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NCERT Class 11 Fine Art Chapter 4 Post-Mauryan Trends in Indian Art and Architecture
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Post-Mauryan Trends in Indian Art and Architecture
Chapter: 4
| EXERCISE |
1. Describe the physical and aesthetic features of Sanchi Stupa-I.
Ans: The physical features of Sanchi Stupa-I are:
(i) Dome (Anda): The main structure of the Sanchi Stupa is a large hemispherical dome, symbolizing the universe and representing the Buddha’s enlightened mind. The dome symbolizes, among other things, the dome of heaven enclosing the earth. It is surmounted by a squared railing (harmika) that can be said to represent the world mountain.
(ii) Chhatra (Umbrella): The main body of the stupa symbolises the cosmic mountain. At the top of the dome, there is a large, three-tiered umbrella or chhatra, symbolizing the Buddha’s royal status and spiritual protection. It is topped by a ‘harmika’ to hold the triple umbrella, or ‘chhatraveli’, which represents the three jewels of Buddhism – the Buddha, the Dharma, and the Sangha.
(iii) Railings (Vedika): The stupa is surrounded by a stone railing with beautifully carved decorative motifs. At Bharhut, Sanchi, and Amaravati the vedika consisted of upright pillars with three transverse bars known as the suchi. The railing consists of vertical pillars, horizontal bars, and a frieze that depicts various scenes from the life of the Buddha.
(iv) Toranas (Gates): The stupa has four elaborately carved gateways, known as toranas, situated at the cardinal directions (north, south, east, and west). These gates are adorned with intricate reliefs depicting scenes from the life of the Buddha, such as his birth, enlightenment, and parinirvana. It is made of wood or stone, and the cross-piece is generally of three bars placed one on the top of the other; both cross-piece and posts are usually sculpted.
(v) Pillars: The stupa is also supported by stone pillars, which provide structural stability and feature decorative carvings. The “Great Stupa” at Sanchi is the oldest structure and was originally commissioned by the emperor Ashoka the Great of the Maurya Empire in the 3rd century BCE.
The aesthetic features of Sanchi Stupa-I are:
(i) Sculptural Reliefs: The crossbars and the intervening square dies between them are covered with relief sculpture depicting the events of the Buddha’s life, legends of his previous births (Jātaka stories), and other scenes important to early Buddhism (such as the emperor Aśoka’s visit to the Bo tree), as well as auspicious symbols.
(ii) Symbolism in Architecture: The main body of the stupa symbolises the cosmic mountain. It is topped by a ‘harmika’ to hold the triple umbrella, or ‘chhatraveli’, which represents the three jewels of Buddhism – the Buddha, the Dharma, and the Sangha.
(iii) Carved Reliefs on Railings: The stone railings (vedika) surrounding the stupa are intricately carved with various symbols, including representations of the Buddha’s footprints (symbolizing his presence), as well as decorative floral motifs and geometric patterns. The site is said to have been a thriving religious centre from the third century BC to the thirteenth century AD.
(iv) Artistic Fusion: The Sanchi Stupa reflects an artistic fusion of Indian, Greek, and Persian influences, particularly in its decorative motifs. This blend is a result of cultural exchanges during the Mauryan period, illustrating how Buddhist art absorbed diverse influences to create a distinctive visual language.
(v) Proportional Harmony: The design of the stupa, with its well-proportioned dome, circular base, and the vertical elements like the harmika and chhatra, reflects a sense of balance and harmony. The Stupa evolved in.ro a more complex structure, balancing round and square shapes. This symmetry creates a visually pleasing and meditative quality, enhancing the spiritual experience of those who approach it. It represents the path to enlightenment, with the circular base representing the cycle of birth and death and the pinnacle representing the attainment of Nirvana.
2. Analyse the stylistic trends of the sculptures in North India during the fifth and sixth centuries.
Ans: The fifth and sixth centuries marked a golden age for sculpture in North India, characterized by the refinement and elegance of the Gupta period, often regarded as the classical pinnacle of Indian art. Sculptures from this era, predominantly religious in nature, reflected a profound sense of spiritual idealism and aesthetic harmony. Hindu deities like Vishnu, Shiva, and Durga, along with Buddhist and Jain figures, were depicted with serene expressions, downcast eyes, and gentle smiles, embodying transcendence and inner peace. The human form was idealized with graceful proportions, subtle curves, and dynamic poses such as the tribhanga (three-bend posture), which added a sense of fluidity and movement. Draperies were intricately carved to cling naturally to the body, emphasizing anatomy without overt sensuality. Bharhut sculptures are tall like the images of Yaksha and Yakshini in the Mauryan period. Modelling of the sculpture volume is in low relief maintaining linearity. Relief panels are depicted by narratives and clarity in the narratives is enhanced by selecting main events. Mathura and Sarnath emerged as major centers, with Mathura focusing on robust, vibrant figures influenced by earlier Kushana traditions, while Sarnath sculptures displayed softer modeling, simplified drapery, and heightened spiritual calm. Stone, particularly sandstone, was the primary medium, though bronze and terracotta also featured prominently, showcasing the technical brilliance of artisans. Narrative reliefs and decorative motifs adorned temple walls, depicting mythological scenes and floral patterns. Bharhut sculptures are tall like the images of Yaksha and Yakshini in the Mauryan period. Modelling of the sculpture volume is in low relief maintaining linearity. Relief panels are depicted by narratives and clarity in the narratives is enhanced by selecting main events.
3. How did cave architecture develop in different parts of India, from cave shelters to the monolithic temple at Ellora?
Ans: Cave architecture in India evolved significantly from simple shelters to grand monolithic temples. Initially, during the Mauryan period (circa 3rd century BCE), caves were primarily used as Buddhist monastic retreats, as seen in the early caves at Barabar and Nasik. In India, caves have been regarded as places of sanctity. Caves that were enlarged or entirely man-made were felt to hold the same sanctity as natural caves. In fact, the sanctuary in all Indian religious structures, even free-standing ones, retains the same cave-like feeling of sacredness, being small and dark without natural light. By the Gupta period (4th to 6th century CE), cave architecture became more elaborate, with intricate carvings and decorative elements, especially in Ajanta and Ellora caves, representing Buddhist, Hindu, and Jain traditions. The monastic caves evolved into elaborate temple complexes with multiple cells and courtyards. At Ellora, the culmination of cave architecture is seen in the monolithic Kailasa temple (8th century CE), a single, massive structure carved from a single rock, showcasing extraordinary engineering and artistic mastery.
4. Why are the mural paintings of Ajanta renowned?
Ans: The Ajanta paintings date back from the 2nd century BCE to the 6th century CE. They are exquisite examples of ancient Indian mural art showcasing Buddhist themes and artistic mastery. Created between the 2nd century BCE and 6th century CE, these paintings are masterpieces of ancient Indian art, depicting scenes from the lives of the Buddha, Jataka tales, and the rich cultural context of the period. The murals are celebrated for their intricate detailing, graceful figures, expressive faces, and dynamic compositions. At Ajanta, the painting methods are similar to the European fresco technique. The primary distinction is that when it was painted, the layer of plaster was dry. They showcase advanced techniques of shading and perspective, offering a glimpse into the religious and social life of ancient India, making Ajanta an invaluable cultural and artistic heritage.
