Hinduism and the Arts and Architecture of India

Hinduism and the Arts and Architecture of India 2500 B. C. E Indus River Civilization Urban centers at Harappa and Mohenjo-Daro 1500 B. C. E. Classical India This era begins with Aryan invaders Eventually blended with original inhabitants Vedic period The Vedas are the earliest writings Songs to nature deities In the Vedic pantheon there is no sovereign god Gods assigned to function and worshipped by region Upanishads: 6 th century B. C. E. texts that explain how the individual soul is connected to the Brahman or universal soul Concepts of dahrma, maya, samsara, karma, moksha more philosophical and abstract than the Vedas

2500 B. C. E Indus River Civilization Mohenjo-Daro

Dancing Girl, ca 2300 -1750 BCE. 4 ½ in. bronze. Indus River Civilization Mohenjo-Daro

Bearded Man, thought to be a priest king, ca. 2000 BCE, limestone, 7 in. Indus River Civilization Mohenjo-Daro

Ramayana Epic tale of Rama, incarnation of Vishnu and ideal man Recorded in 6 th century B. C. E. Sita Sings the Blues No easy distinction between religious writings and literary genres The Ramayana contains information about the social customs of Vedic India Mahabharata Composed from 400 B. C. E. to 400 C. E. Story of rivaling families 100, 000 verses (4 X Ramayana, 8 X llliad) Baghavad Gita: most popular part, focus on moral questioning of Arjuna Rama and Sita taken to priest to fix the wedding date, illustrated Ramayana, 18 th c. , Shangri style

(Persians ruled NW India 6 th- 4 th centuries B. C. E. ) (Alexander, Selucids replace Persians) Maurya Period: 326 -184 B. C. E. period of centralized rule, dynasty Strong military and extensive trade network Ashoka converts to Buddhism Gupta Era Collapse of Maurya Empire due to invasions 500 years instability until Gupta rule: 320 - 550 C. E. , northern India Smaller and not as centralized as Maurya Economic prosperity, arts, religious tolerance, math (decimal system, pi, 0) “Golden Age” with increasing attacks from the Huns India and the Delhi Sultanate Muslim invaders unite India, convert NW India to Islam, 8 th century In 1022 Muslim warlords took all of northern India Islam joins Hinduism and Buddhism Mogul Empire Direct descendents of Ghengis Kahn The "classic period" of the empire started in 1556 with the accession of Akbar the Great Cultural Flowering Rajput (Hindu) kingdoms posed threats to Moguls in NW British overtake the remaining Mogul powers, weakened by internal separatist factions

Hinduism Multiplicity – fundamental concept of Hindu theology many gods with many manifestations or avatars Absence of Dogma or reform Hinduism developed slowly Accumulation of layers of cult gods, theology of Uphanishads Two natures of Hinduism Spectacle: actual practice of worship of cult deities proliferation of images, mythological stories fabrication of idols, decorating or dressing idols, anointing Spiritual: based on the path to spiritual enlightenment as explained in the Upanishads. Essentially a dualistic system in which the illusions of the world, Maya, must be overcome. The two natures of Hinduism co-exist, seemingly contradicting each other. Mother Goddess film Hinduism Art History Film Buddhism in India Film

Hinduism Basic Concepts Samsara: transmigration of soul Brahman: universal soul Atman: individual soul- part of universal soul Moksha: attainment of enlightenment, realization that individual soul is Brahman Liberation from cycle of samsara Dharma: complicated concept that includes moral behavior, justice, cosmic order, duty within your caste Caste System: Brahmin: attained highest level of spirituality, exercise spiritual power Ksatriyas: secular power Vaisyas or artisan, cultivators Sudras: separate from the “twice born, ” consumed with simply “living” Untouchables Hinduism does not exclude any path to spirituality, but is made of a hierarchy of paths, as exhibited in its caste system* *for more read excerpt from Mahabharata on the origin of the castes Mahabharata Castes

Buddhism in India Historical Buddha born Siddhartha Gautama Sakya, ca. 563 -483 B. C. E. The Mauryan emperor Ashoka becomes champion of nonviolence and embraces Buddhism Ashoka sends missionaries to spread Buddhism, erects Stupas and shrines to Buddha Four Noble Truths Middle Path

Buddhism in India The simplicity of the stupa at Sanchi is contrasted by the ornately decorated gates. The sculptural motifs on the four directional gates include protective fertility deities of pre. Vedic origin. These are the same Yakshis that will guard the later Hindu temple entranceways.

1 rst and 2 nd centuries B. C. E Rock cut cave Buddhist temples Elaborate imitations of wooden temples 100 C. E. Karli (near Mumbai) 45 ft high 125 ft long Similar to western cathedrals, a vaulted hall leads to an apse, with ambulatory space for circling the stupa

Interior columns with male and female figures riding elephants Karli rock cut Buddhist temple, 100 c. e.

Exterior, Karli rock cut Buddhist temple, 100 c. e.

Porch, Karli Exterior, Karli rock cut Buddhist temple, 100 c. e.

As in the gates at the stupa at Sanchi Amorous couples or Yakshi form a protective barrier The mark the transition from this world to the spiritual Porch, Karli 100 c. e.

Buddhism in India The Mauryan empire declined due to economic troubles associated with its large administrative class. North western India came under the rule of the heir of Alexander’s empire, and with them came Grecoroman sculptural styles. Buddhism was now becoming more like a religion than a philosophy. The Buddha was deified and given sculptural representation Seated Buddha. Date 2 nd-6 th C. A. D. (Kushan)Gandhara

Head of Buddha with undulating hair 5 th cent. Gandhara lbasalt stone

Earliest Hindu. Temples Sporadic examples of Hindu art dating from the last centuries B. C. E but no great monuments before the 4 th century C. E. At that time, the Hindus began to emulate the Buddhist cave temples by carving out icons in shallow niches. The Boar Avatar of Vishnu at Udayagiri is shown raising the earth goddess from the ocean, rescuing the earth from destruction. 5 th century C. E. The Naga represents cosmic power; they are a manifestation of the Vedic god Agni, or fire, and as such becomes the 'fierce spirit' who is the guardian. The cobra/naga is a mount of Vishnu and as such represents knowledge, wisdom and eternity. As Vishnu sleeps on the cosmic ocean, he sleeps on the coiled serpent on the primordial waters. Two serpents with downward and upward movement represent the divine sleep and divine awakening. The Naga and Nagni are serpent kings and queens, which are divine in their own right. They are depicted as either fully human, fully snake, humans with cobra heads and hoods, or as humans from the waist upwards and snake below that.

Earliest Temples were rock cut caves Elephanta Caves, 6 th century. Island in the Arabian Sea, just west of Mumbai. Carved from living stone. Monumental sculpture in India began with Buddhist rock cut temples, which ran parallel to free-standing ones. Hindu resurgence brought an imitation of Buddhist structures.

Hindu resurgence after Maurya decline during Gupta period While Buddhism was at its height in India, Hinduism slowly gathered momentum that was to eventually prevail According to the Bhagavad-Gita, meditation and reason can lead to ultimate absorption in the godhead. The everyday practice of duties as well as the emphasis on emotional connection to deities led to the widespread acceptance of Hinduism. The three heads represent Shiva as Mahadeva, Lord of lords and incarnation of the forces of creation. 3 aspects of Shiva: indifference or supreme detachment, gentle, angry Cave 1 (Great Cave), south wall, center Elephanta Kalachuri dynasty (c. 550 -620) Shiva

Earliest representations in the Hindu art of the region, iconographic complexity Cave 1 (Great Cave), south wall from left, with Sadashiva in center panel

The cult figure is housed in a cella or gharba gria The four doorways of the cella are flanked by dvarapalas or magical protectors of the cult figure inside

Shiva impaling the demon Andhaka in the cave temple on Elephanta island. The tusk, protruding eyes and skull headdress of the god indicate his fearsome nature

Shiva as the Lord of the Dance in another 6 th c. cave, Badami. Nataraja is a depiction of Shiva as the cosmic dancer who performs his divine dance to destroy a weary universe and make preparations for Brahma to start the process of creation.

Gupta Era 4 th -6 th c. C. E. The basic form of the Hindu temple originates during this period of relative stability Moving from Buddhist inspired cave temples to the free standing temple, architects from the Gupta period produced earthly representations of the cosmic order A temple was the location for humans to come into contact with the infinite Sculptural mountains house the cult figure in their deepest chamber As the devout moves from the complex exterior to the increasingly dark and simple inner chamber, he experiences the transition from the specific to the infinite

Early Hindu Temples In the same burst of creative activity that produced cave temples, other Hindu architects were building the first structural temples with stone. The temple is designed from the mandala plan, a magic squared diagram that also stands for the primordial man or purusha. Dashavatara, Vishnu temple, Deogarh, early 6 th c. Sculptural decoration of early temples was limited. The original cube was surmounted by a tower.

Power of the Grid All Hindu temple construction is guided by Vastu shastra (vāstu śāstra, “science of construction, "an ancient doctrine which consists of precepts born out of a traditional view on how the laws of nature affect human dwellings. EARTH (Bhumi) WATER (Jala AIR (Vayu). FIRE (Agni) SPACE (Akasha) - The Akasha provides shelter to all the above elements. It is also considered the primary conductor of all energy sources within the universal context – physical energies such as sound and light, social energies such as psychological and emotional, and cognitive energies such as intellect and intuition. There is an invisible and constant relation between all the five elements. Thus, the person can improve their conditions by properly designing their buildings according to the relationship of these energy sources.

A relief on the sancturary wall of the Dashavatara temple show Vishnu on Garuda liberating the elephant Gajendra from the clutches of a naga king and queen, who submit to the god with hands clasped in respect. How Garuda became Vishnu's mount

The Guptas initiated the first phase of structural Hindu temple architecture. Small shrine generally comprised of a square garbhagriha preceded by a columned porch. Gupta temple General view from southeast ca 400 -499 Bhitargaon

Gupta temple From west, partial view of superstructure 400 -499 CE Bhitargaon Uttar Pradesh Brick

Kandariya Mahadeva temple in Madhya Pradesh, c. 1030 slide show on Kandariya

Kandariya Mahadeva temple in Madhya Pradesh, c. 1030 southeast side, between the east mandapa porches

Kandariya Mahadeva Temple, eleventh century Madhya Pradesh roof of mandapa southeast side of temple

Kandariya Mahadeva Temple 11 th century CE, stone Madhya Pradesh detail of section of exterior southeast side, between the east mandapa porches

Shiva as Lord of Dance (Nataraja) Chola period (880 -1279), ca. 11 th century Lost wax method, bronze The cosmic cycle is represented by the ring of fire Shiva steps on the “dwarf of ignorance” with his right foot His left leg is raised, symbolizing liberation from the cycles of ignorance and corruption Website- Teacher's resorce

• • • Vishnu from southern India Chola Period 10 th c. Identified with the sun in ancient Vedic hymns Flaming sun disc in right hand Conque shell in left, reminding of his association with the primeval ocean Lower R. hand makes the mudra of protection Lower L. hand points to the earth and sacred lotus, symbol of the cosmic womb Carried in processions and decked with flowers Lost-wax method

Pre-Mughal Lovers. Provenance unknown. Early 16 th century, Chaurapanshasika.

Muslim invasion 12 th c. First paintings with Hindu subjects in Muslim controlled Delhi Sultanate 16 th c. Harivamsa Manuscript, The Legend of Krishna 1590 -95; Mughal. Ink and colors on paper; 11 3/8 x 7 7/8 in. (28. 9 x 20 cm. Emperor Akbar (r. 1556 -1605) had the Hindu classics translated into the Persian language of the court and illustrated by his court artists. This painting is one of the finest results of his plans. The god Krishna protects the people of Braj against the destructive rain sent by the god Indra. "

Under the emperor Akbar, Mughal artists developed a highly expressive style of manuscript painting, which combined Persian refinement and technique with Indian vitality and feeling for nature. European influences, deriving from the study of imported prints, also began to appear. Portraiture of the rulers and their courtiers became an increasingly important art, especially under Jahangir (1605 -1627) and Shah Jahan (1627 -1658). A Mughal noblewoman holding a flower is portrayed against a conventional plain ground. Since royal ladies were strictly secluded within the harem and inaccessible to court artists, this is most probably an idealised portrait. 1620 -30. Ashmolean Museum Oxford

Many local schools of painting also flourished at the courts of the Rajput Maharajas or the Deccani sultans. The Rajput royal patrons had traditionally favoured vivid and robust styles of manuscript illustration. But by 1700, Mughal-inspired portraiture, adapted to the bolder Rajput taste, had become well established. Scenes of court life or hunting became popular themes, sometimes treated in large-scale compositions that are full of lively detail. This illustration comes from a dispersed manuscript of the Razmnama, a Persian translation of the great Hindu Mahabharata epic made during Akbar’s reign. It depicts the Pandava brothers and their allies in a battle with the king of Anga in Bengal. 1598.

Illustrated Ramayana of Mewar school After the reign of Akbar, the Mughal leaders did not have as much interest in Hindu mythology. Although Persian miniature styles still influence the paintings of the Rajput courts, there occurred a resurgence of Hindu tradition. Mughal themes of war, entertainment, portraiture replaced by mythological illustration in bold colors and crisp outline. Mughal History Notes Text of Ramayana Summary of Ramayana Watch "Sita Sings the Blues“

Battle at Lanka (1649 -53), from the Indian Hindu epic Ramayana by the 17 th century Muslim painter Sahibdin. It depicts monkey army of the protagonist Rama (top left, blue figure) fighting the demon-king of the king of Lanka, Ravana, in order to save Rama's kidnapped wife Sita. The painting depicts multiple events in the battle against the three-headed demon general Trisiras, in bottom left - Trisiras is beheaded by the monkey-companion of Rama - Hanuman.

Sugriva has been brought to his senses and has come with his court to Rama's cave on the Prasravana mountain. Rama, Laksmana and Sugriva are seated on a rocky eminence of pinky brown, with a jade background, with other monkeys below them. Sugriva divides his forces and sends them out to search the four quarters for Sita. He sends Hanuman and his nephew Angada to search the southern region. Convinced that the sagacious and mighty Hanuman will locate Sita, Rama gives him his ring as a token that Hanuman is his messenger.

The great monkey Hanuman has arrived on the shores of the southern ocean. His father was the god of wind, so he has special powers. Undismayed by the width of the ocean, he has swelled himself to an immense size and from the mountain Mahendra has launched himself across the ocean to the island kingdom of Lanka. The motherof-serpents Surasa who dwells at the bottom of the ocean, has been pressed by the gods to test Hanuman. She has turned herself into a great sea monster with mighty fanged jaws. No matter how wide she expands her jaws, Hanuman matches them in size: he finally sails into them, reduces his size and emerges through her ear.

Ravana had another brother, the giant Kumbhakarna, who was so terrible that Brahma put him under a curse to spend most of his life asleep. Ravana has sent an army of his demons to wake the monster. First they make the most enormous noise, and when that fails they hit him with weapons and hammers. Herds of horses, camels and elephants are driven over him, and a thousand demons run up and down his body. The artist Sahib Din depicts this episode with donkeys braying, elephants trumpeting and women singing. Great heaps of meat including dead monkeys and pitchers of fat and blood have been placed near the giant ready to satisfy his ravenous hunger when he awakes. He does finally awake but, after a tremendous struggle, is killed by Rama, as are more of Ravana's sons in their turn.

Hanuman has flown to the Himalaya Mountains. The mountain peaks are covered in plants and streams rush down their slopes to the river at their feet. The magical herbs, knowing that Hanuman had come to gather them, have made themselves invisible. But Hanuman, in his anger at being thwarted, simply breaks off the peak of the Medicinal Herb Mountain and flies with it back to Lanka, where its herbs cure Rama and Laksmana as well as all the stricken monkeys and bears.

Hindustani Music Comprehensive and Simple Ravi Shankar 1963