DOC PREVIEW
UT Knoxville ARTH 183 - Hindu Art: Mamallapuram, Ellora, and Khajuraho
Type Lecture Note
Pages 3

This preview shows page 1 out of 3 pages.

Save
View full document
View full document
Premium Document
Do you want full access? Go Premium and unlock all 3 pages.
Access to all documents
Download any document
Ad free experience
Premium Document
Do you want full access? Go Premium and unlock all 3 pages.
Access to all documents
Download any document
Ad free experience

Unformatted text preview:

ARTH183 1st Edition Lecture 7 Outline of Last Lecture I. Early Hindu Art at ElephantaA. “The Great Cave”a. Layout (garbagriha; linga/lingam, yoni)B. “Three-Headed Shivaa. Styleb. IconographyC. Elephanta site symbolismII. Early Hindu Art at MamallapuramA. “Descent of the Ganges” or “Arjuna’s Penance”a. Iconography; 2 main interpretationsOutline of Current Lecture I. Mamallapuram:“Descent of the Ganges/Arjuna’s Penance” Cont.A. StyleB. Poltical implicationsII. Mamallapuram: “Five Raths”A. Draupadi Rath; significance, styleB. Arjuna Rath; stylea. Sikhara definition and Southern Dravida style characteristicsC. Bhima Rath; styleD. Dharmajara Rath; styleIII. Hindu Art at Ellora: “Kailasanath Temple”A. StyleB. Plan/Layout; significancea. MandapaC. SymbolismIV. Hindu Art at Khajuraho: “Kandariya Temple”A. Plan/LayoutB. Stylea. Northern Nagara style characteristicsThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.Current Lecture“Descent of the Ganges” or “Argjuna’s Penance” at Mamallapuram, ContinuedStyle=Varying levels of relief, figures are pretty standardized and stylized without much differentiation, see use or hierarchic scale (making important elements larger in size, i.e. Shiva), animal forms show greater sympathy, sensitivity, and naturalism of Indic style-Mamallapuram is a seaport where many people from different places pass through; this might explain the ambiguity of the relief (trying to make it readable in multiple ways for different people)*Inclusion of cat in yogic pose, from a completely different and unrelated story, supports thisPolitics=Rulers might commission the creation of images to try and identify themselves with a particular deity, suggest a correspondence or comparison-At Mamallapuram, the kings responsible for this probably wanted to identify either as Shiva as the granter of boons or as the petitioner who asks and receives them from thegods. The importance of water management as a skill for rulers in India is echoed by the river“Five Raths.” Pallava Dynasty, ca. mid-late 7 th c. Mamallapuram, Tamil NaduRath=”cart,” refers to the small temple size; a group of 5 monolithic temples carved fromthe top down out of boulders. The group is given names of major characters out of the Mahabharata but are dedicated to deities. 4 of the 5 are in the Southern Dravida style while one is a bit different-Draupadi Rath: the one temple NOT in the Dravida style. Named for the joint wife of the 4 male characters and dedicated to Durga; one of the earliest shrines dedicated solely to a female deity, shows their growing importance as the religion evolves. A 1-room, single cell temple with exterior niches with carved images that are all female, including guardianfigures. The curving silhouette of the roof with botanical carving at the corners is meant to emulate a forest shrine-Arjuna Rath: Single cell square temple with exterior niches with carved images; dedicated to Shiva*In Dravida style with Dravida style sikhara; “sikhara”=”mountain peak,” the tower of a temple. In the Dravida style, looks like a stepped pyramid with a big capstone that looks like an inverted cup on top and miniature representations of buildings alternating on each level, getting smaller towards the top.-Bhima Rath: Rectangular Dravida style temple with barrel vault; dedicated to Vishnu-Dharmajara Rath: Exactly like the Arjuna Rath, but larger and with an extra level to the stepped pyramid of the sikhara; dedicated to Shiva“Kailasanath Temple.” Ca. mid-late 18 th c. ElloraEllora is also in the Deccan region, near Elephanta and Ajanta, where many cave templesare located. Kailasanath=”Lord of Kailasa,” the mountain where Shiva lives; a Dravida style large monolithic temple carved into the side of a mountain and dedicated to Shiva. We are unsure about specific patronage, but for such a large project it was most likely royal-Layout: Starting to see more complex temple plan with multiple shrines and rooms with different functions and dedications (religious ritual in general gets more complex over time); imitates the form of a constructed temple (has foundation, sikhara…)*Includes shrine to Nandi, Shiva’s vehicle (a bull) and 5 other subsidiary shrines as well as the garbhagriha/womb chamber that contains the lingam *Has exterior circumambulation path around womb chamber*Mandapa=pillared hall; large, square columns carved out of living rock, ceiling with carved decoration, windows to let in light*There is no interior space at the lowest part of the temple, possibly just to provide structural support or maybe in imitation of a thick plinth*Sikhara has 4 levels with buildings and figures on each getting smaller asthey ascend; suggests a big, palatial complexEntire temples in Hinduism are homes to the gods and meant to represent the mountainon which the gods reside; they have this reference embedded in their form (moving from short to tall, peak-like sikharas, in this case being carved out of a literal mountain).Hindu Art at KhajurahoKhajuraho is further north in India, was a major city and capital of the Chandella kingdom that was most powerful in the 11th century. Over 20 temples still survive on the site dedicated to Hindu deities and other religions as well (no differences in style based on this)-“Kandariya Temple.” Ca. 1030 CE: A constructed Shiva temple built from the ground up; has very thick base, reference to mountain range forms, 4 interior rooms with a sikhara over the womb chamber. Still no mortar use, so it’s all kept together by interlocking stones and gravity.*Plan=Typical east-facing Shiva temple, 4 rooms; hall closer to the entrance has columns and windows to let in light, while further back the very thick walls necessary to help support the weight of the roof structure means halls with columns but no windows. Womb chamber has interior circumambulatory path*Northern Nagara style sikhara: Much more conical shape, not a steppedpyramid; can have just one sikhara or multiple small ones crawling up the side of the larger. Building representations are much smaller and abstracted, and the capstone looks like a ribbed cushion (called an


View Full Document

UT Knoxville ARTH 183 - Hindu Art: Mamallapuram, Ellora, and Khajuraho

Type: Lecture Note
Pages: 3
Documents in this Course
Load more
Download Hindu Art: Mamallapuram, Ellora, and Khajuraho
Our administrator received your request to download this document. We will send you the file to your email shortly.
Loading Unlocking...
Login

Join to view Hindu Art: Mamallapuram, Ellora, and Khajuraho and access 3M+ class-specific study document.

or
We will never post anything without your permission.
Don't have an account?
Sign Up

Join to view Hindu Art: Mamallapuram, Ellora, and Khajuraho 2 2 and access 3M+ class-specific study document.

or

By creating an account you agree to our Privacy Policy and Terms Of Use

Already a member?