the game of Snakes & Ladders in which the ladders represented virtues such as faith, generosity, humility and asceticism while the snakes represented vices such as anger, theft, lust and greed
Showing posts with label Indian History. Show all posts
Showing posts with label Indian History. Show all posts
Lion capital of Emperor Ashoka, 3rd century BC.
"India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend, and the great grand mother of tradition. Our most valuable and most artistic materials in the history of man are treasured up in India only" - Mark Twain
Lion capital of Emperor Ashoka, 3rd century BC. It has been adopted as the National Emblem of India.
HISTORY ABOUT ELLORA CAVES
These are three different Kailashnath Temple, Ellora caves vintage postcards and one photographic page from a vintage book in my collection. Kailashnath Temple,also Kailash or Kailāsa or Kailasanath Temple, is a famous temple, one of the 34 monasteries and temples known collectively as the Ellora Caves, extending over more than 2 km, that were dug side by side in the wall of a high basalt cliff in the complex located at Ellora, Maharashtra. Of these, the Kailasa (cave 16) is a remarkable example of Dravidian Architecture on account of its striking proportion; elaborate workmanship architectural content and sculptural ornamentation of rock-cut architecture with Pallava influence. It is designed to recall Mount Kailash, the abode of Lord Shiva. It is a megalith carved out of one single rock. It was built in the 8th century by the Rashtrakuta King Krishna 1.
The Kailash Temple is notable for its vertical excavation—carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front.
It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.
All the carvings are done in more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.
Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandap and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandap are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.
A living rock bridge connects the Nandi Mandap to the porch of the temple. The temple itself is a tall pyramidic structure reminiscent of a South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).
There are two Dhwajasthambha (pillars with the flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, the abode of Lord Shiva, with his full might is a landmark in Indian art.
THANKS TO SRI SRINIVASU DOKKA FOR HIS EXCELLENT ARTICLE
AMAZING INDIAN SCULPTURES COLLECTION
Cire Perdue or Lost Wax Technique of Making of Chola Sculptures:
South Indian temple bronzes during the Chola period were created through the cire perdue or lost wax technique that remains the standard method to this day. Images are folded from a 'prepared wax' consisting of hard beeswax mixed with a small proportion of dammar, the resin of the seal three. Sculptors heat the wax, deftly old it into a torso, hand, leg, or flower, and lower it into a basin of cold water, where it instantly hardens. When pieces are to be joined, they are returned to a malleable state through brief reheating on the flame that stands ready beside the artists. Details down to the individual beads of a necklace or the patterned fabric of a garment, are worked with a sharp wooden chisel shaped from the core of a tamarind tree, though occasionally a steel chisel is used. Simple tubular struts connect the hands of images to the body, providing a certain degree of stability to the wax model; these will be used later as channels during the final molten metal process. Once the wax image is complete in every detail, it is encased within several layers of clay, of which the first layer, of a fine, smooth texture, is of utmost importance; if the clay is correctly applied, the image that finally emerges will require little or no retouching. The heavily clay-encased image is then baked, and the wax melts and runs out through sprues provided for this purpose, resulting in a hollow clay mold.
Specialized metal-workers now take over, heating copper with a small proportion of lead and tin (in ancient times, small amounts of gold and silver too). This is carefully and deftly poured into the clay mold to fill every millimeter, ensuring that the molten metal flows from the torso to the arms and legs and back again. Large castings take into account the cooling process of metal: its expansion, contraction, and the like. Once the metal has completely cooled, the clay mold is broken open to reveal the bronze image; since the mold cannot be reused, every bronze is unique. (Vidya Dehejia, The Sensuous and the Sacred-Chola Bronzes from South India, Mapin 2002)
Photographs: AIIS, Center for Art and Archaeology.
The huntress from Hoysala
Reflection of the equality women were given in 11th century Karnataka. The huntress from Hoysala . One of the many modern thinking thoughts on-display from Belur Karnataka !
ABOUT INDIA BY Aristotle - Philosopher
Aristotle was a Greek philosopher and scientist born in the city of Stagira, Chalkidice, on the northern periphery of Classical Greece. His father, Nicomachus, died when Aristotle was a child, whereafter Proxenus of Atarneus became his guardian.
We are what we repeatedly do. Excellence, then, is not an act, but a habit.
It is the mark of an educated mind to be able to entertain a thought without accepting it.
Happiness depends upon ourselves.
Zein-ul-ab-ud-din's Tomb, in Srinagar.
Gateway of enclosure,!
(once a Hindu temple)
Now it is called Zein-ul-ab-ud-din's Tomb, in Srinagar.
Probable date A.D. 400 to 500,
.
1868. John Burke. Oriental and India Office Collection. British Library.
(once a Hindu temple)
Now it is called Zein-ul-ab-ud-din's Tomb, in Srinagar.
Probable date A.D. 400 to 500,
.
1868. John Burke. Oriental and India Office Collection. British Library.
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