Art Final Study Guide (Images 1-70)

Front 1

Descent of Ganga or Arjuna’s Penance (India; Tamil Nadu; Mamallapuram, Sculpted Cliff; Pallava period, reign of Mamalla I, 630-68 AD)

Back 1

Measuring nearly thirty meters in length and fifteen meters in height, this temple contains a myriad of figures, animals and other subject, all of which are carved on a life-size scale. The central cliff of the rock, presumed to be natural, has been skillfully incorporated into the design and subject matter of the carving. Both
stories regarding its origins are convincing, as they are found throughout Indian literature. The penance-performing figure, which raises its arms and balances on
one leg, could represent either Bhargiratha, whose penances brought Ganga to earth, or Arujna, whose penances earned him the aid of Siva’s weapons. Siva, is
attended by his dwarves and his left hand signifies a gift-bestowing gesture.

Front 2

(India, Tamil Nadu; Mamallapuram; Draupadi and Arjuna rathas, Pallava period, 7th century AD)

Back 2

Square in plan, this single-celled one story shrine shares a low plinth with the adjacent Arjuna ratha. The exterior wall decoration consists of pilasters at each of the four corners and niches containing images. The two
niches flanking the door to the interior contain life size female guardians The free standing lion of Durga is located outside the shrine. The distinctly female nature
of the sculptural program suggests the growing emphasis on female imagery. Arjuna’s ratha is not much larger than the Durga shrine sharing its plinth but it is
significantly different in appearance.

Front 3

(India, Tamil Nadu, Mamallapuram, Arjuna rathas, Pallava period, reign of Mamalla I, second-third quarter 7th century)

Back 3

The structure has a two-tiered pyramidal roof and is capped by a domelike element. Each level of the roof
is decorated with a design of miniature roofs and interspersed with rounded arches and plastered niches, which contain half-length figures. The format of
figures containing niches separated by pilasters is typical of south Indian temple architecture from this period forward, contrasting strongly with the wall treatment that characterizes north India monuments in later periods.

Front 4

(India, Tamil Nadu, Mamallapuram, Dharmaraja ratha, Pallava period, reign of Mamalla I, second-third quarter 7th century)

Back 4

This temple is the tallest of Pallava architectural examples, but it too remains unfinished. Similar to the concept of Arjuna’s ratha, although larger and more elaborate, this shrine also depicts in rock-cut form what must have been a popular style of free-standing monument and demonstrates what was a fully developed style of architecture during this period. Each of the four sides, if completed, would have had a pillared façade flanked by niches containing sculptures. The south-style superstructure has three stories that diminish in size as they ascend, forming a pyramidal profile. Each roof is decorated with shrines and capped with an octagonal dome.

Front 5

Portrait of Nrsimhavarman (India, Tamil Nadu, Mamallapuram, Dharmaraja ratha, Pallava, 7th century AD)

Back 5

His presence is significant in the Dharmaraja ratha temple because it may determine the purpose of the building. Although the king appears in a two-armed form befitting his human nature, he stands in the stiff frontal manner appropriate for deities, with no flexion to his body. He is almost indistinguishable in his general demeanor from the deities carved as part of the
same iconographic program. His depiction, then, must have served a role that was an integral part of the meaning of the monument as a whole. The placement of
his image on the south face of the building may be revealing in this respect, for in Hinduism, south is the quadrant of Yama, the god and judge of the dead. Later
south Indian inscriptions of the Colas reveal that the specific funerary monuments were erected for royal personages.

Front 6

(India, Tamil Nadu, Mamallapuram, Shore temple, Pallava period, reign of Rajasimpha, early 8th century)

Back 6

Free standing temples of the Pallava period provide further information about the religious and artistic developments. The plan of the shore temple, consisting of three distinct worship areas, suggests that it was not the product of a unified scheme, but that it was modified or added to after its initial construction, although possibly still within the reign of one king. The temple is oriented towards east and west and is apparently dedicated to both Siva and Visnu. The superstructure is notably southern in style because of its pyramidal shape and pilastered wall treatment. Sculptures of dvarapalas,
lions, and other figures were fairly abundant at the shore temple, but sea air has rendered all of them into virtual shadow of their original forms.

Front 7

****North side, detail (India; Tamil Nadu, Mamallapuram; shore temple; Pallava period, reign of Rajasimha Mamalla I, early 8th century)

Back 7

An entrance through the temple wall on the east and another leading into the rectangular temple compound on the west may be prototypes for the monuments and
gateways that will characterize south Indian temples in later periods.

Front 8

(India, Tamil Nadu, Kancipuram, Kailasanatha temple, Pallava period (reign of Nrsimhavarman II Rajasimha), first third 8th century AD)

Back 8

This temple was also known as Rajasimhesvara because it was built during the reign of Nrsimhavarman II Rajasimha. Kailsanatha refers to Siva as Lord of Mount Kailasa, a name which may have arisen from one of its inscriptions which states that the temple “touches
the cloud of its top, and robs Kailasa of its beauty.” The temple has a rectangular enclosure containing more than fifty chapels surrounding the main structure. A
second row of small shrines at the east end of the temple compound suggests that at some time, a second compound was to have been built, but this was never
completed. The main building consists of a principle central shrine with its linga and enclosed circumambulatory passage, surrounded by nine smaller shrines, with the two at the eastern end now accessible only through a pillared hall added at a later date. An important feature of this temple complex is the presence of gopuras (gateways) in the enclosure walls. In contrast to early Pallava monuments, which are generally rather simple in their architectural and sculptural embellishment, this temple complex is rather lavishly decorated.

Front 9

Courtyard, (India; Tamil Nadu; Kancipuram, Rajasimhesvara (Kailasanatha) temple, Pallava period, reign of Nrsimhanarman II Rajasimha, first third of the 8th century AD)

Back 9

One major sculptural motif particularly associated with Rajasimha’s reign is the rampant lion, which appears as part of the façade decoration of the shrines in the compound wall. Plaster and paint on the chapel walls in particular from post-Pallava redecorations of the temple have obscured much of the other sculptural work. However, a panel showing creatures on the base of the temple and only thirty centimeters height demonstrates the high quality of carving that must have characterized the workmanship at the temple.

Front 10

(India; Tamil Nadu; Narttamalai, Vijayalaya Colisvara, Cola, ca 850)

Back 10

Dedicated to Siva, the Vijayalaya Colisvara temple consists of a joined hall oriented to the west and surrounded by subshrines. Of these, six remain and there are traces of a seventh, although it is possible that originally there were eight of them dedicates to the eight deities, as is common in south Indian temples of this period. All of these elements were originally enclosed in a rectangular compound. The exterior of the main temple is nearly devoid of figurative sculpture except for the two dvarapalas (guardians) on the west, some figures on the upper stories, and a series of small-sculpted panels placed at intervals along the base. Instead, it is mainly ornamented by the detailing of various elements of the architectural scheme, including the base, the walls of the first story, and other details of the upper
stories. The pilastered wall treatment is a typically southern feature, but the lack of niches containing deities is a variance with the usual Cola format.

Front 11

Dvarapala (guardian), (India, Tamil Nadu, Narttamalaj, Vijayalaya Colisvara, Cola, 850)

Back 11

A pair of guardians that are approximately human size flanks the entrance of the joint wall. These two-armed figures stand in the twisted manner with one leg turned across the body often seen in Southern Indian styles. Each figure rests on a club and has one hand in the wondering pose. In style, the slender bodies are part of the south tradition visible since the Satavahana period, although details of the costume and jewelry may be indicative of regional or local styles.

Front 12

Valmiki, the senior age (India, Tamil Nadu, Tanjore, Kumbakenam, Nagesvara temple, Cola, 886 AD)

Back 12

The figures of the Nagesvara are lifelike and naturalistic
in pose, facial feature, and the individualization of their forms. The senior age man demonstrates this naturalism with his slender body and narrow ankles, wrists,
waist, and joints. In spite of the naturalism that prevails throughout the structures here, the figures fall within what must be considered the stylistic parameters of
south Indian sculpture and reveal a clear tie to the earlier traditions. Thus, the face of the senior age man looks remarkably similar to early images in Indian art,
particularly those inspired by Buddhist styles. He is also a character is the story of Ramayana.

Front 13

Pandya King Srimara Srivallabha as Rama (India, Tamil Nadu, Tanjore, Kumbakonam, Nagesvara temple, Cola, 886 AD)

Back 13

Once again, mention how the figures of Nagesvara are lifelike and naturalistic in pose, facial feature, and
individualization of their forms. Secondary niches on the temple wall contain representations of standing figures, each approximately human size. This sculpture in particular, depicts a Rama from the story of Ramayana

Front 14

(India, Tamil Nadu, Tanjavur (Tanjore), Rajarajesvara temple, Cola, ca 1003-
10 AD)

Back 14

The massive Rajarasvara temple is contained within an enormous rectangular enclosure. Its vast size seems to represent the phase of Indian history when political and artistic realms concided in their greatness. The fact that it was built within seven years is a significant achievement for Rajaraja I. It was a product of a unified, concerted building effort, conceived and executed nearly at the same time, and although additions and modifications were made in following centuries, it should be considered largely a product of the reign of Rajaraja and a testimony to his greatness as a king. Preceding the temple are two temple gateways.

Front 15

Courtyard and Entrance Gateways, (India, Tamil Nadu, Tanjore, Rajarajesvara temple, Cola period, reign of Rajaraja, ca 1004-10 AD)

Back 15

Gopuras, or gateways, are not a new feature at this time in south Indian architecture, for formative examples are known as early as the Pallava period. The form and
emphasis given to them here marks a departure from earlier tradition and paves the way for the ultimate development of a south India gopura into the dominant
architectural feature of the temple-complex.

Front 16

Dvarapala or Guardian Figure (India, Tamil Nadu, Tanjore, Rajarajesvara temple, Cola period, reign of Rajaraja, ca 1004-10 AD)

Back 16

A pair of monumental guardians flanks the entranceway on the outer face of the inner gateway, which is approximately two and a half times the human size. Each stands with one leg thrust across the body in a manner not unlike other images of South Indian architecture at the time. The four-armed fanged guardians are, however, strikingly different in style from figurative carvings of the earlier phases of Cola art, for they are heavier in body build and more elaborately ornamented. In spite of their
dynamic poses, the figures are remarkably stoic in appearance, almost totally lacking the sense of spontaneous movements within the architectural context so often seen in earlier Cola and Pallava works.

Front 17

View of the rear shrine wall (India, Tamil Nadu, Tanjore, Rajarajesvara temple, Cola period, reign of Rajaraja, ca 1004-10 AD)

Back 17

The exterior treatment of the walls of the vimana with its heavily recessed and projecting niches, deeply carved pilasters, and huge, carved-in-the-found figures creates a unique effect on the viewer. The scheme is much more elaborate than that of earlier temples. The lower tier contains several representations of the different forms of Siva, including dancing icons. Dancing Siva forms are especially prominent in later Cola period. In this case, the figure on the right dances the dance of time and
eternity, while that on the left performs the more well known ananda tandava. The upper tier of figures bears thirty representations of Siva in his Destroyer of Three
Cities form, in which he vanquishes three powerful demons by destroying their three citadels with a single arrow. The popularity of this theme suggests that it has
special important to Rajaraja I and may have served as a symbol of his military strength and imperial authority.

Front 18

Siva as Nataraja (India, Tamil Nadu, Cola Dynasty, ca. 990 AD)

Back 18

This notably slim, dancing figure is one of the items within the temple. The dancing suggests unity with the divine.

Front 19

Siva as Tripuravijaya (Victor of Three Cities), (India, Tamil Nadu, Cola Dynasty, ca. 990-1000 AD)

Back 19

Siva vanquishes three powerful demons by destroying their three citadels with a single arrow. The popularity of this theme may be a reference to Rajaraja I’s military strength and prowess.

Front 20

Uma as Queen Sembiyan Mahadevi (India, Tamil Nadu, Cola Dynasty, ca 990)

Back 20

She is Siva’s consort.

Front 21

Somaskanda (Siva with Uma and Skanda), (India, Tamil, Cola Dynasty, ca. 1100)

Back 21

This shows Siva with his consort and his son, who is dancing between them.

Front 22

Ardhanarisvara (androgynous fig), (India, Thiruvankadu, Tanjore district, Early Cola, 1045 AD)

Back 22

This is the androgynous form of Shiva, where he is half
male and half female. Vertically, his body is divided into elements of both genders. Incorporation of both genders reflects his god-like qualities for Hindus.

Front 23

Kaliya Krsna (India, Early Cola, ca. 950 AD)

Back 23

Also popularly represented in Cola metal imagery are depictions of Krsna incarnation of Visnu. Krsna is
sometimes shown as a young boy dancing upon the serpent Kaliya, who had been contaminating the waters of a pond where Krsna lived as a child. By dancing on
the hoods of the serpent, he reduced Kaliya to helplessness, causing the serpant to repent. The name Kaliya is a variant of the term kala, meaning time. In this act, then, Krsna is the overcomer of time, and hence the provider of immortality.

Front 24

Saint Karaikkal Ammaiyar (India, Tamil Nadu, Cola, 12th century)

Back 24

One of the most dramatic images of human devotees and saints shows the female Saivite saint Karaikkal Ammaiyar, whose emaciated form and hideous appearance testify to the severity of the penances and devotions she performed in order to see the beatific version of Siva dancing. She holds a pair of cymbals and appears absorbed in her devotions. Her bony body, scant garb, and fangs suggest the negation of physical beauty in favor of the vision of the divine.

Front 25

Saint Appar ( India, Thiruvankadu, Tanjore district, Early Cola, 1200 AD)

Back 25

He was a Jain who converted from Jainism to Hinduism. He is a humble character who takes care of the gods of the temple.

Front 26

Dancing Child Saint Sambandar (India, Tamil Nadu, Cola dynasty, ca. 1250 AD). Sambandar was a child saint who was enchanted with the androgynous form of Siva.

Back 26

Dancing Baby Krsna (India, Tamil Nadu, Cola Dynasty, ca. 110-1150). Krsna is notably identifiable for the posture of his finger.

Front 27

Saint Manikka Vachakar (India, Tamil Nadu, Cola dynasty, ca. 1200 AD)

Back 27

This saint is believed to have practiced austerities and miraculously to have given the gift of speech to the mute daughter of the Cola king. His devotional appeal is
among the strongest of Tamil saints, possibly because the hymns he composed give great importance to the expression of emotions. Naturalism persists in his
relaxed pose and smooth contours of his body.

Front 28

Saint Andal (India, Tamil Nadu, Madurai, 14th century)

Back 28

Andal was a follower of Visnu. She saw herself as a bride of Visnu. She wrote erotic hymns in which he described herself as miraculously united with Visnu.

Front 29

Laksmana temple (India, Madhya Pradesh, Khajuraho, Candella Dynasty, 954 AD)

Back 29

This temple is typical of the developed phase of architecture at Khajurahi and an example, which may be used to define many of the major characteristics of the Candella style. Yasovarman, the seventh Candella king, who is believed to have had a hand in establishing the Candella building tradition at Khajuraho, left the inscription an inscription at the base of the temple. It sits atop a plinth, which the devotee gains access on the east. It has an enclosed circumambulatory passage
around the shrine. It also has 4 subsidiary shrines at the corners of the plinth. It is sculpted in great detail on the outside and the inside.

Front 30

Ceiling of Assembly Hall (India, Madhya Pradesh, Khajuraho, Khandariya Mahadeva temple, Candella period, reign of Vidyadhara, First quarter of 11th
century)

Back 30

In this temple, there is a strong emphasis on height and verticality. Over two hundred sculptures adorn the interior. The carved pantheon that inhabits the walls of the monument represents the culmination of a trend in Hindu temple art that is traceable to the Gupta period. Sculpture now dominates the architectural form, so that even though the carvings are strictly relegated to precise locations on the monument, the effect of the sculpture is more overwhelming than that of the architectural forms themselves.

Front 31

Celestial Woman Under a Tree Branch (Yaksi)-Pillar Bracket (India, Madhya Pradesh, Khajuraho, 1075-110 AD). (Apart of the Façade of Temple Laksmana)

Back 31

This figure shows a woman under a tree. Her face shows overwhelming emotion, suggesting the unification with the divine.

Front 32

Façade of Temple (India, Madhya Pradesh, Khajuraho, Laksmana Temple, Candella, 954 AD)

Back 32

Candella temples are lavishly sculpted both inside and out. An array of figures adorns the exterior of the temple. The scheme is highly ordered according to vertical and horizontal divisions, with sculpted ground lines defining the position of the individual figures. Major icons are placed in niches located directly under each porch of the temple. The very active poses of the figures provide a feeling of movement and change, although controlled
by the rigidity of the architectural scheme. The figures are carved very three dimensionally and are almost freed from their backgrounds. Deep shadows and bright surfaces from the sunlight infuse the forms with vitality.

Front 33

Woman applying kohl (India, Madhya Pradesh, Khajuraho, Parsivanatha temple, Candella period)

Back 33

One of the women on the façade of the temple, this
woman is applying makeup on her face.

Front 34

Lovers (India, Madhya Pradesh, Khajuraho, Laksmana temple, Candella period, ca. 950 AD)

Back 34

The lovers, or mithunas, are one example of money figures that demonstrate physical intimacy between people. Rather than mere lust, the image is supposed to depict the unification with the divine. Their poses are always sexually explicit, and they represent tantric Hinduism. Tantric Hinduism includes non-orthodox sexual practices, and consumption of meat and alcohol.

Front 35

Reconstruction (India, Konarak, Orissa, Konarak, Sun temple, Ganga period, built by Nrsimhadeva I, 1258 AD)

Back 35

At present, the temple is in quite a ruined state. The original appearance may be inferred from a drawing from a palm leaf manuscript. Originally, the time was topped by a sikhara. The temples surrounding the shrine contain three variants of Surya. A detached hall precedes
the temple. It is square in plan and rests on a high plinth but is roofless now, although its heavy piers must once have supported a roof of some type.

Front 36

Reconstruction (India, Konarak, Orissa, Konarak, Sun Temple, Ganga period, built by Nrsimhadeva I, 1258 AD)

Back 36

The drawing shows the temple as it might have looked, complete with sikhara and pidha roof, in its role serving as a representation of a chariot for the sun god’s daily and annual journeys throughout the sky. Its form resembles a chariot being drawn by seven horses, with one horse for each day of the week, three on the north, and four on the south. The concept of the temple as a chariot may be related to the practice of using a large wooden cart to parade portable images of a deity through the city streets on special occasions, which was prevalent in ancient India. The twelve pairs of wheels carved on the plinth represent the twelve months or signs of the zodiac.

Front 37

General View (India, Orissa, Konarak, Sun Temple, Ganga, 1258 AD)

Back 37

Like other Orissan temples, the Sun temple at Konarak is situated within the center of a large quadrangular compound. A number of smaller shrines are within
the compound wall. At least 3 different types of stone were used to construct the temple. A fine chlorite was used for carved doorframe and important images.
Laterite was used for the core of the platforms and staircases, and khondalite was used for the majority of the building.

Front 38

Detail (India, Konarak, Orissa, Konarak, Sun temple, Ganga period, build by Nrsimhadeva I, 1258 AD)

Back 38

This image shows the chariot being drawn by seven
horses. The wheel is more than three meters in diameter and has eight major and eight minor spokes. The rims, spokes, and other elements are carved in detail with decorative and foliate motifs and figures as well. Each specific iconography may relate to a particular sign of the zodiac in sculptural programs as well as position. One of the manuscripts dealing with the temple tells of the wheels being equal to the constellations of the zodiac while another tells of the devotions and ceremonies paid to various pairs at the appropriate time. Beneath the wheels in a running frieze around the plinth of the temple is a band of elephants in procession.

Front 39

Surya (South Side), (India, Orissa, Konarak, Sun Temple, Ganga, 1238-58 AD)

Back 39

The southern nisa figure shows Surya in a standing posture. It is possible that the figure does not represent Surya at all but may depict Revanta, his son, who
characteristically rides a horse. The southern image shows the god standing with no flex to his body in a manner befitting a major icon. As is typical of Surya,
he has two arms, which hold lotuses. His body is nearly completed detached from the back-slab of surrounding elements, a feature also found in sculptures of comparable date and other northern styles. A stiff smile is visible on the face, lacking the gentleness and warmth of many earlier images, but still of very fine quality. The densely grained stone permitted great amounts of detailing such as jewelry. His seven horses are depicted being driven by his charioteer below, and he is flanked by attendant figures.

Front 40

Vimala-Vasahi temple (India, Rajasthan, Mt. Abu, Solanki period, 11th century)

Back 40

It is the one of the most notable monuments of the Solanki period and one of the most well known Jain temples in the world. Inscriptions and archeological
evidence testifies that it was holy to both Saivites and Jains from an early period, but since Mahavira himself is supposed to have visited the site, it has been especially sacred to the Jains as a tirtha, or place of pilgrimage. Its sacred character is further suggested by the fact that the so-called Agni-kula (fire-pit clan) Rajputs claim to have originated there. The temple is essentially rectangular
in plan and is oriented with an east-west axis with the main temple facing east.

Front 41

View of interior towards sanctuary (India, Mount Abu, Vimala-Vasahi temple, Solanki period)

Back 41

A view of the interior shows the intricacy of carving for which Mount Abu Temples are famous, which has led to the often repeated suggestion that the artisans were paid according to how much stone they removed so that
they were encouraged to deeply undercut their forms and create the characteristic lacelike appearance. Every ceiling is carved in a unique pattern, including geometric motifs, figurative sculpture, and a central pendent made of a single piece of stone carved in a design.

Front 42

View of SE corner of mandapa (hall), (India, Mt. Abu, Vimala-Vasahi temple, Solanki period)

Back 42

The sabha and mandapa and the next mandapa, the nava choki (nine-compartment hall) are distinguished from the main body of the temple by their open form, as they are unwalled.

Front 43

****Mahavidyadevi (Goddesses of knowledge), (India, Rajasthan, Mount Abu, Vimala-Vasahi Temple, Solanki period, 11th century AD)

Back 43

I dont know yet.

Front 44

Jina Shrine on North Wall (India, Mount Abu, Vimala-Vasahi Temple)

Back 44

Coming from the small shrines in the cloister of the temple, this figure epitomizes the fully developed Jain sculpture style of western India in which the forms of the
body are abstarted to almost pure geometric equivalents. The torso, for example, is a triangle. The arms and legs are tapered cylinders. The head is a slightly squared sphere.

Front 45

Jina standing (India, South Arcot District, Senganikkuppam village, Later Cola period, ca. 1100 AD)

Back 45

This typical standing figure does not wear any clothes. Jina’s are typically shown in the nude within one sect of Jainism. As is typical during the Chola period, the Jina stands on a lotus. He exhibits a relaxed, naturalistic form.

Front 46

Jina Ajitanatha and his Divine Assembly (India, Gujarat, 1062 AD)

Back 46

In contrast, this Jina is clothed. Jina is surrounded by a variety of subdivinities and attendants. Celestials with floral offerings hover above the Jina, while at his feet he is flanked by a donor couple. The elephant, an important symbol in Jainism, is shown in the center of the base.

Front 47

Stele with Jina Rsabanatha (India, Uttar Pradesh, 10th century AD)

Back 47

He sits in meditation comfortably on a thick cushion placed on athrone with a cover or mat draping down in front. Here, the saint’s ascetic characteristics receive added emphasis. Below the throne is a pair of active lions flanking a wheel shown only from the end. Both human and animal figures are robustly delineated throughout the stele.

Front 48

Samvara Attacking Jina Parsvanatha (India, Madhya Pradesh, Gyaraspur, ca. 600 AD)

Back 48

A snake seats him. The figure is in the nude, seated in a meditative posture on a lion-supported throne. Samvara has sent a great storm to disturb his meditations, but the serpant king raises up his seven hoods to provide shelter to Jina. The wheel of law below the throne symbolizes Jina’s teachings.

Front 49

Stele with Jina Neminatha (India, Rajasthan, 11th century AD)

Back 49

He is in the nude and very simple in form. His conch shell and the wheel beside the lotus base can recognize him. The two, seated figures within the shrines are a yakhsha couple. The active attendant figures emphasize the flux of the phenomenal world, and the motionless Jina symbolizes the unchanging state of enlightenment of nirvana.

Front 50

Jina Mallinatha (India, Uttar Pradesh, Unnav, 10th-11th century AD)

Back 50

In this work, the pronounced femininity helps with its identification. The lotus flower on the open palm (front view) signifies the figure’s superhuman character. It is a rare instance of an Indian sculpture of a nude female seated in meditation.

Front 51

Jain Goddess Ambika (India, Orissa, 12th century AD)

Back 51

The voluptuous Ambika, worshiped on behalf of mothers and infants, is depicted seated on a double lotus throne with her child beneath a mango tree. She protects the child with her left hand and holds a mango branch in her right.

Front 52

Jain Goddess Sarasvati by Jagadeva (India, Gujarat, 1153 AD)

Back 52

She is not only a Jain Goddess, but also a Hindu goddess. Not only is she a goddess of knowledge, but also a goddess of music and arts. The objects around her are
indicative of her qualities.

Front 53

Siddhapratima Yantra (Jain magical diagram), (India, Western India, 1333 AD)

Back 53

This is a Jain magical diagram. Once Jina dies, he will not exist in any form anymore. Cut out of copper, is the idea of a standing Juma. He has a halo over his head and he is standing over a lotus.

Front 54

Akbar Restrains Hawa’l, en Enraged Elephant, and Spectators, by Basawan (India, Mughal Dynasty, ca 1590 AD)

Back 54

Akbar is the Mughal king known best for promoting his artwork. He sought to depict a story from when he was young. When he was young, he mounted a wild elephant and pitched it against another elephant. He put himself in danger, but he finally got the elephant under control.

Front 55

Akbar Hunting in an Enclosure by Miskin (India, Mughal dynasty, 1590 AD)

Back 55

Akbar was a Muslim, but he also wanted his court to be familiar with other religions as well. The royal hunt is symbolic of the ruler being the protector of his people.

Front 56

Akbar in Old Age by Monohar Das (India, Mughal Dynasty, 1604 AD)

Back 56

He looks quite old and worn out. He is talking to his henchman. His frail state reminds us of how much has changed since he was on the hunt.

Front 57

Jahangir in Darbar by Hassan and Manohar (India, Mughal Dynasty, 1620 AD)

Back 57

He was more restrained in supporting art. He always wanted to be shown as realistically as possible. Darbar means audience (or ministers). You can clearly see where he stands there (in the middle). The image is very imperial.

Front 58

Jehangir Enthroned on an Hour Glass by Bichitr (India, Mughal period, 1625 AD)

Back 58

He is in old age. He is giving a book to the guru of the family. The hourglass below him symbols the passage of time. Other figures include King James, which reflects European influence.

Front 59

Inayat Khan Dying (India, Mughal Dynasty, 1618)

Back 59

He was too much of a hedonist. He drank liquor and womanized excessively. The painting shows him in an emotional state. It is a moving portrait reminding of frail human nature, similarly to others showing king in their old age.

Front 60

****Royal Lovers on a Terrace by Bal Chand (India, Mughal dynasty, 1633 AD)

Back 60

I dont know yet.

Front 61

Arhat Kalika in Tibeten Style (China, late 14th century AD)

Back 61

Arhat refers to a saint. Saints are widely admired in Tibeten culture. They are treated as immortal patriarchs. The uniquely central Asian nature of this work is evident in the figure’s facial structure.

Front 62

Arhat (Tibet, Central Tibet, mid 14th century)

Back 62

Arhat refers to a saint, which is a widely revered figure in Tibeten-Buddhist culture. They are treated as important
patriarchs. His figure is very forceful. His communication through his facial expression is very powerful. Other images in the work show the saint in other positions as well as a devotee pleading for his guidance. Clearly he is a revered and powerful figure.

Front 63

Vajrapani in Tibeten style (Inner Mongolia, 1700 AD)

Back 63

This bodhisattva is supposed to be a powerful protector of Dharma. He holds a vajra, a Buddhist symbol of permanence, in his hand. His power is reflected in his strong body, head attire, and his fierce facial expression and body posture. He teaches that any goal is possible to achieve if one struggles enough to achieve it.

Front 64

****Manjusri in Tibeten style (China, Yongle period, 1403-1425)

Back 64

This is the bodhisattva of transcendent wisdom.

Front 65

Avalokitesvara (Tibet, Western Tibet, late 11th to 12th century AD)

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This is the Bodhisattva of compassion. The gesture of the hand shows that the bodhisattva is absent of fear. This gesture, the upright posture, and the simplicity of attire all reflect the humble nature of a bodhisattva. The thin eyes reflect the work’s central Asian nature, and his head attire is unique to Tibet during this period.

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Prajnaparamita (India, Kashmir-Ladakh, Tibeten, Alchi, Sumtsek-monastic hall, 11th century AD)

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She is one of the unique female Buddhist icons. She, as
a bodhisattva, is particularly important in this region. Her image suggests that she is wise and graceful. She is, after all, the feminine personification of perfect
wisdom.

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Twenty-one White Tara Stele (Tibet, second half of 11th c. AD)

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Tara mean “she who saves.” She is a female bodhisattva, often associated with Avalikitesvar, the bodhisattva of compassion. You see her in a typical meditation pose. Each of the 21 taras represents one verse of a poem. She is the idea of compassion. It is made out of stone and then painted over.

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Mandala of Manjursi in Vairocana Tradition (India, Kashmir-Ladakh, Tibetan, Alchi, Sumtsek, 11 c. AD)

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A mandala, which literally means a cicle, is a diagrammatic aid to meditation practice. The cosmic Buddha is always in the center. Mandalas are a two dimensional design of a temple. The center is the most
sacred. He is surrounded by other buddhas, bodhisattvas, and guardians going outwards in order of important. Geometric symmetry is a key element here.

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Mahakala (Tibet, 12th c. AD)

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This is one of the most popular dieties in Tibet.
Mahakala is the protective form of Avalokitesvara, or the Boddhisattva of compassion. Unlike the other deity, which demonstrates humility, this protective form is clearly a figure that demonstrates power. The features that make this power more evident are the fierce facial expression and the sword in one of his hands. The Mahakala also has multiple arms.

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Yamantaka (Tibet, Central Tibet, mid 15th century)

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This is a deity representing wisdom and ultimate reality in triumph over evil, suffering and death. He has multiple arms and legs. He looks very overpowering. He has the head of a buffalo. He is known as the over comer of death.