Hindu art and architecture are deeply spiritual and symbolic in nature. Art is seen as a path to spiritual enlightenment, with different art forms like sculpture and painting used to depict Hindu gods and concepts from a symbolic and idealized perspective rather than a realistic one. Hindu temple architecture also has spiritual significance, with styles like Nagara and Dravida using symbolic forms like towers to represent the universe. Major elements of Hindu art include depictions of gods like Ganesha and Shiva, as well as symbolic motifs like lotuses and snakes.
A Presentation by Prof. Subramanian Swaminathan on the paintings of Ajanta
Buddhist paintings on the walls and ceilings of the 29 caves in Ajanta are not only the ealiest in India but also the best the subcontinent produced. These are also the forerunniners of religious paintings of India and Indian Asia.
The PPP is for the students of UG and PG only. Not for my API.
For more pics of Chola period-
https://www.clevelandart.org/art/collection/search?i=1&search=chola
A Presentation by Prof. Subramanian Swaminathan on the paintings of Ajanta
Buddhist paintings on the walls and ceilings of the 29 caves in Ajanta are not only the ealiest in India but also the best the subcontinent produced. These are also the forerunniners of religious paintings of India and Indian Asia.
The PPP is for the students of UG and PG only. Not for my API.
For more pics of Chola period-
https://www.clevelandart.org/art/collection/search?i=1&search=chola
Mugal painting is a particular style of South Asian, particularly Indian painting confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.[1]
Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.
The Emperor Shah Jahan standing on a globe, with a halo and European-style putti, c. 1618-19 to 1629.
The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined.
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.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
It is also called as Dravidian architecture
Dravidian architecture (600AD-100AD) is an architectural idiom in Hindu temple architecture that emerged in the southern part of the India
It consists primarily of Hindu temples where the dominating feature is the high gopura or gatehouse
Majority of the existing structures are located in Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana.
A temple consisted of -- Vimanas, Gopurams, Mantapams and Chaultries.
Vimana It is the structure over the garbhagriha or inner sanctum in the Hindu temples of South India and Odisha in East India
A vast gateway, which led to different parts of the temple with pillars the length of its path, was known as the Mandapam-the porch.
A Gopuram or gopura is a monumental entrance tower, usually ornate, at the entrance.
A gopuram is usually a tapering oblong in form with ground-level wooden doors, often richly decorated, providing access.
Choultry is a resting place for travelers, visitors to a site, typically linked to Buddhist, Jain and Hindu temples.
In Southern India five kingdoms and empires stamped their influence on architecture during different times.
Acute Respiratory Infection is an important topic that one must know about in the health care field. This is just a short presentation of a very vast topic.
Mugal painting is a particular style of South Asian, particularly Indian painting confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa). It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.[1]
Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.
The Emperor Shah Jahan standing on a globe, with a halo and European-style putti, c. 1618-19 to 1629.
The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined.
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.
Pahari miniature painting
Alternative Title: Hill painting. Pahari painting, style of miniature painting and book illustration that developed in the independent states of the Himalayan foothills in India. The style is made up of two markedly contrasting schools, the bold intense Basohli and the delicate and lyrical Kangra.
It is also called as Dravidian architecture
Dravidian architecture (600AD-100AD) is an architectural idiom in Hindu temple architecture that emerged in the southern part of the India
It consists primarily of Hindu temples where the dominating feature is the high gopura or gatehouse
Majority of the existing structures are located in Andhra Pradesh, Karnataka, Kerala, Tamil Nadu and Telangana.
A temple consisted of -- Vimanas, Gopurams, Mantapams and Chaultries.
Vimana It is the structure over the garbhagriha or inner sanctum in the Hindu temples of South India and Odisha in East India
A vast gateway, which led to different parts of the temple with pillars the length of its path, was known as the Mandapam-the porch.
A Gopuram or gopura is a monumental entrance tower, usually ornate, at the entrance.
A gopuram is usually a tapering oblong in form with ground-level wooden doors, often richly decorated, providing access.
Choultry is a resting place for travelers, visitors to a site, typically linked to Buddhist, Jain and Hindu temples.
In Southern India five kingdoms and empires stamped their influence on architecture during different times.
Acute Respiratory Infection is an important topic that one must know about in the health care field. This is just a short presentation of a very vast topic.
Heritage of any nation is best represented by its culture, beliefs and traditions. A subset of these that has given India, a profound identity for India is Art. Art forms in India exist since time immemorial. Over the past century, Indian Art has undergone through vast and diverse change in their forms that exist in the present. For instance, the themes chosen by the traditional painters were societal. But later with the emergence of modernists followed by the contemporaries, the facets of Indian painting were changed radically.
Acute respiratory infection in children, etiology, clinical features, diagnosis, treatment. Common infections in children including common cold, tonsillitis, LTB, Croup, Epiglottitis etc.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbook. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Instructor
This is the PowerPoint presentation we covered Wed and Friday August 22 and 24. Please note: the video and audio components will not function in this format.
3. “The man who knows nothing of
music, literature, or art is no
better than a beast.”
•Warning of ancient Hindu wisdom
•Hindus think highly of art
•Art = the key to salvation of the ultimate
release sought by all good Hindus
•Art is a unity of many forms and artistic
experiences very holistic
4. Yoga
•Indian art in its purest form
•A disciplined style of self-restraint and worship
•India’s oldest indigenous “science”
•spiritual exercise leading to the beatific vision
-also a psychological process of drawing
oneself into the dynamics which control the
universe
-and to ready oneself for all kinds of mental
and physical activity
5. Yoga and Artists
• give the craftsman
his creative skill
• inspire the artist,
poet, and musician
who sought spiritual
enlightenment
6. The Art
• Hindu/ Indian artists have celebrated/ immortalized
the beauty of human bodies in bronze and stone for
more than 5,000 yrs
• Art is most often associated with Hindu religion and
philosophy
-difficult to appreciate fully unless one has
knowledge of Hindu ideals
-religious urge, a looking beyond
-attempt to bring down the beauty of the things
above
7. Art Con’t
• Art is essentially idealistic, mystic, symbolic,
and transcendental
- Mere bodily strength and mundane
perfections of form are never glorified in
Indian art.
• Artist is both priest and poet
• Only by meditating on the Ultimate Perfection
could the artist perceive the beauty of the
Godhead
8. •Hindu poetry, art, and
mythology, depict the sublime
nature of the Himalayas
-regarded as special revelation of
divine beauty
-seen as fitting shrine for all the
gods
The Himalayas
9. •Hindu philosophy recognizes the
impossibility of human art capturing the
form of God
•Creates in Indian painting and sculpture a
symbolical representation of milder,
humanized (but still superhuman), divine
appearances which mortal eyes can bear
Philosophy of Art
10. Purpose of Art
• To suggest divine attributes to Indian people
is the purpose of Hindu art
• True Indian art is stripped of the superfluities
and vulgarities which delight the uneducated
eye
- believe that Hindu art requires a
higher degree of artistic understanding
11. Bhakti
•the moving spirit of
all great religious art
•keeps Indian art alive
•Indians believe lack
of it Bhakti is what
makes modern
Western art so
lifeless
12.
13. Ganesha
• the Lord of success and
destroyer of evils and
obstacles
• worshipped as the god of
education, knowledge,
wisdom and wealth
• one of the five prime
Hindu deities
14. Shiva
•The “Great God” of yogic
practice
•Visually represented as
“King of Dance”
•most remarkable single
symbol of divine powers
15. The Lotus
Brahma on the lotus
flower which sprang
from Vishnu’s naval
•Even in earliest art, lotus is fashioned as a seat
or as a pedestal on which divine or sacred beings
rest in a sitting or standing posture
•Symbol of divinity of major Hindu gods
16. Snakes
• important images in
Hindu art
• Sacred to Hindus
• seen as protectors and
often featured in Hindu
art as wrapped around a
god
20. Temple Architecture
•Religious
– Astronomy
– Sacred geometry
•Representation of macrocosm and microcosm
•Has an inner sanctum: garba girha
•Sanctum crowned by a shikara
– Distinguishes the Nagra and Dravida styles
22. North Indian Styles
• Nagara style
• From Himalayas to the Deccan
• Shikhara – beehive shaped
– Capotas and gavakas
– amalaka
• Shrine is square at center
• Bell-shaped structure on main shrine
25. South Indian Style
•Dravida Style
•Shikhara – pyramid shaped
•Have different: ground plan; position of
stone deities; decorative elements
•Walls around whole building
•Different types: Pallava, Chola, Pandya,
Vijayanagar, Nayak
27. Historical Development
• The earliest worship centers
– Abu Simpbel
– Elephanta
– Ellora
• Horse shoe shaped window
• Originally inspired by the Buddhist Stupa
• The Great Stupa
28. Historical Development cont’d
• The Stupa
– Addition to the temple from Buddism
• Shilpa Shastra
– Point of reference
for architects
• Hindu temples
– Large temples vs.
mandirs:
29. Historical Development cont’d
• Shwe Dagon temple
• Temples Today
– Fundamentally the same as the 6th century
– Richly decorated
30. Works Cited
"Art and Architecture" http://hinduism.iskcon.com/index.htm. The Heart of
Hinduism Project. 2004. 1 section. 3 Nov 2006. ISKCON Educational
Services <http://hinduism.iskcon.com/lifestyle/805.htm>
"Architectural Mosaic" http://www.hinduonline.com/. The Hindu. 12 May
2002. 5 sections. 2002 1 Nov 2006 <
http://www.hinduonnet.com/thehindu/mag/2002/05/12/stories/200205120045
>
Batchelor, Anthony. “Indian Temple Architecture.” TempleNet. 13 Nov.
2006. <http://www.indiantemples.com/temparc.html>
“Ganesha: The Elephant God.” About. 13 November 2006.
<http://hinduism.about.com/library/weekly/aa083000a.htm>.
Havell, Ernest Binfield. The Art heritage of India. Dutton, 1911.
Hindu Architecture. Indiasite.com. 10 November 2006.
<http://www.indiasite.com/architecture/hindu.html>.
31. Works Cited Con’t
"Hindu Architecture" 10 Aug 2004, 7 paragraphs. Project India. 11 Nov 2006 <
http://www.scholars.nus.edu.sg/student_work/global_programme/indiaweb/PI2/hindu
>.
Hindu Art. 15 August 2006. Hindu Wisdom. 13 November 2006.
<http://www.hinduwisdom.info/Hindu_Art.htm#h%20i%20n%20d%20u
%20%20%20%20a%20r%20t>.
Hindu Temple Architecture. Answers Corporation. 15 November 2006.
<http://www.answers.com/topic/hindu-temple-architecture>.
Kumar, Nitin. “The Hindu Temple: Where Man Becomes God.” May 2006. Exotic
India. 12 Nov. 2006. <http://www.exoticindiaart.com/read/hindu_temple.htm>.
Nangia, Ashish. “Poetry in Stone: Crystallization of the Hindu Temple.” 15 Nov.
2001. Boloji.com. 13 Nov. 2006.
<http://www.boloji.com/architecture/00006.htm>.
Temples. Indian Heritage. 10 Nov. 2006.
<http://www.saigan.com/heritage/tindex.html>.