THE DEVELOPMENT TEAM

Principal Investigator Prof. S. P. Bansal

Vice Chancellor, Indira Gandhi University, Rewari

Co-Principal Investigator Dr. Prashant K. Gautam

Director, UIHTM, Panjab University, Chandigarh

Paper Coordinator Prof. Manoj Dixit

Vice Chancellor, R.M.L. University, Faizabad, UP

Content Writer Dr. Sachin Kr. Tiwary Asstt. Professor, Department of AIHC & Arch., Banaras

Hindu University, Varanasi

Content Reviewer Prof. S. P. Bansal

Vice Chancellor, Indira Gandhi University, Rewari

Paper 10: tourism products of India

Historical Development of Tourism and Hospitality in the World Module 13: Sculptural Art of Ancient, Medieval and Modern India

TABLE OF CONTENTS

1.0 What is Art & Sculpture

2.0 Indus Valley Civilization Art

3.0 Indus-Saraswati Valley Civilization (2500-1700 BCE)

4.0 Mauryan Period (322 BCE - 185 BCE)

5.0 Shunga (187 to 78 BCE) -Satavahana (100 BCE to 200 CE) Period

6.0 Kushana Period (100 to 300 CE)

7.0 Gupta Period (321 to 550 CE)

8.0 Post Gupta Period: Phase I (6th -8th cent. CE)

9.0 Post Gupta Period: Phase II (9th -12th cent. CE)

10.0 Modern Period (c. 1500 to c. 1800 CE)

ITEMS DESCRIPTION OF MODULE

Subject Name Tourism & Hospitality

Paper Name Paper 10, Tourism Products of India

Module Title Sculptural Art of Ancient, Medieval and Modern India

Module Id Module no-13

Pre- Requisites A brief knowledge about Sculptural Art of India

Objectives Indus Valley, Mauryan Art, Shunga Art, Gupta & Post Gupta

Art

Keywords Tourism & Hospitality

QUADRANT-I

INTRODUCTION

What is Art?

Art is a diverse range of expression or application of human activities in the

creative skill and imagination, typically in a visual materialistic form such as rock art

executed at the site on the wall, ceiling, floor or sculpture made of stone, wood, metal,

bone or painting on cloth, leather, wood, plaster wall (Mural Art), unprepared or prepared

wall producing works to be appreciated primarily for their beauty or an aesthetic or

expression of inner view. “Art” is related to the Latin word “ars” meaning, art, skill, or

craft. The first known use of the word art comes from 13th century manuscripts. It may

divide in to three groups; representation, expression, and form. Sculptures, rock art from

the Upper Paleolithic dating to roughly 40,000 years ago have been found at Bhimbetaka

in Madhya Pradesh and in Kaimur range in Bihar etc.

Fig.1: General view of the shelter and executed rock art on the wall, Kaimur,

Bihar (Photo by Author)

What is Sculpture?

The word evolved from the Latin word Sculperemeans to carve. Traditionally

sculpture had defining characteristics, like; two or three dimensional form of

representation carving or shaping from stone, wood, metal, terracotta, ivory, stucco etc.

or modeling by using clay, plaster, wax and casting metal or plaster like;‘Icon’, ‘image’

and ‘idol’ are three terms, commonly used for the object of ritualistic worship in

Hinduism and other religions. Images undoughtedly existed in Vedic period. Many gods

and goddesses like Indra, Mitra, Varuna, Aditi, Prithvi, Chandra, Surya, Agni, Soma,

Vayu, Jala etc. Are listed in Vedas; but since 500 BCE, we have hardly any

archaeological evidence till 500 BCE.

The Indian art till pre-modern period is basically religious and spiritual and not

merely ‘art for art sake’. The secular art; mainly in paintings in the courts of kings, is

later development in medieval period. Sculptured architectural members are fairly more

than independent sculptures. It is true with rock-cut temples and monolithic pillars which

were sculptured with great care and devotion, technical skill and hard labour.

Indus-Saraswati Valley Civilization (2500-1700 BCE)

Among the sculptural remains at Indus-Saraswati sites, the most important image

is ‘priest’ of lime stone (17.5 cm) and the bronze image of a dancing girl from Mohenjo-

daro. The priest’s half closed eyes rests on the tip of his flattish nose, thick lips, upper lip

shaven, ear resembling a two-edged shell with a hole, hair and beard neatly combed with

a narrow ribbon tying the hair with a large stone in center at forehead. He is wearing a

loose cloth decorated with trefoil pattern, running from under the left arm to the right

shoulder.

Fig.2: Image of Priest made of stone (A), Image of Dancing Girl made of bronze

(B)Source:www.slideshare.net, Image of bullock cart displayed in National Museum (C),

Image of terracotta mother goddess (D), Image of Male torso made of stone (E) Courtesy:

Dr.D.P.Sharma

The dancing girl’s right hand is on her waist and left with lots of bangles; on the

bent left knee. This shows that Indus people were well aware of smelting metal. There are

terracotta figurines of Mother Goddess worth to be mentioned.

Mauryan Period (322 BCE - 185 BCE)

The classical types of this period are Capitals (Single Lion, Four back to back seated

lions, Bull, Horse, Elephant, Lions with Chakra), Yaksha-Yakshini, Male Torso, and

Gudimallam Siva Linga along with railings, Insitu Carved Rock Cut Sculpture such as

Dhauli Elephant etc. Ashoka, the great Mauryanking, had zealously followed the orders

of the Buddha ie. ‘No - image- worship’, and only symbols were used to represent the

Lord. He caused to built the dharma-stambhas or the pillars of piety with images of four

great animals (mahapashus), ie. elephant, horse, bull and lion; representing the life of the

Buddha(His mother’s dream, zodiac sign, mahabhinishkramana and Himself) along with

wheel of religion (chakra), goose, pipalleaf, lotus etc.; the symbols sacred in Indian

traditions- Hinduism, Buddhism and Jainism.

Fig.3: Lions capital, the National emblem of India from Sarnath Museum (A), Bull

Capital from Rampurva, Biharnow displayed in RashtrapatiBhawan, New Delhi (Source:

rashtrapatisachivalaya.gov.in), Lion capital from Kolhua, Bihar (C), DeedarganjYakshini

from Patna Museum, Patna, Bihar (D), Rock Cut Elephant from Dhauli, Odisha (E),

Terracotta mother goddess, Bihar (F), Ring Stone from Patna Museum, Bihar (G) (Photo

by Author)

Other images were being made as an image of Vishnu with a dedicatory inscription in

late Mauryan or Shunga character was found from Malhar in Chhattisgarh and larger than

life sized images of yakshas and yakshis from Parkham (Mathura), Kaushambi,

Pratapgarh, Vidisha, Pataliputra etc. The Didarganj - yakshini (withMauryan polish) is

most famous (2nd cent. BCE). Among these, two nude male torsos (with famous Mauryan

polish on one of these) from Lohanipur in Patna district of Bihar province, is considered

to be Jaina images. Other examples are Shiva Linga with standing Shiva trampling the

apasmar from Gudimallam, Andhra Pradesh and an image of Balarama from Mathura

(2nd cent. BCE). Thus the sculptural activities were much developed in between 236 BCE

(Ashoka’s death) and 150 BCE (when Heliodors erected Garuda-dhwaja at Vidisha).

Thus the Maurya art was restricted with pillars only made of sand-stone of Chunar in

Uttar Pradesh. These were made with two parts-

(i) The monolithic tapering shaft, round in section and many times bearing Ashokan

edict, and

(ii) The monolithic capital, depicting inverted lotus capped by the abacus on which

panels of floral and faunal designs can be seen. On the abacus are the images of lion

or bull or elephant or horse (?).The most famous and promising capital among these

is the lion capital of Sarnath, showing four roaring lions, sitting back to back with

smiling faces. This lion capital is the National Emblem of India. It has four animals

on its abacus ie. Elephant, bull, horse and a lion described above. The pillars and

capitals are highly polished with famous Mauryan polish. The caves bearing same

polish at Barabar and Nagarjuni in Gaya district of Bihar, also show beautifully

carved round hut at Sudama cave and arched gateway with panels carved with

pictures of stupas being worshipped by elephants. The famous elephant image

immerging from a rock at Dhauli in Odisha is worth to remember.

Shunga (187 to 78 BCE) -Satavahana (100 BCE to 200 CE) Period

The evidence of Sunga and Satavahna art are reported from Madhya Pradesh,

Bihar, Uttar Pradesh, and West Bengal for Shunga art and Maharashtra, Andhra Pradesh

the Shunga- Satavahana art was mostly Buddhist in nature. The famous examples are

stupa of Bharhut in Madhya Pradesh with railing pillars and gateway of sand stone (2nd

cent. BCE), mahastupaand many smaller stupas at Sanchi, a rock-cut monastery at

Pitalkhora and Jain monasteries at Udaigiri- Khandagiri and Mathura ornamented with

sculptures of yaksha, yakshini, men, women, royal couple, animals, birds, reptiles, life

scenes of Buddha, Jataka’s stories and Buddhist symbols like foot-print, wheel, triratna,

stupa, Bodhi- tree etc.The men and women are often with foreign facial features

confirming the connection with West Asia and tribal people of India herself.

Fig.4: Terracotta female figurine (mother goddess) (A), General view of the toran

from Sanchi (B), Close-up view of the HeliodorsBesnagar pillar (D), View of Bodhgaya

railing (E), Close-up view of Sanchitorangate (F), A view of Bharahut railing displayed

in Indian Museum, Kolkata, West Bengal (G)

Fig.5: Stone slab with intricate carvings from Amrawati (A), Stone Medallion

from the part of Vedica, Source:

http://www.britishmuseum.org,Source:www.68.media.tumblr.com(B), Gold Ornaments

Source:www.pinterest.com(C),Terracotta figurine made of Kaolin clay, Amarawati,

Depiction of Mara-vijaya scene in Relief on stone, Source: www.wikipedia.org (E), A

still from Satvahana art fromAmaravatiGuntur, Andhra Pradesh,

Source:Guimet_Museum, Paris

Kushana Period (100 to 300 CE)

The Kushanas, a branch of Yu Chi tribe from Chinese Central Asia, accepted

Indian religion whole heartedly without neglecting Greco-Roman imagery which was

locally popular. Shaivism, Vaishnavism, Buddhism, Jainism were deeply rooted in India.

The Kushanas also adapted philosophical thoughts which resulted as Mahayanism in

Buddhism. The mudras (abhaya, varada, dhyana, dharmachakrapravartana etc.) and the

symbols (shankh, chakra, gada, padma etc.) were differently used in Hinduism,

Buddhism and Jainism. There are few terracotta heads along with a colossal image of

Bodhisattva with a huge umbrella made of sand stone; now displayed in Sarnath Museum

and a seated Bodhisattva at National Museum; both from Mathura. This period had three

main centers of art: Ai-Khanum in Bactria, Gandhar in Purushpur (Peshawar) and

Mathura in India, which had Bactrian and classical (Greco-Roman and indigenous)

elements respectively. The Ai-Khanum images show dresses like pyjamaand tunic with

typical Bactrian motifs; the Gandhara style shows the costumes and coiffeurs in a mixed

way of Indian, classical and Bactrian. Buddha with curly/ wavy/ flame like hair,

moustache, tender face and serene facial expressions, beautiful half-closed eyes etc. are

other features of Gandhara school of art. It was mostly done on blueish schistose stone

and slate stone (up to 3rd cent. CE).

Fig.6: Terracotta female figurine (A), Shalbhanjikastone image (B), A scene of

Bacchanalia (C), Art on railing and medallion (D), Image of Buddha (E), Image of

SarvatobhadraJainatirthankaras(F), Image of a Kushana King Kanishka (G), Iaage of a

Kubera (H) ) are from Mathura State Museum, Mathura, Uttar Pradesh, India

The Mathura school of art mainly used red blotchy sand stone showing Buddha of

heavy body in Indian dhoti; often covering left shoulder, small curly hair or a top knot,

left hand resting on hip, open or semi-closed eyes, thick lips and round or oval face. The

female figures were wearing transparent dhoti and various ornaments. The flora and

fauna were depicted in a very realistic manner. The raw material used in this period was

white spotted red sand stone which was queried fromSikri, Mathurafor Mathura School

of Art and grey schist for Gandhara School of Art.

Fig.7: Prince Siddhartha Leaves the Palace Pakistan, San Diego Museum of Art,

California (A), Mahaparinirvana of Lord Buddha, Miho Museum, Koka, Japan (B), Lord

Buddha in Fasting posture,Lahore Museum, Pakistan (C), Buddha debout, Peshawar

Museum, Pakistan (D), Head of Lord Buddha made of Stucco (E), Bamiyan Lord

Buddha, Afghanistan, Source:www.prandalrauser.com (F), Kanishka Casket, Birtish

Museum, London (G)

Gupta Period (321 to 550 CE)

In Gupta period, all types of developments were at its zenith; especially in fine

arts including art of sculpting. The Gupta art and its beauty were totally indigenous and

devoid of any imposed sophistication, ornamentation or any other element. The technical

excellence can be witnessed in the image of Buddha in dharmachakrapravartana

mudraSarnath Museum, Varanasi. Other beautiful images of this period are that of life

size Ganga and Yamuna in terracotta and stone from Ahichchhatra, and Lakshmi, Sita,

Parvati in terracotta and stone from Sarnath and Kaushambi; Nara-Narayana-

Gajendramoksha and panels of life scenes of Buddha at Deogarh temple; Varaha with

Bhudevi panel of Eran and many stylistic and beautifully charming images and heads of

Buddha and scenes of his life at Sarnath. These images are large in proportion but

extremely light in visual weight. The images and panels are perfectly balanced. Less

ornaments, transparent drapery like a wet cloth, showing softness of flesh and contours of

body, semi-closed eyes looking at the tip of his nose; as if in contemplation, oval face

with sharp features etc. show the anatomical proportions true to life.

Fig.8: Gold Coin of Samudra Gupta (A), Terracotta Plaque of Krishna battling the

horse demon keshi, National Museum (B), Standing Buddha bronze, Sultanganj Source:

Birmingham Museum and Art Gallery (C), Terracotta Life size image of goddess Ganga,

National Museum (D), Varaha Image of Lord Vishnu, Udayagiri, Madhya Pradesh (E),

Vishnu AnantasayanaPanel, Dashavatara Temple, Deogarh (F) Courtesy: ASI,

Dharmachakraparvattanaimage of Lord Buddha, Sarnath Museum (G)

Thus the Mathura art shows heaviness and the Gandhara art shows Greek

Olympian beauty of male athletes in Kushana period; while the Gupta art shows the

youthfulness of a yogi, calm and composed expressing only his inner bliss not the body-

muscles which is nomenclature as Sarnathschool of art, which was more realistic than

Gandhara and Mathura schools.

Post Gupta Period: Phase I (6th -8th cent. CE)

This period witnessed beginning of many cults in each religion which resulted in

many images of cult-gods and goddesses. The Maitrakas of Valabhi (6th -7th cent. CE) in

Saurashtra gave the sculptures (bronze) of Sun temple at Gopa, Shamalaji, Akota (near

Vadodara) etc. An artistic movement of great importance flourished under the aegis of

the Pallava rulers of Kanchi and they are credited with having built the seven monolithic

pagodas, the rathas, in Mahabalipuram. Some of the outstanding sculptures that are

credited to their patronage are the Mahishasuramardini in relief, Girigovardhana panel,

Arjuna's penance or the Descent of the Ganga, Trivikrama Vishnu, Gajalakshmi and

Anatasayanam. In the annals of Indian art there is perhaps no better example of the

representation of the Elephant than that in the Arjuna's penance scene. The celestial

world, the temporal world as well as the animal world has been shown with masterly

skill.

Fig.9: Rock Cut sculptures, Badami, Karnataka,Chalukya period (A), Ceiling of

Durga temple, Aihole, Karnataka, Chalukya period (B), Image from Kailasha rock cut

temple, Maharshtra, Rashtrakut period (C), Padmapani mural, Ajnata, Maharshtra,

Chalukya/Vakataka period (D), Façade of Gop temple, Jamnagar architectural style,

Gujarata, Valabhi period Source: www.twitter.com/urchinspock (E), Image of Durga,

Aihole, Karnataka, Chalukya period (F) Courtesy: ASI

The Rashtrakutas (8th century) created the greatest wonder of medieval Indian art

in Kailasa temple at Ellora. Quarried out of a hill and solid rocks, it is sculptured on a

grand scale. The bold and magnificent carving in this temple shows the Rashtrakuta style

of tall and powerfully built figures, reflecting with spiritual and physical poise. The

beautiful architectural rock sculpture from Cave No.29 at Ellora shows the marriage of

Siva and Parvati and Ravana shaking mount Kailasa.A classic panel shows the king of

the Naga and his queen, belonging to Ajanta, 5th century CE. The sculptural work at

Ajanta merits as great attention as the world famous wall paintings.

The Chalukyas of Badami had temples cut into rocks at Aihole, Badami and

Pattadakal with rich prolific sculptures ofhindudeties.TheVakataka traditions are derived

from the earlier Satavahana which can be clearly seen in the many carvings and in the

painted and carved figures at Ajanta. It is only the decorative elements, chiefly composed

of pearls and ribbons, so characteristic of the Gupta-Vakatakaage, which distinguishes

them from the simpler, but notable sculpture of Amravati.

\

Fig.10: Bas-relief of Mahabalipuram, Tamilnadu, Pallava period (A), Five

pagodas from Mahabalipuram, Pallava period (B), Rock cave-cum-cut temple, Elephanta,

Maharashtra, Rashtrakut period (C), Famous image of maheshatrimurti, Rock cut cave-

cum-temple, Elephanta, Maharashtra, Rashtrakut period (D)Courtesy: ASI

The cave-shrine at Elephanta contains the famous image of Mahesha. The three

heads emanating from one and the same body represent three different aspects of Lord

Shiva. The central face with a calm and dignified appearance shows him as the creator,

the one on the left, with a severe look, portrays him as the destroyer and the third, to the

right, with a calm and pacific expression as the protector.

Post Gupta Period: Phase II (9th -12th cent. CE)

After Guptas, the Vardhana dynasty started to rule in North India;

Harshavardhana being the most majestic ruler among all. The works of art in this period

were marked with great workmanship in figure carving and in elaboration of jewellary;

for example. The art of Harsha's period has no separate position of its own. It is related to

the art of Gupta period as well. Some scholars are of the view that the Lakshaman temple

made of bricks at a place called Sirpur, Chhatisgarh belongs to Harsha's period. But some

scholars are of the view that it was built on 9th century A.D. Another example of the art

of Harsha's period is the copper statue of Buddha, which is eight feet high. The

monasteries and temples of Nalanda are also the examples of the artistic achievements of

this period.

In South India the Pallavas were succeeded by the Cholas in Tamilnadu with two

great kings- Rajaraja (985-1018 CE) and Rajendra (1018-33 CE). The art flourished in

this period were beautiful example of stone as well as of bronze. They created the great

temples at Tanjavur, Gangai Kondo Cholapuram, Darasurama, which are a veritable

treasure house of their art. The Gangaikondacholapuram temple with distinct features of

South Indian architecture shows all the 108 dance-forms mentioned in Natyashastra,

depicting Shiva in different postures of dance.

At the Brihadesvara temple at Tanjavur which is the most mature and majestic of the

Chola temples, sculpture there has attained a new maturity which is evident in the

gracefully modelled contours of the figures, their flexed poses, delicate ornamentation,

pleasing faces and certain freshness, all of which add charm to the work. Chola art not

only influenced the art of Ceylon, but it travelled as far away as Java and Sumatra.

Fig.11: General view of the Lakshman temple, Sirpur, Chhattisgarh, Vardhan period (A),

Close view of the carving on the temple of Sirpur (B), Brihadeshwara temple mural

representing Rajaraja and his guru, Chola period, Source:ASI (C),Chandesanugrahamurti,

Brihadeshwara Temple, Gangaikondacholapuram, Chola period (D), Natraja image made

on bronze, Chola period, www.wikipedia.com (E)

The Chola art is beautifully represented in bronze and the most elegant and

beautiful pieces are that of dancing Shiva or Nataraja (displayed in the National Museum,

New Delhi), Ram, Sita and Hanumana as a group image in State Museum, Chennai;

Bharat with Ram’s sandles in the National Museum, New Delhi and images of gods and

goddesses are other masterpieces of Chola art. These images of bronze were made with

lost-wax method. These images are beautiful example of soft modeling, graceful flowing

contours, and exquisite ornaments with inner bliss of gods and goddesses.

The Pala kings in 8th -11th cent. CE patronized sculptures of stone and bronze too.

The best examples of this period are collected from Nalanda, Kurkihara, Vikramashila

and other places in Bihar. These examples also show strong connection between India

and South –East Asian countries like Indonesia, Thailand, and Combodia etc. These

images are that of Buddha and other Buddhist deities, both male and female. The stone

(schistose black stone) sculptures were also being produced in Pala period and these were

also of Buddha, Buddhist deities and also of Vaishnava religion; collected from Nalanda,

Bodhgaya, Rajshahi and Khichinga in Mayurbhanja and Sarnath in Varanasi.

Fig.12: Bronze image of Buddha, Patna museum, Pala period (A), Terracotta

plaque image, Vikramshila, Bhagalpur, Bihar, Pala period (B), Image of Saraswati,

Source: web of National Museum, 12tgh Cen. CE (C), Buddha image, Vikramshila,

Bhagalpur, Bihar, Pala period (D)

In Gujrat we can witness beautiful images of Vishnu’s ten incarnations, his rest on

Sheshnag and sadhus, apsaras etc. on the pillars of Rani Kivav, made in 11th cent. CE.

The Chandelas (10th -11th cent.CE) in Khajuraho of Madhya Pradesh got to

construct about 30 temples of Shiva, Vishnu and Jinas in a period of 100 years (950-1050

CE). The KandariyaMahadeva temple among these is masterpiece in quality of

architecture and quantity of sculptures. Besides the Shaiva and Vaishnava gods and

goddesses, beautiful images of devakanya, men, women, animals etc. in compromising

and erotic poses; scenes of every aspect of life of royal and common people in different

moods are delightfully carved with a very realistic approach. The curvature and contour

of body, the poses, sharp facial features (angular nose and eyes, short chin) are

remarkable. These are imbued with great movement, flexibility and animation.

The Jain Saraswati image in white marble from Pali in Bikaner, displayed in

National Museum, New Delhi is another noteworthy exampleof this period.

The Hoyasalas, who were contemporary to Late Palas and Early Post Cholas (11th

-13th cent. CE) developed theirown characteristic style of art and architecture. The

sculptures of this period show minute carving of the carpenters and goldsmiths for which

the artisans were using bluish-black chlorite schist stone which were easy to carve as

such. The figures are simply loaded with intricately carved ornaments from top to

bottom. The Helebid temple is richly decorated with beautifully ornamented images

portraying the entire heaven of Lord Indra. The god and goddesses, men and women and

even walls of the temple are at the height of great workmanship, though the spirituality is

lesser in proportion. The images show sharp nose, long narrow eyes, heavy legs, sqattish

body with variously twisted postures. The Belur temple in Hasan district and Keshava

temple of Somnathpur near Shrirangapattanam give largest panorama of sculptures in

stone, metal and stucco of large number of gods and goddesses.

Fig.13: Uma-Maheshwara, Rani-Ki-Vav, Gujarat (A), KandariyaMahadeva,

Khajuraho, Chandelaperiod (B),

Image of a nayika, Hoyasala period (C), Image of a warrior, Konark, Odisha (D)

The Odishanschool of art and architecture (contemporary to Pala-Sena; 8th -13th

cent. CE) is another outstanding style in itself. The Parashurameshwara (750 CE),

Mukuteshwara (950 CE), Lingaraja (1000 CE), Raja-Rani (1150 CE) and Surya (150 CE)

temples of Konark are remarkable examples of this style. The sculptures of this period

are rare and enormous. The main emphasis was given to craftsmanship after 1000 CE.

Modern Period (c. 1500 to c. 1800 CE)

The Hazarduari Palace with 1000 doors in Murshidabad (1829) has an excellent

example sculptures like a masonary lion images in sitting posture at the foot of the grand

staircase along with other bronze and marble statues.

The Victoria memorial (1906-1921 CE) at Kolkata, West Bengal has beautiful

collection of images in marble displayed in 5 galleries, figure of Angel of Victory (4.9

m.) atop the central dome and statue of Lord Curzon in front of the main building along

with images of Queen Victoria, Prince Albert are noteworthy.

Fig.14: Façade of the Murshidabad palace, West Bengal (A), An image of a

mother with children, Victoria memorial, Kolkata, West Bengal (B)

Conclusion

Instead of the classical dignity, sobriety and simplicity, the sculpture is more and

more tending towards ornamentation, creating highly ornate art objects, with strange and

unusual imaginary creatures in the later period of ancient India. Loveliness and

idealisation are still the artist's passion, but love of the ornate, decorative details is now

dominant over classic simplicity. Styles went on developing the sculptors frequently

departed from the texts and rules laid down, and delighted in those departures and the

liberties they took with the bodies of humans and even of gods and goddesses.

This is a sign of maturity, life, dynamism. Strict uniformity, ingenuity and

conformity with the rules laid down in the shilpasastra texts during the ages would be a

sure sign of the decadence of this great art in the country. If art has to grow, it has to react

to the changing circumstances of different times, inclinations, tastes and as it is the

business of art, good art; to reflect contemporary society with its different taste, style also

has to change. One look at the magnificent art of Indian sculpture, and sculpture through

the ages in any Museum would satisfy the inquisitive mind of this attitude from age to

age. The most remarkable achievement of the new artist of this age was to contribute a

dreamy, floating quality to the figures of the flying gods and free movement than in the

classical period; on the other hand there is a tendency towards increasing elegance and

slenderness of form. There is a new beauty in women. The woman is no longer the

mother goddess but a divine charmer.

The sculptures of ancient, medieval and modern India show the basic beliefs and

thoughts of the respective periods, like in ancient India when only Hinduism prevailed

the sculptures also showed the concept of one supreme power called Brahma, Ishwara or

Paramatma. Shiva, Vishnu, Brahma and Shakti were the supreme deities and others were

their incarnation or their devotees. The images of Buddhism did not represent Buddha

until the emergence of Mahayan sect when idol-worship was allowed.

In medieval period, when Islamic religion was more powerful in India there was

concept of one God and his pagambar Prophet Mohammad. The same was the situation

in Modern period, when India was under British rule and so Chtistianity was in more

power where there is one God and his son Jesus Christ. As image making or worship is

not allowed in Islamic religion we do not find images related to this religion in medieval

period. Images of Jesus Christ, child Jesus, his mother and other images are found in

plenty.

********