Medieval School of Sculpture – UPSC Indian Heritage and Culture Notes

Instead of keeping things simple, calm, and basic, sculptures these days are becoming fancier and more decorative. They’re turning into really fancy artworks with weird and unusual imaginary creatures – like creatures that are part human and part monster.

This new style of art is different from the old-fashioned way in how it feels, even though the artists are still really good at what they do. They still want their artwork to be beautiful and perfect, just like the artists from the old times. But now, they’re more into adding lots of fancy details and decorations, instead of keeping it plain and simple like before.

Here are some examples of these kinds of sculptures from this time:

1. There’s this amazing prayer hall called Chaitya at Karle in the Poona district that stands out as a special sculpture from this time.
2. Another sculpture is the figure of Vrikshika, which is like a heavenly lady, from Gyraspur in Gwalior. She stands in a pretty pose next to a tree.

Pallavas Sculpture

During the reign of the Pallava rulers in Kanchi, there emerged an important artistic movement. This period saw the creation of remarkable sculptures that are attributed to their support, including the relief sculpture of Mahishasurmardini, the Girigovardhana panel, Arjuna’s penance (also known as the Descent of the Ganga), Trivikrama Vishnu, Gajalakshmi, and Anantasayanam.

In the context of Indian art history, few representations of elephants rival the one found in the scene of Arjuna’s penance. This scene skillfully portrays not only the celestial and temporal worlds but also the animal realm. Each of these instances exhibits a distinct vitality in their composition. The Pallava artistic style is characterized by the depiction of tall and slender figures, emphasizing their height through thin and elongated limbs.

Female figures in this style appear delicate, with slender waists, narrow chests and shoulders, smaller breasts, subtle adornments, and clothing, often conveying a submissive demeanor. Pallava figure sculpture captures a natural sense of pose and modeling.

A remarkable masterpiece is found in a carving from Mahabalipuram, depicting the goddess Durga in a fierce battle against a buffalo-headed demon, each supported by their own armies. Mounted on a lion, Durga fearlessly charges at the formidable demon. Although he is retreating, he remains watchful, ready to strike.

Subsequent Pallava sculptures exhibit greater intricacy in craftsmanship, more delicate anatomy, and refined artistic detailing.

Rashtrakutas Sculpture

During the middle of the 8th century, the Rashtrakuta dynasty gained control from the Chalukyas. They crafted a mesmerizing marvel of medieval Indian art through their Kailasa temple at Ellora. This temple chiseled from a hill and solid rock, stands as a grand example of sculpture. Its daring and splendid carvings showcase the distinctive Rashtrakuta style, characterized by lofty and robust figures that exude both spiritual and physical harmony.

An exquisite architectural sculpture carved into the rock of Cave No.29 at Ellora portrays the union of Siva and Parvati in marriage.

Siva, gently holding Parvati’s hand, commands the center of attention in the artwork. To the right, Brahma, the creator, is actively tending to the sacred fire’s flames. The sculptor has skillfully captured the dignified grace of the divine couple and the serene solemnity of the occasion.

Another remarkable sculpture at Ellora features a panel depicting Ravana attempting to shake Mount Kailasa.

The cave sanctuary at Elephanta is another noteworthy Rashtrakuta monument, housing the renowned Mahishamurti sculpture. Three heads springing from a single body symbolize distinct facets of Lord Shiva. The central visage, composed and dignified, represents him as the creator. The leftward countenance, with a stern countenance, embodies his role as the destroyer, while the rightward one, with a calm expression, signifies pacifism.

Cholas Sculpture

The Cholas, who ruled Southern India from the 9th to the 13th centuries, made incredible temples and artworks:

• Temples like Tanjavur, Gangai Kondo Cholapuram, Darasurama are art treasures.
• Thanjavur Brihadisvara temple is special because:
  • Sculptures have grown more beautiful.
  • Figures have graceful shapes and poses.
  • Delicate decorations and pretty faces add charm.
• Chola art went to places like Ceylon, Java, and Sumatra.

Examples of Chola’s work:

• 11th century: Siva’s dance after killing the elephant demon.
• 13th century: Earth goddess Bhudevi, holding a lily, on a lotus base.
• Sculpture tradition reached a peak:
  • Elegance, sensitive shapes, and balance.
  • Detailed realism like body creases, and sharp edges.
  • Notable facial expressions (like the Nataraja image).

Chandelas Sculpture

The Chandella rulers, who were in charge from 950 to 1100 A.D., made really tall temples in central India, like the Kandariya Mahadev temple in Khajuraho. These temples had sculptures that looked like people, and they were all different. The sculptors liked making the figures tall and slim, with lots of lines and details.

The art of Khajuraho is like a beautiful world. There are sculptures of couples hugging each other, and you can see their strong feelings. Small changes in their smiles, expressions, and how they stand show different feelings.

The sculptures in Khajuraho are amazing artworks of Indian sculpting. You can enjoy looking at them one by one or all together.

Palas Sculpture

During 730 to 1110 A.D., when the Pala rulers were in charge in Bihar and Bengal, art got a big boost:

• Palas were Buddhists and supported places like Nalanda and Vikramasila.
• Learning centers had temples and monasteries where sculptors could show their art linked to religion.
• Art became very skilled during this time.
• Pala Style had:
  • Slim and graceful figures.
  • Fancy jewelry and patterns.
  • Art from Bihar had thicker sculptures than Bengal’s.
• Pala rulers had links with Java, which influenced art in Nepal, Kashmir, Burma, and Thailand.

Later, under the Sena rulers in the 12th century, a similar style continued until Islamic rulers took over.

An amazing example from Mahanad in West Bengal is a sculpture of Ganga, the river goddess. She stands gracefully by a tree called Kalpataru. She holds a water vessel – a sign of wealth. Her scarf drapes around her arms & she has lots of jewelry and a long lower garment.

Eastern Gangas Sculpture

The kings of the Eastern Ganga dynasty ruled Odisha from the 7th to the 13th centuries. They created magnificent temples in Bhubaneswar, Puri, and Konarak, adorned with intricate sculptures.

In the 9th century, a distinct sculpture style emerged in Odisha. These sculptures were enamored by the beauty of women. The walls were adorned with numerous figures of charming women with alluring smiles, ornate hair, and jewelry.

• Odisha’s temples showcased these charming women, often depicted in dance poses.
• These figures seemed to emerge from trees and plants, decorating the walls with elegant designs.

The Konarak Temple

• Built-in the 12th century by Narasimhavarman, dedicated to Surya (the sun god).
• Resembles a massive stone chariot pulled by seven rearing horses.
• Surya is portrayed wearing armor, holding lotuses, riding a chariot.
• Surrounding him are his wives, Chhaya and Suvarchasa, and attendants Danda and Pingla.

Celestial Musicians:

• Colossal celestial musicians on the Jagmohana plinth.
• Playing various instruments, including the Veena.
• Displayed in all directions, expressing harmonious delight.

Narasimha’s Scenes:

• Narasimha, the temple’s builder, is depicted on a swing in his harem.
• Shown appreciating literature in a poet’s assembly.
• Displayed tolerance of various faiths by presenting himself before Siva, Jagannath, and Durga.

Sculpture’s Mastery:

• Odisha’s art retained grace and vigor while achieving faultless form and vitality.
• Sculptures exude sensuous charm and beauty, seen in Mithuna pairs (lovers).
• The eternal smiles of absorbed lovers are evident in these works.

Culmination in Konarak:

• Odisha art’s peak is reflected in the Sun Temple at Konarak.
• The image of Surya drawn by seven horses is monumental.
• This temple marks both the pinnacle of time and technique in Odisha’s sculptural tradition.

Marble sculptures in Western India

The artistic heritage of marble sculpture in Gujarat, situated in Western India, is revealed through the abundance of exquisitely carved sculptures adorning Jain temples at Mount Abu, Girnar, and Palitana.

Among these, a captivating image of the four-armed Vishnu, the Hindu deity responsible for preservation, was crafted in the 13th century A.D. This depiction includes Vishnu’s characteristic attributes: the mace, the discus, and the conch shell. Unfortunately, the hand that once held the lotus is now missing.

The weapons are also depicted as personified attendants positioned at the base. Flanking them are the customary decorative designs, along with miniature figures of Brahma and Siva within rectangular niches.

The Dilwara temples at Mount Abu stand as remarkable examples of the Western school’s contributions to the Jain tradition. Rather than being architectural wonders, these temples are sculptural marvels, stacked atop one another to form a spectacle that ranks among the world’s most astounding sculptural achievements. Notably, the ceiling of the Dilwara temple is particularly exceptional, showcasing intricate sculptural carvings that are masterpieces of global renown.

One marvelous display of Hoysala’s sculptural art is captured in the carving that illustrates Lord Krishna lifting the Govardhana mountain. This act saved the people of Gokul from the wrath of Indra, who sent heavy rains as a lesson when they honored the mountain instead of him. Krishna, youthful and strong, holds up the mountain with his left hand, protecting everyone in Gokul, including the cows.

In this period, artists found joy in expressing decoration and ornamentation rather than focusing on the beauty of the human form. The human figure often became hidden beneath an intricate array of decorations, which became more important than the figure itself. In sculptures from this era, such as those depicting a woman with a fly-whisk and other figures, the body nearly vanishes.

The temples constructed in Halebidu and Belur present an appearance resembling intricately detailed lacework carved in stone. The emphasis here is placed heavily on ornamentation rather than capturing movement or the graceful form of the human body.

Vijayanagar Sculpture

Vijayanagara, the last significant Hindu Kingdom in South India, held sway from around 1336 to 1565 A.D. Within this span, numerous magnificent temples were constructed in places like Tadpatri, Hampi, and Kanchipuram.

In these temples, carvings reflect the artistic traditions of both the Chola and Chalukyan cultures. During this era, stories from the Ramayana and Krishna’s childhood escapades (Bal Lila) became popular themes.

The Vijayanagara emperors engaged sculptors to create splendid portraits that would forever connect them with their beloved deities. A notable instance is the finely crafted portrait of Krishnadevaraya on one of the Gopuras in Chidambaram.

The final traces of this artistic style are found in the remarkably vigorous sculptures of monumental proportions crafted by the artisans of Tirumylnayak. Noteworthy instances include the Gopuram and courtyards of the Meenakshi temple in Madurai.

Bronze Sculpture Tradition:

During the Vijayanagar period (1336–1565), ornamentation evolved into greater complexity, sometimes disrupting the body’s smooth flow and leading to more rigid poses. However, sculptors managed to combine facial likeness with elements of idealization during this time. This idealization extended to how the physical body was shaped to appear both imposing and graceful. An example of this is the life-size standing portrait statue of Krishnadevaraya discovered at Tiruppathi.

Hoysala sculptures tend to be somewhat short and stout, brimming with embellishments that sometimes verge on excess. Despite this, they remain pleasing to the eye.

Sculpture of Nayakas of Madurai and Thanjavur

The 17th century was marked by an era of impressive achievements led by the Nayaka rulers of Madurai and Tanjavur. This period witnessed remarkable creative endeavors.

In this time frame, a distinctive motif involving animals, depicted with astonishing detail, emerged. An exceptional sculpture found at the Srirangam temple in Trichinapally showcases this motif.

Although stylized, this art is bursting with energy and life. A striking example is the depiction of a pair of vigorous horses, rearing and furious, with their heads forming the pillars. The sculpting of these horses displays remarkable skill and vitality. The riders are captured in lifelike poses as they attempt to control these spirited creatures. Each sculpture possesses realism despite its fantastical concept.

Mughals Sculpture

While the practice of crafting stone sculptures persisted, significant sculpture movements didn’t thrive during the rule of the Mughals and other Muhammadan rulers. Instead, architecture received substantial attention under these rulers. Sculptures, though infrequent, mostly emerged from the initiatives of local leaders.

Under the Muhammadan rulers, architecture flourished, but sculptures were scarce, mainly resulting from the efforts of regional chiefs.

During the British colonial era, sculptors lacked proper support and the broader tradition of Indian art nearly halted its progress.

For Daily Current Affairs Click Here

Join our Official Telegram Channel HERE
Subscribe to our YouTube Channel HERE
Follow our Instagram ID HERE