Description: The sculpture of the Buddha was shown seated in Padmasan and the right hand

is in the Abhaya Mudra, raised a little above the shoulder whereas the left hand is placed on the thigh.

The hair knot is shown with a vertically raised projection that called Ushnisha. The shoulders are broad,

one covered with garment, but the hand has been left visible. The Buddha is seated on a lion throne.

The face of Buddha is round with fleshy cheeks. The bulge of belly is sculpted with controlled

musculature. The image is representative of the development of Buddha Sculptures in local style near

Mathura during Kushana period.

[6] Jain Tirthankara (Sarnath Style)

Title- Jain Tirthankara

Medium- Stone

Date- Circa 5th C.A.D. (Gupta Period)

Site- Mathura

Size- 95x60 cm

Collection- State Museum, Lucknow, U.P.

General Description: Many Jain images were found near Vidisa, which belonged to the early Gupta

period. This image is of a Jain Tirthankara, seated on a square pedestal. This image of Mahavira Swami,

the 24th Tirthankara, is made in the typical Buddhist and Jain style of the Kusana period.

EXERCISES 1. Do you think that the art of making sculptures in India began during the Mauryan period? 2. What was the significance of the stupa and how did stupa architecture develop? 3. Which were the four events in the life of the Buddha which have been depicted in different forms of Buddhist art? What did these events symbolise? 4. What are the Jatakas? How do the Jatakas relate to Buddhism? Find out. 5. Explain the following:-

a) Seated Buddha

b) Bodhisattva Padampani

c) Lion Capital

d) Didarganj Yakshi

CHAPTER-4 ART OF AJANTA

Related to Buddhism, Ajanta is the most famous UNESCO world heritage site and protected by

Archaeological Survey of India. It is an ancient rock-cut caves site which is located in Aurangabad district

of Maharashtra state, 60 kms. away from Jalgaon Raiway Station. There is a U-shaped cliff of a gorge of

small river Waghora where 29 caves have been carved. Lord Buddha, Bodhisattvas and Jatak tales have

been engraved and painted on the walls, pillars and ceiling of the caves. These caves have been

constructed during 2nd century B.C. to 5th century A.D.

This Buddhist site has been discovered in 1819 A.D. by a British officer of a hunting group. These caves

are not in a sequence because they could not be found at a time.

Number of Caves:

Ajanta is a complex of 29 chaitya and vihara caves (+1 unfinished cave) that were chiselled into live rock

and are host to some of the best preserved painting and sculptures of the Gupta period. Cave No. 1 is the

biggest cave which is home to the figure painting of Padmapani. Cave No. 29 is the best stupa cave. Cave

No. 17 has the highest number of paintings.

Types of Caves:

These caves are of two types:

1. Chaitya or Stupa Caves: There were the places of worship and religious discussion, Cave No. 9, 10,

19, 26 and 29 are Chitya Caves.

2. Vihara Caves or Living Caves: They were the living places for Buddha Bhikshus. Cave No. 1 to 8, 11

to 18 then 20 to 28 and 30th.

Study of following:

[1] Padmapani Boddhisattva (Cave No. 1)

Title- Padmapani Boddhisattva

Medium- Mural painting

Date- Circa 5th C.A.D.

Site- Ajanta, Maharashtra

General Description: This painting has been painted on back wall of the interior hall before the shrine-

antechamber in Cave No. 1. The Boddhisattva has been shown holding a Padma (Lotus) in his right hand.

That is why this painting is known as ‘Padmapani Bodhisattva’. He has large shoulders and three bents in

the body creating a movement in the picture space. The Boddhisattva is wearing a big adorned crown;

his head is slightly bent to the left. The eyes are half closed and are slightly elongated. The nose is sharp

and straight, the body colour is natural.

[2] Mara Vijaya (Cave No. 26)

Title- Mara Vijaya

Medium- Rock-cut


Site- Ajanta, Maharashtra

General Description: This is the only sculpture based on Jatak Tales. It is engraved on right wall of

Ajanta Cave No. 26. In this sculptural panel Lord Buddha has been shown seated in Dhayan Mudra under

a Bodhi tree. Mara has also been shown riding his elephant Girimekhala to attack Buddha with his tenfold

army along with his three daughters Taha, Arati and Raga to dissuade Siddhartha from the path of

Buddhism through different activities. The composition of this relief is very complex and highly dynamic

which generates considerable movement. The figures on the left of this relief have shown Mara riding his

elephant with his army consisting of various kinds of people including some with animal faces. At the

lower base, there are some dancing figures most probably of Mara’s daughters with musicians and one

of the dancing figures is dominant on the right lower end, has expanded her hands in dancing posture.

EXERCISES 1. Why are the mural paintings of Ajanta renowned?

2. Mention the time period of Ajanta Cave Paintings. 3. Write the titles of any two Ajanta artefacts. 3. Give a brief introduction of Ajanta Art.

CHAPTER-5

TEMPLE SCULPTURE, BRONZES AND ARTISTIC ASPECTS OF THE INDO-ISLAMIC

ARCHITECTURE

Most of the art and architectural remains that survive from Ancient and Medieval India are religious in

nature. That does not mean that people did not have art in their homes at those times, but domestic

dwellings and the things in them were mostly made from materials like wood and clay which have

perished, or were made of metal (like iron, bronze, silver and even gold) which was melted down and

reused from time to time. This chapter introduces us to many types of temples from India. Although we

have focussed mostly on Hindu temples, at the end of the chapter you will find some information on

major Buddhist and Jain temples too. However, at all times, we must keep in mind that religious shrines

were also made for many local cults in villages and forest areas, but again, not being of stone the ancient

or medieval shrines in those areas have also vanished.

Study of following:

Descent of Ganga (Pallava Period) Title- Descent of Ganga

Medium- Granite Rock


Place- Mahabalipuram, Tamil Nadu

General Description: Descent of Ganga is one of the largest and oldest sculptural panels known in the

world. There is a natural cleft in the rock which has been cleverly used by its sculptors as a channel for

water to flow down. Water was collected in a massive tank in front of the sculpted wall. Mahabalipuram

was the seaport of the Pallavas. It is famous for its shore temple, rock-cut architecture, caves, sculptural

reliefs and ‘Pandava Panch Rathas’. But this is a most remarkable sculptural composition at

Mahabalipuram. In this famous relief, the story of the Descent of Ganga has been carved out on the two

larger boulder-type granite rocks with a narrow fissure between them. There have been carved out

celestials like the Sun. The Moon and the Earth, water and rumph’s. It is also known as the ‘Arjuna’s

Penance’.

Ravana shaking Mount Kailash (Rashtrakuta Period)

Title- Ravana shaking Mount Kailash

Medium- Stone


Place- Ellora, Maharashtra

Description: Ravana shaking Mount Kailash is the most popular theme in Ellora caves because it has

been depicted several times in these caves. But the most remarkable of all is the one depicted on the left

wall of Kailashnath Temple (Cave No. 16) at Ellora. It is a colossal sculpture and is considered as one of

the masterpieces of Indian sculpture depicted on the wall of a cave. In this sculpture, Ravana has been

shown shaking the Mount Kailash when Lord Shiva along with Parvati and other were present on the

mountain. The composition of the relief is divided into several tiers. The lower one has been depicted

multifaced and multiarmed Ravana shaking the Mount Kailash with ease. His hands have been expanded

upto the chamber. The depth of carvings of the multiple hands brings out the effect of three-dimensional

space. The upper half is divided into three frames, the centre occupied by the image of Shiva and Parvati.

The Trimurti (Maheshmurti)

Title- The Trimurti

Medium- Stone


Place- Cave No. 29, Elephanta, Maharashtra

General Description: The Mahesha or Shiva Trimurti is a dramatic representation of the supreme

form of Shiva as the central face, Shiva as a destroyer is on the left and on the right is the gracious

feminine deity. The Gods who were most commonly represented in the Hindu pantheon were Shiva, the

destroyer and Vishnu, the preserver while the third great God of the Hindu trinity was Brahma the

creator. One of the most powerful rendering of this multiple nature of the deity is seen at Elephanta,

where Shiva is seen as the three headed Mahadeva. The heads represent three different aspects of the

God, the center one is his creative self or Sadashiva, the left is his destructive nature or Aghora and the

right is the gracious feminine manifestation of the beauty of nature or Vanadeva.

Lakshami Narayan (Kandariya Mahadeva Temple)

Title- Lakshami Narayan

Medium- Stone


Place- Khajuraho, Madhya Pradesh

General Description: During the Chandela period, the sculptures made in Khajuraho temples have

appeared in its most beautiful form. The walls of the temples, both internal and external are abundantly

engraved on both sides. In them, besides dancing, playing on the musical instruments, looking themselves

into mirrors, erotic women shapes are engraved. There are many idols of loving couples of gods and

goddesses. In some internal niches also are engraved the shapes of the mythological animals. In all,

women and men shapes, the artists, to show the tenderness of organs, have displayed the garments and

jewels in such a way that all the idols are more or less in free state.

Cymbal Player, Sun Temple (Ganga Dynasty)

Title- Cymbal Player, Sun Temple

Medium- Stone


Place- Konark, Odisha

General Description: This is a female statue which has been established outside the main shrine of

the Sun Temple, Konark to welcome the people with playing instrument, Cymbal. So, this is in the gesture

of the playing instrument forwarding both her hands. Her feet look as if she is dancing along with

instrument. She is adorned with ornaments around her neck, arms, wrists, fingers, feet and on loin. The

posture of the statue is very attractive, but this is in the ruined form. This temple was built by

Narasimhan-I of Ganga Dynasty during 1238-1258 A.D. This temple is dedicated to Lord Surya. This is also

called ‘Black Pagoda’. The salty air coming from the sea has affected the temple and the statues a lot. So

many instrument players were also installed outside the main shrine.

Mother and Child, Vimal Shah Temple (Solanki Dynasty)

Title- Mother and Child, Vimal Shah Temple

Medium- White marble


Place- Dilwara, Mount Abu, Rajasthan

General Description: In this statue, the sculptor has shown the motherhood as well loveliness

between child and mother. The mother posture is slightly bent. The expressions of the face and rest of

the body is full of motherly woman. She is holding her baby in her lap with arm support. The ornaments

and the garments are seen in the linear form with proper curvature. Half bent eyes of the mother and

style of hair-bun is very attractive.

The Vimal Shah Temple is fully decorated with sculpture of daily life and Jain Tirthankaras. Each part of

the temple is extraordinarily engraved with geometrical patterns and the idol of Jain religion.

EXERCISES

1. Give a brief introduction of temple architecture in India.

2. Explain in detail:-

a) Descent of Ganga

b) Ravana shaking Mount Kailash

c) Trimurti

d) Lakshmi Narayana (KandariyaMahadev Temple)

CHAPTER-6

BRONZE SCULPTURES

Indian sculptors had mastered the bronze medium and the casting process as much as they had mastered

terracotta sculpture and carving in stone. The cire-perdu or ‘lost-wax’ process for casting was learnt as

long ago as the Indus Valley Culture. Along with it was discovered the process of making alloy of metals by

mixing copper, zinc and tin which is called bronze. Bronze sculptures and statuettes of Buddhist, Hindu

and Jain icons have been discovered from many regions of India dating from the second century until the

sixteenth century. Most of these were required for ritual worship and are characterised by exquisite

beauty and aesthetic appeal. At the same time the metal-casting process continued to be utilised for

making articles for various purposes of daily use, such as utensils for cooking, eating, drinking, etc. Present-

day tribal communities also utilise the ‘lost-wax’ process for their art expressions.

Study of following:

[1] Nataraja (Chola Period)

Title- Nataraja

Medium- Bronze


Place- Thanjavur, Tamil Nadu


General Description: In Chola Period, bronze sculpture of Shiva has been shown balancing himself on

his right leg and suppressing the Apasmara on his right leg, the demon of ignorance or forgetfulness, with

the same leg. At the same time he raised his left leg in Bhujangatrasita stance which represents Tirobhava,

that is kicking away the veil of Maya or illusion from the devotee’s mind. His four arms are outstretched

and main right hand is posed in Abhayahasta or the gesture suggesting. In the upper right hands, He is

holding the Damaru, his favourite musical instrument. The upper left hand carries a flame while main left

hand holds Dolahasta and connects with the Abhayahasta of right hand; his hair locks fly on both sides

of the circular Jwalamala or the garland of flames which makes the entire dancing figurative.

[2] Devi Uma (Chola Period)

Title- Devi Uma

Medium- Bronze



General Description: Devi Uma or Parvati, the wife of Shiva, has been cast in bronze by the sculptors

of Chola and Pallava periods. This is a graceful figure which attracts the people. The main attraction of

this image is the posture in the multi-bent dancing pose. She adorned loincloths with girdle, along multi-

levelled crown on her head and putting the armlets, ornament around her neck and bracelet. She is

standing in such a way that she is holding a flower or style to say something and try someone to

understand. This idol belongs to Chola Period. Many other figures were also cast in that period by Pallavas

and Chalukyas.

EXERCISES

1. Explain bronze casting? How did it evolve over a period of time? 2. In India sculpturing in stone and metal happened simultaneously. In your opinion what were the similarities and differences between both technically, stylistically and functionally? 3. Why are Chola bronze sculptures considered as the most refined? 4. Explain the following in detail- a) Natraja b) Parvati

CHAPTER- 7 INDO-ISLAMIC ARCHITECTURE

In the seventh and eighth centuries CE, Islam spread towards Spain and India. Islam came to India,

particularly, with Muslim merchants, traders, holy men and conquerors over a passage of six hundred

years. Although by the eighth century CE, Muslims had begun to construct in Sind, Gujarat, etc., it was

only in the early thirteenth century that large-scale building activity was begun by the Turkish State,

established after the Turkish conquest of northern India.

By the twelfth century India was already familiar with monumental constructions in grandiose settings.

Certain techniques and embellishments were prevalent and popular, such as brackets, and multiple

pillars to support a flat roof or a small shallow dome. While arches were shaped in wood and stone,

these were unable to bear the weight of the top structure. Now, however, the arch form of construction

was introduced gradually in which arches could support the weight of the domes. Such arches needed to

be constructed with voussoirs (series of interlocking blocks) and fitted with keystones. The domes,

resting on pillars and squelches enabled spanning of large spaces leaving the interiors free of pillars.

[1] Qutub Minar

Title- Qutub Minar

Medium- Red & white sand stone

Date- 1206 to 1232 A.D.

Site- Delhi

Size- Height 72.56 meter

General Description: Qutub-ud-din Aibek, the first of the Slave Dynasty ruler, first of all started getting

this minar constructed as a ‘Symbol of Victory’ but later he sponsored it to his Dilli (Delhi) master Sufi

Saint Bakhiyar Kaki as a gift. This minar is known as “Qutub Minar”. This minar is a good example of Indo-

Turkish style of Architecture. Its boldly projected balconies on each storey, carved Arabic scriptures on

stones and rope-winding stair-cases are its special features. This is the highest minar of India measuring

72.56 meter high.

Red and white sand-stones are used in constructing the Qutub Minar. On its top floor marble stones are

also used. Stucco lime-mixture as mortar for cementing its constructional work has been used.

Qutub-ud-din Aibek could get only its first storey constructed during his Rein 1206 to 1210 A.D. Afterward

king Iltutmish got the 2nd,3rd and 4th storeys completed. But at the end 5th storey was constructed by

Emperor Firozeshah Tughluk of Tughluk dynasty.Qutub Minar is situated at Mehrauli in Delhi.

Style of Architecture: Qutub Minar is most famous for its “Shankh” like form; its strong ribs

supporting its balconies, geometrical decorative carvings and Arabic inscriptions along with pure Indian

decorative symbols in its stylistic construction.

[2] Taj Mahal

Title- Taj Mahal

Medium- White marble stone

Date- 1632 to 1654 A.D.

Site- Agra

Size- Ground plan 580 meter X 305 meter, Height 187 feet

General Description: Mughal emperor Shah Jahan is a well-known figure until today for its building

construction activities especially for Taj Mahal. He got Taj Mahal Constructed as a memorial for his wife

Mumtaz Mahal. In this building there are two tombs (Graves) - One of his wife Mumtaz and the other of

his own. In fact such memorial building constructed over the tombs is called “Maqbaras”. Construction

of Taj Mahal is a fine blend of India and forein style of architectural art.

White marble stone from Makrana mines in Rajasthan was brought for the construction of Taj Mahal,

and lime stucco was used as mortar for cementing its constructional work.

Shah Jahan ruled from 1628 to 1658 A.D. and during this period he spent twenty two years for the

construction of Taj Mahal. This beautiful building is situated on the bank of Yamuna River in the city of

Agra. The area of the main building is 313 square feet. The highest dome of the building is 186 feet high.At

the four corners of the building there are four minars each having163 feet height. The double layered

domes and minarets are constructed in the Iranian style, but its arches and balconies are in Persian style.

The main emphasis of this building has been especially laid on the layout, proportions of its different part

and on the beautiful Arabic inscriptions. Geometrical decorative motifs and some other constructional

aspects like cubical brackets, designing of the basements and the high level of platform are some of the

best representations of Indian style of architecture.

[3] Gole Gumbad

Title- Gol Gumbaz

Medium- Baked bricks

Date- 17th C.A.D.

Site- Bijapur

Size- Inner area 1600 Square meter

General Description: This monument is the tomb of Md. Adil Shah. It was constructed in special Indo-

Islamic style in 1659 A.D. On a base of 47.5 m length and width walls all around its four sides, it has a

dome whose diameter and height are 44 m and 33.22 m respectively. In base of the dome have been

made shapes as petals of a lotus flower. This is one of the biggest domes of Asia. Inside this building is a

vast hall. There are arcs giving the dome support towards inside, and a whisper gallery where sound get

magnified and echoed many times over. On the four corners of the buildings are octagonal seven-

storeyed minarets. It is situated at Bijapur city of Karnataka.

EXERCISES

1. Study the artistic aspects of following architectural structures-

a) Qutab Minar, Delhi

b) Taj Mahal, Agra

c) Gol Gumbad of Bijapur

SAMPLE PAPER-1

Salwan Public School Time-2 hours M.M-30 Q1) Give a brief introduction of Pre-historic rock paintings. Appreciate any one Pre-historic Rock

painting. (4 marks)

Q2) Explain the achievements of Indus Valley Civilization. Also write a short note on any one art work

of Indus Valley Civilization. (4 marks)

Q3) Explain in detail any two of the following:- (6 marks)

a) Lion Capital

b) Boddhisattva Head

c) Seated Buddha from Sarnath

Q4) Write a critical note on the architecture of any one of the following:- Qtab Minar OR Taj Mahal.

(4 marks)

Q5) Which human life value you learn from the following painting? Describe the painting as well.

(Any one) (4 marks)

a) Nataraj

b) Mother and Child

Q6) Pen down you opinion on Bodhisattava Padampani from Ajanta. Also explain the technique used

for making frescoes. (3 marks)

Q7) Match the following (5 marks)

a Circa 13th Century A.D. 1 Indus Valley Civilization

b Bronze 2 Cymbal Player

c Ajanta 3 Indo-Islamic Architecture

d Gol Gumbaz 4 Mara Vijay (Sculpture)

e 2500 B.C. to 1500 B.C. 5 Devi (Uma) (Sculpture)

SAMPLE PAPER-2

Salwan Public School Time-2 hours M.M-30

Q1) ‘Dance-Music and theatre was prevalent during pre-historic times.’ Justify your answer.

(4 marks)

Q2) ‘An advanced urban culture is visible in Indus Valley Civilization’. Justify your answer giving

examples. (4 marks)

Q3) Explain the features of Ajanta Painting titled Bodhisattva Padmapani. (4 marks)

Q4) Explain Chauri Bearer in detail. (4 marks)

Q5) Explain (Any one) (4 marks)

1- Seated Buddha from Sarnath

2- Jain Tirthankar

Q6) Explain any one bronze sculpture from Chola Dynasty included in your course of study.

(4 marks)

Q7) Write in detail about any one from the following: (6 marks)

1- Taj Mahal

2- Decent of Ganga

salwan public school · 1 pre-historic rock paintings and art of indus valley 24 10 2 buddhist,...

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