Studies in Indian Art c14.s1.2

c14.s1.2

On the break-up of the Gupta empire in the ninth century the current of its fine culture also received a setback. We enter upon the seventh century as the period of transition between the Gupta and the early medieval age. In this transitional period the older convention of art began to be replaced by newer conceptions which were characterised by a conscious force and an urge for vigorous expression. With the rise of the Rajput states in the different parts of the country in the eighth century many institutional developments of great value for the future evolution of society were witnessed. In the sphere of art the refined and restrained conventions of the Gupta period were replaced by colossal creation and cosmic conception. Art now fulfilled its purpose, firstly by gigantic execution of such monuments as the Kailāsa temple of Ellora; secondly by the comprehensive narration of cosmic themes taken from the life-stories of gods and demons, and thirdly by interpreting the spiritual message of the age through a significant symbolism. We find that in the domain of philosophy, Saṅkarācārya proclaimed the unity of the individual soul and the universal soul, Ātman and Brahman. The old ideas about man and his powers circumscribed within the mortal coil of three and a half cubits were no longer sufficient to satisfy the inherent, human craving for greatness and expansion. All departments of human thought seem to have been affected. No longer satisfied with the tame, flat-roofed shrines of the Gupta period, new fashions in architecture concerned themselves with the developments of the śikharas and the maṇḍapas, and bold architects worked to convert entire mountain blocks into monolithic temples resembling Kailāsa and Meru. Both royalty and the people were moved by the same spirit. The Kailāsanātha temple of Ellora was the outcome of the grand conception of the Rāṣṭrakūṭa emperors in the eight century. The ideal divine abode of Śiva on mount Kailāsa where he lives in eternal conjugal happiness with his consort Pārvatī and hosts of devas, was recreated on earth, as if it were, in the form of the Kailāsanātha shrine for the visual delectation of the pious and devout worshippers.