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April 2005, Newsletter
Crafts In India
Sculptural art of India occupies a foremost place in the history of the world art. Indian sculptors known as Lupadakha, Rupakara or Silipi articulated their artistic merit with an array of beautiful pieces based on both religious and secular themes. These creations, many of them masterpieces, executed in stone, stucco, wood, metal, ivory, and terracotta speak volumes of the pervading sense of spirituality and depth, which characterize Indian art.
 
All the Sculptures shown in this newsletter can be viewed in a larger size by clicking on them. These Sculptures are also available for sale at www.CraftsInIndia.com along with many other such pieces of art.
Buddhist Art In India
Art, the visual representation of the profound experiences of the artists had close association with the religion of Hinduism, Buddhism and Jainism. The origin of Buddhism based on the teachings of Gautam Buddha can be traced to the 6th century BC. Buddha born as prince Siddhartha Gautama, in the Sakya clan at Lumbini in Nepal, through his intellectual and spiritual quest attained Bodhi (supreme wisdom) and came to be called as Buddha. For a considerable period after the attainment of the supreme state of wisdom Sakyamuni Buddha was regarded as a historical, mortal with no divine quality attributed to him. There was no representation taken of him at any stage of life.

However as his popularity grew his disciples represented episodes from his life on the reliefs of the railings and gateways enclosing the Stupas (mounds erected over his relics) at Sanchi, Bharhut and Bodh Gaya. The scenes on reliefs depicted his birth, renunciation, enlightenment, death, and folk stories of his good deeds in his previous life. It is interesting to note that during this period Buddha was not portrayed in human form but in the form of symbols. His actual likeness was regarded as too sacred to admit of representation.

Blessing Buddha Ashthamangal

Deitification of Buddha
The social, religious, ethnic and cultural forces in the first century AD brought changes in the Buddhist monastic order. Notable influences at work were the advent of the Hellenistic art brought by the Greek dynasties, which had strong anthropomorphic traditions with the worship of images of gods and goddesses in India and the tradition of portraitures of the Sakas and Kushans.

These new forces led to the rise of Mahayana Buddhism, a new school in Buddhism. The central concept of this new school was the worship of Adi Buddha, which transformed historical Buddha into a transcendental God.

Gandhara in Pakistan, and Mathura in Uttar Pradesh were the first regions where the images of Buddha made their first appearance in the early Christian Era.

Buddha Bhumisparsha Life Story
Mathura School of Art
The Mathura School of Art flourished under the Kushanas. Most of the works were Buddhist, but Jain and Brahmanical works were also produced. Buddha of this school had round face, shaven head and skullcap. The robe was close fitting and fell in concentric folds in shallow relief.

One of the significant stone images of second century AD represents Sakyamuni standing erect. The figure is nude to the waist and wears the dhoti (a loose Indian garment tied from the waist). This representation of Buddha in stone exercised a dominant influence on art in other parts of India.
The Yaksha and Yakshi images are also noteworthy specimens that occupy important place in the Buddhist lore.
In the South Amravati Stupa built in 150-200 AD depicted the vibrant art form. The railings of the Stupa presented incidents from Buddha life; Buddha preaching gods in heaven, Buddha’s decent from heaven and the jataka stories. Buddha here is represented in human form and not merely symbolically as at Bharhut and Sanchi.

Buddha Statue
Buddha Bhumisparsha Ashthamangal
Representation of Buddha in Symbols
The Stupa at Bharhut in Madhya Pradesh shows innate compassion of Bodhisattva (Buddha to be) in the form of symbols; foot, sacred tree, umbrella and his holy seat or altar. The name of each Jataka is inscribed above the scene depicting it. The human figures, animals, Yakshas and Yakshis, and floral motifs are abundantly depicted at Bharhut. The sculptured railings around the temple at Bodh Gaya in Bihar is another significant specimen that represents artistic ornamentation with long lines of animals; elephants, deer, bulls, winged horses and centaurs. There is also use of lotus flowers on the railings. Besnagar in Madha Pradesh also has a sculpted railing of the same style as at Bharhut. One of the most notable Buddhist Stupa is at Sanchi in Madhya Pradesh. The railings of this ‘Great Stupa’ are undecorated but the pillars and lintels of the gateways are decorated with the jataka stories and various episodes of from his life. Men, animals, Yakshis, Maithuna (union of man and woman) are portrayed with intensity. Around the same time in the Deccan rock cut viharas and chaityas were built.
Medicine Buddha Life Story
Gandhara School of Art
In this school Buddha sculptures had strong resemblance with the Apollo Belvedere. Buddha images, depicted as Prince Charming, emaciated ascetic or ideal monk, were carved out realistically with great attention to accuracy of physical details, declination of Muscles, addition of moustaches etc. The position of Buddha sitting or standing was generally frontal and he was conceived with the urna (the whorl of hair between the eyes) the chakra(wheel), which symbolized the Buddhist law, and the hair tied at the back. He was typically depicted as short in stature and stocky in appearance, while the hair on the head was arranged in schematic waves, and the drapery of the monastic mantle hung heavy and schematic loops on the surface of the body. There was also use of prabhamandala (aura) round the head of Buddha image as an indication of divinity. The Bodhisattvas were also shown as kings representing the temporal attributes distinct from the spiritual domain of Buddha.
The Gandhara artists produced notable works in stucco, and many of them were also on the bas-reliefs, which decorated the Stupas. The postures of the figures were Indian but the technique was borrowed from Greece.
Meditating Buddha
The Stupa at Nagarjunkonda in Andhra Pradesh built under Ikshvakus (who emerged in the middle of the third century AD) is highly embellished with carvings closely resembling those of Amravati.
During the Gupta Period of the fourth and the fifth centuries the rock cut sanctuaries of Buddhism indicated ornamentation on the walls, and pillars. The Buddhist statues were high but no longer round. The expression of the face was of inner concentration. The transparent cloak revealed the shape of the body while the Bodhisattvas were depicted as princely characters, wearing jewelry and dhoti. The bas-reliefs were replaced by compositions, which were monumental and architectural in character.
In the post Gupta period the Buddha images become fleshier while Bodhisattvas retained their slender figures however they were shown with more and heavy jewelry. The Buddhist bas-reliefs were stereotyped and the façade of the Buddhist rock cut sanctuaries were covered with series of Buddha sitting or standing accompanied by assistants of smaller statures.
The caves at Ajanta and Nasik in Maharashtra also depicted monumental scenes from Buddha’s life.
At Nalanda under Pala rulers (750 - 1185 AD) the lost wax method produced many bronze cast images. The contours of the figures were elongated and gradually became more stylized and rigid. The dress of the Bodhisattavas was more elaborate and the Buddha himself was sometimes adorned that way. The stele lost its simplicity and foliage dominated the background.
The Islamic invasions, rise of Bhakti movement and other factors saw the decline of Buddhism in India in the 13th century. However it found patronage in China, Tibet, Bhutan, Burma and Japan. Today, Buddhism exists in certain quarters of India like in Ladakh and Chittagong but not as an organized religion.
Dancing Ganesh Wooden Ganesh Painted Goddess Durga Soap Stone Hanumanji Nataraja