The document provides an introduction to the sculptural art of Amaravati. It discusses the origins and development of stupas in ancient India. The Great Stupa of Amaravati once stood as a glorious monument and center of Buddhism. The methodology section describes the literary and archaeological sources used in the study. The chapters will cover the architecture of the stupa, narrative reliefs depicting Jataka stories and scenes from Buddha's life, inscriptions, and the influence of the Amaravati school.
Anuradhapura was the largest ancient city and capital of Sri Lanka from 377 BC to 1017 AD. It was founded in 437 BC and became an important center of trade and diplomacy by the 1st century AD, linked to both the Roman-Hellenistic world and China. Over 1400 years it was the royal seat of more than 250 Buddhist and Hindu kings. Important religious structures built there include the Thuparamaya dagoba, containing relics of the Buddha, and the massive Jetavanarama dagoba. Archaeological finds provide evidence of its trade links and the city was home to foreign merchant quarters.
- Mauryan art represented an important transition from wood to stone in Indian art. Notable features include the use of cut stone in religious sculptures and the development of Buddhist temples, stupas, and caves that were inspired by earlier Vedic traditions.
- Gandharan art developed in the region of Gandhara (modern-day Pakistan and Afghanistan) between the 1st-7th centuries AD and blended Greek artistic styles with Indian Buddhist religious themes. Key characteristics include depictions of the Buddha and bodhisattvas with realistic human features and elaborate drapery.
- Gupta art of the 4th-5th centuries AD is exemplified by naturalistic sculptures like the Standing Buddha from Sarnath
Ancient Indian Literatures - Sacred LiteratureLeninVinod
This document provides an overview of ancient Indian literature, including sacred texts from Hinduism, Buddhism, and Jainism. It describes the Vedas as the most sacred texts of Hinduism containing hymns, prayers, and rituals. The two major Hindu epics are also summarized - the Ramayana tells the story of Rama and the Mahabharata features the Bhagavad Gita. Buddhist literature includes the Tripitakas and Jataka tales, while Jain texts comprise the Agamas and Charitas hagiographies. Ancillary Hindu texts like the Puranas, Dharmasutras, and Vedangas are also briefly outlined.
Buddhist monuments_ sanchi, amaravathi & monolithic pillars.Jeevan Lal
The document summarizes several important Buddhist monuments in India, including stupas at Sanchi, Amaravati, and monolithic pillars erected by Emperor Ashoka. It describes the key architectural features of stupas, such as the dome structure, railing, and gateways. Reliefs at Sanchi depict stories from Buddha's life and the Jataka tales. The Amaravati stupa contained elaborate carvings but most were removed and are now in museums. Ashoka's pillars served to spread his ethical edicts and had inscriptions describing Buddhism; some were crowned with lions and erected near important Buddhist sites.
Ap Art History Art Of South Southeast Asiabassmanb
The document provides an overview of art in South and Southeast Asia before 1200 CE. It discusses the development of Buddhist and Hindu art in India under various dynasties like the Maurya and Gupta periods. Common Buddhist symbols and styles of Buddhist painting and sculpture are described. Architecture like the Great Stupa at Sanchi and rock-cut cave temples are examined. The spread of Indian cultural influences through Southeast Asia is also covered.
The Miga Jātaka has not been definitively identified, but it is thought to refer to a Pali text about the Buddha being reborn as a deer. There were several Jataka tales involving the Buddha being born as different types of deer, distinguished by qualifying names like Nigrodha Miga and Kurunga Miga. The document then provides details on some deer-related Jataka tales that have been identified based on reliefs found at sites like Sanchi, including the Ruru-jātaka, Nigrodha Miga Jātaka, and Shyama Jātaka. It concludes with references used in the analysis of the Jataka tales depicted in ancient sculptures.
The document provides a summary of important cultural elements that represent India and its 15,000 year old civilization that would be included in a time capsule. It discusses the sari and its various styles of draping, the architectural and acoustic marvel of the Meenakshi Temple, the Vedas as the original Hindu scriptures containing spiritual knowledge, chaat as a popular Indian snack, Bharatnatyam classical dance, the martial art of Kalaripayattu which influenced Kung Fu, Carnatic music traditions, the Kerala backwaters ecosystem, and the influential paintings of Raja Ravi Varma depicting scenes from Hindu epics.
1. Hinduism and Buddhism spread from India to many parts of Asia between 1500 BCE to 500 CE. Hindu gods like Indra, Varuna and Mitra were worshipped in the Mitanni Kingdom in ancient Syria, as evidenced by treaties between the Hittites and Hurrians.
2. In Egypt, excavations at Amarna revealed kings with Vedic names ruling in Syria around 1400-1500 BCE. The Hyksos dynasty in Egypt was of Indian origin. Hindu concepts like reincarnation and devotion to the sun god were also present.
3. Buddhism spread to East Asia between 500-1000 CE. In China, monks worked with spiritual leaders to preach concepts like moksha.
Anuradhapura was the largest ancient city and capital of Sri Lanka from 377 BC to 1017 AD. It was founded in 437 BC and became an important center of trade and diplomacy by the 1st century AD, linked to both the Roman-Hellenistic world and China. Over 1400 years it was the royal seat of more than 250 Buddhist and Hindu kings. Important religious structures built there include the Thuparamaya dagoba, containing relics of the Buddha, and the massive Jetavanarama dagoba. Archaeological finds provide evidence of its trade links and the city was home to foreign merchant quarters.
- Mauryan art represented an important transition from wood to stone in Indian art. Notable features include the use of cut stone in religious sculptures and the development of Buddhist temples, stupas, and caves that were inspired by earlier Vedic traditions.
- Gandharan art developed in the region of Gandhara (modern-day Pakistan and Afghanistan) between the 1st-7th centuries AD and blended Greek artistic styles with Indian Buddhist religious themes. Key characteristics include depictions of the Buddha and bodhisattvas with realistic human features and elaborate drapery.
- Gupta art of the 4th-5th centuries AD is exemplified by naturalistic sculptures like the Standing Buddha from Sarnath
Ancient Indian Literatures - Sacred LiteratureLeninVinod
This document provides an overview of ancient Indian literature, including sacred texts from Hinduism, Buddhism, and Jainism. It describes the Vedas as the most sacred texts of Hinduism containing hymns, prayers, and rituals. The two major Hindu epics are also summarized - the Ramayana tells the story of Rama and the Mahabharata features the Bhagavad Gita. Buddhist literature includes the Tripitakas and Jataka tales, while Jain texts comprise the Agamas and Charitas hagiographies. Ancillary Hindu texts like the Puranas, Dharmasutras, and Vedangas are also briefly outlined.
Buddhist monuments_ sanchi, amaravathi & monolithic pillars.Jeevan Lal
The document summarizes several important Buddhist monuments in India, including stupas at Sanchi, Amaravati, and monolithic pillars erected by Emperor Ashoka. It describes the key architectural features of stupas, such as the dome structure, railing, and gateways. Reliefs at Sanchi depict stories from Buddha's life and the Jataka tales. The Amaravati stupa contained elaborate carvings but most were removed and are now in museums. Ashoka's pillars served to spread his ethical edicts and had inscriptions describing Buddhism; some were crowned with lions and erected near important Buddhist sites.
Ap Art History Art Of South Southeast Asiabassmanb
The document provides an overview of art in South and Southeast Asia before 1200 CE. It discusses the development of Buddhist and Hindu art in India under various dynasties like the Maurya and Gupta periods. Common Buddhist symbols and styles of Buddhist painting and sculpture are described. Architecture like the Great Stupa at Sanchi and rock-cut cave temples are examined. The spread of Indian cultural influences through Southeast Asia is also covered.
The Miga Jātaka has not been definitively identified, but it is thought to refer to a Pali text about the Buddha being reborn as a deer. There were several Jataka tales involving the Buddha being born as different types of deer, distinguished by qualifying names like Nigrodha Miga and Kurunga Miga. The document then provides details on some deer-related Jataka tales that have been identified based on reliefs found at sites like Sanchi, including the Ruru-jātaka, Nigrodha Miga Jātaka, and Shyama Jātaka. It concludes with references used in the analysis of the Jataka tales depicted in ancient sculptures.
The document provides a summary of important cultural elements that represent India and its 15,000 year old civilization that would be included in a time capsule. It discusses the sari and its various styles of draping, the architectural and acoustic marvel of the Meenakshi Temple, the Vedas as the original Hindu scriptures containing spiritual knowledge, chaat as a popular Indian snack, Bharatnatyam classical dance, the martial art of Kalaripayattu which influenced Kung Fu, Carnatic music traditions, the Kerala backwaters ecosystem, and the influential paintings of Raja Ravi Varma depicting scenes from Hindu epics.
1. Hinduism and Buddhism spread from India to many parts of Asia between 1500 BCE to 500 CE. Hindu gods like Indra, Varuna and Mitra were worshipped in the Mitanni Kingdom in ancient Syria, as evidenced by treaties between the Hittites and Hurrians.
2. In Egypt, excavations at Amarna revealed kings with Vedic names ruling in Syria around 1400-1500 BCE. The Hyksos dynasty in Egypt was of Indian origin. Hindu concepts like reincarnation and devotion to the sun god were also present.
3. Buddhism spread to East Asia between 500-1000 CE. In China, monks worked with spiritual leaders to preach concepts like moksha.
The Great Stupa at Sanchi in central India was originally built with large bricks but later underwent an expansion to its current form as a hemispherical mound of rubble and earth covered in sandstone. It stands 54 feet high with a diameter of 120 feet and features a flat area atop holding a chatra (umbrella) surrounded by a square railing. A terrace below is used for rituals, and the structure is surrounded by a verdica (fence) that determines the circumambulation path and encloses the stupa.
The document provides details about Buddhist architecture and key structures found in Buddhist temples. It describes the major architectural features developed during the time of Emperor Ashoka in India, including stupas, stambhas, chaitya halls, and viharas. It provides in-depth descriptions of the design and symbolic meaning of stupas, such as those found at Sanchi and Sarnath. Stupas served as burial mounds containing Buddhist relics and came to represent cosmic symbols in response to the human condition of death in Buddhism.
The document provides an overview of classical and medieval Indian literature across multiple languages including Sanskrit, Pali, Prakrit, Tamil, Kannada, Malayalam, Telugu, and others. Some key points discussed include:
- Classical Sanskrit literature includes various genres such as epics, drama, poetry, and scientific works. Several famous Sanskrit poets from different centuries are mentioned.
- Tamil literature includes Sangam classics from the 3rd century BC as well as epics from the 2nd-3rd century AD. Figures such as Thiruvalluvar are discussed.
- Between the 10th-18th centuries, devotional bhakti poetry dominated literature and spread across
The literature in the books which gives us important information about the past is called literary source. The Vedas, Upanishads, Smritis, Ramayana, Mahabharata and the Sangam literature throw light on the political, social, economic and religious conditions of early India.
The document provides information on art and architecture in India before 1200 CE, including:
1) Mohenjo-Daro, an ancient Indus Valley city constructed in a grid-like plan with fired brick houses and a large plumbing system.
2) Seal impressions from the Indus Valley Civilization depicting figures like a meditating yogi, suggesting continuities with later South Asian cultures.
3) A terra-cotta figurine from the Indus Valley Civilization that may represent a priest-king, showing both Mesopotamian and distinct Indian influences.
The document provides an overview of Asian literature from China, India, and Japan. It discusses some of the earliest civilizations and dynasties in China, including the Shang Dynasty and Confucianism. In India, it outlines the Vedas and important epics like the Ramayana and Mahabharata. Japanese literature is traced from early writings like the Kojiki to poetic forms such as Noh plays, Haiku, and the Manyo Shu poetry collection.
The document discusses key principles of Buddhism and some of its important architectural monuments in India, such as stupas and pillars. It notes that Buddhism was founded in the 6th century BCE by Gautama Buddha and preaches the path of spiritual practice and insight to end suffering. Major monuments discussed include the Great Stupa at Sanchi, known for its elaborate gateways and carvings depicting Buddhist teachings, and the Ashoka pillars erected throughout India, such as the famous pillar at Sarnath topped with a lion capital.
The document contains 15 multiple choice questions related to Indian classical arts, including dance, music, theatre, and literature. The questions cover topics like identifying classical dance forms, musical instruments, famous artists, and literary works. Key details assessed include Bharatamuni's Natya Shastra, Kalidasa's play Abhijnanashakuntalam, and prominent musicians like Tansen and Ravi Shankar.
Buddhist architecture in ancient India included structures like stupas, chaityas, viharas, and stambhas. Stupas housed sacred Buddhist relics and had a rounded dome-like shape. Chaityas were prayer halls with a stupa at one end and were made in rock-cut caves. Viharas were monasteries that provided living quarters for monks. Stambhas were tall, polished stone pillars sometimes topped with sculptures. These structures developed under emperors like Ashoka who built many early Buddhist monuments to spread the religion across India.
The document discusses how Hindu religious texts and beliefs have influenced architecture, settlements, and urban planning in ancient India. It provides examples from texts like the Vedas of various architectural structures like temples, fortresses, and cities that are mentioned. The texts also describe political systems and the roles of kings. They indicate that architecture was influenced by religious concepts like the idea of creating structures as microcosms of the universe.
Dr. S. Sundarabalu
Visiting Professor ,ICCR’s Tamil Chair
Institute of Oriental Studies, Dept. of Indology
Jagiellonian University, Krakow-Poland
sunder_balu@yahoo.co.in
India-9715769995
The document provides information about the Ajanta and Ellora caves located in Maharashtra, India. It discusses the Buddhist, Hindu, and Jain caves found at both sites, describing some of the most prominent ones. The Ajanta caves contain paintings depicting Buddha's life and the Ellora caves feature elaborate carvings of Hindu gods as well as the impressive Kailasanatha Temple carved out of solid rock. Both sites provide historical insights into religion and art from ancient India.
Amaravati Stupa - Featured COMMENTS
Amaravati Stupa great monuments at Amaravati are all in ruins. Practically nothing is left on the site. however , a large number of slabs of white or grey limestone resembling marble that forms parts of panels, friezes, rails and pillars recovered from the old site
https://www.swamirara.com//
South Asian art and culture developed over millennia in the diverse region now comprising India, Pakistan, Bangladesh, Sri Lanka, Nepal, and Bhutan. The ancient Indus Valley civilization flourished as early as the 3rd millennium BC, building cities and crafting steatite seals. Later, Aryan peoples entering the subcontinent between 1800-1200 BC brought Hinduism, rooted in the Vedic hymns. Hinduism evolved as a diverse, polytheistic faith with regional variations. Major religious architecture like temples featured ornate carvings depicting gods and auspicious motifs. Alongside Hindu arts, Buddhism and Jainism arose in 6th century BC India and spread across Asia, while other faiths like Islam also
Art in south and southeast asia before 1200 bayla, kenn, eddiebassmanb
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.
I apologize, but I do not have enough context to identify the socialist leader being referred to. Could you please provide more details from the question or context?
The document provides a timeline and overview of art in India from 2700 BCE to 1947 CE. It summarizes key periods such as the Indus Valley Civilization around 2700-1200 BCE, during which seals with images including horned figures and yoga poses were produced. The Maurya Period from 322-185 BCE is described, including Emperor Ashoka's pillars engraved with edicts and Buddhist teachings.
Art encompasses a wide range of disciplines as evidenced by the many terms used to describe its different forms, such as fine arts, liberal arts, visual arts, decorative arts, applied arts, design, crafts, and performing arts. Art enhances daily experiences, is linked to quality of life, impacts everyone, and can be found all around us.
The Great Stupa at Sanchi in central India was originally built with large bricks but later underwent an expansion to its current form as a hemispherical mound of rubble and earth covered in sandstone. It stands 54 feet high with a diameter of 120 feet and features a flat area atop holding a chatra (umbrella) surrounded by a square railing. A terrace below is used for rituals, and the structure is surrounded by a verdica (fence) that determines the circumambulation path and encloses the stupa.
The document provides details about Buddhist architecture and key structures found in Buddhist temples. It describes the major architectural features developed during the time of Emperor Ashoka in India, including stupas, stambhas, chaitya halls, and viharas. It provides in-depth descriptions of the design and symbolic meaning of stupas, such as those found at Sanchi and Sarnath. Stupas served as burial mounds containing Buddhist relics and came to represent cosmic symbols in response to the human condition of death in Buddhism.
The document provides an overview of classical and medieval Indian literature across multiple languages including Sanskrit, Pali, Prakrit, Tamil, Kannada, Malayalam, Telugu, and others. Some key points discussed include:
- Classical Sanskrit literature includes various genres such as epics, drama, poetry, and scientific works. Several famous Sanskrit poets from different centuries are mentioned.
- Tamil literature includes Sangam classics from the 3rd century BC as well as epics from the 2nd-3rd century AD. Figures such as Thiruvalluvar are discussed.
- Between the 10th-18th centuries, devotional bhakti poetry dominated literature and spread across
The literature in the books which gives us important information about the past is called literary source. The Vedas, Upanishads, Smritis, Ramayana, Mahabharata and the Sangam literature throw light on the political, social, economic and religious conditions of early India.
The document provides information on art and architecture in India before 1200 CE, including:
1) Mohenjo-Daro, an ancient Indus Valley city constructed in a grid-like plan with fired brick houses and a large plumbing system.
2) Seal impressions from the Indus Valley Civilization depicting figures like a meditating yogi, suggesting continuities with later South Asian cultures.
3) A terra-cotta figurine from the Indus Valley Civilization that may represent a priest-king, showing both Mesopotamian and distinct Indian influences.
The document provides an overview of Asian literature from China, India, and Japan. It discusses some of the earliest civilizations and dynasties in China, including the Shang Dynasty and Confucianism. In India, it outlines the Vedas and important epics like the Ramayana and Mahabharata. Japanese literature is traced from early writings like the Kojiki to poetic forms such as Noh plays, Haiku, and the Manyo Shu poetry collection.
The document discusses key principles of Buddhism and some of its important architectural monuments in India, such as stupas and pillars. It notes that Buddhism was founded in the 6th century BCE by Gautama Buddha and preaches the path of spiritual practice and insight to end suffering. Major monuments discussed include the Great Stupa at Sanchi, known for its elaborate gateways and carvings depicting Buddhist teachings, and the Ashoka pillars erected throughout India, such as the famous pillar at Sarnath topped with a lion capital.
The document contains 15 multiple choice questions related to Indian classical arts, including dance, music, theatre, and literature. The questions cover topics like identifying classical dance forms, musical instruments, famous artists, and literary works. Key details assessed include Bharatamuni's Natya Shastra, Kalidasa's play Abhijnanashakuntalam, and prominent musicians like Tansen and Ravi Shankar.
Buddhist architecture in ancient India included structures like stupas, chaityas, viharas, and stambhas. Stupas housed sacred Buddhist relics and had a rounded dome-like shape. Chaityas were prayer halls with a stupa at one end and were made in rock-cut caves. Viharas were monasteries that provided living quarters for monks. Stambhas were tall, polished stone pillars sometimes topped with sculptures. These structures developed under emperors like Ashoka who built many early Buddhist monuments to spread the religion across India.
The document discusses how Hindu religious texts and beliefs have influenced architecture, settlements, and urban planning in ancient India. It provides examples from texts like the Vedas of various architectural structures like temples, fortresses, and cities that are mentioned. The texts also describe political systems and the roles of kings. They indicate that architecture was influenced by religious concepts like the idea of creating structures as microcosms of the universe.
Dr. S. Sundarabalu
Visiting Professor ,ICCR’s Tamil Chair
Institute of Oriental Studies, Dept. of Indology
Jagiellonian University, Krakow-Poland
sunder_balu@yahoo.co.in
India-9715769995
The document provides information about the Ajanta and Ellora caves located in Maharashtra, India. It discusses the Buddhist, Hindu, and Jain caves found at both sites, describing some of the most prominent ones. The Ajanta caves contain paintings depicting Buddha's life and the Ellora caves feature elaborate carvings of Hindu gods as well as the impressive Kailasanatha Temple carved out of solid rock. Both sites provide historical insights into religion and art from ancient India.
Amaravati Stupa - Featured COMMENTS
Amaravati Stupa great monuments at Amaravati are all in ruins. Practically nothing is left on the site. however , a large number of slabs of white or grey limestone resembling marble that forms parts of panels, friezes, rails and pillars recovered from the old site
https://www.swamirara.com//
South Asian art and culture developed over millennia in the diverse region now comprising India, Pakistan, Bangladesh, Sri Lanka, Nepal, and Bhutan. The ancient Indus Valley civilization flourished as early as the 3rd millennium BC, building cities and crafting steatite seals. Later, Aryan peoples entering the subcontinent between 1800-1200 BC brought Hinduism, rooted in the Vedic hymns. Hinduism evolved as a diverse, polytheistic faith with regional variations. Major religious architecture like temples featured ornate carvings depicting gods and auspicious motifs. Alongside Hindu arts, Buddhism and Jainism arose in 6th century BC India and spread across Asia, while other faiths like Islam also
Art in south and southeast asia before 1200 bayla, kenn, eddiebassmanb
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.
I apologize, but I do not have enough context to identify the socialist leader being referred to. Could you please provide more details from the question or context?
The document provides a timeline and overview of art in India from 2700 BCE to 1947 CE. It summarizes key periods such as the Indus Valley Civilization around 2700-1200 BCE, during which seals with images including horned figures and yoga poses were produced. The Maurya Period from 322-185 BCE is described, including Emperor Ashoka's pillars engraved with edicts and Buddhist teachings.
Art encompasses a wide range of disciplines as evidenced by the many terms used to describe its different forms, such as fine arts, liberal arts, visual arts, decorative arts, applied arts, design, crafts, and performing arts. Art enhances daily experiences, is linked to quality of life, impacts everyone, and can be found all around us.
The document summarizes the important dynasties that ruled parts of central and southern India between the 6th-14th centuries CE and developed the Vesara style of architecture. It discusses the Chalukyas of Badami and Kalyani who ruled parts of Karnataka between 543-1180 CE. It also outlines the Rashtrakutas who ruled from Ellora between 753-973 CE and the Western Chalukyas and Hoysalas who subsequently ruled parts of Karnataka until 1343 CE. Examples of important temples from each dynasty are provided.
The document provides room numbers for the CAT exam stage-II being held on August 27th 2022 at the Dwarka campus. It lists the room numbers on the first floor as 102, 118 and 119. It then lists the room numbers on the second floor as 208, 209, 225, 226 and 227. Finally, it provides the room numbers on the third floor as 301, 302 and 329.
The document traces the history of textiles in India from ancient times to the present. It discusses textile production and clothing in ancient civilizations like the Indus Valley and descriptions of clothing in historical texts. Different periods of Indian history are highlighted, from the Vedic period to the Mughal dynasty. The development of the handloom industry and the growth of the textile mills are also summarized. The document outlines India's strengths in textile production and its place in the global textile trade.
India has a long tradition of textile production dating back to the Indus Valley civilization where homespun cotton was commonly used. Archaeological evidence from Harappa and Mohenjo-Daro sites include bone needles and wooden spindles suggesting cotton was woven into garments. While silk originated in China, it was also produced in India after being introduced by monks and was used for religious purposes. Literary references indicate silk weaving predated recorded history in India. Sericulture later spread from China and played an important role in the economies of many regions. Fine silk production in Benares can be traced back to 500 BC.
Antoni Gaudi was a Spanish architect from Barcelona known for his unique modernist style. He is most famous for his unfinished Sagrada Familia basilica, to which he dedicated over 40 years of work. Gaudi's highly original style fused Gothic, Moorish, and organic influences. Almost all of Gaudi's work was completed in Barcelona, where he helped spark the Catalan modernism movement and expressed Catalan nationalism through his architecture. He died in 1926 while still working on the Sagrada Familia.
The Industrial Revolution began in Britain in the late 18th century due to various agricultural, technological, and economic developments. More efficient farming led to a surplus rural population that moved to cities to work in new factories powered by steam engines. Britain had ample coal and other natural resources and entrepreneurs like James Watt who improved the steam engine. In the 19th century, industrialization spread across Europe, aided by new transportation networks like railroads and new technologies like mechanized factories. While industrialization increased production and wealth, it also led to urbanization, pollution, and difficult working conditions, especially for children.
Worked as an assistant to architect Emil Kralik in Vienna and Munich.
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Studied: Studied at the Munich Academy of Fine Arts and the Academy of Fine Arts in Prague.
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Influences: Influenced by the Nazarene movement and Symbolism.
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Poster: Created his first poster in 1894 for a production of Gismonda by Victorien Sardou at the Theatre de la Renaissance in Paris.
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Style: Developed his distinctive Art Nouveau style with flowing organic lines, pastel colors and decorative motifs inspired by nature.
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Success: The Gismonda poster brought him great success and
The document summarizes the history and principles of the Bauhaus school, which was founded in 1919 in Weimar, Germany by Walter Gropius. It moved to Dessau in 1926 and Berlin in 1932 before being closed by the Nazis in 1933. Bauhaus pioneered an interdisciplinary approach and sought to integrate fine arts with craftsmanship and mass production. It had prominent teachers in various fields like Johannes Itten, Josef Albers, László Moholy-Nagy, and Paul Klee. Many Bauhaus masters later immigrated to the US, influencing the development of the International Style of architecture.
The Arts and Crafts Movement began in late 19th century England as a reaction against the Industrial Revolution. Members sought a return to medieval craftsmanship and design. The movement was influenced by the writings of John Ruskin and William Morris, who rejected machine production and advocated for handmade, socially purposeful designs. Key figures included William Morris, Walter Crane, and Edward Burne-Jones, who designed wallpapers, textiles, furniture and more in the Arts and Crafts style.
This document provides information about a psychology course on persuasion and advertising. It discusses USA Today's Super Bowl Ad Meter ratings, Bud Light commercials from 2007, theories of advertising effectiveness and consumer behavior, and the BehaviorScan system for testing marketing variables.
I do not have enough context to summarize this document. It appears to be detailed descriptions of images and text on an ancient Greek vase. Could you provide some additional context on what you would like the summary to focus on or what the key takeaways should be? Summarizing long, technical documents requires understanding the intended purpose or audience.
This document discusses the history of art and religious architecture in India. It questions the traditional dichotomy between art history and archaeology, arguing instead for understanding religious structures within their social contexts. Various 19th century frameworks that emphasized documentation and linear chronology are analyzed. Specific case studies of temples like Durga at Aihole and Parasuramesvara at Gudimallam reveal changing religious identities over time. The interdependence of architecture, sculpture, and performance arts is highlighted. Archaeological insights into continuity of settlement and diversity of worship are discussed, as is the Asian milieu of shared motifs and the spread of Buddhism across the region.
This document discusses applying a gender studies perspective to analyze early Indian art. It proposes examining artworks using tools from women's studies to analyze aspects like dress, ornaments, posture, gaze and aesthetics. This can reveal how art reinforced gender differences and stereotypes. A multidisciplinary methodology is advocated, drawing from fields like art history, history, anthropology and psychology. Engaging both visual material and textual sources from the period can provide more nuanced readings that challenge dominant patriarchal interpretations. Certain representations of femininity and masculinity in early Indian art essentialized gender roles and ideologies of power. Applying gender studies methodologies can offer deeper insights into the cultural context and meanings behind early Indian art.
This document discusses King Ashoka of India, who was known as "beloved of God" and issued edicts promoting nonviolence and righteousness. It provides historical context about Ashoka and references pillars and inscriptions from his time written in the Brahmi script. The document also examines biblical references to pillars and compares Ashoka's edicts to other codes of law from ancient times.
This document discusses reasons why people wear clothes, including protection from weather and injury, modesty, identification with groups through uniforms and insignia, status through clothing styles and symbols, and self-expression through decoration. Protection from elements like rain, wind, and heat is the primary reason for clothing. Modesty standards differ across cultures and over time. Uniforms help identify members of occupations, teams, and service jobs. Styles, colors, and accessories can indicate status, rank, or participation in events and organizations. People also decorate themselves to enhance appearance and creativity.
Paris has been the center of the global fashion industry since the 17th century. Haute couture, defined as the creation of exclusive custom-fitted clothing, originated in Paris in the mid-19th century and remains a protected designation regulated by French law. Houses must employ a minimum of 15 full-time craftspeople, hold two fashion shows annually displaying at least 35 outfits each, and create custom designs for private clients to earn the right to label their creations haute couture. While only serving around 2000 wealthy clients worldwide, haute couture houses drive over $1 billion in annual sales and influence ready-to-wear and other commercial fashion lines.
This document discusses the history of photography from its invention in the 1820s to the late 19th century. It covers key developments like the daguerreotype and calotype processes, debates around whether photography was an art or just documentation, and the relationship between photography and painting. The document also examines themes of how the new medium was responded to, the aesthetic potential of photographs, and the roles of women in the history of photography.
This document discusses art patronage under Cosimo de' Medici in Florence, focusing on the Palazzo Medici. It describes architectural features of the palazzo such as rustication, projecting elements, windows, an inner courtyard, garden, Medici arms and insignia. Interior elements discussed include the chapel containing frescoes by Fra Fillipo Lippi depicting the Madonna in the Forest from 1460.
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INDIA.ppt
1. “ SCULPTURAL ART OF AMARĀVATĪ ”
Supervisor: Submitted by:
Prof. (Dr.) Anupa Pande Jyoti Rohilla
Head of the Department Enrolment No. 02H (P) 36
National Museum Institute of History of Art, Conservation and Museology
National Museum,
Janpath
New Delhi
2007
2. INTRODUCTION
Stïpa of Amar@vatƒ once stood as the glory of south as well
as Indian Buddhism
3. INTRODUCTION
The Buddhist site of Amar@vatƒ (modern name of
ancient town of DhānayakaÝaka) was also known
by its
other various ancient names-
Dhammakada
Dhammakadaka
Dhannakadaka
4. METHODOLOGY
Literary Sources: Primary
Secondary
Epigraphical
Numismatic
Buddhist primary sources include canonical literature:
P@lÞ TripiÝaka in which most of the speeches and addresses are attributed to Buddha.
The TripiÝaka consists of two large parts:
VinayapiÝaka: is mostly concerned with the rules of the sangha, both monks and
nuns.
SuttapiÝaka (i.e. the collection of sutras): consists primarily of accounts of the
Buddha's teachings
Abhidhamma piÝaka: is a collection of texts which give a systematic philosophical
description of the nature of mind, matter and time.
Some important parts of TripiÝaka :
Theragath@, Therigath@ and Mahaparinibb@na Sutta
5. METHODOLOGY
Other Buddhist texts:
Nid@nkath@
J@takam@l@
Avad@nakalpalat@
Avadanaòataka
Divyavad@na
Buddhavamía
DÞpavamsa
Mah@vamsa
Buddhacarita etc.
The Sanskrit Buddhist texts:
Sadharmapunôarīka Sïtra
Mah@vastu
Lalitvistara etc.
6. METHODOLOGY
It also included several visits to the site of
Amar@vatƒ
Visits to various museums like
Amar@vatƒ Site Museum
N@g@rjunako&ôa Site Museum
Chennai Govt. Museum
National Museum
Musèe Guimet, Paris
7. CHAPTERS
VOLUME- I
Chapter 1: Introduction
Chapter 2: The Great Stūpa of Amarāvatī
Chapter 3:The Drum and Dome of Amarāvatī
Chapter 4:Narrative Art of Amarāvatī- I
J@taka Stories
Chapter 5: Narrative Art of Amarāvatī- II
Avad@nas and important scenes from the life of Buddha
Chapter 6: Inscriptions from Amarāvatī
Chapter 7: The Stūpa of Nāgārjunako&ôa- an extension of Amarāvatī
School
Chapter 8 : Influence of Amarāvatī School on the Art of Sri Lanka
Conclusion
8. CHAPTER 1
BRIEF HISTORY
The Sātavāhanas, also known as the åndhras, were a
dynasty which ruled in southern and central India starting
from around 230 B.C.
The first mention of the åndhras is in the Aitareya
Brahma&a, dating back to the 8th century B.C. In the
Pūrā&as and on their coins the dynasty is variously
referred to as the åndhras, åndhrabhrityas, Sātakar&īs and
Sātavāhanas.
12. THE DISCOVERY OF THE MAHå-CAITYA
AND
THE SITE AT PRESENT
The site of the mah@-caitya was locally known
as Dip@ldinne (hill of lamps) and was first
discovered by Colonel Mackenzie in the year
1797.
At present, the stïpa at Amar@vatƒ is a low,
artificial mound surrounded by a paved area and
the short stumps of a series of rail pillars.
15. CHAPTER 2
THE ARCHITECTURE OF THE
STîPA
The stïpa, literally a mound (Hindi: thïha,
Pali: thïpa), was a sepulchral or otherwise; a
monument generally made up on the site of
funeral pyre (cit@) by collecting (citi or cayam)
earth, owing to which it was also known as
caitya.
GENESIS OF STUPA
16. IDEAAND DEVELOPMENT
This term was used not only for denoting the
architecture but also sacred trees, memorial
stones, images etc. It was a popular term even
during the time of Buddha, the reference of which
we get in Dƒgha Nik@ya, in which he went to
Ch@p@la caitya and mentions about Udayana,
Gotamaka, Sattamba, Bahuputra and ånanda
caitya.[1]
[1] Rhys Davids, T.W. & C.A.F. (ed.) 1910. (Translated by Various Oriental Scholars). Sacred Books of the
Buddhists. Vol. III. Oxford University Press, London., p. 110; Pandey, B. SuttasaŠgho. Motilal Banarasidas.
Varanasi. p. 142
17. IDEAAND DEVELOPMENT
We get the reference of stïpa in-
ýgveda
Atharvaveda
Taittraiya SaŠhit@
Vajasaneya SaŠhit@
ðatapatha Br@hma&a
18. IDEAAND DEVELOPMENT
The origin of stïpa goes back to the ýgveda where
the flaming pile of Agni’s light is spoken to as stïpa [1];
the stïpa is compared to the outspreading form of a tree standing
erect.[2]
We also find the idea of descendant of the A$giras (a name of Agni )
named Hira&ya stïpa, who had invoked god Savit@ as the supreme
pile of splendour implying that both Agni on earth and Savit@ in the
heaven are like the two golden stïpa from which cosmic light
emanates.[3]
[1] ýgveda, 7.2.1
[2] ýgveda, 7.24.7
[3] Agrawala, V.S. 1965. Indian Art, Prithvi Prakashan, Varanasi. p. 120
19. IDEAAND DEVELOPMENT
The making of the stïpa was a practice prevalent before the time of
Buddha which is known from the conversation of ånanda and
Buddha in Mah@parinibb@&a Sutta.
The Buddha further added that four kinds of men were worthy of a
stïpa - a Tath@gata, a Pratyeka (Pali- Pacekka) Buddha, a disciple of
the Tath@gata, and a Cakravartin. [1]
[1] Rhys Davids, T.W. & C.A.F. (ed.) 1910. Op-cit. pp.154-58; Pandey, B. SuttasaŠgho. Op-cit. p. 195.
20. IDEAAND DEVELOPMENT
The Buddhist tradition recognizes three kinds of stïpas worthy of
veneration[1]:
ð@rƒrika: stïpas erected over physical remains of Buddha
P@ribhogika: stïpas erected over objects of personal use of
Buddha
Uddeòika: stïpas erected for the sake of the Buddha e.g. the
votive stïpas.
[1] Zimmer, H. 1960. The Art of Indian Asia - its Mythology and Transformations, Vol. I, McClelland & Stewart Ltd., London. p.
233
21. IDEAAND DEVELOPMENT
The earliest corporeal relics to be honoured:
Buddha’s hair which two merchants, Tapusa and
Bhallika, deposited in the shrine in Orissa, and is an
example of ð@rƒrika stïpa.
the stïpa, erected over the begging bowl of the Buddha
by the emperor Kaniíka is an example of P@ribhogika
the Uddeòika stïpas became quite popular as an object of
dedication or votive offering.
22. THE ARCHITECTURE OF THE
STîPA
the addition of the @yaka platform (mañca) and @yaka pillar (khamba).
the dome of the stïpa was highly decorated with the dome slabs (stïpa paÝÝas)
and other ornamental features
25. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
26. The Development of Sculptural Art in Railing
Inner face
THE GREAT RAILING AT AMARĀVATĪ
27. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
28. The Development of Sculptural Art in Railing
Outer face
THE GREAT RAILING AT AMARĀVATĪ
29. The Development of Sculptural Art in Railing
Inner face
THE GREAT RAILING AT AMARĀVATĪ
30. THE GREAT RAILING AT AMARĀVATĪ
The Development of Sculptural Art in Railing
Inner face
31. SCULPTURALART AT AMARĀVATĪ
the depiction of a
female figure holding
a basket in one hand
and a pot in the other,
standing on the
makaras having forked
tails.
34. “J@taka” is a story in which the
Bodhisattva in one of his earlier
existences lays a role, whether as the hero
of the story or as a subordinate figure or
even as a spectator.[1]
[1] Winternitz, Maurice. 1977. A History of Indian Literature, Vol.II, Motilal Banarasidas,
Reprinted Delhi. p. 109
CHAPTER- 4
JåTAKAS
35. JåTAKAS
Sutta PiÝaka which consists of five Nik@yas: -
Dƒghnik@ya
Majjhimanik@ya
Sa~yuttanik@ya
A$guttaranik@ya
Khuddakanik@ya
j@takas occurs in the tenth (j@taka) and the fifteenth
(Cariy@piÝaka) section
36. M@nuíƒ Buddhas in J@takas
M@nuíƒ Buddhas Tree or flora
Vipassin P@Ýali
ðikhƒ Pundarƒka or Lotus
Viòvabhï ð@la
Krakuchanda ðirƒía
Kanakmuni Udumbara
Kaòyapa Nyagrodha or Banyan
ð@kya Munƒ Aòvattha or Pƒpala
42. “atha bodhisatto setavarav@ra&o hutv@, tato
avidïre eko suva&&apabbato, tattha caritv@; tato
orïyuha rajatapabbata~ abhirïhitv@ uttaradisato
@gamma………Evam uttar@s@lhanakkhattena
paÝisandhi~ ga&ihi.
SCENES FROM THE LIFE OF
BUDDHA
43. SCENES FROM THE LIFE OF BUDDHA
Mah@bhiniíkrama&a – Symbolic representation
“Eva~ bodhisatto p@s@datal@
otaritv@ assasamipa~ gantv@
evam@ha- ‘t@ta kanthaka,
tva~…………..tasm@ devat@
attano @nubh@vena tassa
‘yath@ na koci su&@ti, ‘eva~
hasitasadda~ sannirumbhitv@
akkamana- akkamanapadav@re
hatthatal@ni upan@mesu~.”
Nid@nkath@. 1970. Ibid. p. 157
44. SCENES FROM THE LIFE OF BUDDHA
Mah@bhiniíkrama&a – Iconic representation
46. CHAPTER 6
INSCRIPTIONS
The variety of donors include:
householders (gahapati),
lay worshippers- including both male and
female (up@saka and up@sik@),
merchants (v@&ƒyas),
carvan traders (s@rtha),
jewellers or bankers (hera&ika),
royal officers (as p@&iya-gharika),
r@ja lekhaka,
members of royal families.
women (atev@sini, bhikhunƒ, gahapatikini etc.)
48. INSCRIPTIONS
…Kasa N@gabodhikasa bhariy@ya Budha-
Rakhit@ya m@tuy@- Budhaya cha d@sasa
M@yaca d@na Bhagavato- vedi
Translation: (obeisance to) Lord, gift of a rail jointly by Buddharakíita, wife of
N@gabodhi his mother Buddha and her servant M@y@.
Different parts of stïpa (railing or vedik@)
Inscriptions mentioning renovation work
(sa) Cadasa Matuya
nam navakammika padhandpari-
….no dhama khadhiko aya-Parapocha
Translation: Of Candra and his mother - the Chief supervisor of the renovation
work - and the Dhammakadhika, the worthy Parapota.
49. INSCRIPTIONS
Different country
tasa Likhitasa thambho bhi(khu) da n@ paÝalitate
Translation: Pillar of Likhita a monk from PaÝalƒputra (Plate 6.8)
Different Profession
adh(a) b (a) bh (a)
tukasa dana ma –
pasanikamatula Nadak
Translation: - gift of – Nanda the uncle of the stone-cutter.
58. INFLUENCE OF AMARĀVATĪ SCHOOL
ON
THE ART OF SRI- LANKA
Seated Images from Amar@vatƒ and Sri Lanka
59. CONCLUSION
SCULPTURAL ART AT AMARĀVATĪ
Early or Archaic Period: (c. 200 B.C.) Contemporaneous
with the foundation of the stïpa (of which period several
inscriptions in Maurya-ðu$ga script have been found).
Intermediate Phase: (c. 100 A.D.) Contemporaneous to
the period of the S@tav@hana Emperor V@siíÝhƒputra
Puúam@vi (116-19 A.D.); whose inscription is found at
Amar@vatƒ.
Mature Phase: (c.150-200 A.D.) Contemporaneous to the
period of ðrƒ Yajña ð@tkar&i (160-189A.D.); whose
inscription was found at Amar@vatƒ.
Last Phase: (3rd century A.D.) Contemporaneous to the
period of the Ikív@ku kings.