Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c2: Contents

Indian Art: A History of Indian Art from the Earliest Times up to the Third Century A.D. c2

Language: English

Purpose, 1 ; Chronology, 1-3 ; Provenance, 3 ; Dates, 3 ; Meaning, 3-4 ; Value of Mind, 4-5 ; Decorative Elements, 5 ; Cultural Life, 5 ; Cult Material, 5-6 ; Symbolical Themes, 6 ; Buddha, 7 ; Śiva, 6-7 ; Unity of Form and Meaning, 7.

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CHAPTER II :

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Pre-Historic Period 8-14

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Palaeolithic Art, 7 ; Mesolithic, 7-8 ; Neolithic, 9-10 ; Rock-Paintings, 10-13 ; 1st Series, 10-11 ; 2nd Series, 11 ; 3rd and 4th Series, 11-12 ; Mori Rock-Paintings, 12-13 ; Rock Engravings, 13 ; Copper Culture, 13-14.

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CHAPTER III :

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Indus Valley Art 15-39

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Introductory, 15-17 ; Architecture, 17-20 ; The Great Bath, 19 ; Granary, 19 ; Dockyard, 20 ; Sculpture, 20-22 ; Harappa Torsos, 21-22 ; Bronze Sculpture, 22-23 ; Terracotta Figurines, 23-25 ; Female Figures, 24-25 ; Pottery, 25-28 ; Special Types, 26-28 ; Faience, 28-29 ; Jewellery, 29-30 ; Shapes of Beads, 30 ; Classes of Ornaments, 30 ; Girdles, 30 ; Miscellaneous Ornaments, 31 ; Hairpins, 31 ; Ivory, 31 ; Shell, 31-32 ; Seals, 32-38 ; Pillar on the Unicorn Seals, 33-35 ; Vedikā, 35 ; Types of Seals, 35-36 ; Animals on the Seals, 36-37 ; Mythological Creatures, 37-38 ; Copper Tablets, 38 ; Chronology of the Indus Valley Civilisation, 38-39.

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CHAPTER IV :

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(a) Vedic Arts and Crafts 40-45

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Crafts in the Vedas, 40 ; Viśvakarmā, 40 ; Śilpa, 40 ; Weaving, 40-41 ; Cartwright, 41 ; Utensils, 41 ; Occupations, 41 ; House-building, 41-45 ; Architectural Lay-out, 42-3 ; Details of a House, 43 ; Roofing, 43-44 ;

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(b) Vedic Symbols in Art 45-55

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Divinities, 45-6 ; Ideas and Concepts, 46 ; Animals and Birds, 46 ; Articles and Objects, 46 ; Trees and Flowers, 47 ; Miscellaneous, 47 ; Śrī-Lakṣmī, 47 ; Tree, 47 ; Yakṣa, 48 ; Nāga, 48 ; Sūrya-Chandra, 48 ; Ardhanārīśvara, 48-9 ;

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Kumāra, 49; Gaṇapati, 49; Ambikā, 49; Samudra, 49; Svastika, 49-50; Daivāsuram, 50; Trivikrama, 50; Jyotirliṅga, 51; Suparṇa, 51; Mahiṣa, 51; Pūrṇa-Kumbha, 51; Chakra, 51-2; Yūpa, 52; Skambha, 52; Sapta-Ratna, 52; Padma, 53; Kalpavṛkṣa, 53; Sumeru, 53-54; Chakra-Stambha, 54; Others, 54-5.

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(a) Art in the Mahā-Janapada Period 56-68

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Introductory, 56-8; Pāli literature, 58; Pillars, 58-9; Elements of Ancient Indian Palace, 59-64; Kūṭāgāra, 64; Roof, 64-6; Jaina Āgama Evidence, 66-8.

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(b) Symbols on Punch-marked Coins 68-70

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Geographical Background of Jambūdvīpa, 70-1; Cultural Background, 71; Early Art Forms, 71-4.

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CHAPTER VI :

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Śaiśunāga-Nanda Period 75-83

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Introductory, 75-7; Mother Goddess Ring-stones, 77-20; Mother Goddess Śrī [Mātā Śrī Devī], 80-2; The Buddhist Stūpa of Piprahwā and its Relics, 82-3.

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CHAPTER VII :

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(a) Mauryan Art 84-11

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Introductory, 84; Architecture of Pāṭaliputra, 84-5; The Palace, 85-6; The Assembly Hall, 86-7; The Assembly Hall in the Sabhā Parva, 87-8; Wooden Platforms, 89; Mauryan Art under Aśoka 89-92; Barabar Cave Dwellings, 92-3; Aśokan Pillars 93-5; Pillars found up to now, 95-7; The Bakhirā Lion Capital, 97; The Elephant Capital at Saṅkisā, 97; The Rāmpurwā Bull Capital, 97; The Lion Capital of Nandangaṛh, 97; The Rāmpurwā Lion Capital, 97; The Sarnath Lion Capital, 97-8; Component Parts, 98-101; The Sāñchī Lion Capital, 101; Meaning of the Symbolism of the Sarnath Lion Capital, 102-3; Origin of Mauryan Art, 103-10.

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(b) Folk Art 110-18

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Identification, 112; Style, 113-4; Meaning and Cult of Yakṣa, 114-18.

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CHAPTER VIII :

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Suṅga-Kāṇva Art 119-74

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Introductory, 119; The Stūpa, 119-20; Earlier Tradition and Symbolism, 120-4; Building of a Stūpa, 124-6; The Stūpa Architecture, 126-8; Stūpa of Bharhut, 128-32; Pradakṣiṇāpatha, 132; Outer Railing, 132-3; Details of Sculpture, 133;

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Superhuman beings, 134-5; Devatās, 135; Nāgas, 135; Apsarasas, 135-6; Human Beings: Royal Persons, 136; Religious Persons, 136; Animals, 136-7; Objects of Worship, 137; Jātaka Scenes, 137-47; Age of the Stūpa, 147-8; Sāñchī Stūpas, 148-9; The Great Stūpa, 150-1; Gateways, 151-2; Harmikā Railing, 152; Crowning Umbrella, 152; Sculptures, 152-4; South Gateway, 154-6; Backside: Top Architrave, 154; Middle Architrave, 154; Lower Architrave, 155; Front face, 155; Inner face, 155; Left Pillar, 155; Right Pillar, 156; Inner face, 156; Northern Gateway, 156-9; Inner face, 158; Outer side, 158; Left, 158; Right, 159; Right Pillar, 159; Inner face, 159; Eastern Gateway, 159-62; Top Architrave, 160; Middle Architrave, 160; Lowest Architrave, 160; Left Pillar, 160; Inner face, 161; Right Pillar, 161; Inner face, 161-2; Back face, 162; Western Gateway, 162-5; Top Architrave, 162; Middle Architrave, 162; Lowest Architrave, 162; Left Pillar, 162-3; Right Pillar, 163-5. Stūpa II. 165-70; Introductory, 165-7; Decoration of the Ground Railing, 167-8; Śālabhañjikā, 168; Stūpa worship, 168-9; Animals, 169; Uttarakuru, 169; Birds, 169; Yaksha, 169-70; Stūpa III. 170-2; Introductory, 170-1; Aśoka Pillar, 171; Two Apsidal Temples, 171-2; Bodhgaya 172-4.

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Rock-cut Architecture 175-215

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(a) Udaigiri and Khaṇḍagiri Caves, 175-85

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Introductory, 175-6; Rāṇigumphā, 176-8; Gaṇeshgumphā, 178-9; Vāsavadattā-Udayana Story, 179-80; Scene of Mad Elephant, 180-1; Rape Scene, 181-3; Gaṇeshgumphā, 183-5;

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(b) Buddhist Rock-cut Architecture, 186-215; Hīnayāna Caves, 186-8; Chaitya Halls, 188; Vihāra, 189-90; Western Indian Chaitya Halls and Vihāras, 190f; Bhājā, 190; Vihāra, 191-2; Chaityaghara, 192-3; Bhājā Stūpas, 193-4; Kondāne Vihāra and Chaitya Hall, 194; Pītalkhorā, 194-7; Ajantā (Ajiṇṭhā) 197-9; Bedsā Caves, 199-200; Nāsik (Nāsikyā), 200-2; Chaitya Hall at Nāsik, 202-3; Junnar, 203-5; Karle 205-10; Kanherī (Kṛishṇagiri), 210-2; Chronology, 212-5.