365bet娱乐

CHAPTER IV SCULPTURE The subjects of Indian Sculpture are gods and goddesses, their emblems and accessories. The images (Pratime) of these gods are mainly associated with the cults of different divinities. The special branch which deals with these images is known as iconography. Dr. J.N.Banerjea says, "In its broader sense, the term iconography really signifies the interpretative aspect of the religious art of a country which becomes manifest in diverse ways". The divine images and their worship had become a patent factor in the lives of the Hindus. Therefore the primary purpose of these icons was to serve as an important aid to the religious efforts (Sadhana) of the devotees. Thus an intimate connection exists between art and religion. The all-embracing sectarianism which was prevalent in India since very ancient times, contributed to the development of icono-plastic art. The concrete forms of Hindu mythological gods and goddesses the cosmic beings and embodiment of an abstract idea - were presented for the diffusion of the doctrines of the particular cult. Besides the Buddhists and the Jainas and their various sub-sects, there were the five Brahmanical cults such as the worshippers of Vismu, Siva, Sakti, Surya and Ganapati. The innumerable icons, such as the twentyfour forms of Visma (Caturviasatimurtayah) and Pancabrahma forms of Siva, were illustrated which gave a great impetus to the sculptors of India.

- 179 We get evidence, both literary and archaeological, for the construction of images and other objects associated with their worship. Dr. J.N.Banerjea in his monumental work 'The Development of Hindu Iconography', has very elaborately described the materials for the study of iconography, literary of a general and technical character and also the archaeological data of inscriptions, coins and seals in relation to the development of iconic cults and iconography. 2 It may be observed that in India, prior to the advent of Aryans, image-worship might have been practised by the original settlers. Several of the terracotta human figurines were discovered at Mohenjo-daro and Harappa of the pre-historic times (C 2500 1500 B.C.). Bronze and copper statuettes have also been found. Among such figurines is found a squatting mele figure with folded hands. Another seated with hands folded in devotional attitude is discovered at Harappa excavations. In India of the pre-historic times, a few of the expressive poses were used to characterise the representation of the divinities on seals, amulets and figures. The Mohenjo-daro seals contain figures of a god seated in a Yogic posture, on either side of whom kneels a half human and a half animal form of a Naga with hands uplifted in prayer. Whether the Vedic Aryans (Vedic civilization 2000 1500 B.C.) made images of their gods is a controvercial point with the scholars. But it is evident that the descriptions of Indra, Visnu and Surya given in the Rgveda are full of

180 iconographical features. The basic similarity of the later iconographic conceptions of many Hindu deities is found in their vedic counterparts. The different periods of ancient Indian history like Sunga, Kusana and Gupta are the major sources for the study of iconography. The reputed art centres of ancient India such as Mathura, Gandhara, Sarnatha, Amaravati etc. were the homelands of master artists. The symbols on the earliest Indian coins are religious in character. The innumerable varieties of seals and similar objects found in various parts of Northern India dating from the 3 rd or 4 th millenium B.C. to the late Gupta period throw a flood of light on this subject. The deities appearing on the coins of Sunga, Kusana and Imperial Gupta rulers illustrate in a very characteristic manner the peculiar features of their style of sculpture. Some metal and terracotta seals of the Kusana and the Gupta periods supply us with characteristic representations of such Hindu gods as Vismu and Siva as well as a few of their emblems. The earliest figure of a deity seated on a lotus seat in a Dhyana yoga or Samadhi mudra appearing on certain copper coins of Ujjayini can be dated in the 2 nd 3 rd Century B.C. In Gandhara some of the Buddha figures are shown with their hands in this pose. Many images, Brahmanical, Buddhist and Jain of the Gupta age - (C.319 A.D. - 600 A.D.) as well as of the early and late medieval periods show this pose. Two Yogasana Visnu figures in the Mathura museum. characteristically portray it.

- 181 Reliefs carved on sections of religious arohitecture of figures are also important. During the Sunga (C. 184 B.C. - 72 B.C.) and early Andhra or Satavahana periods (C. 200 B.C. upto 200 A.D.), Buddhism was flourishing in all its vigour. Therefore most of the sculptures of the period were Buddhist. The finest examples are carved stone Vedikas and Toranas of Bharhut, Bodha-Gaya and Sanci and some reliefs in the rock cut Gaitya halls. Some Yaksa and Yaksi statues have been found which belong to the Maurya period (C. 326 B.C. - 184 B.C.). The Yaksa statue can be taken as the prototype of the later representations of the Buddha and the Bodhisattva images during the Ausana and the Gupta age. Several free-standing Yaksa statues or relievo-figures principally associated with early Buddhist funerary monuments have been discovered in the period 3 rd century B.C. Thus many Buddhist and several Jain and Brahmanical images and sculptures have been found in stray groups in distant parts of india like Gandhara, Mathura and Amaravati. 2 nd Besides ample archaeological evidence, the ancient iconographic and iconometric texts are important enough to prove that a very systematic and elaborate science of iconography was developed in India since very ancient times. These canons are the result of the accumulated experience of generations of artists.