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ART IN SOUTH AND SOUTHEAST ASIA BEFORE 1200 Eddie Hochman, Kenn Su, and Bayla Weick

Art in south and southeast asia before 1200 bayla, kenn, eddie

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Page 1: Art in south and southeast asia before 1200   bayla, kenn, eddie

ART IN SOUTH AND SOUTHEAST ASIA BEFORE 1200Eddie Hochman, Kenn Su, and Bayla Weick

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Buddhism

Buddha: original founder of Buddhism focuses on meditation, enlightenment,

and the pursuit of knowledge Buddha preached about the Wheel of the

Law and the Four Noble Truths

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Hinduism polytheistic religion Sacrifice is meant to please deities and gain favor

with them Hindu deities vary in form and natures Three most important deities are Shiva, Vishnu, and

the Goddess, Devi Shiva- God of Creation and Destruction, both angry and

peaceful, Most common attribute is the Trident Vishnu- “The Preserver”, creator and destroyer of all

existences, one who supports, sustains and governs the Universe and originates and develops all elements within.

Devi- The primary form of all Goddesses, balances out the male aspect o the Divine.

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Overview of Time Period

Indus Valley Civilization The Vedic Period The Maurya Period The Period of Shungas and Early Andhras The Kushan and Later Andhra Periods The Gupta Period The Post-Gupta Period The Tenth through the Fourteenth

Centuries

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Th

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Indus Valley Civilization

2600 – 1900 BCE

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Indus Valley Civilization

As a whole, very little is known Existed around the same time as Old Kingdom

in Egypt Similarities between cities suggest coherent

culture Built elevated citadels with 50 feet high walls,

water tank, pool/public bath, drainage system, and streets

Many terra cotta figurines, a few stone and bronze statuettes, and many seal impressions have been found

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Torso of a “Priest-King” from Mohenjo-Darjo c. 2000-1900 BCE

Nude Torso from Harappa c. 2000 BCE

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Comparison

Two main styles emerged: one similar to Mesopotamian art and one that is characteristic of Indian artistic tradition

Similar to Mesopotamian art in motifs and abstract renderings

Tradition is to show sensuous naturalism Ex. Nude male torso has then contrasting

naturalistic style: emphasizes soft textures subtle nuances of muscular form unlike the Greek athletic male ideal

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2000 BCE – 500 BCE

Vedic Period

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Vedic Period

Mahavira teaches 599-527 BCE

Buddha teaches 563-483 BCE

400 BCE Mahabharata and Ramayana take shape (epics)

Hereditary class structure and exclusive priesthood is unique

Vedic tradition evolves into Hinduism

2000 BCE Aryans (nomadic shepherds) enter India Introduced horse,

chariot, Sanskrit language, hierarchical social order, and religious practices sacrificial with fire

3 Religions develop: Hinduism, Buddhism, and Jainism

800 BCE Upanishads texts composed

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C. 322 – 185 BCE

Maurya Period

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The Maurya Period

3rd Century BCE Alexander of Macedonia invades India

700 BCE cities start to appear India becomes an empire—

Maurya Empire General period of conquest Under Emperor Ashoka (ruled

c. 273-323 BCE) Buddhism becomes official state religion Ashoka was a great patron He denounces war and

violence

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Major Themes/Styles

Depict popular deities such as yakshis (female) and yakshas (male) Uphold ideal of dharma = moral law

Many sculptures had lustrous polished quality Linear patterning on clothing indicates someone

of respect Monolithic pillars usually placed in sites related

to events in Buddha’s life Elaborate capitals usually with animal figures Axis mundi = axis of the world or joining link

between human and celestial realms

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Page 18: Art in south and southeast asia before 1200   bayla, kenn, eddie

Yakshi Holding a Fly-Whisk

C. 250 BCE, polished sandstone, height 1.63 m—lifesize

Yakshi = spirit associated w/productive forces of nature

Large breast and pelvis show that female beauty is associated with procreative abundance

Frontal rigor of pose suggest strong sense of authority

Jewelry is prominent Common hairstyle

with bun at front and back

Soft, youthful face and stomach muscles

Flesh shows polished sheen

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Despite some abstraction, Mauryan art had many realistic elements similar to Western art

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Lion Capital from Sarnath C. 250 BCE, polished

sandstone, height 2.13 m

At the site of Buddha’s first sermon

Lowest section = downturned petals of lotus blossom Symbolize presence of

divine purity in imperfect world

Originally had a bronze wheel supported by lions

Very realistic elements: Veins/tendons, claws, mane, jaws

Low-relief carvings of wheels/chakras on the abacus Alternating lion, horse, bull, and

elephant = possibly four great rivers of the world Queen Maya saw a white elephant

enter her womb when she conceived Buddha

Bull is Buddha’s desire during his life as a Prince Siddhartha

Horse might be Buddha’s departure from palatial life

Lion represents attainment of Nirvana

Back to back lions facing the four cardinal directions may indicate universal nature of Buddhism or Buddha himself Sometimes interpreted as

representative of Ashoka’s rule Roar = Buddhism speak far and

wide

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185 BCE – 50 CE

Periods of the Shungas and Early Andhras

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The Period of the Shungas and Early Andhras

Local rule by regional dynasties returns Buddhism becomes very influential

especially with Stupas—religious monuments enclosing relic chambers

2nd Century caves become common use for holy art

Rock-cut halls

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The Great Stupa at Sanchi

Founded 3rd century BCE, enlarged c.150-50 BCE, c. 50 CE stone gateways added

Functions as carefully calculated mandala = diagram of the cosmos

Has four toranas pointing at four cardinal directions (35 feet tall) Depict jakata tales= stories of Buddha’s life

Dome built up from rubble and dirt, faced with dressed stone echoes arc of sky

Railing at ground level provides for ritual circumambulation

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The Chaitya Hall at Karla

Rock-cut, 1st century BCE – 1st century CE

Carved from top to bottom

Chaitya means sanctuary (usually enshrines a stupa in the apse) versus the vihara

Darkness leads to heightened awareness of the sacred space

Columns at entrance used to support a balcony

Arched windows are similar to a multistoried palace

Elephant statues create the illusion of supporting structure of their backs

Has a Chaitya window = horse-shoe shaped opening providing main source of light

Mithuna couples = figures evoking sense of harmony and fertility in life

Celing shows the barrelt vault

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Comparison

The closely spaced columns that separate the side aisles from the main aisle are unlike any known in the West.

They are important examples in the long and complex evolution of the many Indian styles.

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C. 30 BCE – 433 CE

Kushan and Later Andhra Periods

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The Kushan and Later Andhra Periods

3 schools developed: Gandhara, Mathura, and Amaravati which had slighter figures than the other two

Gandhara School: Strong ties to Western style Mathura School: Unique style evolving from Yakshas

The surviving school that continued to develop into the Gupta Period

Amaravati School: Generally depicted events from Buddha’s life Commonly showed mithuna couples

Buddha has specific characteristics: monk’s robe, golden-colored body, long arms to his knees,

wheels on his palms and feet, white hair between his eyebrows Elongated earlobes due to heavy earrings, ushnisha on his

head (bun) to symbolize enlightenment

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Influential Artist

Kushan King Kanishka I (127–147) was a great patron of Buddhism

He commissioned a stupa in Peshawar Considered tallest building at time of

construction Common pilgrimage stop

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Page 33: Art in south and southeast asia before 1200   bayla, kenn, eddie

Standing Buddha

C. 2nd-3rd century CE, Schist, 2.28 high (over life size)

Gandharan art combing Hellenistic, Persian, and native styles

Buddha is superhuman; as revealed by folds of garment he is broad massive, with heavy shoulders and limbs, and a well-defined torso

Kneed bend gently suggesting slightly relaxed pose

Robe treatment is very characteristic and very complex

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Buddha and Attendants

Yogic posture on pedestal supported by lions w/ halo and pipal tree (where he achieved enlightenment)

Robe is pulled tightly to make him seem nude

Tendency to abstraction seen in face: geometric shapes like rounded forms of widely opened eyes

Naturalistic in torso

C. early 2nd century CE, red sandstone, height 69.2 cm

Style evolves from yakshas

High relief stele showing Buddha as powerful

Right hand raised = “have no fear” mudra or hand gesture for communicating certain ideas Urna, ushnisha, chakras on

palms and soles are marks of Buddha

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Comparison

Robe treatment is very similar to Roman statues Meant to show the shape of the body

Ghandara lies near East-West trade routes for Romans

Buddha does not show any of the athletic, Greek male ideal

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Gupta Period

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The Gupta Period• 320-486 CE (Only 166

Years)• Influence of Gupta culture

remained for centuries• Renowned for flourishing

artistic and literary culture• Produced India’s most

widely admired sculpture and painting

• Buddhism reaches its greatest influence in India

• Gupta monarchs still supported Hinduism

Bodhisattva

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Chandragupta II

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The Gupta Period

Founded a dynasty at Magadha Expanded into northern and southern

India Chandragupta I: 320-335 CE Samudragupta: Golden Age Chandragupta II Skandagupta repulsed a Huna attack in

455 CE Use of resources in waging war led to

Gupta decline

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Styles, Subjects, and Themes• Relaxed, graceful pose• Only a few garment lines• Large, circular halo• Downcast eyes indicate

otherworldly introspection• Broad shoulders• Perfection and equilibrium• Spiritual purity fused with

physical purity• Blend of the fully

enlightened with the fully human

• Not a superhuman presenceBuddha Preaching the

First Sermon

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Standing Buddha vs. Western Tradition Balanced blend of the human

and the divine, halo, etc… Resembles Kouroi (Apollo) Differs in body covering; not

free-standing Egyptian style; stoicism of

Pharoahs Archaic features Not concerned with the human

body in action; no contrapposto Contrasts with Hellenistic

representations of the everyday

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Styles, Subjects, and Themes• Bodhisattvas: enlightened

beings who postpone nirvana and buddhahood to help others achieve enlightenment

• Princely garments; wear lavish ornaments

• Crown, earrings, etc…• Outline drawing: a major

ingredient in Indian painting; 3-D illusion

• Lighter tones -> protrusion• Sophisticated, realistic detail• Achieve balance between

the human and the divineGreat Bodhisattva - Ajanta

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Bodhisattva vs. Western Tradition Found at shrine entrance Byzantine Empress

Theodora: lavish jewelry Egyptian royal

headdress, bright colors, bold outline

Egyptian painting was more representational

Gupta (and other Eastern) influences made their way into Western art a few centuries later

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Post-Gupta Period

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The Post-Gupta Period

• Influence of Gupta dynasty remained in religion and the arts

• After the 5th century, Hinduism began to dominate Indian religion

• 528 CE: Hun dynasty falls• Hindu temples and sculpture of the Hindu

gods become increasingly common• Prevalence of monumental narrative

reliefs

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Shiva Nataraja of the Chola Dynasty

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Styles, Subjects, and Themes

• Northern: distinguished by shikhara, which rises as a solid mass above the flat stone ceiling and windowless walls of the sanctum

Temple of Vishnu at Deogarh • Southern: pyramidal

tower called a vimana, featuring miniature shrines and a dome-shaped octagonal capstone

Dharmaraja Ratha at Mamallapuram

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Vishnu Narayana vs. Western Tradition Several connections to

Parthenon frieze: Reminiscent of the

frieze’s narrative nature 3-D: overlapping

demonstrates understanding of space

Stylized: 4 arms -> resembles centaurs from Parthenon frieze

Hieratic scale for religious figures: Stele of Naram-Sin from Akkadian artVishnu Narayana on the

Cosmic Waters

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Styles, Subjects, and Themes• Dance of Shiva

signifies cycle of death and rebirth

• Signifies liberation of the believer through Shiva’s compassion

• Dances upon Apasmaru; symbolizes “becoming”

• Holds ball of fire: symbolizes destruction and our egocentric perceptionsShiva Nataraja of the

Chola Dynasty

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Shiva Nataraja vs. Western Tradition Reminiscent of Roman

arch Hieratic scale; resembles

Naram-Sin stomping his enemies

Symmetry that was evident in Egyptian sculpture

Also, head covering resembles royal Egyptian sculpture

Placement of legs reminiscent of contrapposto from classical Greece

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Dvaravati)Khmer Rule at AngkorChola Dynasty

The Tenth Through Fourteenth CenturiesKingdom (C. 500-900CE

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Overview of Time Period

Dvaravati Kingdom (C. 500-900CE)

Khmer Rule at Angkor (C. 9th-13th centuries)

Chola Dynasty (C. mid-9th- late 13th century)

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Key Events 800-1200 CE: Chola emerge to dominate the south 800-1200 CE: Khmer Dynasty in Cambodia Circa 1000 CE: Brihadeshvara Temple is built in Thanjavur

Paves way for greater temples, Circa 1017 CE: Chola conquer Sri Lanka Circa 1070 CE: Vijayabahu I of Rohanna (r. 1070–1110)

expels the Cholas from Sri Lanka. Buddhism flourishes Late 12th century: Buddhism in decline 1100-1200 CE: Ramanuja, the poet and philosopher and

patriarch of the Shrivaishnava tradition describes theology of Bhakti (devotion)

1153-1186 CE: Parakrama Samudra (artificial lake), is built in Sri Lanka during the reign of Parakramabahu I One of the greatest irrigation feats of the ancient world

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Major Themes/Styles

Hindu Temple reaches unparalleled heights of grandeur

Religious movements Tantric (esoteric) Movement Bhakti (devotional) Movement

Thailand Prakhon Chai Style Dvaravati Style

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Artists

Artists usually viewed merely as craftsmen and artisans, not worthy of mention

Patron’s name is more likely to be inscribed The individual’s role was not supremely important Ideal human forms created from metaphors derived from nature

Chin like mango stone, arms like elephant trunk, eyes like the curve of a fish

Hinduism and Buddhism co-existed Same artists often employed Muslim invaders

Artists received detailed instruction Less room for changes in artistic style

Artists rarely signed artworks Low social hierarchy Patron often has name inscribed

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http://image.linkinn.com/userfile/pictures_1004/Image/Borobudur_the_Buddhist_Temple_in_Central_Java__32.jpg

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Borobudur C. 800 CE, Central Java, Indonesia

Buddhist site, (‘most monumental’) Rises more than 100 ft from ground level Stepped pyramid

Surmounted by a large stupa Ringed by 72 smaller stupas

Mahayana symbolism (earthly and cosmic realms)

500+ sculptures of transcendental Buddhas On balustrades and upper terraces 3-dimensional mandala

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http://lh5.ggpht.com/_yaV_Nk30ezk/RfZ5_bABqPI/AAAAAAAABNQ/wRpg43C9Qys/IMG_1795_edited-1.jpg

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Kandariya Mahadeva Temple

C. 1000 CE, Madhya Pradesh, India. Chandella dynasty. Temple build by ruler

(unknown). Temple dedicated to Shiva Northern Style Post-and-Lintel Construction

Stone blocks Rests on stone terrace Steep flight of stairs to mandapas (three

halls) Ritual, symbolize Shiva’s threefold emanation

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Page 62: Art in south and southeast asia before 1200   bayla, kenn, eddie

Rajarajeshvara Temple

Thanjavur, India, C. 1000 CE Known alternately as the Brihadeshvara Dedicated to Shiva Exterior walls display numerous reliefs in

niches Built by the Cholas Dynasty under the

rule of Rajaraja I (R. 985-1015 CE) Enormous, 216ft. tall

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http://www.voyana.com/VietnamAndCambodia/images/generic/Large/Angkor_Wat.jpg

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Angkor Vat

12th Century, Angkor, Cambodia Crowning achievement of Khmer architecture

The site of royal (Khmer) capitals King Suryavarman II (r. 1113- 1150 CE) began

the construction Purpose was to associate the king with his

personal god (Vishnu) The complex incorporates a stepped pyramid

with 5 towers set within 4 enclosures on increasing perimeter

Five towers symbolize five peaks of Mount Meru

Stone reliefs glorify Vishnu

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Comparison

Western TraditionS. & SE Asian Art (900-1200CE)

Monotheistic Jesus, Muhammad, Saints

Architecture Religious purposes Cross shaped plans

symbolic Vault and arch techniques

Larger interior space Reliefs narrate stories

Symbolic

Iconography Ambivalent, closer to “personal

truths” Realism

Growing focus on the real world, along with the Divine

Polytheistic Dynasties depicted favored

God/Goddess Architecture

Religious in purpose Temples erected to favored god Post-and-Lintel Construction

Smaller interior space Reliefs narrate stories

Symbolic Clear structure, unified composition

Iconography Ascetic interpretation of Buddha

(instead of princely) Multiple arms (super-natural)

Naturalism Ideal, youthful figures

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Works Cited Blog Spot. N.p., n.d. Web. 15 Nov. 2010. <http://greatindiantemples.blogspot.com/>. Book Rags. N.p., n.d. Web. 15 Nov. 2010. <http://www.bookrags.com/ research/ gupta-empire-ema-02/>. Buddha Net. N.p., n.d. Web. 15 Nov. 2010. <http://www.buddhanet.net/ sanchi.htm>. Civil Service India. N.p., n.d. Web. 15 Nov. 2010. <http://www.civilserviceindia.com/ subject/ History/ prelims/ post-gupta-

period.html>. Department of Asian Art. "Mauryan Empire (ca. 323–185 B.C.)". In Heilbrunn Timeline of Art History. New York: The

Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/maur/hd_maur.htm (October 2000) Exotic India Art. N.p., n.d. Web. 15 Nov. 2010. <http://www.exoticindiaart.com/ article/ lordbuddha/>. Indian Child. N.p., n.d. Web. 15 Nov. 2010. <http://www.indianchild.com/ gupta_empire.htm>. Indian Net Zone. N.p., n.d. Web. 15 Nov. 2010. <http://www.indianetzone.com/ 22/ art_architecture_gupta_period.htm>. Kossak, Stephen M., and Edith W. Watts. The Art of South and Southeast Asia. New York: The Metropolitan Museum of Art,

2001. The Orange Grove. Web. 14 Nov. 2010. <http://florida.theorangegrove.org/ og/ file/ a71881f6-3db8-8862-1e20-a039d5c98006/ 1/ AsiaArt.pdf>.

Mahavidya. N.p., n.d. Web. 15 Nov. 2010. <http://www.mahavidya.ca/ wp-content/ uploads/ 2008/ 06/ tittlemier-krista-gupta-dynasty.pdf>.

"Mauryan Art, Maurya Dynasty." Free Encyclopedia & Web Portal on Indian Culture & Lifestyle. 2008. Web. 14 Nov. 2010. <http://www.indianetzone.com/42/art_under_maurya_dynasty.htm>.

Prabhu. N.p., n.d. Web. 15 Nov. 2010. <http://prabhu.50g.com/ pst_gupta.html>. Stokstad, Marilyn, David Cateforis, and Stephen Addiss. Art History. Third ed. Upper Saddle River, NJ: Pearson/Prentice Hall,

2005. Print. “South Asia: North, 1000–1400 a.d.” MetMuseum. N.p., n.d. Web. 14 Nov. 2010. <http://www.metmuseum.org/ toah/ ht/ ?

period=07&region=ssn#/ Key-Events>. “South Asia; North 500-1000AD.” Met Museum. N.p., n.d. Web. 5 Nov. 2010. <http://www.metmuseum.org/ toah/ ht/ ?

period=06&region=ssn>. “South Asia: South, 1000–1400 a.d.” MetMuseum. N.p., n.d. Web. 14 Nov. 2010. <http://www.metmuseum.org/ toah/ ht/ ?

period=07&region=sss#/ Key-Events>. “Southeast Asia, 1000–1400 a.d.” MetMuseum. N.p., n.d. Web. 14 Nov. 2010. <http://www.metmuseum.org/ toah/ ht/ ?

period=07&region=sse#/ Key-Events>. Travel. N.p., n.d. Web. 15 Nov. 2010. <http://travel.sulekha.com/ sanchi-attractions.htm>. Waseb. N.p., n.d. Web. 15 Nov. 2010. <http://waseb.wordpress.com/ 2010/ 04/ 20/ temples-along-the-indus-by-michael-w-

meister/>. World Timelines. N.p., n.d. Web. 15 Nov. 2010. <http://www.worldtimelines.org.uk/ world/ asia/ south/ AD320-600/ hun>.

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THE END

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