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Indian art: the story on HearLore | HearLore
Indian art
The earliest known paintings in India, discovered at the Bhimbetka rock shelters, are approximately 10,000 years old and utilize a distinctive red wash made from powdered iron oxide known as geru. These prehistoric images, found within the Vindhya mountain range, depict scenes of human life, animals, and hunts using stone implements, establishing a visual language that predates the great civilizations of the Indus Valley. While the rock shelters contain over 750 sites and a quarter of a million figures, the specific use of this mineral pigment suggests a sophisticated understanding of local geology and chemistry by the Stone Age inhabitants. The discovery of these shelters by Dr. V. S. Wakankar in the mid-20th century revealed a continuity of artistic expression that has persisted for millennia, contrasting sharply with the later absence of anthropomorphic art during the Vedic period.
The Dancing Girl and The Seals
Despite the sophistication of the Indus Valley Civilisation, public large-scale art was notably absent, leaving behind only small, intimate objects that hint at a complex society. The most famous surviving piece is the bronze Dancing Girl of Mohenjo-daro, which displays remarkably advanced modeling of the human figure for the third millennium BCE. Alongside this sculpture, thousands of steatite seals have been recovered, ranging from half an inch to one inch square, featuring a pierced boss for handling or adornment. These seals often depict a figure in a yoga-like pose, identified by Sir John Marshall as resembling the Hindu god Shiva, and a mysterious animal that is part bull and part zebra, the religious significance of which remains a subject of speculation. The absence of grave goods in Indian funeral traditions meant that these small objects, rather than burial treasures, became the primary source of ancient art from this era.
Ashoka's Pillars and The Yaksha Cult
The reign of Emperor Ashoka, who died in 232 BCE, marked a turning point in Indian art with the erection of the Pillars of Ashoka, which feature some of the most confident and boldly mature stone sculptures in the subcontinent. The famous detached Lion Capital of Ashoka, with four animals, was later adopted as the official Emblem of India after independence, showcasing a fine Mauryan polish rarely found in later periods. Simultaneously, the 2nd century BCE saw the rise of colossal Yaksha statuary, typically around two meters in height, which are considered the first Indian anthropomorphic productions in stone. These figures, often pot-bellied and fierce-looking, were the object of a popular cult connected to nature spirits, water, and fertility, and many were later incorporated into Buddhism, Jainism, or Hinduism. The style of these Yaksha statues, particularly from Mathura, expressed essentially Indian qualities while showing subtle Hellenistic influences in the drapery and walking stance.
When were the earliest known paintings in India discovered and what materials were used?
The earliest known paintings in India were discovered at the Bhimbetka rock shelters and are approximately 10,000 years old. These prehistoric images utilize a distinctive red wash made from powdered iron oxide known as geru.
What is the significance of the bronze Dancing Girl of Mohenjo-daro in Indian art history?
The bronze Dancing Girl of Mohenjo-daro is the most famous surviving piece from the Indus Valley Civilisation and displays remarkably advanced modeling of the human figure for the third millennium BCE. It stands alongside thousands of steatite seals that hint at a complex society despite the absence of public large-scale art.
When did Emperor Ashoka erect the Pillars of Ashoka and what happened to the Lion Capital?
Emperor Ashoka died in 232 BCE and his reign marked a turning point with the erection of the Pillars of Ashoka. The detached Lion Capital of Ashoka was later adopted as the official Emblem of India after independence.
When did the Kushan Empire introduce the first human depictions of the Buddha in Gandhara?
The Kushan Empire introduced the first human depictions of the Buddha in the early centuries CE within the far north-west of India. The Gandhara school flourished under Kanishka the Great from 127 to 151 CE and established a visual language that defined Buddhist art for centuries.
What years define the Gupta period and why is it considered the golden age of classical Hindu art?
The Gupta period spans from approximately 320 to 550 CE and is generally regarded as the golden age of classical Hindu art. This era saw the emergence of the iconic carved stone deity in Hindu, Buddhist, and Jain traditions and the development of the lost-wax bronze casting technique.
When did the Mughal Empire begin its patronage of fine arts and who banned painting in 1680?
The Mughal Empire began its patronage of the fine arts in the mid-16th century and introduced a unique synthesis of Persian and Indian artistic traditions. Aurangzeb banned music and painting in 1680, causing a decline in imperial patronage.
For centuries, the Buddha was represented only through symbols such as the wheel or the lotus, until the Kushan Empire in the early centuries CE introduced the first human depictions of the deity. This transformation occurred in the far north-west of India, particularly in Gandhara, where the art inherited from the Greco-Buddhist tradition combined Greek naturalism with Indian religious themes. The resulting sculptures featured three-dimensional drapery, wavy hair, and a solid, muscular physical form, including the 32 major lakshanas or distinguishing marks such as the ushnisha on the head and the urna between the eyebrows. This fusion of styles allowed Buddhism to spread across Central Asia and the far East, influencing the artistic traditions of China and Tibet. The Gandhara school, which flourished under Kanishka the Great from 127 to 151 CE, established a visual language that would define Buddhist art for centuries to come.
The Golden Age of Sculpture
The Gupta period, spanning from approximately 320 to 550 CE, is generally regarded as the golden age of classical Hindu art, marking the emergence of the iconic carved stone deity in Hindu, Buddhist, and Jain traditions. While painting was widespread, the surviving works are almost exclusively religious sculpture, with main centers of production located in Mathura, Sarnath, and Gandhara. The Gupta style perfected the representation of the human form, creating ideal images using complex techniques and tools such as chisels, hammers, and compasses with iron points. This era also saw the earliest constructed Hindu temple architecture, though few survive, and the development of the lost-wax bronze casting technique that would later be perfected by the Chola dynasty. The art of this period remains a classical benchmark, covering the earlier Ellora Caves and influencing the development of regional styles that would follow.
The Mughal Synthesis
The Mughal Empire, which began its patronage of the fine arts in the mid-16th century, introduced a unique synthesis of Persian and Indian artistic traditions that transformed the landscape of Indian painting. Emperor Akbar, who reigned from 1556 to 1605, expanded the number of painters from around 30 to 130, creating a vibrant court culture that incorporated local Indian flora and fauna into the traditional Persian style. His son Jahangir, who ruled from 1605 to 1627, preferred individual artistic expression, leading to the emergence of distinct styles by artists such as Bishan Das and Manohar Das. The Mughal style influenced the development of regional schools like Rajput and Pahari painting, and later the Company style watercolor paintings created during British rule. This period of artistic flourishing was interrupted by the orthodox Sunni beliefs of Aurangzeb, who banned music and painting in 1680, causing a decline in imperial patronage.
The Bengal School and Modernism
In the early 20th century, the Bengal School of Art emerged as a powerful movement that sought to resuscitate pre-colonial Indian cultural identities and reject the romanticized style of Company paintings. Led by Abanindranath Tagore, who is often referred to as the father of Modern Indian art, the movement was associated with Indian nationalism and the Swadeshi Movement, which gained momentum by 1905. Tagore attempted to develop links with Japanese artists to construct a pan-Asianist model of art, while other artists like Gaganendranath Tagore pioneered experiments in modernist painting using the language of Cubism. The movement laid the groundwork for the Progressive Artists' Group, founded in 1952 by six artists including M.F. Husain and S.H. Raza, which established new ways of expressing India in the post-colonial era. This transition from traditional forms to radical new directions marked a significant shift in the perception of Indian art on the global stage.
The Living Tradition of Folk Art
Folk and tribal art in India represents a deep symbolic meaning attached to the materials and techniques used to produce objects such as pottery, metalwork, and textiles. These art forms, including Warli painting from Maharashtra, Madhubani painting from Bihar, and Gond painting from Madhya Pradesh, are not merely aesthetic objects but are tied to the beliefs and rituals of the people who create them. The Warli region uses straightforward geometric patterns to produce images of everyday life and the natural world, while Madhubani paintings incorporate sophisticated geometric patterns and vivid colors to depict deities and nature. Despite the pressures of market and economic forces that have caused the numbers of these artists to dwindle, efforts by NGOs and the Government of India continue to preserve and protect these arts. The folk spirit plays a tremendous role in the development of art and the overall consciousness of indigenous cultures, ensuring that the matrix of folk expression remains a vital part of India's artistic heritage.