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Hindu art encompasses the artistic traditions and styles culturally connected to Hinduism and have a long history of religious association with Hindu scriptures, rituals and worship.
Hinduism, with its 1.2 billion followers, is the religion of about 15-16 % of the world's population [1] and as such the culture that ensues it is full of different aspects of life that are effected by art. There are 64 traditional arts that are followed that start with the classics of music and range all the way to the application and adornment of jewellery. [2] Since religion and culture are inseparable with Hinduism recurring symbols such as the gods and their reincarnations, the lotus flower, extra limbs, and even the traditional arts make their appearances in many sculptures, paintings, music, and dance.
It is thought that before the adoption of stone sculpture, there was an older tradition of using clay or wood to represent Indian deities, which, because of their inherent fragility, have not survived. [5]
There are no remains of such representations, but an indirect testimony appears in the some punch-marked coins of the Mauryan Empire, as well as the coinage of the Indo-Greek king Agathocles, who issued coins with the image of Indian deities, together with legends in the Brami script, circa 180-190 BCE. [4] [3] The deity illustrated in some of the punch-marked coins of the 3rd century BCE is now generally thought to be Balarama, with his attributes: a plough in his raised left hand and pestle in his raised right hand. [6] Also among the first known illustrations of Hindu deities appear on Hellenistic coinage, as witnesses by the Indo-Greeks in the northwest of the Indian subcontinent, and they are generally identified as Balarama-Samkarshana and Vasudeva-Krishna, together with their attributes, especially the Gada mace and the plow for the former, and the Vishnu attributes of the Shankha (a pear-shaped case or conch) and the Sudarshana Chakra wheel for the latter. [4] [7] According to Bopearachchi, the headdress is actually a misrepresentation of a shaft with a half-moon parasol on top (chattra), as seen in later statues of Bodhisattvas in Mathura. It is therefore thought that images, predating the coins but now lost, served as models to the engravers. [7]
The dancing girls on some of the coins of Agathocles and Pantaleon are also sometimes considered as representations of Lakshmi, the consort of Vishnu, but also a Goddess of abundance and fortune for Buddhists, or Subhadra, the sister of Krishna and Balarama. [7]
By 100 BCE in the art of Mathura, reliefs start to represent more complex scenes, defining, according to Sonya Rhie Quintanilla, an age of "iconic diversification and narrative maturation". Some reliefs, such as the "Katra architrave", possibly representing Brahmins and the cult of the Shiva Linga. These reliefs from Mathura are dated to circa 100 BCE. [8] These examples of narrative reliefs, although few remain, are as refined and intricate as the better known Buddhist narrative reliefs of Bharhut, Sanchi or Amaravati. [9] [10]
Hindu art started to develop fully from the 1st to the 2nd century CE, and there are only very few examples of artistic representation before that time. [13] Hindu art found its first inspiration in the Buddhist art of Mathura. The three Vedic gods Indra, Brahma and Surya were actually first depicted in Buddhist sculpture, as attendants in scenes commemorating the life of the Buddha, such as his Birth, his Descent from the Trāyastriṃśa Heaven, or his retreat in the Indrasala Cave. [13] During the time of the Kushans, Hindu art progressively incorporated a profusion of original Hindu stylistic and symbolic elements, in contrast with the general balance and simplicity of Buddhist art. The differences appear in iconography rather than in style. [14] It is generally considered that it is in Mathura, during the time of the Kushans, that the Brahmanical deities were given their standard form:
"To a great extent it is in the visual rendering of the various gods and goddesses of theistic Brahmanism that the Mathura artist displayed his ingenuity and inventiveness at their best. Along with almost all the major cult icons Visnu, Siva, Surya, Sakti and Ganapati, a number of subsidiary deities of the faith were given tangible form in Indian art here for the first time in an organized manner. In view of this and for the variety and multiplicity of devotional images then made, the history of Mathura during the first three centuries of the Christian era, which coincided with the rule of the Kusanas, can very well be called revolutionary in the development of Brahmanical sculpture"
— Pran Gopal Paul and Debjani Paul, in Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations [15]
Some sculptures during this period suggest that the concept of the avatars was starting to emerge, as images of "Chatur-vyuha" (the four emanations of Vishnu) are appearing. [16] The famous "Caturvyūha Viṣṇu" statue in Mathura Museum is an attempt to show in one composition Vāsudeva (avatar of Vishnu) together with the other members of the Vrishni clan of the Pancharatra system: Samkarsana, Pradyumna and Aniruddha, with Samba missing, Vāsudeva being the central deity from whom the others emanate. [11] [12] The back of the relief is carved with the branches of a Kadamba tree, symbolically showing the relationship being the different deities. [11] The depiction of Vishnu was stylistically derived from the type of the ornate Bodhisattvas, with rich jewelry and ornate headdress. [17]
The first known creation of the Guptas relate to Hindu art at Mathura is an inscribed pillar recording the installation of two Shiva Lingas in 380 CE under Chandragupta II, Samudragupta's successor. [21]
Until the 4th century CE, the worship of Vāsudeva-Krishna seems to have been much more important than that of Vishnu. [20] With the Gupta period, statues focusing on the worship of Vishnu start to appear, and replace earlier statues which are now attributed to Vāsudeva-Krishna. [20] Many of the statues of Vishnu appearing from the 4th century CE, such as the Vishnu Caturanana ("Four-Armed"), use the attributes and the iconography of Vāsudeva-Krishna, but add an aureole starting at the shoulders. [20]
Other statues of Vishnu show him as three-headed (with an implied fourth head in the back), the Visnu Vaikuntha Chaturmurti or Chaturvyuha ("Four-Emanations") type, where Vishnu has a human head, flanked by the muzzle of a boar (his avatar Varaha) and the head of a lion (his avatar Narasimha), two of his most important and ancient avatars, laid out upon his aureole. [20] Recent scholarship considers that these "Vishnu" statues still show the emanation Vāsudeva Krishna as the central human-shaped deity, rather than the Supreme God Vishnu himself. [22] [20]
A further variation is Vishnu as three-headed cosmic creator, the Visnu Visvarupa , showing Vishnu with a human head, again flanked by the muzzle of a boar the head of a lion, but with a multitude of beings on his aureole, symbol of the numerous creations and emanations resulting from his creative power. [20] These sculptures can be dated to the 5th century CE. [20]
In the 3rd-4th century CE, Lakshmi, which had been an independent Goddess of prosperity and luck, was incorporated in the Vaishnava pantheon as the consort of Vishnu. [23] She thus became the Hindu goddess of wealth, good fortune, prosperity and beauty. [24]
Hindu art became largely prevalent from the Medieval period onward. It was accompanied by the decline of Buddhism in the Indian subcontinent.
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Natya Shastra and centuries of Hindu cultural traditions have given rise to several art forms. Some of which are:
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The Trimurti is the trinity of supreme divinity in Hinduism, in which the cosmic functions of creation, preservation, and destruction are personified as a triad of deities. Typically, the designations are that of Brahma the creator, Vishnu the preserver, and Shiva the destroyer. The Om symbol of Hinduism is considered to have an allusion to Trimurti, where the A, U, and M phonemes of the word are considered to indicate creation, preservation and destruction, adding up to represent Brahman. The Tridevi is the trinity of goddess consorts for the Trimurti.
Balarama is a Hindu god, and the elder brother of Krishna. He is particularly significant in the Jagannath tradition, as one of the triad deities. He is also known as Haladhara, Halayudha, Baladeva, Balabhadra, and Sankarshana.
Avatar is a concept within Hinduism that in Sanskrit literally means 'descent'. It signifies the material appearance or incarnation of a powerful deity, or spirit on Earth. The relative verb to "alight, to make one's appearance" is sometimes used to refer to any guru or revered human being.
Vāsudeva I was a Kushan emperor, last of the "Great Kushans." Named inscriptions dating from year 64 to 98 of Kanishka's era suggest his reign extended from at least 191 to 232 CE. He ruled in Northern India and Central Asia, where he minted coins in the city of Balkh (Bactria). He probably had to deal with the rise of the Sasanians and the first incursions of the Kushano-Sasanians in the northwest of his territory.
The Bhagavata tradition, also called Bhagavatism, refers to an ancient religious sect that traced its origin to the region of Mathura. After its syncretism with the Brahmanical tradition of Vishnu, Bhagavatism became a pan-Indian tradition by the second century BCE, according to R.C. Majumdar.
Pancharatra was a religious movement in Hinduism that originated in late 3rd-century BCE around the ideas of Narayana and the various avatars of Vishnu as their central deities. The movement later merged with the ancient Bhagavata tradition and contributed to the development of Vaishnavism. The Pancharatra movement created numerous literary treatises in Sanskrit called the Pancharatra Samhitas, and these have been influential Agamic texts within the theistic Vaishnava movements.
Panchayatana puja also known as Pancha Devi Deva Puja is a system of puja (worship) in the Smarta sampradaya, which is one of four major sampradaya of Hinduism. It consists of the worship of five deities set in a quincunx pattern, the five deities being Ganesha, Adi Shakti, Shiva, Vishnu and Surya. Sometimes an Ishta Devata or Kartikeya is the sixth deity in the mandala.
Vaishnavism is one of the major Hindu denominations along with Shaivism, Shaktism, and Smartism. It is also called Vishnuism since it considers Vishnu as the sole supreme being leading all other Hindu deities, that is, Mahavishnu. Its followers are called Vaishnavites or Vaishnavas, and it includes sub-sects like Krishnaism and Ramaism, which consider Krishna and Rama as the supreme beings respectively. According to a 2010 estimate by Johnson and Grim, Vaishnavism is the largest Hindu sect, constituting about 641 million or 67.6% of Hindus.
Vāsudeva, later incorporated as Vāsudeva-Krishna, Krishna-Vāsudeva or simply Krishna, was the son of Vasudeva Anakadundubhi, king of the Vrishnis in the region of Mathura. He was a leading member of the legendary Vrishni heroes, and may well have been a historical ruler in the region of Mathura.
Vishnu, also known as Narayana and Hari, is one of the principal deities of Hinduism. He is the supreme being within Vaishnavism, one of the major traditions within contemporary Hinduism.
Ekanamsha is a Hindu goddess. She is primarily identified with the illusory power of Vishnu is Yogamaya.
Vaikuntha Chaturmurti or Vaikuntha Vishnu is a four-headed aspect of the Hindu god Vishnu, mostly found in Nepal and Kashmir. The icon represents Vishnu as the Supreme Being. He has a human head, a lion head, a boar head and a fierce head. Sometimes, even three-headed but aspects of Vishnu where the fierce rear head is dropped are considered to represent Vaikuntha Chaturmurti. Though iconographical treatises describe him to eight-armed, he is often depicted with four. Generally, Vaikuntha Chaturmurti is shown standing but sometimes he is depicted seated on his vahana (mount) Garuda.
Vyūha means - 'to arrange troops in a battle array (formation)', 'to arrange, put or place in order, to dispose, separate, divide, alter, transpose, disarrange, resolve '. Its root is व्यः which means - a 'cover' or 'veil'. This word also refers to emanation and to the manifest power of Lord Vishnu. It has different meanings depending on the doctrine of the treatise and the context, such as revealing of the knowledge of Vedas, manifestation of Vishnu or Buddha, and the war formations of Mahabharata.
The Art of Mathura refers to a particular school of Indian art, almost entirely surviving in the form of sculpture, starting in the 2nd century BCE, which centered on the city of Mathura, in central northern India, during a period in which Buddhism, Jainism together with Hinduism flourished in India. Mathura "was the first artistic center to produce devotional icons for all the three faiths", and the pre-eminent center of religious artistic expression in India at least until the Gupta period, and was influential throughout the sub-continent.
The Vishnu nicolo seal is a "finely engraved" oval agate seal from the Gandhara region, dated to the 4th century CE. Since 1892 it has been in the British Museum. Nicolo is an abbreviation of the Italian onicolo, meaning "little onyx", a type of stone, often made of different layers in various shades of blue, used for intagli.
The Vasu Doorjamb Inscription is an early 1st-century CE Sanskrit inscription in Brahmi script dedicated to the deity Vāsudeva, related to the Vaishnavism tradition of Hinduism. It is also one of the several dedicatory inscriptions from Mathura bearing the name of the Indo-Scythian Northern Satrap ruler Sodasa, which are useful as historic markers for the first half of the 1st century CE.
Kushan art, the art of the Kushan Empire in northern India, flourished between the 1st and the 4th century CE. It blended the traditions of the Greco-Buddhist art of Gandhara, influenced by Hellenistic artistic canons, and the more Indian art of Mathura. Kushan art follows the Hellenistic art of the Greco-Bactrian Kingdom as well as Indo-Greek art which had been flourishing between the 3rd century BCE and 1st century CE in Bactria and northwestern India, and the succeeding Indo-Scythian art. Before invading northern and central India and establishing themselves as a full-fledged empire, the Kushans had migrated from northwestern China and occupied for more than a century these Central Asian lands, where they are thought to have assimilated remnants of Greek populations, Greek culture, and Greek art, as well as the languages and scripts which they used in their coins and inscriptions: Greek and Bactrian, which they used together with the Indian Brahmi script.
The Vrishni heroes, also referred to as Pancha-viras, are a group of five legendary, deified heroes who are found in the literature and archaeological sites of ancient India. Their earliest worship is attestable in the clan of the Vrishnis near Mathura by 4th-century BCE. Legends are associated with these deified heroes, some of which may be based on real, historical heroes of the Vrishni clan. Their early worship has been variously described as cross-sectarian, much like the cult of the Yakshas, related to the early Bhagavata tradition of Hinduism, and with possible links to Jainism as well. They and their legends – particularly of Krishna and Balarama – have been an important part of the Vaishnava tradition of Hinduism.
Caturvyūha or Chatur-vyūha, is an ancient Indian religious concept initially focusing on the four earthly emanations (Vyūhas) of the Supreme deity Nārāyaṇa, and later Viṣṇu. The first of these emanations is the hero-god Vāsudeva, with the other emanations being his kinsmen presented as extensions of Vāsudeva himself. From around the 1st century CE, this "Vyuha doctrine" (Vyūhavāda) developed out of the earlier Vīravāda cult of the Vrishni heroes, in which the five heroes Saṃkarṣaṇa, Vāsudeva, Pradyumna, Samba and Aniruddha had remained mostly human in character. Still later, around the 4th century CE, it evolved into the Avatāravāda system of incarnations of Vishnu, in which Vishnu was the primordial being and the Vrishni heroes had become his avatars.
Saṃkarṣaṇa later known as Balarama, was a son of Vasudeva Anakadundubhi, king of the Vrishnis in the region of Mathura. He was a leading member of the Vrishni heroes, and may well have been an ancient historical ruler in the region of Mathura. The cult of Saṃkarṣaṇa with that of Vāsudeva is historically one of the earliest forms of personal deity worship in India, attested from around the 4th century BCE.