Category Archives: Ancient Indian history

Temple of Gop : an ancient marvel in Western India

       The Gop temple is one of the oldest stone temples of Gujarat in Western India. It was built in late 6th or early 7th century. Located in the Jamnagar district it has Gandhara architecture with a square shrine. Surrounded by double courtyards it has a unique shikhara. It is on  the bank of Vartu river, south-west of Gop Hill of Barda Hills. The art is a blend of Gandhara and north Indian Gupta art styles, including Kushana influence.

Old temple, general view from the north-west, Gop, Gujarat.jpg

Gop temple, north west view, image,1874.

By Burgess, James, 1874 – http://www.bl.uk/onlinegallery/onlineex/apac/photocoll/o/largeimage62882.html, Public Domain, https://commons.wikimedia.org/w/index.php?curid=44074068

Inscription on the left jamb of the door of temple at Gop, Gujarat.png

Inscription,Gop temple,Gujarat.

By James Burgess – Report on the Antiquities of Kutch & Kathiawar: Being the Result of the Second Season’s Operations of the Archaeological Survey of Western India, 1874-1875 p.187, Public Domain, https://commons.wikimedia.org/w/index.php?curid=50922647

 

     The walls of the temple do not have any carvings, the shrine faces east like many temples in India. The shikhara is like a pyramid. The temple rests on a jagati  with a projection on the east but is otherwise square. There are three dormer windows called chandrasala which are on the slopes of the shikhara.  This temple was built by the Maitraka dynasty which was ruling Saurastra during the time. The Maitrakas came to power after the fall of the Guptas and are believed to have built over one hundred temples in the region.The Maitrakas ruled for over 250 years and are known to have given many grants for the construction of religious buildings. Their capital was Valabhi, an ancient sea port linking India with Persia and EuropeThe Chinese traveller Hsuen -Tsang  visited Valabhi in 640 A.D, the ancient capital of the Maitrakas.

      Large heavy blocks of stone have been used for the construction of the temple. There might have been steps to take the devotee to the entrance of the temple. The temple has been built without any cementing material. It is made of coursed ashlar which are 8 inches deep and jointed. The shikhara is made of six courses with one slab covering the apex with an amalaka on it. The dormer arches or chaitya windows of the shikhara in two tiers had sculptures of gods and a figure of Ganesha is still  seen on the temple’s west side. The holes which might have supported beams to hold the roof of the first inner courtyard can be seen clearly. The courtyards served as pradakshinapatha or circum-ambulatory path for the devotees. The yellow stone deities inside of the shrine are  Lord Rama with a high square mukuta or crown and Lakshmana with a lower  crown, believed  locally by people in the area.

File:Gop Gupta-Tempel 1999.JPG

Gop temple, image,1999.

By Arnold Betten (eigenes Foto (Dia)) [Public domain], via Wikimedia Commons

 

References :

  • The art of ancient India/Huntington,Susan,New York : Weatherhill,1985.
  • wikipedia.org

 

Posted by :

Soma Ghosh

© author

 

Advertisements

Chalukyan art : some monuments at Aihole

     The Gupta dynasty and its successors had declined by the end of the 6th century and several changes took place in the Deccan and Southern India. By the time the Vakatakas had collapsed the early Kaluchuris dynasty established itself  around 520 A.D and flourished till 600 A.D.  The Kaluchuris are noted for Pasupata Saivism, a religious  movement in the Deccan and South Asia. They excavated the Jogeswari caves,Mandapeshwara,Elephanta and the Dhumar Lena at Ellora. They were overtaken by the Western Chalukyas of Karnataka. The Kadambas of Banavasi ruled in South Karnataka and were also overtaken by the Western Chalukyas, who were Dravidian and ruled from Badami (ancient Vatapi) and called Badami Chalukyas. Their ruler Pulakesin I fortified the area of Badami in 543 A.D.  Pulakesin II was its most notable ruler. He defeated Harsha on the banks of the Narmada. He expanded the kingdom to the northern limits of the Pallava kingdom. However in  642 A.D Pallava king Narasimhavarman occupied Badami for some time. Pulakesin died fighting. However the Chalukyas regained power under Vikramaditya I. Later Vijayaditya (696-733) ruled for 37 years and built many temples. Vikramaditya II ruled 733 – 744 A.D and was victorious over Pallava king Nandivarman II. He was a kind ruler, made temples at Kanchipuram too. Thus this early Chalukyan dynasty ruled most of the Deccan for 200 years; from mid 6th century to mid 8th century.  They were overthrown by the Rashtrakutas.This dynasty is remembered for it rock-cutting sculpture and later structural temples. The rock cut tradition is found at Aihole and Badami in Karnataka.

Chalukyan art of ancient India reaches a classical zenith at the group of monuments at Aihole in the present state of Karnataka in southern India.  An amazing example of rock cut temple architecture built by the Chalukyas datable to 550 A.D. is the Ravana Pahadi. These Chalukyas were ware called the Early Western Chalukyas by historians. The Deccan became an interface between the upper north and south below in the Indian peninsula. The Ravan Pahadi cave has a simple facade with two dwarapalas  and dwarves. The cave has a central mantapa (hall) with shrines by its sides. At the back end is a linga within a sanctuary. The mantapa is at a lower level than the shrines and sanctuary. The cave walls and ceiling including the corners of the main mandapa or hall have superb sculptures. A multi armed representation of Lord Shiva as Nataraja along with the saptamatrikas . Legend has it that the saptamtrikas were created during his battle with Andhakasura. The figures are slim and their garments have striations which are incised on stone. The cave has a figure of Durga as Mahisasuramardini  depicting her with her with one left hand and folded leg crushing the bull. She holds her weapons including the trident or trisula which is very prominent.

Ravana Pahadi cave,6th century,Aihole,Karnataka.

By Manjunath Doddamani Gajendragad at English Wikipedia – Transferred from en.wikipedia to Commons., CC0, https://commons.wikimedia.org/w/index.php?curid=55299150

Mantapa , Ravana Pahadi cave temple,6th century, Aihoḷe,Karnataka.

By Dineshkannambadi – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19877895

 

Raval Phadi (Brahmanical Cave) - Image 2.JPG

Linga,Ravana Pahadi ,6th century,Aihole, Karnataka.

By Nagraj – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21380047

Relief work1 in the Ravana phadi cave temple in Aihole.jpg

Nataraja, Ravana Pahadi cave temple, 6th century,Aihole,Karnataka.

By Dineshkannambadi – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19877893

Relief work2 in the Ravana phadi cave temple in Aihole.jpg

Mahisasuramardini, Ravana pahadi Cave temple, 6th century,Aihole, Karnataka.

By Dineshkannambadi – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=19877894

      Durga temple at Aihole has an apsidal and oblong plan and is part of a fort or durg, hence its name Durga. It was built during the late 7th and early 8th centuries by the Early Western Chalukyas. There is a circumbulatory passage around the temple having pillars,some with sculptures.. There is an entrance area, a mandapa or hall and an inner shrine. The inner shrine has a narrow circumambulatory path.  The temple has a small porch approached by two staircases. The inner wall of the temple has many sculptures.; Durga as Mahisasuramardini having eight arms. A shikhara is present on the temple’s east-side over the shrine. The temple might have been dedicated to Lord Vishnu as many of his avatars  are carved on the temple like Varaha and  Narasimha.

Durga temple, 6th century,Aihole,Karnataka.

CC0, https://en.wikipedia.org/w/index.php?curid=37733925

Durga Temple Aihole. Vishnu.jpg

Lord Vishnu,Durga temple, Aihole,Karnataka.

By Ismoon (talk) 21:12, 5 June 2013 (UTC) – Own work, GFDL, https://commons.wikimedia.org/w/index.php?curid=26505253

Kaali Matha.jpg

Durga, 6th century,Aihole, Karnataka.

By Naveenkumarsnayak – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=51445322

Aihole 3.JPG

Durga temple,6th century,Karnataka.

By Nithin bolar k – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=27944703

Aihole si05-1462.jpg

Celestial couple,ceiling, Durga Temple,6th century, Aihole,Karnataka.

By G41rn8 – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=40069651

 

References :

  • The art of ancient India/Huntington,Susan,New York : Weatherhill,1985.
  • wikipedia.org

 

Posted by

Soma Ghosh

©author

 

 

Chalukyas of ancient India : glimpses from Badami caves

        The Gupta dynasty and its successors had declined by the end of the 6th century and several changes took place in the Deccan and Southern India. By the time the Vakatakas had collapsed the early Kaluchuris dynasty established itself  around 520 A.D and flourished till 600 A.D.  The Kaluchuris are noted for Pasupata Saivism, a religious  movement in the Deccan and South Asia. They excavated the Jogeswari caves,Mandapeshwara,Elephanta and the Dhumar Lena at Ellora. They were overtaken by the Western Chalukyas of Karnataka. The Kadambas of Banavasi ruled in South Karnataka and were also overtaken by the Western Chalukyas, who were Dravidian and ruled from Badami (ancient Vatapi) and called Badami Chalukyas. Their ruler Pulakesin I fortified the area of Badami in 543 A.D.  Pulakesin II was its most notable ruler. He defeated Harsha on the banks of the Narmada. He expanded the kingdom to the northern limits of the Pallava kingdom. However in  642 A.D Pallava king Narasimhavarman occupied Badami for some time. Pulakesin died fighting. However the Chalukyas regained power under Vikramaditya I. Later Vijayaditya (696-733) ruled for 37 years and built many temples. Vikramaditya II ruled 733 – 744 A.D and was victorious over Pallava king Nandivarman II. He was a kind ruler, made temples at Kanchipuram too. Thus this early Chalukyan dynasty ruled most of the Deccan for 200 years; from mid 6th century to mid 8th century.  They were overthrown by the Rashtrakutas.This dynasty is remembered for it rock-cutting sculpture and later structural temples. The rock cut tradition is found at Aihole and Badami in Karnataka. The Ravana Pahadi Cave at Aihole was excavated in 550 A.D.

    The Badami caves were excavated under the Chalukyas who were patrons of art. Badami was the capital of the Early Chalukyas. Badami is 5 km from the Malaprabha river.The rock is sandstone and the caves are next to an artificial lake, Lake Agastya. There are four main caves.

Badami Caves, 6th century,Karnataka.

By SUDHIR KUMAR D – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=28398778

File:Badami-cave-temple.JPG

Badami Caves,6th century, Karnataka.

By rajeshodayanchal (Own work) [CC BY 3.0 (http://creativecommons.org/licenses/by/3.0) or CC BY 3.0 (http://creativecommons.org/licenses/by/3.0)%5D, via Wikimedia Commons

      Cave 1 is Saivite. The forecourt of the cave is barely there. A mandapa with pillars and a small shrine are part of the cave. The facade has frieze of dwarfs. The sculpture of Nataraja with Ganesha and a drummer is seen at this cave. The image is 5 feet tall. The different arms are in different mudras and holding different objects. Nandi, the bull, the vehicle of Shiva can also be seen.  Adjoining the Nataraja is Goddess Durga as Mahisasuramardini.  This cave also has Ganesha, Kartikeya sculptures carved on its walls. There is also Harihara (half Vishnu, half Shiva) with Goddesses Lakhsmi and Parvati. There is also a relief sculpture of Shiva as ardhanarishwara, the androgynous Shiva along with consort Parvati. The verandah which is 75 feet by 65 feet has four columns with various carvings of Shiva. two dwarapalas guard the entrance. The carvings of this cave are ornate with the figures having borders around them with more reliefs of birds and animals. The ceiling has Vidyadharas. Lotus motifs have been much used. The roof has five carved panels with shesha,  yaksha figure, apsara and lotuses.

Nataraja at Badami caves, 6th century,Karnataka.

By Jean-Pierre Dalbéra from Paris, France – Temple troglodytique dédié à Shiva (Badami, Inde), CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=37213652

Harihara,Badami Caves,6th century,Karnataka.

By Ismoon (talk) 21:54, 10 June 2013 (UTC) (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

Cave 2 is dedicated to Lord Vishnu. Steps lead to this cave which lies west of Cave 3. The entrance verandah is divided by four pillars with brackets further having sculptures. many Hindu deities are carved in this cave. Lord Vishnu as Trivikrama or Vamana is depicted in this cave. One foot is on the earth and one is directed north.Vishnu as Varaha too is depicted in this cave.  The dwarapalas of this cave are shown holding flowers. the columns are sculpted too showing mythological scenes including those from Lord Krishna’s life. The ceiling has a wheel with 16 fish spokes along with flying couples and swastikas.

Cave 3  is again a Vaishnavite cave with giant figures of Lord Vishnu as Trivikrama,Anantasayana,Varaha,Paravasudeva,Harihara and Narasimha. The cave faces north and is sixty steps away form Cave 2. The verandah is 70 ft. by 65 ft. and has four free standing pillars with carvings. this cave is fifteen feet high. There are fresco scenes on the ceiling,mostly mythological. Lord Brahma, the wedding of Lord Shiva and Parvati are depicted. The roof of the verandah has seven panels with paintings in circular compartments of Hindu deities and  images of dwarapalas.

Lord Vishnu,Badami Caves,6th century,Karnataka.

By Ismoon (talk) 17:00, 10 June 2013 (UTC) (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

File:Sculpture2 near pillar bracket in Vaishnava cave temple no. 3 in Badami.jpg

Sculpture,Vaishnava cave temple,Badami Caves, 6th century.

By Dineshkannambadi (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia CommonsImage result for badami caves

Carvings,Badami caves,6th century,Karnataka.

By Naane.naanu (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Lord Vishnu as Trivikrama,Badami Caves,6th century,Karnataka.

By Ismoon (talk) 15:49, 12 June 2013 (UTC) (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

Cave 4 is located to the east of Cave 3, higher than the other caves. It is dedicated to Jaina deities. Like the others this cave is also richly carved. The entrance to the cave has five bays with four columns having brackets.  The verandah of this cave is smaller compared to the other caves.A hall behind the verandah has two free and two joined pillars. The sanctum sanctorum is reached through steps where Lord Mahavira is depicted seated on a lion throne. On two sides are attendants holding fly whisks. Parshvanatha is carved with a snake hood. This cave has Indrabhuti Gautama, Bahubali,Padmavati and also yaksha and yakshi figures.Temple troglodytique jaïn (Badami, Inde) (14352949993).jpg

Lord Mahavira,Badami Caves, Karnataka.

By Jean-Pierre Dalbéra from Paris, France – Temple troglodytique jaïn (Badami, Inde), CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=37213634

Badami 06.jpg

Tirthankaras,Badami Cave 4, Karnataka.

Cave 5 is not yet dated, small natural cave and can be approached only by crawling with a sculpted figure seated on a throne.

File:Badami caves carvings16.JPG

Badami caves, 6th century,Karnataka.

By Raamanp (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

 

 

 

 

References :

  • The art of ancient India/Huntington,Susan,New York : Weatherhill,1985.
  • wikipedia.org

 

Posted by

Soma Ghosh

© author

 

Ritusamhara : a garland of seasons

          An epic poem by the celebrated poet of ancient India, Kalidasa from the Gupta era about the six seasons of India. A vivid, sensual and with frankly  erotic undertones, it is a work abounding with the shringara rasa.  This rasa is believed to be the source of all the other rasas; totally nine in number. The shringara rasa includes the feelings of erotic love,song, dance and decoration. Ritu means seasons and samhara means a group or compilation. A better translation of Ritusamhara would be a medley of seasons or a garland of seasonsRitusamhara has been translated into English, Tamil, Marathi etc.

    An early work of Kalidasa; though sometimes its authorship has been challenged. The six seasons portrayed are the grishsma, summer, the varsha or rains, sharat or autumn, hemanta or early winter, shishira or winter and vasanta the spring season. The poet has set lovers ,animals and the separated against the backdrop of nature in different seasons. The sensuality of the work is very raw; the moods captured by the poet in a primal form. Every canto ends with a blessing or benediction !

File:Henri Biva, Looking out onto a lake on a summer day, oil on canvas, 73 x 60.3 cm.jpg

Summer,landscape painting.

By Henri Biva (Christie’s London) [Public domain], via Wikimedia Commons

The poet describes the summer season or grishma first. The description is vivid with references to the searing heat and its effect on human beings and animals. The animals are thirsty, the men lacking in longing for their beloved and the separated looking up to the sky. The women are trying to rekindle passion in their lovers by various means.

   ससीकराम्भोधरमत्तकुञ्जरस्तडित्पताकोऽशनिशब्दमर्दलः ।
समागतो राजवदुद्धतद्युतिर्घनागमः कामिजनप्रियः प्रिये ।। २.१ ।।

नितान्तनीलोत्पलपत्त्रकान्तिभिः क्वचित्प्रभिन्नाञ्जनराशिसंनिभैः ।
क्वचित्सगर्भप्रमदास्तनप्रभैः समाचितं व्य्ॐअ घनैः समन्ततः ।। २.२ ।।

तृषाकुलैश्चातकपक्षिणां कुलैः प्रयाचितास्तोयभरावलम्बिनः ।
प्रयान्ति मन्दं बहुधारवर्षिणो बलाहकाः श्रोत्रमनोहरस्वनाः ।। २.३ ।।

बलाहकाश्चाशनिशब्दमर्दलाः सुरेन्द्रचापं दधतस्तडिद्गुणं ।
सुतीक्ष्णधारापतनोग्रसायकैस्तुदन्ति चेतः प्रसभं प्रवासिनां ।। २.४ ।।

प्रभिन्नवैडूर्यनिभैस्तृणाङ्कुरैः समाचिता प्रोत्थितकन्दलीदलैः ।
विभाति शुक्लेतररत्नभूषिता वराङ्गनेव क्षितिरिन्द्रगोपकैः ।। २.५ ।।

The rains or the Varsha ritu is depicted full of energy. The earth has come to life with thunder and lightning and rivers full of water speeding towards the oceans. Forests are green and verdant. Women hurry to meet their lovers bedecked with flowers and perfume. The separated lovers gaze at the clouds with dismay and longing.

सुवासितं हर्म्यतलं मनोहरं प्रियामुखोच्छ्वासविकम्पितं मधु ।
सुतन्त्रिगीतं मदनस्य दीपनं शुचौ निशीथेऽनुभवन्ति कामिनः ।। १.३ ।।

नितम्बबिम्बैः सदुकूलमेखलैः स्तनैः सहाराभरणैः सचन्दनैः ।
शिरोरुहैः स्नानकषायवासितैः स्त्रियो निदाघं शमयन्ति कामिनां ।। १.४ ।।

नितान्तलाक्षारसरागरञ्जितैर्नितम्बिनीनां चरणैः सनूपुरैः ।
पदे पदे हंसरुतानुकारिभिर्जनस्य चित्तं क्रियते समन्मथं ।। १.५ ।।

पयोधराश्चन्दनपङ्कचर्चितास्तुषारगौरार्पितहारशेखराः ।
नितम्बदेशाश्च सहेममेखलाः प्रकुर्वते कस्य मनो न सोत्सुकं ।। १.६

File:The Eager Heroine on Her Way to Meet Her Lover out of Love (Kama Abhisarika Nayika) LACMA M.71.49.6.jpg

Eager maiden in the rain, abhisarika nayika,painting,18th century, Nurpur, Himachal Pradesh,LACMA,USA.

See page for author [Public domain], via Wikimedia Commons

Photo of Trees Being Poured by Rain

Rain,image.

http://www.pexels.com

Painting by Sobha Singh,20th century.

By India4art – Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=28320346

Sharat ritu or autumn has arrived and the rivers have slowed down. The sky has few clouds and the moons glows clearly. Cool breezes blow and the beautiful maidens watch the scene in delight. They wear jasmine in their hair.

व्योम क्वचिद्रजतशङ्खमृणालगौरैस्त्यक्ताम्बुभिर्लघुतया शतशः प्रयातैः ।
संलक्ष्यते पवनवेगचलैः पयोदै राजेव चामरशतैरुपवीज्यमानः ।। ३.४ ।।

भिन्नाञ्जनप्रचयकान्ति नभो मनोज्ञं बन्धूकपुष्परजसारुणिता च भूमिः ।
वप्राश्च पक्वकलमावृतभूमिभागाः प्रोत्कण्ठयन्ति न मनो भुवि कस्य यूनः ।। ३.५ ।।

मन्दानिलाकुलितचारुतराग्रशाखः पुष्पोद्गमप्रचयक्ॐअलपल्लवाग्रः ।
मत्तद्विरेफपरिपीतमधुप्रसेकश्चित्तं विदारयति कस्य न कोविदारः ।। ३.६ ।।

तारागणप्रवरभूषणमुद्वहन्ती मेघावरोधपरिमुक्तशशाङ्कवक्त्रा ।
ज्योत्स्नादुकूलममलं रजनी दधाना वृद्धिं प्रयात्यनुदिनं प्रमदेव बाला ।। ३.७ ।।

कारण्डवाननविघट्टितवीचिमालाः कादम्बसारसकुलाकुलतीरदेशाः ।
कुर्वन्ति हंसविरुतैः परितो जनस्य प्रीतिं सरोरुहरजोऽरुणितास्तटिन्यः ।। ३.८ ।।

 

Maple Tree and Body of Water Photo

Autumn, image.

Source ; pexels.com

        Hemanta or early winter comes and the rice is harvested. Women don’t find lotuses; they use sandalwood paste on their bodies and use fragrant waters in their hair. They come together with their lovers at night. Women show signs of the night’s passion in the morning with tousled hair and sleeping till the sun rises spreading its warmth.

    Shishira is winter and it is very cold. People decide to stay indoors. Harvested rice lies on the floor. Snow fall also happens in some places. Lovers drink wine and after a night of lovemaking women emerge like goddesses; says the poet. their hair is freshly washed and after decorating their faces they begin the day.

पाकं व्रजन्ती हिमजातशीतैराधूयमाना सततं मरुद्भिः ।
प्रिये प्रियङ्गुः प्रियविप्रयुक्ता विपाण्डुतां याति विलासिनीव ।। ४.११ ।।

पुष्पासवामोदसुगन्धिवक्त्रो निःश्वासवातैः सुरभीकृताङ्गः ।
परस्पराङ्गव्यतिषङ्गशायी शेते जनः कामरसानुविद्धः ।। ४.१२ ।।

दन्तच्छदैः सव्रणदन्तचिह्नैः स्तनैश्च पाण्यग्रकृताभिलेखैः ।
संसूच्यते निर्दयमङ्गनानां रतोपभोगो नवयौवनानां ।। ४.१३ ।।

काचिद्विभूषयति दर्पणसक्तहस्ता बालातपेषु वनिता वदनारविन्दं ।
दन्तच्छदं प्रियतमेन निपीतसारं दन्ताग्रभिन्नं अवकृष्य निरीक्षते च ।। ४.१४ ।।

File:Adolf Kaufmann - Sonnenuntergang in Winterlandschaft.jpg

Winter, painting.

Adolf Kaufmann [Public domain], via Wikimedia Commons

      Spring or Vasanta ritu has been personified as a ”he” by the poet. ‘He’ touches and transforms everything. Nature.Humans. Ponds are full of water.Lotuses bloom. Trees are flowering. Women wear bright clothes,flowers,pearlstrings, bangles and anklets. Bees are humming. the soud of the koel (cuckoo bird) is very appealing. Lovers are busy with each other, as described by the poet.

सुगन्धिनिःश्वासविकम्पितोत्पलं मनोहरं कामरतिप्रबोधकं ।
निशासु हृष्टा सह कामिभिः स्त्रियः पिबन्ति मद्यं मदनीयमुत्तमं ।। ५.१० ।।

अपगतमदरागा योषिदेका प्रभाते कृतनिबिडकुचाग्रा पत्युरालिङ्गनेन ।
प्रियतमपरिभुक्तं वीक्षमाणा स्वदेहं व्रजति शयनवासाद्वासमन्यं हसन्ती ।। ५.११ ।।

अगुरुसुरभिधूपामोदितं केशपाशं गलितकुसुममालं कुञ्चिताग्रं वहन्ती ।
त्यजति गुरुनितम्बा निम्ननाभिः सुमध्या उषसि शयनमन्या कामिनी चारुशोभां ।। ५.१२ ।।

कनककमलकान्तैश्चारुताम्राधरोष्ठैः श्रवणतटनिषक्तैः पाटलोपान्तनेत्रैः ।
उषसि वदनबिम्बैरंससंसक्तकेशैः श्रिय इव गृहमध्ये संस्थिता योषितोऽद्य ।। ५.१३ ।।

प्रफुल्लचूताङ्कुरतीक्ष्णसायको द्विरेफमालाविलसद्धनुर्गुणः ।
मनांसि भेत्तुं सुरतप्रसङ्गिनां वसन्तयोद्धा समुपागतः प्रिये ।। ६.१ ।।

द्रुमाः सपुष्पाः सलिलं सपद्मं स्त्रियः सकामाः पवनः सुगन्धिः ।
सुखाः प्रदोषा दिवसाश्च रम्याः सर्वं प्रिये चारुतरं वसन्ते ।। ६.२ ।।

ईषत्तुषारैः कृतशीतहर्म्यः सुवासितं चारुशिरश्च चम्पकैः ।
कुर्वन्ति नार्योऽपि वसन्तकाले स्तनं सहारं कुसुमैर्मनोहरैः ।। ६.३ ।।

वापीजलानां मणिमेखलानां शशाङ्कभासां प्रमदाजनानां ।
चूतद्रुमाणां कुसुमान्वितानां ददाति सौभाग्यमयं वसन्तः ।। ६.४ ।।

 

File:Vasant Ragini, Ragamala, Rajput, 1770.jpg

Vasant ragini,Ragamala, Rajput, Kota, Rajasthan. 1770.

By Anonymous [Public domain], via Wikimedia Commons

Mural,Ajanta caves,Maharashtra.

By Indischer Maler des 6. Jahrhunderts – The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH., Public Domain, https://commons.wikimedia.org/w/index.php?curid=153070

File:First night.png

Mithila painting.

By Mithiart.com (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Source of Sanskrit text : sa.wikisource.org

 

 

References :

  • Kalidasa;Ritusamhara (The garland of seasons/Rajendra Tandon,tr. New Delhi :Rupa and Co, 2008.
  • indianetzone.com

 

Posted by :

Soma Ghosh

©author

 

Ancient literature : Meghduta of Kalidasa

         Kalidasa, poet from ancient India has written a beautiful poem. Titled Meghaduta, it means cloud messenger. Though there is some controversy it is generally believed that Kalidasa lived in the Gupta period (Beginning of fourth to end of seventh century) of ancient India. He most probably flourished in the court of emperor Kumaragupta. He was among the nine gems at the Gupta court.

         Nature played an important part in his writings. He has visualised nature in terms of human relationships. Meghaduta is a lyrical poem of 111 stanzas divided into purvamegha and uttaramegha, previous cloud and later cloud.

Kalidasa writing in the fourth century, illustration.

Excerpt from Meghadootam by Kalidasa.

त्वामारूढं पवनपदवीमुद्गृहीतालकान्ताः
प्रेक्षिष्यन्ते पथिकवनिताः प्रत्ययादाश्वसन्त्यः
कः संनद्धे विरहविधुरां त्वय्युपेक्षेत जायां
न स्यादन्योऽप्यहमिव जनो यः पराधीनवृत्तिः॥१.८॥

त्वां चावश्यं दिवसगणनातत्पराम एकपत्नीम
अव्यापन्नाम अविहतगतिर द्रक्ष्यसि भ्रातृजायाम
आशाबन्धः कुसुमसदृशं प्रायशो ह्य अङ्गनानां
सद्यः पाति प्रणयि हृदयं विप्रयोगे रुणद्धि॥१.९॥

Source : sa.wikisource.org/wiki/मेघदूतम्/मेघदूतम्_-_पूर्वमेघ:

     It is a poem about separation and the longing to be with one’s beloved. This bitter-sweet account is vivid with description. A yaksha, an attendee of the God of wealth, Kubera,he has been banished to the thick forests on earth due to negligence of duties.  He has been given this punishment by  Kubera. He had started neglecting his duties because he is completely smitten with his wife.

   As his days pass in the forests, one day it starts to rain. He sees a rain-cloud and requests it to take a message to his beloved who stays at Alakapuri on Mount Kailash; a mythical city in the Himalayas. The poem describes all the sights the rain cloud will see on his northward way to the city. The scenes described are as vivid as possible so that the rain-cloud is encouraged to deliver the message. Such is the longing to connect with one’s beloved. This composition is a sandesa kavya or messenger poem.

  Meghaduta has been translated to English in 1813, By Horace Hayman Wilson, and also into many other languages. Many artists have made paintings based on the scenes described.

An excerpt of the translation :

…..Reflexion told what promise of delight

sprang from such gathering shades to happier sight

Where the worn traveller is joyed to trace

His home approaching and a wife’s embrace

What hope alas was his ! yet fancy found,

Some solace in the glooms that deepened around.

And bade him hail amidst the labouring stir.

A friendly envoy to his distant fair….

Utka Nayika,lady awaits her lover, late 18th century, Kangra, British Museum, London.

Cloud, Rain, Texture, Abstract, Landscape, Sky, Clouds

Rain cloud.

Background, Air, Clouds, Grass, Tree, Blue Sky, Cloud

Moving clouds.

 

ज्योतिर्लेखावलयि गलितं यस्य बर्हं भवानी
पुत्रप्रेम्णा कुवलयदलप्रापि कर्णे करोति
धौतापाङ्गं हरशशिरुचा पावकेस तं मयूरं
पश्चाद अद्रिग्रहणगुरुभिर गर्जितैर नर्तयेथाः॥१.४७॥

आराद्यैनं शरवणभवं देवम उल्लङ्घिताध्वा
सिद्धद्वन्द्वैर जलकणभयाद वीणिभिर मुक्तमार्गः
व्यालम्बेथाः सुरभितनयालम्भजां मानयिष्यन
स्रोतोमूर्त्या भुवि परिणतां रन्तिदेवस्य कीर्तिम॥१.४८॥

https://sa.wikisource.org/wiki

Image result for meghaduta

Valley of flowers.

clouds, forest, mountains

Clouds and mountains.

 

 

References :

  • Marg : Vol. 42 Issue no. 3; March 1991.
  • wikipedia.org

Image attributions in sequence :

  1. By Unknown – https://archive.org/details/hutchinsonsstory00londuoft, Public Domain, https://commons.wikimedia.org/w/index.php?curid=39272105
  2. By Anonymous – British Museum, Public Domain, https://commons.wikimedia.org/w/index.php?curid=20756358
  3. maxpixel.freegreatpicture.com
  4. maxpixel.freegreatpicture.com
  5. By अंग्रेज़ी Wikipedia पर Araghu(Original text: Raghuram. A) – Transferred from en.wikipedia to Commons.(Original text: Photo taken by en:User:araghu), CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2148384
  6. http://www.pexels.com

 

Posted by ;

Soma Ghosh

©author

 

Art of Gupta era : golden age of India

          The Gupta dynasty is an important dynasty which ruled ancient India between  4th century to 6th century. They have left amazing examples of their glorious reign which has been called the ‘Golden era’ of India’s history. During their rule art, sculpture, inventions, philosophy,mathematics and literature has flourished. The Kingdom was founded by Sri Gupta. Chandragupta I, Samudragupta and Chandragupta II were famous kings.

   Their art astonishes the onlooker and the serious art history student to this day.At Ajanta in Maharashtra are caves which have rock architecture along with painted walls and ceilings. A typical Gupta structure are chaitya halls and viharas  for Buddhist monks in the form of a monastery. The painted murals in the interiors of these caves are now world famous. Stone figures, terracotta reliefs have also been created during the Gupta period.  The Gandhara and Mathura schools reached greater heights during this period.

Padmapani, painting,Ajanta caves,Gupta period.

By Unknown – http://www.national-geographic.ru/ngm/200801/article_168/gallery_1394/, Public Domain, https://commons.wikimedia.org/w/index.php?curid=3411328

Image result for cave 19 ajanta

Chaitya hall,Cave 19, Ajanta,Maharashtra.

By Internet Archive Book Images [No restrictions], via Wikimedia Commons

Salabhanjika terracota.jpg

Shalabhanjika,terracotta,, 5th century, Gupta period,State Museum,Lucknow.

By Woudloper – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=36096802

     They introduced new styles in architecture. In the 4th century the Mirpur Khas stupa was built having many arches. Another stupa Dhamek stupa at Sarnath is made of bricks. The Guptas made fine standing sculptural temples made from stone and brick. The  stone Dasavatara temple at Deogarh has superb carvings. Other temples include the brick Parvati temple at Nachna in Madhya Pradesh

File:Monastery around Dhamek stupa, Sarnath.jpg

Dhamek stupa,Sarnath.

By R. M. Calamar from Brooklyn, New York, USA (Saranath Uploaded by Ekabhishek) [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

          Examples of Hindu art during the Gupta era are from the north central and north India. The temples built by the end of the fifth century had a well developed shikhara or superstructure. The Vishnu temple called the Dasavatara temple at Deogarh in Uttar Pradesh is from the early sixth century. The shikhara is not in a good state due to the ravages of time.

Dasavatara temple, Gupta period, Deogarh.

By byron aihara – originally posted to Flickr as deogarh01, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=8617319

The temple faces west with an elaborate doorway. Floral motifs, Ganga and Yamuna are at the top left and right of the doorway. Above the entrance is Lord Vishnu as Anantasayana. Further, Nara and Narayana  depict the means through which moksa may be achieved and Gajendramoksa story is the final outcome and is on the north.

Image result for Gupta art

Lintel,Gupta period, Dasavatara temple,Deogarh,Uttar Pradesh.

By Bob King [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)%5D, via Wikimedia Commons

Nara-Naryana panel, Dasavatara temple, Gupta period,Deogarh.

By Bob King – originally posted to Flickr as 2705_Narayana_Detailfk.jpg, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=6964968

Nachna 1999 Parvati-Tempel.JPG

Parvati temple, Nachna, Madhya Pradesh.

By ArnoldBetten – Own work (Original text: eigenes Foto (Dia)), Public Domain, https://commons.wikimedia.org/w/index.php?curid=25359563

       Vidisha was an important  art centre especially during the reign of Chandragupta II (380-415 A.D)  At Udayagiri a few km from Vidisha 20 rock cut caves are present. with inscriptions from his reign. Cave 6 at Udayagiri has a small camber with a rock cut verandah in front. The doorway has decorated pilasters,The goddesses Ganga and Yamuna are at the top of the pilasters. Two dwarapalas are at the sides of the doorway. The cave has Mahisarsuramardini on its facade, Ganesha  is adjacent to the left wall next to the facade. Vishnu is carved between the dwarapalas on the left and Ganesha, between the dwarapalas on the right and Durga. Cave 5 is the Varaha cave which has the representation of Varaha, the boar avatar of Lord Vishnu.

Udaigiri Cave 6.jpg

Cave 6,Udayagiri,Madhya Pradesh.

By © Asitjain / Wikimedia Commons, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=21676023

Udayagiri, Cave 6 Dvārapāla, Viṣṇu and Gaṇeśa.jpg

Cave 6, Udayagiri caves, Madhya Pradesh.

By Zippymarmalade – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=48503988

     Examples of Buddhist art at Sanchi in Madhya Pradesh include the now world famous  Great stupa  which saw a lot of additions and modifications during the Gupta period,in the 5th century. A figure of Vajrapani capital near the northern gateway is at the Site Museum at Sanchi. Mahayana forms became prominent at this time. Cosmologically speaking, access to enlightenment is gained through the north. There are four Buddhas on all four sides. He is depicted in dhyana mudra, indicative of meditation.

File:Buddha Statue, Sanchi Stupa, Sanchi, Madhya Pradesh.jpg

Buddha statue, Great Stupa, Sanchi, Madhya Pradesh.

By Suvro Banerjee (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)%5D, via Wikimedia Commons

       During this time many new temples were added. At Sanchi is a temple called Temple 17 which is a well preserved small shrine. It has simple mandapa and a garbagriha. The temple has both Buddhist and Hindu architectural features.

File:1Temple 17 - Buddhist Monument - Sanchi Hill 2013-02-21 4493-2.jpg

Temple 17, Sanchi, Madhya Pradesh

By Ismoon (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

   Art at Mathura has flourished during the Kushana reign. which ended by the end of late third century. Many minor dynasties like the Nagas etc. took their place. The Nagas were defeated by Samudragupta and Mathura came under the Guptas. The Buddha images of Sarnath are carved in  sandstone from Chunar. The Buddha is shown standing, having a slender body, relaxed with fluid lines. The style is a combination of the north-western and Indian stylisation of the human form. The sculptures must have been originally painted ones. The Buddha is mostly in the abhaya posture with a slightly bent leg. By the third quarter of the fifth century Sarnath had developed into an important Buddhist centre. Lord Buddha had given his first sermon here.The hand is lower compared to the Kushana sculptures. The drapery or cloth is very close around the body. The expression is gentle with eyes downcast .The dharmachakra mudra is also seen in some sculptures..

File:StandingBuddha w. umbrella. Sarnath,5thCent. Gupta.JPG

Standing Buddha, 5th century, Sarnath, Uttar Pradesh.

By Ismoon (talk) 11:48, 18 February 2013 (UTC) (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

Indian Museum Sculpture - Crowned Buddha, 5c, Sarnath (9217987833).jpg

Standing Buddha, 5th century,Sarnath,Indian Museum,Kolkata.

By Photo Dharma from Penang, Malaysia – 090 Crowned Buddha, 5c, Sarnath, CC BY 2.0, https://commons.wikimedia.org/w/index.php?curid=37232665

   The Mahabodhi temple at Bodhgaya which has been repaired many times is from the late Kushana or Gupta period. The original structure was built by Emperor Ashoka. At present the temple has a central shrine with a tall tower with four smaller shrines around it.

File:Mahabodhitemple.jpg

Mahabodhi temple, Bodh Gaya.

By Bpilgrim (Own work) [CC BY-SA 2.5 (http://creativecommons.org/licenses/by-sa/2.5)%5D, via Wikimedia Commons

        Dated to the fifth century on the cliff-side are a series of caves excavated at Bamiyan in Afghanistan. At the end of the valley a tall 55m figure of Buddha and similar smaller Buddhas are located on the other side about a kilometre and half away.Smaller devotees accompany the Buddha figures. The large Buddha could be Vairocana and is believed to be  associated with the cult of Brhad Buddha influenced by Indian Mahayana Buddhism.

Image result for bamiyan buddha images

Buddhas at Bamiyan, 5th century,Afghanistan.

František Řiháček [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

At Bhitargaon is a well preserved structure of Gupta art from the first half of the fifth century. It is made of burnt bricks joined by mud mortar, the wall very thick. It is an east facing temple on a square jagati or plinth. There are niches on the exterior of the temple and the superstructure. There were many sculpted panels, many are now missing or partially destroyed. There are arches in the shrine and porch. Sculptures of this shrine have been similar to the ones at Ahichchattra in Uttar Pradesh, The Ganga and Yamuna figures originally were at the sides of a Shiva temple. Their costumes have tight bodices and heavy drapery. Their corresponding vahanas or vehicles, the makara and the tortoise are seen, also an attendant with  parasol.

File:Ganga National Museum01.jpg

Goddess Ganga, Ahichchatra,Gupta period,National Museum, New Delhi.

By Miya.m (Miya.m’s file) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

Vishnu of Mathura, 5th century.jpg

Lord Vishnu, 5th century, Mathura, State Museum, Lucknow,Uttar Pradesh.

By Woudloper – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=36096800

 

File:WLA haa Gupta Mithuna.jpg

Mithuna (loving couple), terracotta,5th century. Honolulu Academy of Arts,USA.

By Wikipedia Loves Art participant “Department_of_Trife” [CC BY-SA 2.5 (http://creativecommons.org/licenses/by-sa/2.5)%5D, via Wikimedia Commons
File:Lakshamana cuts Surpanaka's nose.jpg

Ramayana Scene,Gupta Art,Indian National Museum,New Delhi.

By Fotografía tomada por el Dr. Benjamín Preciado Centro de Estudios de Asia y África de El Colegio de México [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

File:Gupta artefacts 04.JPG

Mother Goddess,Gupta period.

By Nomu420 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

File:Dinar of Chandragupta II LACMA M.77.55.20 (1 of 3).jpg

Dinar of Chandragupta II,4th century.

See page for author [Public domain], via Wikimedia Commons

 

File:Mahabharat, Gupta artefacts 03, National Museum, New Delhi.jpg

Mahabharata Scene, Gupta period,National Museum, New Delhi.

By Nomu420 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

 

 

 

References :

  • The art of ancient India/Huntington,Susan,New York : Weatherhill,1985.
  • wikipedia.org

Posted by :

Soma Ghosh

©author

Kushana art : views from ancient India

         Between the late 1st century to 3rd century the Kushanas ruled parts of Central Asia,northern India,ancient Gandhara (Pakistan and Afghanistan). They had arrived in Bactria in 135 B.C a branch of the Yuch-chih, called Kushana or Kusana; residents of Kan-su region of China. They were forced westward by policies of the Chinese Han dynasty. The Kushanas founded an empire. Their deities and kings were depicted on coins. They had issued coins in gold. The Kushanas believed that the emperor was a divine being. Shrines were built for them. The Mat shrine near Mathura is one of them.

      Kushana art depicts princes, royal portraits, images of Lord Buddha, scenes from his life etc. The art is influenced by Persian, Greco-Roman and Indian styles. The Gandhara and Mathura styles have unique characteristics. Under Kanishka I Buddhist art flourished, and many stone images were produced. He was responsible for the spread of Mahayana Buddhism from Gandhara to China.

        The Gandhara school of sculpture produced very natural looking figures influenced by the Hellenistic and Roman styles. Many  motifs were from Roman art, eg. vine scrolls,centaurs,cherubs bearing garlands etc. The sculpture was done in green phyllite and blue-green mica schist. Originally they were painted and gilded. The Buddha figures have youthful faces and resemble the Roman imperial statues.

       A gold coin below shows Oisho or Shiva with the ΑΔϷΟ (adsho Atar) on the left and Kanishka’s dynastic mark is seen on the right.

Kanishka I coin with Oisho/Shiva.

By I, PHGCOM, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2233710

 

 

Sculpture of a man, Kushana pertod.

Publiek domein, https://commons.wikimedia.org/w/index.php?curid=309963

      The sculpture below depicts from left to right, a Kushan devotee, the Bodhisattva Maitreya, Lord Buddha, the Bodhisattva Avalokitesvara, and a Buddhist monk.

File:BuddhistTriad.JPG

An early Buddhist triad. 2nd-3rd century CE. Gandhara. Musée Guimet.,Paris.

By No machine-readable author provided. World Imaging assumed (based on copyright claims). [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/) or CC BY-SA 2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/2.5-2.0-1.0)%5D, via Wikimedia Commons

 

    The Mathura school evolved in Mathura in Uttar Pradesh with its unique stylisations. The figures were made in red mottled sandstone available from the quarries at Sikri.The Buddhas produces are large in size, standing in abhaya posture, head is shaven with a ushnisa; a small tiered protuberance in the form of a spiral. The drapery is close to the body and the left shoulder is bare. As the school developed the hair got depicted as flat, tight curls on the head. Jaina images are similar. The Kushana  kings are shown wearing long boots, a conical cap and a belted tunic.

File:Jain Votive Plaque made in spotted red sandstone, Kushana artefacts, National Museum, New Delhi 03.jpg

Jaina votive plaque, red sandstone,Mathura,National Museum, New Delhi

By Nomu420 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

The women figures carved during this period were sensuously beautiful with stylised proportions, depicted on pillars and gateways, yakshi-like in association with trees as symbols of fertility  or in toilet scenes.

 

File:Toilet bearer, Kushana.BKBhavan.jpg

Toilet bearer, Mathura,Bharat Kala Bhavan, Varanasi.

By Ismoon (talk) 23:50, 23 January 2013 (UTC) (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 4.0-3.0-2.5-2.0-1.0 (http://creativecommons.org/licenses/by-sa/4.0-3.0-2.5-2.0-1.0)%5D, via Wikimedia Commons

File:Kushana period Sculpture of an intimate couple.jpg

Mithuna, 2nd century.

By Nomu420 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons

      The sculpture below depicts Queen Maya with female attendants and guards, one of whom holds a sword,  sleeping on a bed covered with a textile having floral scroll motif. Maya dreams of a six-tusked elephant that descends from heaven to enter her womb through her right side. the broken disc would have had an elephant. This miraculous conception marks the Buddha’s final birth into the world.

Dream of Queen Maya. Gandhara.Met.jpg

Dream of Queen Maya , Schist, Gandhara, Kushan period, 2nd century,  Metropolitan Museum of Art, New York.

By Ismoon (talk) – Own work, GFDL, https://commons.wikimedia.org/w/index.php?curid=46247608

References :

  • The art of ancient India/Huntington,Susan,New York : Weatherhill,1985.
  • wikipedia.org

Posted by :

Soma Ghosh

©author