The document provides an overview of art in South and Southeast Asia before 1200 CE. It describes the major religions of Buddhism and Hinduism that influenced the art of the period. It then outlines the major time periods and dynasties, and highlights characteristics of art from each, including sculptures depicting Buddha and Hindu deities. The art combined influences from neighboring regions with local styles and was often used to illustrate religious stories and symbolism.
Angkor Wat is a temple complex in Cambodia and the largest religious monument in the world, on a site measuring 162.6 hectares.Angkor Wat, the largest and oldest religious monument in the world, is increasingly becoming a must-see monument in Asia.
File ini berisi informasi terkait perkembangan seni rupa Assyria dan Persia ditinjau dari artifak yang mereka kreasikan berupa arsitektur, relief/patung dan kriya.
We covered Origin,Geography and Timeline of Mesopotamia.There were many civilization in Mesopotamia but we only covered Sumerian Civilization because it had been told to us by our faculty.I hope you guys like this!
Angkor Wat is a temple complex in Cambodia and the largest religious monument in the world, on a site measuring 162.6 hectares.Angkor Wat, the largest and oldest religious monument in the world, is increasingly becoming a must-see monument in Asia.
File ini berisi informasi terkait perkembangan seni rupa Assyria dan Persia ditinjau dari artifak yang mereka kreasikan berupa arsitektur, relief/patung dan kriya.
We covered Origin,Geography and Timeline of Mesopotamia.There were many civilization in Mesopotamia but we only covered Sumerian Civilization because it had been told to us by our faculty.I hope you guys like this!
he stupas, temples, viharas, and stambha at Sanchi in central India are among the oldest and most mature examples of aniconic arts and free-standing architecture that comprehensively document the history of Buddhism from the 3rd century BCE to the 12th century CE. About 10 km from Vidisha, the Buddhist monuments at Sanchi, located on a serene and picturesque forested plateau, are also considered to be the sacrosanct Cetiyagiri in the Sri Lankan Buddhist chronicles, where Mahindra, the son of Emperor Aśoka, stopped prior to undertaking his journey as a missionary to Sri Lanka. The enshrined remains of Sariputra and Maudgalyayana (chief disciples of Buddha) in Sanchi were venerated by Theravadins, and continue to be revered to the present day.
The inception of Sanchi as a sacred centre is attributed to the Mauryan emperor Aśoka. His reign in the 3rd century BCE is considered instrumental to the spread of Buddhism throughout the Indian subcontinent. With the establishment of the monolithic Aśoka Stambha (pillar) bearing a highly elaborate capital, Emperor Aśoka distinguished Sanchi as a site of great importance. Contemporary with the stambha was a brick stupa, which was later increased in scale during the Sunga dynasty (184-72 BCE), covered with an ashlar stone veneer, and augmented with circumambulatory paths and staircases with ornate balustrades, harmika, yashti, chhatra, and four torana, which were later ornamented during the Satavahanas dynasty in the 1st century CE. The last addition to the grand stupa was during the Gupta dynasty (5th century CE), when four shrines were added at the cardinal entry points. Today, this grand structure of Sanchi (“Stupa 1”) is considered an incomparable example of the mature phase of Indian stupas. Since Aśokan times, subsequent powerful empires that reigned over this region – such as the Sunga, Kushana, Kshatrapa, and finally Gupta dynasties – continued to contribute to the expansion of Sanchi with the construction of hypostyle, apsidal, and other temples and shrines, comparatively smaller stupas (Stupas 2 and 3), and numerous viharas. Corroborated by inscriptions present in the property, Sanchi remained an important seat of Buddhism until the 13th century CE.
With this module we open up our study of the connections (and disconnections!) between visual imagery and religious belief. Considering only two of the major religious traditions in India, we take a look at what we see and how
In 176 BC, the Yuezhi were driven from Tarim Besin to westward by the Xiongnu, a fierce people of Magnolia.
The Yuezhi under the leadership of the Kushanas came down from Central Asia and swept away all earlier dynasties of the Northwest in a great campaign of conquest. They established an empire which extended from Central Asia right down to the eastern Gangetic basin.
In Bactria, they conquered the Scythians and the local Indo-Greek kingdoms, the last remnants of Alexander the Great's invasion force that had failed to take India.
From this central location, the Kushan Empire became a wealthy trading hub between the peoples of Han China, Sassanid Persia and the Roman Empire.
Roman gold and Chinese silk changed hands in the Kushan Empire, at a very tidy profit for the middle-men.
International Journal of Humanities and Social Science Invention (IJHSSI)inventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online
Basic Civil Engineering Notes of Chapter-6, Topic- Ecosystem, Biodiversity Green house effect & Hydrological cycle
Types of Ecosystem
(1) Natural Ecosystem
(2) Artificial Ecosystem
component of ecosystem
Biotic Components
Abiotic Components
Producers
Consumers
Decomposers
Functions of Ecosystem
Types of Biodiversity
Genetic Biodiversity
Species Biodiversity
Ecological Biodiversity
Importance of Biodiversity
Hydrological Cycle
Green House Effect
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Power-sharing Class 10 is a vital aspect of democratic governance. It refers to the distribution of power among different organs of government, levels of government, and social groups. This ensures that no single entity can control all aspects of governance, promoting stability and unity in a diverse society.
For more information, visit-www.vavaclasses.com
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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This is a presentation by Dada Robert in a Your Skill Boost masterclass organised by the Excellence Foundation for South Sudan (EFSS) on Saturday, the 25th and Sunday, the 26th of May 2024.
He discussed the concept of quality improvement, emphasizing its applicability to various aspects of life, including personal, project, and program improvements. He defined quality as doing the right thing at the right time in the right way to achieve the best possible results and discussed the concept of the "gap" between what we know and what we do, and how this gap represents the areas we need to improve. He explained the scientific approach to quality improvement, which involves systematic performance analysis, testing and learning, and implementing change ideas. He also highlighted the importance of client focus and a team approach to quality improvement.
This presentation provides an introduction to quantitative trait loci (QTL) analysis and marker-assisted selection (MAS) in plant breeding. The presentation begins by explaining the type of quantitative traits. The process of QTL analysis, including the use of molecular genetic markers and statistical methods, is discussed. Practical examples demonstrating the power of MAS are provided, such as its use in improving crop traits in plant breeding programs. Overall, this presentation offers a comprehensive overview of these important genomics-based approaches that are transforming modern agriculture.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Art in south and southeast asia before 1200 bayla, kenn, eddie
1. ART IN SOUTH AND
SOUTHEAST ASIA
BEFORE 1200
Eddie Hochman, Kenn Su, and Bayla Weick
2. 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
3. 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.
4. 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
8. 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
9. Torso of a “Priest-King” from
Mohenjo-Darjo c. 2000-1900
Nude Torso from Harappa c.
2000 BCE
10. 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
12. 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
15. 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
16. 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
17.
18. 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
20. 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,
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
21. 185 BCE – 50 CE
Periods of the Shungas and
Early Andhras
22. 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
23.
24. 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
25.
26.
27. 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
28. 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.
29. C. 30 BCE – 433 CE
Kushan and Later Andhra
Periods
30. 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
31. 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
32.
33. 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
34.
35. 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
36. 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
38. 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
40. 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
41. 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
Buddha Preaching the First
42. 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
43. 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 divine
Great Bodhisattva -
44. 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
46. 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
48. 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
49. 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
50. 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
perceptions
Shiva Nataraja of the Chola
Dynasty
51. 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
52. Dvaravati)
Khmer Rule at Angkor
Chola Dynasty
The Tenth Through Fourteenth
Centuries
Kingdom (C. 500-900CE
53. 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)
54. 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
55. Major Themes/Styles
Hindu Temple reaches unparalleled heights of
grandeur
Religious movements
Tantric (esoteric) Movement
Bhakti (devotional) Movement
Thailand
Prakhon Chai Style
Dvaravati Style
56. 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
58. 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
60. 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
61.
62. 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
64. 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
65. Comparison
Western Tradition S. & 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
66. Works Cited
Blog Spot. N.p., n.d. Web. 15 Nov. 2010. <http://greatindiantemples.blogspot.com/>.
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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>.
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