Indian Painting B.A. II

1. Indian PaintingB.A. II Dr. O. P. Parameswaran, Assistant Professor, Department of Fine Arts, Post Graduate Govt. College for Girls, Sector-11, Chandigarh.

2. Unit-II: History of Indian Sculpture (BA-3) • 2.2 Ardhanarishvara from Mahabalipuram (Pallava art)

3. Introduction: • The successor of the Andhras in South India were the Pallavas. • During the rein of the great Narasimha Varman I (c.630) the seaside emporium in Mahabalipuram began to flower as a great artistic centre. • The very name of the site perpetuates the ruler’s fame, for Narsimha Varman I was also called the ‘Great wrestler’, Mamalla. • Today the name has been corrupted into Mahabalipuram (Town of the Great Demon King Bali).

4. Some of the Pallava’s greatest art works at Mahabalipuram, begun in the middle of the 7th century and continuing for about two generations into the 8th century, are cave temples and gigantic open-air relief’s carved into the whale-back outcroppings of granite that spin this strip of coastal land.

5. Ardhanarisvara: • Among the numerous sculptures produced at Mahabalipuram, the relief depicting the figure of Ardhanarisvara is one of the most beautifully carved sculptures. • The concept of Ardhanarisvara is unique in the cultural history of India. • It is a unique form of combination of the both male and female figures combined in one form.

6. This sculpture symbolically represents the Shakti- the female spirit of vitality on the left part and the Shiva- the male power on the right side of the figure. The figure of Ardhanarisvara occupies the centre • The figure Ardhanarisvara stands in a ‘tribhanga’ pose. • The right side of the sculpture shows all the male features and left side shows the female characteristics.

7. In order to emphasis the grace of the female part, the curve of the left hip of the figure is extended outward. • On the other hand, male side has all the distinctive masculine features, which include the flat chest. • The curve of hip is not exaggerated or projected as in the female side. • The jewellery of the male side is carved differently. • Shiva wears a long shaped earring. The hair on the male side is in a matted form, which is an attribute of Shiva.

8. The general features of the face are broad forehead and face, eyebrows curved and joined together. • Even though the above mentioned are the general features, still one can very clearly make out male and female parts of the face.

9. Stylistic features of the work: • Pallava sculptures retain the same elongated, slender, pliant and graceful forms seen at Amaravati but the figures have become more sublime and disciplined. • The Pallava laid greater stress on natural simplicity, which gives their carvings an immediate charm. • They do not rely on subtleties such as deep mysterious caves with strong play of light and shade as in the Ellora sculpture of the same period.

10. Everything is clear and open in these Pallava carvings on the face of rocks and shallow cavities. • Pallava artist had a special gift for hinting at the significance of their themes by means of overtones. • They never represented their subjects in dramatically decisive scenes. • The human and divine figures produced by the artist of the Pallava dynasty show an impersonal, dignified reserves verging on aloofness.

11. Their long, thin, almost tubular limbs make them look even taller. • The female figures usually lean on their tall, broad shouldered partner and look very submissive, whether they human or goddesses. • They are much slighter, with narrow chest and shoulders, and very slender waists. • Both their ornaments and clothing are scant.