ARTH183 1st Edition Lecture 9 Outline of Last 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. Subject-Iconographyb. Stylec. Techniqued. Ritual usageOutline of Current Lecture I. Indo-Islamic Art and ArchitectureA. IslamB. Ghurid and Mamluk Dynasties/The Delhi sultanatesC. “Qutb (Quwwat al-Islam/Might of Islam) Mosque” a. Form (qibla, arches); signs of native artisansb. Decoration/style; signs of native artisansc. Political significanceII. Mughal Dynasty ArtA. Mughal Dynastya. Period Persian painting styleB. “Assad ibn Kariba Launches a Night Attack on the Camp of Malik Iraj”a. Subject-Mughal court under Akbarb. Style; Persian/Indian blendingThese 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.C. “Jahangir Preferring a Sufi Shaykh to Kings”a. Subject-Mughal court under Jahangirb. Style; European influencec. MessageCurrent LectureIndo-Islamic Art and ArchitectureWe start seeing Muslim incursions into India as early as the 10th century, mostly just as nomadic raiders-eventually later in India’s history there are Muslim settled and ruled areas-Islam=Founded by a man from Mecca, Mohammad (570-632), when God’s message is revealed to him by the Archangel Gabriel; revelations continue over 20 years. A monotheistic, missionary religion with a lot in common with Judaism and Christianity that spreads very quickly.Sultan Mohammad of Gur founds the Ghurid Dynasty in Northern India in the 12th century-once he dies, Qutb-ub-din-Aibak, the military commander who captured Delhi for him and was governing from there takes over and establishes the Mamluk Dynasty-“Qutb (Quwwat al-Islam/Might of Islam) Mosque.” Delhi. Ghurid Dynasty, 1192 and later: “Mosque”=place for prostration; generally composed of large rectangular courtyard space with cloistered walls around the exterior, covered prayer hall area with a pulpit at one end, and one or more minarets for calling the faithful to prayer. Mosques are built aligned in thedirection of Mecca as much as possible, usually an East-West orientation; “Qibla”=refers to boththe direction of Mecca and the wall at the front of the prayer hall that points to Mecca. Domes are very common in Islamic architecture*Qutb qibla has a high arch, originally flanked by 2-level smaller arches. We can tell the builders were local Indian artists, not imports, by the non-mastery of this arch inthe qibla wall: it is a corbeled arch as opposed to a true arch, and Islamic artists had already mastered the true arch at this point. *Decoration: Many Islamic communities have a proscription against the creation of images of people or animals, so most common forms of decoration are Arabic calligraphy from the Koran and abstracted, pattern-like elements (possibly botanical-based). Thecarving techniques and visual vocabulary at Qutb also point to native Indic artists*Political significance: The site of the mosque was the site of a large Hindu temple that was torn down, with material from it and others nearby (inscription at mosque says 27 temples total were used) used to construct the mosque; shows the dominance of IslamMughal Dynasty ArtThe Mughal Dynasty was also centered in North India, but controlled more than any of the Delhi sultanates. It was founded in 1529 by Babur, and on his death one year later his son, Humayun, took over; he ruled for 10 years before being ousted by a military leader and spending 10 years in exile in Persia. When he came back to reclaim rule he brought back Persiancourt painters with him. His son, Akbar, took over in 1556-Persian painting style=Use of metallic pigments (especially gold); inclusion of text; figures with small, round heads and dainty features; knobby, organic-looking rock forms; tufted ground surface; pastel colors; use of overlap to create spatial relationships-“Assad ibn Kariba Launches a Night Attack on the Camp of Malik Iraj.” Mughal Period, ca. 1564-1569: A scene from the “Tales of Hamza,” a heroic story with many action scenes that Akbar loved. He was a great patron of talented artists of many origins and backgrounds-many of the original 1400 leaves of this manuscript were probably collaborations*Very crowded, a lot going on: Foreground battle scene, middle ground landscape, background cityscape/large structure with its own battle going on. Figures try to convey action and emotion of the scene through posture and gesture, not facial expression. Definition of spatial relationships relies on diminution (things getting smaller), not always very convincingly*Persian influence is visible in the rendering of rocks and figures, use of pastel colors; stronger colors and patternized treatment of foliage is much more typical of nativeIndian tradition. Mughal court painting shows combination, blending of multiple art styles-“Jahangir Preferring a Sufi Shaykh to Kings.” Mughal Period, ca. 1615-1618: Made for Jahangir (“Seizer”), son of Akbar; obviously neither of them subscribed to the proscription of human/animal imagery. His court is less prolific than his dad’s, but he demandedgreater verisimilitude and a refined, elegant style from his painters. This is an allegorical portraitwith symbolic meaning*Subject: Jahangir sits on an hourglass in front of a combined sun/moon halo holding out a book to the Sufi shaykh. Below are an Ottoman sultan, King James I, and the painter, Bichtir, holding a painting of himself bowing to gifts Jahangir gave him. The portrait of Jahangir is very individualized and becomes recognizable; this shaykh (holy man) was very important to him because he predicted the birth of his son and heir.*Style: Mughal rulers had great interest in other cultures, as seen in the influence of European imagery: Italian rug beneath hourglass, little cherubs, copy of James I portrait; the image border is from a later date, but elaborate borders were not uncommon*Message of the painting=Jahangir’s eyes are fixed on matters of religion, not worldly things; the