The High Priest 

Mohenjo-daro, c. 2500-1500 BC

Indus Valley Civilization

Limestone bust of a man, in the formal style (one of two types of sculptures found in the IVC), a deity or priest, downcast eyes portray a yoga discipline in contemplation.

Nude Male Torso

Harappa, Indus Valley civilization

c. 2500-1500 BC

In the "organic" style, it is natural and living, and soft and flowing, it is an intelligent study of the human body, the circular drills yet have no explanation, it might have been for movable arms, has a nice full body, possibly a desirable male body, "pranu"=breath.

Dancing Girl

Mohenjo-daro, Indus Valley Civilization

c. 2500 - 1500 BC

A link between the two styles. The hair mirrors the high priest, formal style. The curve of the back and the spine mirrors the nude male torso, "organic" style. Bronze cast. May represent the Negroid people. Bangles and Nudity rep. later Indian practices.

Square Stamp Seal, Two-horned bull

Mohenjo-daro, Indus Valley Civilization

c. 2500 - 1500 BC

Undeciphered, Steatite, Carved in Intaglio, There's a degree of naturalism, Indus River Valley Script, bull connection to Mesopotanian art, Bulls hold some sort of importance.

Square stamp seal, Prototype of Shiva

Mohenjo-daro, Indus Valley Civilization

c. 2500 - 1500 BC

Yogi-like pose, Horned headdress = high status, Sitting on a throne, Shiva is lord of the animals thus central to the animals,

ithyphallic = erect phallic symbol = symbol of Shiva = fertility, suggest three faces.

Lion Capital

Maurya Period

c. 4th - 2nd c. BC

Persian influence seen in the lions, cream-colored Chunar sandstone, edicts of Ashoka engraved on the shaft near the base, "Maurya polish", the mane is heiratic/formal, the Lion = royalty, Wheel = darmachakra = wheel in motion, law motion, Upside down lotus, four animals = four direction = Hindi gods = lesser.

Bull Capital

Maurya Period

c. 4th - 2nd c. BC

Similar polished Chunar standstone, "Mauryan Sheen", recall certain Hittite and Persian versian of the bulls.

Chaitya hall at Bhaja

Shunga Period

c. 2nd - 1st c. BC

Carved from living stone but the prototype was wood, this can be seen in the bent boughs and upright beams, Chaitya arcs are pointed at top, interior is similar to Christian cathedral, the stupa is in the hall, it might rep. the parinirvana of Buddha, it may contain a relic of Buddha.

Gateway and Railing from Stupa at Bharut (Torana)

Shunga Period

c. 2nd - 1st c. BC

Aniconic symbolism invokes Buddha's prescence, surrounds the mounds, wheels are adorned on the railing.

Dream of Queen Maya, Medallion from Bharut Railing

Shunga Period

c. 2nd - 1st c. BC

Story of Buddha's conception, a stacked composition with 3 parts, seated attendants have back toward us. 

Jatakas = scenes from Buddha's life.

Shalabhanjika Yakshi on pilaster of Stupa at Bharut

Shunga Period

c. 2nd - 1st c. BC

Yakshi is a female earth diety, the touch of a beautiful woman's foot will bring a tree into flower, wide-eyes and seductive gestures, connect with birth of buddha, mix of old earth diety + Buddhism, appropriated, shalabhanjika = tree female

The Great Stupa at Sanchi

Andhra Period

c. 1st c. BC - 3rd c. AD

Mound of heaven faced with stone, covered with white stucco, Three part umbrella on top symbolizing 3 jewels of energy: Buddha, Dharma, Sangha, this was then surrounded by a square railing that might have symbolized the tree, pilgrims would circumambulate, 4 gates surrounding paths = 4 directions, axis mundi.

North Gateway (Torana) of the Great Stupa

Andhra Period

c. 1st c. BC - 3rd c. AD

Carved ivory, triatna = three pronged symbol of the Buddha, Dharma, and Sangha, they tell tells of buddhas called jatakas.

Yakshi bracket figure from E. Gateway, Great Stupa

Andhra Period

c. 1st c. BC - 3rd c. AD

Similar to the shalabhanjika of the Bharut hall, She might be in dance which might be a symbol of continuous energy, genitals are showing.

Couple from the Chatiya Hall at Karle

Andhra Period

c. 1st c. BC - 3rd c. AD

Possibly derived from Yakshi and Yaksha symbols, the man is a picture of masculinity, same with the female 

Standing Bodhisattva, Ghandara

Kushan Period

c. 1st - 3rd c. AD

Embodiments for compassion/concern for humanity, ideally beautiful, wearing a dhoti, hair is loose with halo, from Ghandara therefore heavy drapery, built like a Greek god, face is more realistic and calm, Schist grey stone, decked with jewelry = tied to this world. They don't have an ushnisha.

Bodhisattva of Friar Bala, Mathura

Kushan Period

c. 1st c. - 3rd c. AD

Carved out of red standstone, similar to stiff/strong Yaksha, clingy robe, the rings on the arm indicates drapery, the dress is a sanghati, it goes over the soldier, this denotes buddha, lion between his feet = buddha.

Bimaran Reliquary, Ghandara

Kushan Period

 c. 1st c. - 3rd c. AD

Roman influence, homme arcade motif found in early Christian art, figures in arched niches, pointed arch reflects the Chaitya arch, mat gold inlaid with precious stones, repousse = push out relief, to his left and right are hindu gods brahma and indra

Birth of the Buddha, Gandara

Kushan period

c. 1st c. - 3rd c. AD

Typical grey schist, depicts the birth of Buddha, typ. stance with hand on bodhi tree, and heel on trunk, similar to greco/roman arrangement figure, it's kind of a freeze, the robes aren't clingy, they are heavy drapery.

Seated Buddha on Lion Throne, Mathura

Kushan Period

c. 1st c. - 3rd c. AD

traditional yogi/meditation posture = dhyanasana, bears the features of buddha, two winged lions symbolize Buddha's royalty, abhaya mudra = fear not mudra, archaic smile, stela(e) format, sanghati clinging to body rep. Mathura style, wheels on his feet = dharmachakra, Mathura red sandstone.

Buddhist Triad, Ghandara

Kushan Period

c. 1st. c. - 3rd c. AD

dharmachakra mudra, on both sides of him are boddhisattvas, behind hiim are hindu gods indra and brahma, classical calm face, heavy robes, proportions are more realistic. 

Bacchanalian Scene, Mathura

Kushan Period

c. 1st c. - 3rd c. AD

Indian qualities mixed with Roman qualities, Red mathuran sandstone, yakshi figure can be seen, Queen maya or just a drunk?

Standing Buddha, Mathura

Gupta Period

c. 4th c. - 7th c. AD

geometric drapery, string-type drapery, translated from kushan period, broad shoulders and swelling chest that are yaksha-esque, but less bulky body, geometrical facial features, serenity and compassion buddha, shows features found in early ghandaran figures, i.e. snail shell, contrast between smoother textures + ornate texture.

The First Sermon, Sarnath

Gupta Period

c. 4th c. - 7th c. AD

Depicts first sermon at deer park = wheel in the middle with a deerhead, similar chunar stone of the mauryan columns, dharmachakra mudra, lotus medallion seat cushion, stele(a), the Sarnath ideal of buddha carried through, language of poetry greatly influenced buddha's physical traits, proportions are very nice = canon of proportions, triangles forming a star in a circle in a square with a dot in the middle is an yantra = geometric diagram that rep. a diety.

Vishvantara Jataka: palace scene, Ajanta

Gupta period

c. 4th c. - 7th c. AD

Direct past life of Siddharth Gautama, he is about to leave her wife. suggestive of perspective, Fresco

The Beautiful Bodhisattva, Cave 1, Ajanta

Gupta Period

c. 4th c. - 7th c. AD

fresco, jewelry headdress = boddhisattva, lotus flower, Avalokitesvana = boddhisattva of compassion, this is symbolized by the lotus flower and headress, tribangha posture = dancing posture similar to the shalabhanjika

Lingam with Shiva, Mathura

Kushan Period

c . 1st c. - 3rd c. AD

assoc. with creation, fertility, connected with phallic symbol, symbol of shiva = linga = phallic, kushan/mathuran = flowing, emp. on chest, thin drapery, clingy, string type folds.

Temple at Sanchi

Gupta Period

c. 4th c. - 7th c. AD

similar to the chaitya hall, also similar to the greek temple, elevated from the ground sym. separation from holy to earthly, fronted porch = mandapa, inside contains an image of the main diety = womb chamber = garbha-griha.

Durga Temple at Aihole

Gupta Period

c. 4th c. - 7th c. AD

reflects the buddhist temples, the ambulatory is on the outside, the mandapa is extended, the tower is known as the shikhara, it is directly over the garbha-griha sym. connecting heaven to earth, it can symbolize the headress of vishnu or mountains.

Shiva Nataraja from Cave Temple, Elephanta

Early Medieval Period

c. 7th c. - 13th c. AD

bent in the "S" shape, the tribangha posture = three bend posture, Gupta quality facial features

Shiva Maheshvara from Cave Temple, Elephanta

Early Medieval Period

c. 7th c. - 13th c. AD

Shows several aspects of Shiva, can see three heads, the headress connects the three heads, 3 Gunas = benevolent, active, destructive

Five Raths, Mahamallapuram

 Early Medieval Period

c. 7th c. - 13th c.

carved out of living rock = granite, models of the development of Hindu temple, South indian style development, rath = vehicles = vehicles of the God.

Arjuna's Rath, Mahamalllapuram

Early Medieval Period

c. 7th c. - 13th c. AD

development of the cell type, elaborate, pilasters, development of southern style, pyramid w/ capstone, different registers / layers, horizontal style.

Descent of the Ganges, Mahamallapuram

Early Medieval Period

c. 7th c. - 13th c. AD

two enormous granite, clefted dam, story of origin of Ganges river, horror vaccui = fear of empty spaces, divine is everywhere, all living beings congregate, naga = river dieties.

Ascetic Cat from Descent of the Ganges, Mahamallapuram

Early Medieval Period

c. 7th c. - 13th c. AD

ascetic cat in worship and rats surrounding the cat

Kailasanatha Temple, Ellora

Early Medieval Period

c. 7th c. - 13th c. AD

dedicated to shiva, can rep. mount kailsa, shiva's home, located on volcanic stones/living stone, ex. of Southern temple, capstone tower, pyramidic tower, series of mandapas, one main tower

Nandi shrine at Kailasanatha Temple, Ellora

Early Medieval Period

c. 7th c. - 13th c. AD

Shrine for Shiva's bull nandi,

Shiva and Pavarti on Mt. Kailasa, Kailasanatha Temple

Early Medieval Period

c. 7th c. - 13th c. AD

Ravana is shaking the foundation underneath, shiva stopped, trying to show linear perspective with the girl running away, can see the three-dimensionality of the ravana.

Kandarya Mahadeva Temple, Khajuraho

Early Medieval Period

c. 7th c. - 13th c. AD

Northern Indian style, made out of creamstone, high platform mandapa, more organic than southern style, emp. verticality, multiple towers, dedicated to shiva, dome shape, parabollic shape

Celestial Deities, Khajuraho

Early Medieval Period

c. 7th c. - 13th c. AD

Most figures are tall, slim, and have elongated legs, fluid style with a crisp carving, mithura = auspicious couple, energy unification of believer + god/divine, earliest form of tantric/esoteric buddhist art.

Shiva Nataraja Idol

Early Medieval Period

c. 7th c. - 13th c. AD

nataraja = lord of the dance, treated if it was a living being, samsara = cycle of creation and destruction = the dance, sim. to cylce of season, circle of fire rep. sim. shiva = yogi posture, wears a headress and has dreaded hair, four arms w/ symbols: flame = power, drum = rhythm, aphaya mudra = have no fear, point to foot = liberation, standing on a troll that might rep. ignorance, connected from top to bottom = stability.

Krishna on Serpent Kaliya, Chola

Early Medieval Period

c. 7th c. - 13th c. AD

youth krishna, represents krishna over time-eternity, bronze cast, tall crown, tranquil face, aphaya mudra, dancing = vitality, similar to gupta style with the crisp details.

Devotee of Shiva, Chola

Early Medieval Period

c. 7th c. - 13th c. AD

details att. to chola period, she gave up her beauty to give a sacrifice to shiva, emp. the business of joints, in the midst of getting up feeling of awkwardness, symbols in her hands = worship / chanting

Allegory of Jahangir on the Hourglass Throne

Late Medieval Period

c. 13th c. - 18 c. AD

Mughal painting, hourglass, shows good goverment, allegorical, shakespeare(european), Muslim, hindu, ecclectic style = something from everywhere, putti, persian pattern, combined realism, Muslim, iconoclast

Story from the Hamza Nama

Late Medieval Period

c. 13th c. - 18th c. AD

Alam shah closing the dam at hte shishan pass, crowded, non-perspective, emp. of color / patterning, realistic portrayal of nature, individualistic details of face, Hamza, diagonal pointing to man, persian pattern mixed with Indian naturalism, mughal

Madhu Madhavi Ragini

Late Medieval Period

c. 13th c. - 18th c. AD

Madhu = sweet, portrays something sweet, early lusty phase of love, rainy night, half outside, half inside, peacock = horny lustful rage, red = heat passion, serpentine lightningbolt = male = Indra = Storm, hindu, rajput

Gajahamurti: After the Death of the Elephant Demon

Late Medieval Period

c. 13th c. - 18th c. AD

body is white covered in ash, shiva and parvati, ridin on the skin of the elephant, overcome, pattern seen in the trees. shiva holding things traditionally att. to shiva. rajput

Ramayana: Visit of Ravana to Sita

Late Medieval Period

c. 13th c. - 18th c. AD

god Rama, avatar of Vishnu, hindu, rajput