Sculpture in

India
STUPAS
During the post-Mauryan period, Sculptures were carved on the Stupas, especially on
Toranas.
Major Examples:

Bharhut Stupa Sanchi Stupa

BHARHUT STUPA
Located in the Satna district of Madhya Pradesh.
In this stupa, artists have used pictorial language to depict the various events.

Initially, artists used few people in the story, but with time, several people were
added to the carved panel. It also shows the artist’s love for animals and birds.
BHARHUT STUPA
These sculptures depict several Jataka stories, events from the Buddha's life, and
other general events.
Other themes depicted include Queen Mayadevi’s (mother of Siddhartha Gautama)
dreaming and a descending elephant; people worshipping the Bodhi Tree.
Note: One unique feature is all the men shown in these panels have knotted
headgear.
SANCHI STUPA

Located in the Raisen district of Madhya

Pradesh.
Sanchi stupa is very rich in carving and shows
better maturity and development than the
Bharhut Stupa.
The four Toranas are carved with the Jataka
Stories and other events.
SANCHI STUPA

Here also, Buddha is shown with the help of the

symbols.

The historical narratives such as the siege of Kushinagar,

Buddha’s visit to Kapilavastu, and Ashoka to the
Ramgrama Stupa have been carved with considerable
details.
DIFFERENT SCHOOLS OF SCULPTURE

Gandhara

Among several schools developed

during this; the most important, Mathura
significant, mature and developed were:

Amravati
GANDHARA SCHOOL

Developed under the Kushana Dynasty in the North-Western Indian Subcontinent.

Major Characteristics
• It was influenced by traditions, cultures, tastes and
costumes of the Bactria, Parthia and local region.
• In this school, Grey/bluish-grey sandstone was used.
• Buddhism was the great inspiration behind this
school.
• Buddha is shown as Spiritual Buddha, which shows
the calmness on his face. With minimal
ornamentation.
GANDHARA SCHOOL

Buddha is shown with a large forehead, eyes half closed

and wavy hair,

The seated Buddha is shown in a cross-legged position.

The Buddha and Bodhisattva figures under this school

resemble the Greek God Apollo with broad shoulders,
and a halo around the head.
MATHURA SCHOOL
This school was also patronised by the Kushana rulers and developed in the Mathura
and surrounding areas but gradually spread to the whole of the northern part of the
Indian subcontinent.

Major Characterstics
• It was primarily developed with the taste and
culture of the local region, but with time some
foreign influence can also be observed.
• Spotted sandstone was used.
• It had influence from all three religions: Buddhism,
Jainism and Hinduism.
• Buddha is shown as Delighted Buddha, not
spiritual as in Gandhara School.
MATHURA SCHOOL

The face reflects grace, dress in this school is tight,

which makes the body look energetic. The head and
face of Buddha are shaven in this school.

The halo around the head is profusely decorated.

Seated Buddha is shown in the Padmasana position.

The right hand is in Abhaya Mudra, and the left hand is

on the left thigh.
AMRAVATI SCHOOL
Patronised by the Satavahanas and later by the Ikshavaku and originated in Amravati,
Andhra Pradesh.
Prominent places are Nagarjunikonda, Goli, and Gminimalnd Vengi.

Major Characteristics
• It was developed with the taste and culture of the
local region. White marble was used.
• It reflects the narrative themes from the life of
Buddha and other Jataka stories.
• Mainly influenced by the Buddhist religion, some
secular events are also carved.
AMRAVATI SCHOOL

Buddha is shown in both human and symbol forms.

Bodies are shown with three bents (tribhanga). The

body reflects intense emotions.

Amaravati school is more elegant and sophisticated.

DIFFERENT MUDRAS OF BUDDHA
Under the different schools of Indian sculpture, the Buddha is shown in various
combinations of the Hand and Leg placing that forms a particular mudra, and every
Mudra signifies a particular meaning.

Name of the
Detail
Mudra
• Dharmachakra in Sanskrit means
the 'Wheel of Dharma’.
Dharmachakra • It depicts the first sermon of the
mudra Buddha.
• His right hand depicts the three
teachings and his left hand depicts
the three jewels of Buddhism.
DIFFERENT MUDRAS OF BUDDHA

Name of the
Detail
Mudra
• It means touching the ground.
Bhumisparsha
• This mudra symbolises the
Mudra
Buddha's enlightenment under
the bodhi tree
DIFFERENT MUDRAS OF BUDDHA

Name of the
Detail
Mudra

• It is the gesture of meditation, of the

concentration of the Good Law and
Dhyanan Mudra the sangha.
• This mudra can be made with one
hand or two hands.

• It is the "gesture of fearlessness".

• It represents protection, peace,
Abhaya Mudra
benevolence, and the dispelling of
fear.
GUPTA PERIOD

● The Gupta period, also known as the classical or

golden age of India, is known for its significant
contributions to the fields of technology,
engineering, literature, mathematics, astronomy,
and philosophy.
● Hinduism became the Gupta empire's official
religion at this time, which resulted in the
proliferation of numerous images of well-known
Hindu deities.

● Jainism flourished, and Buddhism got royal

support.
GUPTA PERIOD

Influence of the Mathura school

• Buddha Images also began to be made under the
Guptas .
• Sculpture in the Gupta style was broadly consistent
across the empire.
• It is mainly distinguished by the sensual body and
facial modelling, balanced proportions, and more
subdued expressions.
• Sarnath and Mathura artistic hubs.
AJANTA CAVES

● Located in the Aurangabad district of Maharashtra.

● In Hinayana Buddhism's initial years, buddha was

not shown in the human form but by symbols such
as lotus, horse, stupa etc.

● By the start of the 4th century AD, Under the

Vakatakas kings and the influence of Mahayana
Buddhism, several sculptures were carved out in
the Ajanta caves that reflect several forms and
events from the life of buddha and his worship.
AJANTA CAVES: PROMINENT SCULPTURES
Cave 1 It was made under the Vakataka King Harisena
and reflects the scene from the life of Budha,
animals and several decorative motifs.

Cave 4 This cave contains a large image of Buddha in

the preaching position and on either side the
images of Bodhisattva in the standing position.
AJANTA CAVES: PROMINENT SCULPTURES
Cave 6 In this cave Buddha is shown in the
teaching position, and on either side,
Bodhisattvas are shown.

Cave 7 This is one of the richest caves in terms of

variety and diversity of art and expressions.
On the left side, 25 seated Buddha is shown
in different postures and facial expressions;
on the right side, 58 seated Buddha are in
different stances on the lotus.
AJANTA CAVES: PROMINENT SCULPTURES
Cave 19 It was built during the rule of Vakataka rulers.

It is a grand Chaitya hall with a large courtyard and associated

cells.
The most significant sculpture here is the group of Naga people at
the Facade and various postures at the entrance.
AJANTA CAVES: PROMINENT SCULPTURES
Cave 11 It is a monastery.

Here, the Buddha is shown in a seating position on the raised

platform and a devotee sitting on the ground, and at the exterior
part, there is an elephant.
AJANTA CAVES: PROMINENT SCULPTURES
Cave 26 This is a Chaitya but has certain Vihara features.

It is one of the largest caves in Ajanta and a two-storey cave.

It has several rich sculptures, but the most significant from the
point of view of art and religious basis is the image of the Buddha
carved in the Mahaparinirvana position.
ELLORA CAVES

The most significant sculptures can be observed in the courtyard and walls of the
Kailasha temple, such as two life-sized Elephant statues in the courtyard and
figurines from the mythology on the temple's walls.

Shiva and Parvati sit

on Mount Kailash as
Ravana tries to lift it
ELEPHANTA CAVES

Located on Elephanta island in Mumbai, Maharashtra.

Initially, they had Buddhist influence, but gradually,

Shaivite traditions took it over.

These caves can be divided Group five hindu caves

into two groups:
A pair of buddhist caves.
Trimurti Image
The most important sculpture here is the Trimurti image
of the shiva (shiva is akin to the Trimurti figure of
Brahma, Vishnu, and Mahesh).
 ELEPHANTA CAVES
Apart from it the other Ravana shaking the Kailas
sculptures that can be observed
here are: Tandava dance of Shiva

Ardh-narishwara etc.

Ravana Shaking the

Tandava Dance of Shiva Ardha-Nareshwara
Kailash
PRE-MEDIEVAL PERIOD
In the pre- mediaeval period, temple Architectural activities were at their peak across
the Indian subcontinent, especially in the Southern part of the Indian subcontinent.

On the walls of these temples, we can observe an excellent, mature and developed
form of the Sculptural activities that separates it from the earlier period.
NORTH INDIA

Chandela Dynasty (831 A.D. -1315 A.D.)

• The first and most significant were the temples at

Khajuraho built by the Chandel Dynasty.
• Here the walls are richly carved and show the skills Khajuraho Sculpture
of Indian artists.
• Known for erotic scenes based on sexual themes,
but these erotic carvings form only 10 per cent of
the total sculptures in this temple.
SOUTH INDIA

In the Southern part, the oldest sculpture art is

represented by a Lingam in Gudimallam, in the southern
point of Andhra Pradesh, with a standing image of Shiva.

Pallava Dynasty In the south, the most important

(275 CE to 897 CE) were the Pallava dynasty, who
built several rock cut and structural
temples at Mahabalipuram.
SOUTH INDIA

The seven rathas temples at mahabalipuram are

well decorated with carvings, but the Arjun
Penance is the most significant and richly carved.
Arjun Penance

The Shore temple is also an excellent example of

architectural as well as sculptural activities which
depict the images of several deities, and the most
famous and the most significant is the statue of a
lion at the shore temple.

Lion Sculpture at
Shore Temple
IMPERIAL CHOLA DYNASTY (848 CE - 1279 CE)

After Pallavas, imperial Cholas continued and even furthered the legacy of sculptural
art in the south.

They built massive temples in the Dravidian style and richly carved images of the
deities, people, animals and birds that can be seen from a distance.
NATARAJA IMAGE

The most remarkable and most important sculptural

image is the Nataraja image made up of bronze.
Here facial expressions are more detailed and
sharp.
There is a clear distinction between the different
parts of the body, like clear creases between the
torso and stomach.

Shiva has been shown balancing himself on his right

leg and suppressing the apasmara, the demon of
ignorance or forgetfulness.
NATARAJA IMAGE

Shiva raises his left leg in a bhujangtrasita stance,

which represents tirobhava that is kicking away the
veil of maya or illusion from the devotee’s mind.

Shiva is shown with four hands. His one hand is in

Abhayahasta or the Gesture suggesting. His upper
right-hand holds Damru.

The upper left hand is held in dola hasta and

connects with the Abhaya hasta of the right hand.

Hair flocks fly in both the direction and touching the

circular jwala mala or the garland of flame, and it
surrounds the entire dancing figuration.
MEDIEVAL PERIOD

The Medieval period was ruled mainly by the Islamic rulers who neither patronised
nor encouraged the Sculptural arts on a large scale.

However, these activities continued under the patronage of the local Hindu governor
and other Hindu rulers, especially the Vijayanagar empire.
VIJAYANAGAR EMPIRE (1336 CE- 1646 CE)
In Vijayanagara Temples, observe the stories from Ramayana, Krishna and Bal Lila in
smooth and matured form.
Vijayanagar rulers carved their portraits on the walls to immortalise them in the
vicinity of their favourite deities.
Example:- Krishnadevaraya at one of the Gopuras at Chidambaram.
VIJAYANAGAR EMPIRE (1336 CE- 1646 CE)

Postures in these images is more rigid.

Ornamentation is more elaborated.

Bronze
sculpture The sculptors in this period combined the
likeness of the facial features with some
aspects of idealisation.
MUGHAL PERIOD (1526 CE- 1857 CE)
Under the rule of Akbar, we observe the beginning of the Mughal Sculpture, which
was carried forward by Jahangir and Shahjahan.

The stone sculpture received the enthusiastic support of Mughal Emperor Akbar.

He commissioned statues of Jai Mal and Fatha.

MUGHAL PERIOD (1526 CE- 1857 CE)
Emperor Jahangir constructed two life-size marble sculptures of Rana Amar Singh
and his son Karan Singh on the palace grounds in Agra.
Their sculptural taste can be observed on the walls of their Architecture buildings
throughout their empire.
The most important example is the tomb of Akbar at Sikandra which contains 50
varieties of marble carving across the building.
MODERN PERIOD ( AFTER 1857-1947)

This period was ruled by the colonial powers in India,

and they built several Architectural Monuments.

They built some sculptural portraits of their rulers

around or within the buildings to enhance their strength
and powers.

The statues of Queen Victoria, George V, and numerous

Indian Governors-General were built during this period.
POST-INDEPENDENCE (AFTER 1947)

Ramkinker Baij He worked his whole for the upliftment of the tribal communities
(1906-1980) and expressed his rich ideas through the sculptures. He got Padam
Bhushan in 1979.

Adi Davierwala His interest in science and maths was reflected in his idea and arts,
(1922-1975 which were based on geometric designs.

Meera After her exposure to the Dhokra sculptors in Bastar from

Mukherjee Chhatisgarh, she started expressing these ideas in the three-
(1923-1998) dimensional figures.
Thank You
INDIAN
PAINTINGS
PREHISTORIC PAINTINGS IN INDIA

Prehistoric paintings in India, known as petroglyphs, were created before the

existence of written records.

The Bhimbetka caves in Madhya Pradesh mark the beginning of painting in India,
where paintings and drawings of animals were found.

Petroglyphs are prehistoric rock carvings that show significant activities before
civilization.

These images are created by carving a rock surface, and the word "petroglyph" comes
from "petro" meaning stone and "glyph" meaning carve.
 Upper Paleolithic Period Paintings
Primitive humans painted animals on the walls of rock shelter caves using mineral
pigments like ochre or geru mixed with water and lime.

The paintings followed a linear representation in dark red or green colours.

While green, white, and dark red used for large animals and green for dancers.
White and red were used to depict hunters.

The paintings mainly depicted animals like rhinoceros, tigers, elephants, boar, and
bison.
Mesolithic Period Paintings

Red color was extensively used in paintings.

Paintings were smaller in size compared to the Upper Paleolithic period.

Hunting scenes, riding scenes, and grazing activities were frequently depicted.

Depictions of people of all ages and gender were given importance.

Hand and fist prints were also found in the caves.

Chalcolithic Period Paintings
During the Chalcolithic period, copper tools were predominant.

It saw the rise in yellow and green paintings, varied themes from battle scenes to
art tanning.

Depiction of battle scenes with men carrying bows and arrows and riding horses
and elephants, complex geometrical shapes.

These paintings are found in several places in Madhya Pradesh, Chhattisgarh, and
Odisha
Bhimbetka Rock Paintings

Discovered for the first time by V.S. Wakankar in

1957-58, It is located in the Vindhya ranges of
Madhya Pradesh.

UNESCO declared it a World Heritage Site in 2003.

Bhimbetka has 30,000-year-old paintings mainly

belonging to the Mesolithic period.
Bhimbetka Rock Paintings

The brush used to paint was made from plant fibre.

The rock paintings at Bhimbetka depict a wide range of themes, from everyday life to
hunting scenes, battle scenes, and dancing.

Indian philosopher Vatsyayana in the 3rd century AD created the Shadanga, or six
limbs of painting, which became the principles of painting.

They are Rupabheda, Pramanam, Bhava, Lavanya yojana, Sadrsya, and Varnika
Bhanga.