South and Southeast Asian Art
Title: Buddha
Architect: The Monks
Date: Larger built between 591-664, smaller 554-595
Period/ Culture: 6th century
Location: Bamiyan Valley, Afghanistan
Scale: The taller of the two ("Solsol") was 53 meters tall and the other 35 meters tall (Niches in the figures are 58 and 38 meters from bottom to top.
Patron: The Monks
Materials: Sandstone, Mud, Straw, Stucco
Techniques: Carved into the side of a cliff in the Bamiyan Valley
Intended Audience: Monks
Large Buddha statues are carved into the cliff. One is called Vairocana and the other Sakyamuni. The main bodies wre directly carved from the cliffs, but details were made from mud and straw covered in stucco. Slightyly pigmented coating was used to enhance the faces, hands, and fold in the robes. The larger of the statues portrays Dipankara Buddha and has traces of carmine red. The smaller has traces of multiple colors. The faces often had wooden masks or casts (face contains peg holes). The statues are meant to honor Buddha and represent the classic blended style of Gandhara art. Also there have destruction problems (Islam forbid idols, Soviet occupation, Taliban against religion)
Title: Buddha Complex
Architect: The Monks
Date: Larger built between 591-664, smaller 554-595
Period/ Culture: 6th century
Location: Bamiyan Valley, Afghanistan
Scale: The taller of the two ("Solsol") was 53 meters tall and the other 35 meters tall (Niches in the figures are 58 and 38 meters from bottom to top.
Patron: The Monks
Materials: vermilion, lead white, natural resins, gums, oils
Techniques: Carved into the side of a cliff in the Bamiyan Valley
Intended Audience: Monks
The Caves flanking the statues were home to the monks who carved the statues. Inside the caves are religious, bright colored, frescoes. 50 caves were found after the destruction of the Buddhas. The paintings were painted by painters between the 5th and the 9th centuries (different painters form silk road. The complex honors Buddha and it was home to the builders.
Title: Great Stupa at Sanchi
Architect: Unknown
Date: 300BCE -100CE
Period/ Culture: Southeast Asian
Location: India
Scale: 54 feet high and has a 120 foot diameter
Patron: King Ashoka (first king to embrace buddhism)
Materials: Sandstone, Stone
Techniques: Masonry
Intended Audience: Place of pilgramage, burial, relgious objects
Before Buddhism great teachers were either buried or cremated there. They were often baurried in a seated and meditative positions and a mound of earth covered them. The domed shape stupa represents a peron seated and meditative position. The stupa is known to be where King Ashoka's wife was born and place of their wedding. Stupas were also built for karmic reasons, they believed if they built a stupa, they would not be born into poverty. The earliest stupas contained Buddha's ashes, and they were therefore associated with Buddha.
Title: Detail from Great Stupa at Sanchi
Architect: Unknown
Date: 3rd century BCE- 1st century CE
Period/ Culture: Late Sunga Dynasty
Location: Madhya Preadesh India
Scale: 154 ft with 120 ft diameter
Patron: King Ashoka
Materials: Sandstone
Techniques: Sculpting, Masonry
Intended Audience: Buddhist to circumambulate around the stupa
Buddha sits in lotus position while meditationg. The Bodhisattvas are in the two upper corners. A nimbus surrounds his head. Buddha has an urna (curl of hair between brows) and an ushnisha (top knot). His hand gestures are mudras. In the lower corners are human figures. Buddha has a front profile and symmetrical compostion. The detail represents the important characteristics of the Buddha. It was also for Karmic benefits.
Title: North Gate from Great Stupa at Sanchi
Architect: Unknown
Date: 300 BCE- 100 CE
Period/ Culture: Buddhist
Location: Madhya Preadesh India
Scale: 35ft tall
Patron: King Ashoka
Materials: Sandstone
Techniques: Sculpting, Masonry
Intended Audience: Anyone who visits the Stupa
This is one of four toranas (stone gateway) that surround the Great Stupa. They are positioned at the cardinal points of a compass. Buddha does not appear as a human incarnate on the gate. Instead, he is symbolized by an empty throne, a tree that he would have meditated under, footprints, an empty enlightment seat, or a plank. Two posts are supported by elephants. The carved symbols thorughout the North Gate are from Buddha's life, the Jataka tales, and stories of Buddha's past lives. This is a low relief that has horro vaccui. Some parts represent places Buddha visited or taught. These gates were meant to be grand entrances that inspired the viewer and reminded them of the importance of the Buddha's life and teachings.
Title: Plan and Elevation of from Great Stupa at Sanchi
Architect: Unknown
Date: 3rd century BCE- 1st century CE
Period/ Culture: Late Sunga Dynasty
Location: Madhya Preadesh India
Scale: 154 ft with 120 ft diameter
Patron: King Ashoka
Materials: Sandstone
Techniques: Sculpting, Masonry
Intended Audience: Buddhist
-The harmika is inspired by a square railing or fence that surrounded the mound of dirt, marking it as a sacred burial site
-The anda's domed shape represents a mound of dirt that was used to cover the Buddha's remains. It has a solid core and connot be entered. The earliest stupas contained actual relics of buddha deep inside of the anda. Over time, the mound has take over the symbolization as the mountain home of the gods at the center of the universe.
-The chattra was derived form umbrellas that wre placed over the mound to protect it from the elements. The central pillar that holds the umbrellas has come to represent the pivot of the univers, the axis mundi along which the divine descends from heaven and become humanity. The three circular umbrella like disks represent the three jewels of Buddhism (the keys to a true understanding of faith: Buddha, Dharma, sangha)
Title: Borobudar Temple
Architect: Gunadharma
Date: 750- 842 CE
Period/ Culture: Sailendra Dynasty
Location: Indonesia
Scale: It's a building...
Patron: Unknown
Materials: Stone
Techniques: Stupa, Candi, Javanese
Intended Audience: Place of pilgramage, burial, relgious objects
There are three major levels, a square base, a middle level of five square terraces, and an upper level of three circular terraces. The levels represent the stages on the way to bodhisattva ideal of enlightment, symbolizing the spiritual journey. A pilgirm begins at the eastern stairway and walks clockwise around each of their monuments nine levels before reaching the top (3 miles). At the lowest level, are hundreds of reliefs of earthly desires, illustrating kama-dhatu (realm of feeling) . On the next level, a series of reliefs depict rupa- dhatu (realm of form). The uppper levels illustrates arup-dhatu (realm of formlessness). The temple was meant to be a three dimensional mandala, or a diagram of the cosomos. It takes pilgrims through a progressively higher state of consciousness as they make their journey.
Title: Borobudar Temple
Architect: Gunadharma
Date: 750- 842 CE
Period/ Culture: Sailendra Dynasty
Location: Indonesia
Scale: It's a building...
Patron: Unknown
Materials: Stone
Techniques: Low Relief
Intended Audience: Place of pilgramage
Queen Maya is riding in carriage to Lumbini because she will be giving birth to Prince Siddhartha Gautama. Also in the mix of the panel are horses, guards, people, and umbrella.
The birth of Buddha scenes are shown in 27 different panels.
There are 504 life size Buddhas, 1460 narrative relief sculptures on 1300 panels 8,200 feet long, there are 1500 stupas and one million carved blocks of stone. Lower stories represent the world of desire and negative impulses. The middle areas represent the world of forms, people have to control these negative impulses. The top story is the world of formulas, where the physical world and world desire are expunged.
Title: Buddhas of Borobudar Temple
Architect: Gunadharma
Date: 750- 842 CE
Period/ Culture: Sailendra Dynasty
Location: Indonesia
Scale: It's a building...
Patron: Unknown
Materials: Stone
Techniques: Statue
Intended Audience: Place of pilgramage
There are 504 life size Buddhas all together.
Hand Position- Buddhist variation combining the Gestures of Supreme Accomplishment and of Meditation. The gesture of the right hand symbolizes bestowal of supreme accomplishment. That of the left hand symbolizes meditation. Together, they stand for the Buddha's power to bestow supreme and general fulfillment on his disciples, while he meditates on emptiness. Overall the Buddha shows the epitome of the enlightened state.
Title: The Temple of Angkor Wat
Architect: King Suryavarman
Date: 800-1400 CE
Period/ Culture: Angkor Dynasty
Location: Cambodia
Scale: The entire site is 1,626,000 square meters
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: Vishnu and King Suryavarman
The temple is made up of an expansive enclosure wall, which separates the sacred temple grounds from the protective moat that surrounds the entire complex. The temple proper is composed of three galleries with a central sanctuary, marked by five stone towers.The five stone towers are meant to represent the five mountain ranges of Mt. Meru- the mythical home of the gods for Hinduism and Buddhism. The entire temple was designed to represent parts of Mt. Meru. The galleries and the empty spaces created, along with the moat, are meant to represent the mountain ranges and oceans that surround Mt. Meru. Angkor Wat is also considered an axis-mundi, which is cosmic or world axis that connects heaven and earth. Embedded in the temple’s construction is a mandala. It is planned according to the rising sun and moon(days, months, and years. The central axis should be aligned with the planets)
Title: South Gate of the Temple of Angkor Wat
Architect: King Jayavarman VII
Date: 800-1400 CE
Period/ Culture: Angkor Dynasty
Location: Cambodia
Scale: The entir site is 1,626,000 square meters
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: Vishnu and King Suryavarman
The South Gate of Angkor Thom is mountain-like. On the top are 3 faces. The identity of the faces is unknown; it could be Avolkiteshvara, or Mahayana, or Jayavarman VII. On the left side of the gate are 54 guardian gods, also called “devas.” On the right side are 54 demon gods, also called “asuras.” The devas pull the head of a snake, and the asuras pull the tail of the snake. The snake’s body is coiled around Mt. Meru. By pulling the snake in opposite directions, the ocean churned and milked
Title: The Churning of the Ocean Milk
Architect: Unknown
Date: 300-100 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Large bas relief
Patron: King Suryavarman II
Materials: Sandstone
Techniques: Stone Masonry
Intended Audience: King Suryavarmanand Vishnu
Suryavarman II worshipped Vishnu rather than Shiva, which was odd because most worshipped Shiva. This relief is on the south side of the East Wall in the third enclosure of Angkor Wat. This relief depicts a story from Hindu religion. In the story the Ocean of Stars is being churned in order to obtain amrita, which is the nectar of immortal life. In order to obtain the amrita, it needs to be churned up from the bottom of the ocean. Both the gods (devas) and devils (assuras) of the Hindu religion had to work together to obtain the amrita. The gods and devils couldn't churn it, so they called upon the serpent king, Vasuki, to churn the ocean for them. There is also a mountain in this scene, Mount Mandara. Vishnu wraps the serpent god around the mountain so that the mountain rotates around the sea and churns it.
Title: Jayavarman VII as Buddha
Architect: Unknown
Date: 300-100 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Large bas relief
Patron: King Jayavarman II
Materials: Stone and Sandstone
Techniques: Sculpture and Masonry
Intended Audience: King Jayavarman and Vishnu
Jayavarman VII was one of the greatest Khmer kings. He reigned as a powerful Khmer monarch from 1181-1218. He is the most famous of the Khmer kings. His life and reign were heaving influenced by his two wives, who were sisters. After his first wife died, he married her sister.This sculpture depicts Jayavarman VII as Buddha. Although Buddha himself was still not depicted in human form at this time, there were many sculptures in which there was an important person resembling BuddhaThis sculpture is meant to commemorate one of the great Khmer kings of all time by making him resemble Buddha. By connecting Jayavarman VII to Buddha, the power and importance of Jayavarman VII is increased by this link between a great monarch and one of the most popular religious, political, and social figures at this time.
Title: Angkor Wat Plan
Architect: Unknown
Date: 800-1400 CE
Period/ Culture: Khmer Empire
Location: Angkor, Cambodia
Scale: N/A
Patron: King Jayavarman II
Materials: N/A
Techniques: N/A
Intended Audience: King Jayavarman and Vishnu
At its highest point, it is 213 meters, or 699 feet tall. The height is achieved with three rectangular/square levels, each gets progressively smaller and higher. Covered galleries with columns define the boundaries of the first and second levels. The third level supports the five stone towers (the design of four towers on the corners and one in the middle is called a quincunx). The towers look like cones due to graduated tiers rising along the sides.
Title: Angkor Wat Site Plan
Architect: Unknown
Date: 800-1400 CE
Period/ Culture: Buddhist
Location: Madhya Pradesh, India
Scale: Pretty Big..
Patron: King Jayavarman II
Materials: Stone and Sandstone
Techniques: Sculpture and Masonry
Intended Audience: King Jayavarmanand and Vishnu
This plan is west facing, unlike the traditional Khmer temples which were east facing/oriented, leading people to believe that Suryavarman meant for it to be his funerary temple, further proved by the bas-reliefs going counter clockwise which is opposite to normal order. After a funeral the rituals take place in reverse. The temple is a representation of Mount Meru, where the gods live. It is a mix of temple mountain and gallery style.The cruciform terrace guarded by lions connecting the causeway to the central structure is a later addition. The building of temples by Khmer kings was a means of legitimizing their claim to political office and also to lay claim to the protection and powers of the gods.
Title: Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Period
Location: Khajuraho, India
Scale: 25.9 meters tall
Patron: Yashovarman
Materials: Sandstone
Techniques: Architecture
Intended Audience: Those who wanted to pray to Vishnu
The temple has nearly 600 images of gods, the main temple (east facing) is flanked by 4 free standing shrines at the corners of the platform. It is best known for its elaborate decoration
It has an entrance porch, a mandapa, and a maha-mandapa.
The walls have balconied windows. The sanctum doorway is of seven sakhas (vertical panels).The central one being decorated with various incarnation of Lord Vishnu. The Lintel depicts goddess Lakshmi in the centre flanked by Brahma and Vishnu. The sanctum contains four-armed sculpture of Vishnu.
Title: Detail from Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Dynasty
Location: Khajuraho, India
Scale: N/A
Patron: Yashovarman
Materials: Sandstone
Techniques: Relief Sculpture and masonry
Intended Audience: Those who wanted to pray to Vishnu
Mithuna -A man and woman are having sex; there legs are crossed over each other, because they are in a kamasutra yogic position. On the left is a man playing with his penis while the woman on the right is also masturbating. In society, sex was considered divine and the Kamasutra is a book about human sexuality, and India was open about these topics. Khajuraho had the Hindu and Jain religions. His erotic pose symbolizes regeneration and sexual pleasure. A detail like this can have many different messages; some interpret it as having tantric meaning and identity with deities and humans. It could represent changes to the body. It also relates to the Kama sutra.
Title: Detail from Lakshmana Temple
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Period
Location: Khajuraho, India
Scale: N/A
Patron: Yashovarman
Materials: Sandstone
Techniques: Sculpture
Intended Audience: Those who wanted to pray to Vishnu
Lion statue that is standing/sitting with one paw up that is on top of a woman. The lion’s mane is sleek and textured. The body is sleek. Narasimha is one of Vishnu’s avatars who is half-man/half-lion. The rakshasa (Demon) was granted a gift from brahma. He could not be killed by man or animal, inside or out, day or night, on earth or the stars, with a weapon either living or inanimate. Vishnu descended as an anthropomorphic incarnation, with the body of a man and head and claws of a lion. He then disembowels the rakshasa at the courtyard threshold of his house.
Title: Lakshmana Temple Plan
Architect: Unknown
Date: 930-950 BCE
Period/Culture: Chandella Dynasty
Location: Khajuraho, India
Scale: approximently 25.9m x 25.9m
Patron: Yashovarman
Materials: Sandstone
Techniques: Masonry
Intended Audience: Those who wanted to pray to Vishnu
1 is the sanctum. A sanctum is a doorway of seven vertical panels.
2 is the pradakshina patha, used for circumambulation
3 is the antarala, which is a vestibule between the sanctum and the hall.
4 is the mahamdapa, a large column hall.
5 is the mandapa. A mandapa is a pavilion for public events.
6 is the mukha mandapa, a porch.
Title: Shiva as Lord of Dance (Nataraja)
Architect: Unknown
Date: 11th century
Period/ Culture: Chola Period
Location: Bamiyan Valley, Afghanistan
Scale: 69x 57 cm
Patron: Queen Sembiyan Mahedevi
Materials: Bronze Copper Alloy
Techniques: Carved into the side of a cliff in the Bamiyan Valley
Intended Audience: Hindus
Shiva is dancing in a flaming nimbus, dancing on a dwarf figure which means “becoming.”. He unfolds the universe to destroy it because the universe will be reborn. He has four arms. His hair flies out. Nataraja means dance, or performance. Shiva has a third eye; he once burned the god Kama with his third eye. He lifts up his right hand as a gesture, telling people to not be afraid (called abhaya). In his upper right hand he holds a damaru, a drum symbolizing the beats of creation and time. In his upper left hand he holds agni, the fire that will destroy the universe. His front left hand is near his foot, a sign that there will be liberation.Shiva dancing is the universe’s cycle of life and rebirth. It shows physical beauty and grace. These sculptures were also portable. Shiva has feminine qualities, which shows gender is less important than religion.