The Khaira Visnu in grey sandstone, now in mutilated state, stands erect but shows a change in iconographic features, introducing anthropomorphic forms of the weapon-symbols gada and chakra. From this stage it is, however, not difficult to trace the line of evolution of the typical Visnu type of Bengal that dominates the art of the region in the following five hundred years.
Paharpur sculptures The Gupta sculptures of Bengal are mostly icons and their forms were determined by the characteristics of the gods as prescribed by the priests of Madhyadesha or central India. In such forms the artist's imagination can play only a marginal role. From a series of panels discovered in somapura mahavihara, at paharpur (Bangladesh), it is possible to have at least some glimpses of the formal and aesthetic preferences of the Bengal sculptor. Built in the latter half of the 8th century AD there are as many as sixty-three stone sculptures fixed around the basement wall of the shrine. The sculptures are carved in high relief on stone slabs, not unlike those found on the faces of the basement of a ruined Buddhist shrine at Nalanda.
On stylistic consideration the Paharpur sculptures are divided into three groups. The third group, which includes the large majority of pieces, was most possibly executed along with the shrine itself, and therefore assignable to the 8th century AD. But the first group, which is best represented by the image of Radha-Krsna (?) group, Yamuna, Balarama and Shiva, shows an unmistakable affinity with the Gupta classical art.
The second group of Paharpur sculptures is stylistically placed in between the 6th and 8th century AD. The Gupta classical art is not only significant for finalising the ideated human forms, and establishing the features of male and female beauties, but also for endowing such physical forms with sentiments and lively gestures. The art style makes human form its vehicle of expressions, and such expressions include both mundane and supra mundane. An isolated standing Buddha (fig.4) in gray sandstone, now preserved in the varendra research museum, is an example of spiritual beauty carved on stone, and bears all the stylistic features of the famous Sarnath Buddhas of similar stance but in larger size. (04 of 16)
Paharpur sculptures The Gupta sculptures of Bengal are mostly icons and their forms were determined by the characteristics of the gods as prescribed by the priests of Madhyadesha or central India. In such forms the artist's imagination can play only a marginal role. From a series of panels discovered in somapura mahavihara, at paharpur (Bangladesh), it is possible to have at least some glimpses of the formal and aesthetic preferences of the Bengal sculptor. Built in the latter half of the 8th century AD there are as many as sixty-three stone sculptures fixed around the basement wall of the shrine. The sculptures are carved in high relief on stone slabs, not unlike those found on the faces of the basement of a ruined Buddhist shrine at Nalanda.
On stylistic consideration the Paharpur sculptures are divided into three groups. The third group, which includes the large majority of pieces, was most possibly executed along with the shrine itself, and therefore assignable to the 8th century AD. But the first group, which is best represented by the image of Radha-Krsna (?) group, Yamuna, Balarama and Shiva, shows an unmistakable affinity with the Gupta classical art.
The second group of Paharpur sculptures is stylistically placed in between the 6th and 8th century AD. The Gupta classical art is not only significant for finalising the ideated human forms, and establishing the features of male and female beauties, but also for endowing such physical forms with sentiments and lively gestures. The art style makes human form its vehicle of expressions, and such expressions include both mundane and supra mundane. An isolated standing Buddha (fig.4) in gray sandstone, now preserved in the varendra research museum, is an example of spiritual beauty carved on stone, and bears all the stylistic features of the famous Sarnath Buddhas of similar stance but in larger size. (04 of 16)
No comments:
Post a Comment