SRI VENKATESHWARA COLLEGE OF FINE ARTS

An Institute of Surabhi Educational Society

G.O.Ms No.321, Affiliated to Osmania University Approved by AICTE
Hi-tech City Road Madhapur-86 Hyderabad. Telangana

BFA Applied Arts 2nd Year

III Semester Internals 2023
By

G.Pragna Seela
Roll no – 2049-21-006-005
 Index Page no.
1) Harrappan Art 3-6
Stone Statues
Bronze Casting
Terracotta
Seals
Pottery
Jewellery and Beads
2) Buddhist Art 7-12
Buddhist Stupas
Structure and Style
Buddhist Architecture and Sculpture
Buddhist Sculpture
India’s Rock-Cut Architecture
Buddhist Wall Paintings
Art in the Gupta Empire
Medieval India

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 Unit 1 – INTRODUCTION TO PREHISTORIC
HARAPPAN ART

The arts of the Indus Valley Civilization emerged during the second half of the third
millennium BCE. The forms of art found from various sites of the civilization include
sculptures, seals, pottery, gold jewelry, terracotta figures, etc. The artists of that time
surely had fine artistic sensibilities and a vivid imagination. Their delineation of human and
animal figures was highly realistic in nature, since the anatomical details included in them
was unique and in the case of Terracotta art, the modeling of animal figures was done in
an in an extremely careful manner.

 The two major sites of the Indus Valley Civilization, along the Indus river were the cities of
Harappa in the north and Mohenjo Daro in the south.
 They showcase one of the Earliest civic planning. Other markers were houses, markets,
storage facilities, offices, public baths, etc.. arranged in a grid like pattern.
 There was also a highly developed drainage system, While Harappa and Mohenjodaro are
situated in Pakistan, the important sites excavated in India are Lothal and Dholavira In
Gujarat, Rakhigarhi in Haryana, Ropar in the Punjab, Kalibangan and Balathal in Rajasthan,
Etc.
 Statues whether in stone, bronze or terracotta found in Harappan sites are not abundant,
but refined.

STONE STATUES :-
 The stone statuaries found at Harappa and Mohenjodaro are excellent examples of
handling three dimensional volumes. In stone are two male figures one is a torso in red
sandstone and the other is a bust of a bearded man in steatite which are extensively
discussed.

 The figure of the bearded man interpreted as a priest, is

draped in a shawl coming under the right arm and
covering the left shoulder. The eyes are a little
elongated, and half closed as in meditative
concentration.

 The nose is well formed and of medium size, the mouth

is of average size with close cut moustache and a short
beard and whiskers; the ears resemble double shells
with a hole in the middle. The hair is parted in the
middle, and a plain-woven fillet is passed round the
head.
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 An armlet is worn on the right hand and holes around the neck suggest a necklace.

BRONZE CASTING :-
 The art of bronze casting was practiced on a wide scale by the Harappans. Their bronze
statues were made using the “lost was” technique in which the wax figures were first
covered with a coating of clay and allowed to dry.

 Then the
in the clay cover. The hollow mould thus created was filled with
molten metal which took the original shape of the object. Once
the metal cooled, the clay cover was completely removed.

 In bronze we
the statue of a girl popularly titled ‘Dancing Girl’. Amongst
animal figures in bronze the buffalo with its uplifted head, back
and sweeping horns and the goat are of artistic merit.

 Bronze casting was

copper dog and bird of Lothal and the bronze figure of a bull
from Kalibangan are in no way inferior to the human figures of
copper and bronze from Harappa and Mohenjodaro.

 The late Harappan and Chalcolithic sites like Daimabad in Maharashtra Yielded excellent
examples of metal cast sculptures.

 They mainly consist of human and animal figures. It shows how the tradition of figure
sculpture continued down the ages.

TERRACOTTA :-
 The Indus Valley people made terracotta images also
but compared to the stone and bronze statues the
terracotta representations of human form are crude in
the Indus Valley.

 They are more realistic in Gujarat sites and Kalibangan.

The most important among the Indus figures are those
representing the mother goddess.

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 In terracotta, we also find a few figurines of bearded males with coiled hair, their posture
rigidly upright, legs slightly apart, and the arms parallel to the sides of the body.

 The repetition of this figure in exactly the same position would suggest that he was a deity.
A terracotta mask of a horned deity has also been found.

 Toy carts with wheels, whistles, rattles, birds and animals, gamesmen and discs were also
rendered in terracotta.

SEALS :-
 Archaeologists have discovered thousands of seals, usually made of steatite, and
occasionally of agate, chart, copper, faience and terracotta, with beautiful figures of
animals, such as unicorn, bull, rhinoceros, tiger, elephant, bison, goat, buffalo, etc.

 The realistic rendering of these animals in various moods is remarkable. The purpose of
producing seals was mainly commercial. It appears that the seals were also used as
amulets, carried on the persons of their owner, perhaps as modern day identity cards.

 The standard Harappan seal was a square plaque 2X2 square inches, usually made from the
soft river stone, steatite. Every seal is engraved in a pictographic script which is yet to be
deciphered. Some seals have also been found in gold and ivory.

 They all bear a great variety of motifs, most often of animals including those of the bull,
with or without the Hump, the elephant, tiger goat and
also monsters. Sometimes trees or human figures were
also depicted.

 The most remarkable

around. This seal is generally identified as the Pashupati
Seal by some scholars whereas some identify it as the
female deity.

 This seal
to the right side of the seated figure, while on the left a
rhinoceros and a buffalo are seen.

 In addition to these animals two antelopes are shown below the seat. Seals such as these
date from between 2500 and 1500 BCE and were found in considerable numbers in sites
such as the ancient city of Mohenjodaro in the Indus Valley. Figures and animals are carved
in Intaglio on their surfaces.

 Square or rectangular copper tablets, with an animal or a human figure on one side and an
inscription on the other, or an inscription on both sides have also been found. The figures
and signs are carefully cut with a burin.
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 These copper tablets appear to have been amulets, unlike inscriptions on the copper
tablets seen to be associated with the animals portrayed on them.

Pottery :-
 In the Harappan culture, the art of pottery making was at its peak. The Indus potter was a
skilled craftsman who produced plain, coloured and glazed pottery.

 Made in various shapes, the pottery had rich designs and a perfect finish. Along with fast
wheel thrown pottery, mold-made and hand formed pottery continued to be produced.

 Harappan pottery was made of good quality clay, which was baked in controlled heat in
various shapes like bowls, vases, pots (Handi), feeder, dish, storage jar, offering stand, dish-
on-stand jars, drinking vessels, cup and cup on a stand, basin, casket and so on.

Jewellery and Beads :-

 Indus Valley Civilization artefacts and antiques, such as jewellery, are among the most
prevalent to be found in the Harappan civilisation. Gold, silver, copper, ivory, ceramics, and
beads were the most prevalent materials used to produce jewellery throughout this time
period, and many of these artefacts have been found in this civilisation.

 The Indus Valley Civilization was the first to discover the art of jewellery-making, and the
quality of their work is still highly regarded today all around the world.

 Metal and terracotta decorations were being moulded in the Indus Valley as early as 1,500
BC. They also used jewellery made of gold such as bracelets and bangles as well as ear
adornments and rings as well as headgear. The bead trade was thriving in this area, and
the items were created with basic tools.

 Beads were worn by both men and women in the Indus Valley. Beads in the form of tiny
pearls were frequently used to decorate the hair of both men and women. Beads as small
as one millimetre in diameter were common.

 Gold, silver, copper, ivory, and a variety of precious and semi-precious stones were among
the materials used to craft ornaments. Thin gold bands worn over the forehead, earrings,
rudimentary brooches, chokers, and gold rings were all common accessories worn by
ladies.

 It wasn’t long before jewels and greenstone began adorning the necklaces. Indus Valley
civilization is still studied and disputed in part because of the people’s skill in gem and
precious stone setting during that time period.

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UNIT -2 ANCIENT ART OF BUDDHISM AND JAINISM
INTRODUCTION TO MAURYAS AND SURYAS

BUDDHIST STUPAS :-
 A stupa, literally meaning heap, is a mound like structure designed to encase Buddhist
relics and other holy objects. Stupas exist all over the world and are the oldest Buddhist
religious monuments.

 Originally a simple mound of clay or mud, stupas evolved from simple funerary monuments
to become elaborately decorated objects of veneration.

 Legend has it that following the cremation of Buddha, his ashes were divided into eight
parts and distributed among varous rules to be enshrined at special burial mounds.

 Emperor Ashoka, who ruled from 274-236 BCE during the Maurya Empire, is said to have
redistributed the relics housed in the roginal stupas into thousands of stupa throughout
India Ashoka is also credited with the construction of numerous stupas that remain to this
day, including those at Sanchi and Sarnath.

STRUCTURE AND STYLE :-

 While they can vary visually, all stupas have a few features in common. Every stupa
contains a treasury filled with various objects small offering, or Tsa-Tsas, fill the majority of
the treasury, while jewelry and other precious objects are also placed within. It is believed
that the more objects placed into the treasury, the stronger the stupas energy.

 The Tree of Life, a wooden pole covered with gems and mantras, is an important element
of every stupa and is placed in the stupa’s central channel during and initiation ceremony,
where participants’ most powerful wishes are stored.

 There are five types of stupas:

1. Relic stupas, in which the relics of Buddha and other religious persons are buried.
2. Object stupas, in which the objects belonging to Budda or his disciples are buried.

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 3. Commemorative stupas, built to commemorate events in the life of Buddha and his
disciples.
4. Symbolic stupas, built to symbolize various aspects of Buddhist theology.
5. Votive stupas, constructed to commemorate visits or gain spiritual benefits.

 In the Buddist religion, it is believed that a stupa brings enlightenment to the one who
builds and owns it. In addition, the stupa is considered a place of worship, and many
Buddists complete pilgrimages to significant stupas.

BUDDHIST ARCHITECTURE AND SCULPTURE :-

 Sri Lankan art and architecture were deeply influenced by Buddhism, which was introduced
to the island in the third century BCE.

 Buddhist religious architecture developed in the Indian Subcontinent in the third century
BCE. Three types of structures are typically associated with the religious architecture of
early Buddhism:
1) Monasteries (Viharas).
2) Places to venerate relics (stupas).
3) Shrines or prayer halls (chaityas or chaitya grihas), which later came to be
called temples in some places.

 Viharas were initially only temporary shelters used by wandering monks during the rainy
season, but they later developed to accommodate the growing trend towards Buddhist
monasticism.

 A distinctive type of fortress architecture found in the former and present Buddhist
kingdoms of the Himalayas is known as dzongs.

 The initial function of the stupa was the veneration and safe-guarding of the relics of the
Buddha. The earliest surviving examples of a stupa is in Sanchi (Madhya Pradesh).

 In accordance with changes in religious practice, stupas were gradually incorporated into
chaitya grihas.

 These reached their high point in the 1st century BCE, exemplified by the cave complexes
of Ajanta and Ellora (Maharashtra), The Mahabodhi Temple at Bodh Gaya in Bihar is
another Well-known example.

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BUDDHIST SCULPTURE :-
 Sculpture was also a notable art form, and many fine statues of the Buddha were produced
during the Anuradhapura Period in Sri Lanka.

 The samadhi statue in Anuradhapura is considered one of the finest examples of ancient Sri
Lankan Sculpture. Sculpted from dolomite marble, it dates to the 4th century CE and shows
the Buddha seated in a position of deep meditation.

 Samadhi Statue - Located in Anuradhapura, this statue dates to the fourth century CE and
is a fine example of ancient Sri Lankan Buddhist sculpture.

BUDDHIST ROCK-CUT ARCHITECTURE :-

 Rock-cut architecture is the practice of creating a structure by carving it out of solid natural
rock. In India, the term cave is often applied in reference to rock-cut architecture; however,
it must be distinguished from a naturally occurring cave, as rock-cut architecture is a highly
engineered and elaborately decorated structure.

 There are more than 1,500 rock-cut temples in India, most of which are religious in nature,
adorned with decorative paintings and exquisite stone carvings that reflect a very high
level of craftsmanship.

 Buddhist rock-cut temples and monasteries were often located near trade routes and
these spaces became stopovers and lodging houses for traders. As their endowments grew,
the interiors of rock cut temples became more and more elaborate and decorated.

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 While many temples, monasteries, and stupas have been destroyed, cave temples are
better preserved due to their hidden locations and the fact that they are constructed from
stone, a far more durable material than wood, clay, or metal.

INDIA’S ROCK – CUT ARCHITECTURE :-

1) THE BARABAR CAVES -

 In India, caves have long been regarded as sacred spaces
and were enlarged or entirely man-made for use as
temples and monasteries by Buddhist monks and
ascetics. The Barabar caves in Bihar, built in the third
century BCE during the Mauryan period, and the oldest
expels of Buddhist rock cut architecture.


Credited to Emperor Ashoka, these caves mostly consist
of two rooms carved entirely out of granite. The first
room, a large rectangular hall, was meant to be a space
for worshipers to congregate while the second room was a small, domed chamber for
worship. This second chamber is thought to have contained small, stupa-like structures,
though it is empty now.

2) THE AJANTA CAVES -

 The Ajanta caves in Maharashtra are a group of 30 rock-cut Buddhist temples that span six
centuries, beginning in the first century BCE. They are carved into the vertical side of a
gorge located in the hills of the Sahyadri
mountains.

 The Ajanta caves are considered masterpieces

of Buddhist architecture and contain living and
sleeping quarter kitchens, monastic spaces,
shrined, and stupas. Made of brick or excavated
from stone, the residences of monks are called
viharas, while the cave shrines used for worship are called chaitya grihas.

 Similar to the Barabar Cave, the Ajanta caves are

situated close to main trade routes. A great deal of
decorative sculpture-intricately carved columns and
reliefs, including cornices and pilaster-are found here.

 A notable trait of rock-cut architecture is the crafting of

rock to imitate timbered and carved wood. The Ajanta

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 caves are home to some very early and well-preserved wall paintings that decorate the
walls and ceilings and date from the second century BCE.

 Executed using tempera technique on smooth surfaces and prepared by the application of
plaster, the themes of the paintings are Buddhist and gracefully illustrate the major events
of Buddha’s life, the Jataka tales, and the various divinities of the Buddhist pantheon.

 Ajanta Cave : A great deal of decorative sculptures—intricately carved columns and reliefs,
including cornices and pilaster—are found in the Ajanta caves.

3) THE ELLORA CAVES –

 The Ellora caves were built between the fifth and
tenth centuries. These caves are made up of
twelve Buddhist, seventeen Hindu, and five Jain
rock-cut temples, excavated out of the
Charanandri hill.

 The Proximity of the temples that belong to

different religions demonstrates the religious
harmony of the time. Similar to the Barabar and
Ajanta caves, the Ellora caves contain many frescoes, reliefs, and shrines, including carvings
of the Buddha, bodhisattvas, and saints in many cases the stone is intricately carved to look
like wood.

 Ellora Cave : Similar to the Barabar and Ajanta Caves, the Ellore caves contain many
frescoes, reliefs, and shrines, including carvings of the Buddha, bodhisattvas, and saints.

4) BUDDHIST WALL PAINTINGS -

 Buddhist wall paintings can be traced back to the Gupta period and are one of the
dominant art dominant art forms of the early medieval period in India.

 The Gupta Empire

 The Gupta Empire was an ancient Indian empire that covered much of the Indian
subcontinent and was run by the Gupta Dynasty from approximately 320 to 550 CE. After
the fall of the Mauryan Empire in the 2 nd century BCE, India remained divided in a number
of disparate kingdoms.

 During the late 3rd century CE, the Gupta family gained control of the kingship of Magadha
(modern-day eastern India and Bendal). The period of Gupta rule is known as the Golden
Age of India, as it was a time marked by unprecedented prosperity and the flourishing of
the arts and sciences in India.

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 Features of Gupta Art and Architecture:
 Hinduism, Jainism, and Buddhism co-exist in the Gupta period. The cave arts carry
such examples. Stupas indicate respect for Buddhism even under the reign of Hindu
kings.
 The blue color is never used in the paintings of the caves.
 Sculptures were made of sandstone.
 The primary materials of temples were brick, sandstone, and granite. Nagara and
Dravidian styles were quite evident in temple architecture.
 The prosperity of literature and science was visible during the reign of the Gupta
emperors.

Medieval India :-
 The Gupta Empire quickly declined under the successors of Chandragupta II. In the year
480 CE. The Huns launched an invasion of India, and by the year 500 CE, they overran the
Gupta Empire.

 Though the Huns were eventually driven out of India, the Gupta Empire would never
recover.

 The disintegration of the Gupta Empire towards the end of the 5 th and 6th centuries
triggered what is known as the medieval period in India (c. 8 th-13th centuries CE).

 This period was marked by the appearance of a multitude if states and dynasties that were
often in conflict with one another.

 The dynasties of Medieval India were predominantly Hindu, though some were Jain and a
very few were Buddhist. The Islamic invasions of India began as early as the 8 th century,
and by the early 12th century almost all of North India was conquered.

 The Hindu kingdoms of medieval India fell easily to the Islamic invaders, and soon the
majority of India was under varying degrees of Islamic control.

 The impact of Islam on Indian art was initially quite destructive, but it eventually resulted
in a synthesis of styles and the development of new and important works of art.

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