ARTH183 1st Edition Lecture 8 Outline of Last 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 characteristicsOutline of Current Lecture I. Kandariya Temple at Khajuraho Cont.A. Comparison with Vishnu Temple at Deogarha. Evolution of Nagara style from simple to complexB. Exterior wall carving; erotic sculpturea. Symbolism; styleII. “Lingaraja Temple.” Bhubaneshwar, Orissa region. Ca. mid-11th c.A. Form/Layouta. HariharaB. Stylea. Exterior carvingsb. Nagara style sikharaIII. Chola Dynasty BronzesA. Chola DynastyB. “Shiva as Lord of the Dance (Nataraja).” Chola Period, ca. 11th c. Copper alloya. SubjectThese 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.-Iconographyb. Stylec. Techniqued. Ritual usageCurrent Lecture“Kandariya Temple” at Khajuraho ContinuedThe exterior dimensions of the temple really don’t reflect the relatively small amount of actually usable interior space. The Vishnu Temple at Deogarh is actually also an example of this Northern Nagara style, but its sikhara is in such an advanced state of ruin that it is hard to tell.-Comparing the two, the Kandariya Temple has a much more complex plan, moreexterior wall carving; shows the evolution of the Nagara style from a simple, single-cell, modestly decorated structure with shrines at the 4 corners to a large, complex, extensively carved structure with 4 roomsThe Kandariya Temple is known for its exterior wall carving, which includes botanical imagery, narrative cycles, and figures: it is famous for the erotic sculpture. Images like these are seen on temples all over India, even more tame “loving couple” pairs on Buddhist temples-Not considered inappropriate on Hindu temples-of the many pathways to enlightenment, physical pleasure can be one. Sex is a metaphor for the union of the human and the divine; sculptures are considered auspicious symbols associated with fertility*In a sort of visual pun, couplings and pairs in sexual union are often placed at junctures and weak spots in the architecture to try and help keep everything “joined”-Figures are very idealized and stylized; lots of varieties of postures, twisting animal forms, and deep undercutting/high relief that creates strong lights and darks all create a sense of movement“Lingaraja Temple.” Bhubaneshwar, Orissa region. Ca. mid-11 th c.Actually a temple complex surrounded by a large wall; the earliest temples on the site were single-cell and evolved over time to get more complex. This structure probably started as atwo-part temple with a womb chamber and a hall and was then expanded on (more complex religious ritual requires more complex space).-A Shiva temple dedicated to Harihara, a form of Shiva that is half Shiva, half Vishnu; the womb chamber contains a lingam that is divided in half (natural rock with a vein of minerals bisecting it)-Layout: 4 room structure with very thick walls; has pillared hall of offering, festival hall and assembly hall for special events and gatherings, and womb chamber (no interiorcircumambulation path). You can distinguish different sections of the temple through the superstructure-Style: Exterior carving has images of couples, single figures, twisting animal forms covering almost every square inch of the structure; deep undercutting creates strong lights and shadows that enhances sense of movement. The exterior of the womb chamber has niches with images of deities related to Shiva, beginning with Ganesha. *The Nagara style sikharas are slightly stockier in proportion, organized inhorizontal levels and ribs that draw the eye upwards; the ribbed cushion capstone (amalaka) has an image of Shiva and lions supporting itChola Dynasty BronzesThe Chola Dynasty eventually gained control of most of the Indic peninsula’s southern tip, parts of the Deccan, and most of Sri Lanka; a group devoted to Shiva. Some new source of metal must have been discovered during this time because metal sculpture begins to appear much more-“Shiva as Lord of the Dance (Nataraja).” Chola Period, ca. 11th c. Copper alloy: This subject is most popular in the South (it is believed Shiva actually danced at a site there); Shiva dances for many reasons, but the main reason is for destroying the world. The South has multiple versions of this subject-this is the “Dance of Furious Bliss”*Iconography of “Dance of Furious Bliss:” Circular frame with flames coming off it; standing on right leg with left leg raised and crossed over body; has 4 arms keeping time on a drum, holding the flame of destruction, making the reassurance mudra, and pointing at his raised foot (a symbol of liberation from samsara); stands on a small creature representing ignorance; inclusion of a snake (symbol of destruction). Taken together, all representative of the theme of breaking free of samsara*Style: Shiva’s body connects to the circular frame element vertically at the top and bottom, his left leg extends toward this frame as well as 2 of his arms and his locks of hair; creates a sense of the spokes of a wheel and movement (like dance)-Created with the “lost wax” technique where an initial sculpture of wax is covered in clay, then melted and drained out through a hole, leaving behind a hollow clay mold that is then filled with molten metal and cast to be a solid object.*Fully in the round, would be considered and treated in temples as living images (given food, scarves for clothing, paraded around); they often have a hole in the base so they could be carried on a rod for