MEDIEVAL SCULTPTUR
FIELD REPORT
GROUP 2 11/15/2024 BA (H) HISTORY
S. Table of Contents Page
No. No.
1. Introduction 1
2. Bronze Sculptures 2
3. Stone Sculptures 7
4. Conclusion 10
5. Group Photo 11
6. Group Name and Members 12
BEGINNING
The National Museum in New Delhi showcases
India's rich cultural heritage, featuring artifacts
from ancient history, art, archaeology, and
anthropology. It highlights diverse traditions,
offering a comprehensive view of India's past.
One arrives at the museum and is greeted
immediately by the sculpture on the left. As the
field trip directed to us, we moved into the
gallery that showcased the various sculptures
from the early medieval era.
Image: Konark Sun Statue (13th Century CE)
So what are the early medieval
sculptures?
Early medieval sculptures of India, spanning from the 6th to the 12th century, highlight
the fusion of religious devotion and artistic excellence. Predominantly depicting Hindu
deities, Buddhist figures, and Jain Tirthankaras, these sculptures are
renowned for their intricate craftsmanship. Bronze and stone played
crucial roles in their creation.
Stone, especially sandstone and granite, was commonly used for large-
scale temple sculptures and architectural carvings, allowing for
durable, detailed depictions of divine figures. These stone pieces often
adorned temple facades and interiors, embodying the sacred and
artistic spirit of the time.
Bronze, on the other hand, was favoured for smaller, more portable
images, particularly for ritual use. The lost-wax casting technique
allowed for fine detailing and the creation of graceful, lifelike figures.
Bronze sculptures, such as the famous Chola bronzes, were used in
temple rituals and processions, symbolizing the divine presence.
Image: Mohini, Western Chalukya, 12th Century Ce
Image: Vishnu and his manifestations (Stone) Image: Chahmahana (Stone)
Together, bronze and stone sculptures from this period are not only artistic masterpieces
but also integral to religious practices, reflecting the era’s deep spiritual and cultural
values.
Bronze:
Small Bronze images that were meant for worship in the domestic shrines were cast
solid, while the larger ones were cast hollow. Indian bronzes exhibit rare charm and
exquisite beauty. They are valued for their elegance and craftsmanship. The older group
of bronze sculptures from the Indian subcontinent date
back to the 3rd millennium BCE. Bronze is an alloy of
copper and tin. The tradition of the casting metal images
started in north west India and then reached to South
India around 3rd to 4th century CE.
Bronze images of saints were conceived by sculptors as
ideal portraits. These images show the persona of the
saint, usually recognizable by his specific attributes and
by his physio gamy. Some images are of legendary saints
while others are of famous poets.
The image on the left is that of the Nayanar saint Appar
from 10th century Chola Dynasty.
Bronze sculptures have been found across all of the
country from North to South as well as in eastern and
western parts along with the Himalayan regions.
The image on the left is one of the finest from South India
Bronze sculptures bedecked with three eyes and four
arms. The front left hand is depicted in danda hasta or the
Gaja hasta pose thrown on the right side, while the rear
one, holds fire denoting the power of destruction.
This image is that of Nataraja, the Lord of Dance and
represents the five essential acts of Siva-creation,
preservation, destruction, veiling and grace. The dance he
performs is called the Ananda Tandava or the dance of
bliss. He is believed to have danced the world into
extinction only to dance it back into existence as part of
the cyclical concept of time in India. Siva is said to have
invented 108 types of dances, commonly seen as the 108
karnas or poses of Indian classical dance. Siva dances in
triumph of defeating demons or for the pleasure of his
consort.
Image: Nataraja, 9th to 10th century, Tiruvarangulam
South Indian Bronze: The Bronzes from South India
embody one of the highest achievements of Indian art.
Of all the Bronzes from India, none are better than
those from South India, especially the Pallava and
Chola bronzes.
Movable bronze icons were an intrinsic part of the
Chola temples. Most Siva temples were enshrined
bronze images of Nataraja, the lord of dance. Metal
smithing was zealously patronized during the later
Chola, Vijayanagar and Nayaka periods as well.
Scholars however believe that the bronzes of these
periods were much more conventionalized and the
dynamic and rhythmic movement characteristics of
early bronzes seem replaced by mathematical
schematics.
Image: Manikkavachakar, late 12th
Century, Chola
Image: Varaha Avatar of Vishnu, one of the sculptures that
showcase the subtle importance of the Vaishnav bhakti
culture in a predominantly Shaivic culture that existed in this
region
North Indian Bronze: The earliest bronzes, besides those
from the Harappan period, are dated to the Gupta-Vakataka
period. The Gupta idiom was carried forward by the Palas in
Eastern India, Maitrakas in Western India, Chedis in Central
India and Pratiharas in North India.
The images of this period, that are displayed in the National
Museum were characterised by a round face with broad
forehead, rounded chin and eyebrows, half closed eyes,
pointed nose with broad nostrils, full bodied lips and serene
expression on the face. They display perfect refinement of
form and soft contours of body.
Image: Vishnu and Lakshmi
on Garuda (11th century CE)
Image: Varaha
sculpture (10th
century CE),
Pratiharas
West Indian (Jain) Bronze:
Image: Chakreshwari (10th century), Pratihara
In Western India, the Jain community patronized metal smiths for making icons of Jina.
This is evident from the discovery of several hoards of Jain imagers, including the famous
Akota hoard discovered in 1951 near present day Vadodara, Gujarat. These bronzes aid
in tracing the development of Jain Art and iconography in the early medieval period.
Jainism has a tradition of representing
important religious figures. The images
of Tirthankaras, or Jinas are not, in
principle, images of a god, they serve
only as a means by which the spirit can
be delivered from earthly desire and
affection and directed towards the
transcendent. Meditating on these
images brings the believer closer to the
great examples, the Liberated souls.
‘Jina’ in Sanskrit means ‘the conqueror’/
Tirthankara literally means ‘the maker
of the ford’.
The image here shows the sculpture of
Lord Parsvanatha made in 1062 CE.
East Indian Bronze: The eastern
Indian bronzes, mostly belonging to the Pala period (8 th to 12th century) form a glorious
phase in the history of Indian bronzes. Some exquisite bronzes from Nalanda in Bihar are
characterised by a tall slender figure, rich ornamentation, gliding and bearing an oval-
aureole rimmed with flame tips. Bronze art of Palas highlight the fine tradition among the
craftsmen from the region for several centuries. The influence of this style is also visible
in the bronzes from Nepal. A number of miniature bronzes, mostly Buddhist deities like
Prajnaparamita, Vasudhara and Tara, are displayed in this section.
Image: Votive Stupa, Pala, Nalanda, 9 th Century CE
Stone:
Image: Lintel showing Navagrahas, Pratihara, 8th Century CE, Chittorgarh, Rajasthan
Why Stone sculptures are special?
Stone sculptures are special for their durability, lasting for centuries and offering
valuable insights into ancient cultures. Associated with permanence, stone is often used
for religious and monumental art, symbolizing the eternal. The medium requires
exceptional skill, allowing for intricate, detailed works. In India, stone sculptures reflect
diverse religious traditions—Hindu, Buddhist, Jain—showcasing iconography and cultural
beliefs. These
sculptures also
serve as integral
parts of
architecture,
enhancing temples
and monuments
with spiritual and
aesthetic value.
The natural beauty
of stone, with its
unique textures
and colours, further
elevates the
craftsmanship,
making it a
timeless art form.
Image: Chaumukha, Andhra Pradesh, 12th Century Image: Dwarpala, Chola, 10 th
Century
Early Medieval Stone Sculptures:
Early medieval stone sculptures in India, dating from approximately the 6th to the 12th
century, represent a significant period of artistic and religious expression. These
sculptures primarily reflect the growth and evolution of Hindu, Buddhist, and Jain art,
with a focus on deities, mythological figures, and divine themes. The period saw the
construction of grand temples, which became
the central sites for large stone sculptures.
The most notable feature of early medieval stone
sculptures is their intricate craftsmanship
and attention to detail. Temples were often
adorned with colossal images of gods and
goddesses, including representations of
Vishnu, Shiva, Durga, and Lakshmi. These
figures were carved from hard stones like
sandstone, granite, and limestone, chosen for
their durability and ability to hold fine
details. The use of stone in large temple
sculptures allowed for highly expressive forms,
as seen in the famous Kailasa temple at Ellora
and the temples of Khajuraho.
Sculptors also created smaller, more refined
stone sculptures for personal devotion or smaller shrines. These included depictions of
Buddha, Jain Tirthankaras, and mythological narratives, showcasing the diversity of
religious practices during this period. Notable examples include the stone carvings of the
Elephanta Caves and the rock-cut temples of Badami and Aihole.
Image: Yogini Vrishanana, 10 th Century, Uttar Pradesh
The stone sculptures of the early medieval period were not only artistic achievements
but also religious symbols, often believed to embody the divine. They played a key role in
ritual worship, guiding devotees in their spiritual journeys. Through these sculptures, we
gain insight into the aesthetic, spiritual, and cultural richness of early medieval India.
Conclusion:
The National Museum of New Delhi showcases a wide range of artwork from all eras in
history of India. The Medieval Sculpture gallery is particularly elusive and fosters a
plethora of artwork that enshrines as the glory from the past of Indian subcontinent.
While it is to be noted that stone and bronze weren’t the only two materials used in
sculpture making, this report is to designed to highlight their special importance in this
era’s sculpting which elucidates the everyday lifestyle of people as well as demarcates
the flamboyant use of these materials to extend religious as well as political significance.
Overall, sculptures hold immense cultural, religious, and artistic significance. As a
medium of expression, they capture human creativity, history, and spirituality,
transforming ideas into tangible forms. In religious contexts, sculptures of deities and
saints serve as focal points for worship, helping to convey sacred narratives and divine
presence. Architecturally, sculptures enhance temples, palaces, and public spaces,
contributing to a society's aesthetic identity. They also preserve historical moments,
acting as visual records of ancient civilizations, social values, and technological
advancements. Sculptures enrich cultural heritage, provoke thought, and offer lasting
visual impressions, making them an essential part of human history.
Image: Tripurantaka, 8th
Century, Western Chalukya
Group 2:
1) Devansh Pandey (2023/05/018)
2) Nareshwar Sharma (2023/05/020)
3) Khushi (2023/05/022)
4) Kushagra Sharma (2023/05/024)
5) Tanuj Chaudhary (2023/05/026)
6) Rudraksha Ghosh (2023/05/028)
