Age Of Darkness
A lot of art work was destroyed during this phase. Defaced sculptures and half destroyed temples attest to the barbaric acts of demolition. However, some survived and art continued in unconquered areas. The southern part of India and east was conquered later. Bengal was occupied at the end of the 14th century and continued to flourish under the Pal and the Sen emperors, while the rest of North India was conquered. The last great empire of India, Vijaynagar empire was defeated in the 16th century. The extreme south was never conquered by the Muslims.
The art of this phase is actually a continuation of the Age Of Empires. All the three forms are prevalent in this period. The Archaic form in this phase is also ornate and not extremely rigid but somewhat fluid. The early invaders had no real contribution to art.
Author: NOVO
E-mail: [email protected] 27th July 2000
Early Islamic Period
Nepal
1082
Material: Gilt copper inlaid with precious and semiprecious stones, traces of vermillion
This is the Buddhist version of Goddess Lakshmi. Goddess Vasudhara is depicted in regal glory. Nice use of curves.
Khajuraho
Material: Beige Sandstone
11th century
Vishnu and Laksmi embracing each other. The curves give the image fluid movement but it is idealized.
Unknown origin, probably South India
10th - 13th Century
Material: Pinkish Sandstone
The tribhanga (tripple bend) is again seen here. The tribhanga comes from ancient Indian dance forms. There is great detailed carving on the statues and it is fluid with idealization.
Tamil Nadu, South India
Material: Bronze
1100 AD
Chola Art
Gentle and elegant statue of mother Goddess Parvati. Gentle use of s-curve but still has stylization.
Chola
South Indian
11th-12th century
Material: Bronze
The full lips, prominent noses, and smooth volumes of these figures characterize the art of the Chola dynasty, whose Shivaite rulers controlled South India from the tenth to the twelfth century- a period when bronze casting flourished. Somaskandamurti is a manifestation of Shiva, the greatest god of the Hindu trinity, seated on Mount Kailasa, the mountain throne of the gods. The multiple aspects of Shiva are combined in three personages: the god himself, his consort Parvati, and his son Skanda. This type of representation is peculiar to South India, where it originated during the Pallava period (about fifth to ninth century).
Depicted sitting with one leg bent in the position of royal ease, Shiva holds an ax (symbol of his power) and an antelope (symbol of his rule over the beasts of the wilderness). His lower hands make the gestures of holding a flower and assurance. Parvati sits in a mirror image of her consort's pose, wearing a cord with a marriage symbol around her neck. Her gestures symbolize granting a gift and holding a flower. An atypical feature is the projecting section of the base on which their son Skanda, the demon slayer, is placed. Usually he appears standing or sitting alongside his parents on a rectangular block.
-- Worcester Art Museum
Rigid. Note he is master of beasts like Pashupoti, which might be Proto-Shiva and bronze casting starts in the Indus period.
Gujarat, Western India
1153 AD
Material: White marble
This is the Jain Goddess Swarasvati. Curves used to give fluidity to this detailed statue.
Bengal, East India
Pal Art
12th Century
The image shows a lot of usage of curves and is very detailed. Yet there is idealization.
Baroque?
Annegeri, Dharwar district, India
12th Century
This fabulous sculpture shows the tumultous shapes and curves. It must, however, be noted that there is idealization as in the tiger's attack.
DeoGarh, India
12th Century
Beautiful wave curves go and come back on self. However, the form is idealized and rigid.
DeoGarh, India
12th Century
Jain Art
Rigid, symmetrical and religious.
DeoGarh, India
12th Century
Jain Art
Jain Goddess
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