art history

INDIA INVASIONS  HOMOGENEOUS CULTURE  BUDDHISTS, HINDUS, MUSLIMS, ETC.  ONE OF THE MOST DIVERSE COUNTRIES  RULERS SUPPORTED ARTS, PATRONS  COMMISSIONED BUILDINGS, SCULPTURES, MURALS  ART IS A TEAM EFFORT ARTISTS TRAINED AS APPRENTICES IN WORKSHOPS  HIGHLY ORGANIZED  BUDDHISM  BUDDHA SOUGHT FULFILLMENT TRAVELING THROUGH THE COUNTRY SIDE LIFE FULL OF SUFFERING, ENDLESS CYCLE OF BIRTH AND REBIRTH  BUDDHIST END THIS CYCLE; RELEASE OF THE SOUL  DEVOTION TO GOOD WORKS, CHARITY BUDDHIST ICONOGRAPHY  THE LION, THE WHEEL, THE LOTUS, EMPTY THRONE  DEPICTIONS OF BUDDHA  COMPACT POSE, SEATED  DRAPERY VARIES REGION TO REGION NO JEWELRY; DISPLAYS REJECTION OF COURTLY LIFE STUPA MOUND SHAPED SHRINE PRAY ACCORDING TO THE SUN'S COURSE COSMIC SYMBOLISM HINDU GOOD LIFE THROUGH PRAYER, GOOD DEEDS, RELIGIOUS DEVOTION; BREAKS CYCLE OF REINCARNATION HINDU ARCHITECTURE SEXUAL ALL...

Taj Mahal. Agra, Uttar Pradesh, India. Masons, marble workers, mosaicists, and decorators working under the supervision of Ustad Ahmad Lahori, architect of the emperor. 1632–1653 C.E. Stone masonry and marble with inlay of precious and semiprecious stones; gardens. During his third regnal year, his favorite wife, known as Mumtaz Mahal, died due to complications arising from the birth of their fourteenth child.  Deeply saddened, the emperor started planning the construction of a suitable, permanent resting place for his beloved wife almost immediately. The result of his efforts and resources was the creation of what was called the Luminous Tomb in contemporary Mughal texts and is what the world knows today as the Taj Mahal. Sunni Muslims favor a simple burial, under an open sky.  But notable domed mausolea for Mughals; were built prior to Shah Jahan’s rule The Taj is, however, exceptional for its monumental scale, stunning gardens, lavish ornamentation,...

Jahangir Preferring a Su Shaikh to Kings . Bichitr. c. 1620 C.E. Watercolor, gold, and ink on paper. In this miniature painting, Jahangir Preferring a Sufi Shaikh to Kings , flames of gold radiate from the Emperor’s head against a background of a larger, darker gold disc. A slim crescent moon hugs most of the disc’s border, creating a harmonious fusion between the sun and the moon, and symbolizing the ruler’s emperorship and divine truth. The Emperor is the biggest of the five human figures painted, and the disc with his halo—a visual manifestation of his title of honor—is the largest object in this painting. Jahangir faces four bearded men of varying ethnicity, who stand in a receiving-line format on a blue carpet embellished with arabesque flower designs and fanciful beast motifs. Below the Shaikh, and thus, second in the hierarchical order of importance, stands an Ottoman Sultan. The unidentified leader, dressed in gold-embroidered green clothing and a turban ...

Shiva as Lord of Dance (Nataraja) . Hindu; India (Tamil Nadu), Chola Dynasty. c. 11th century C.E. Cast bronze The art of medieval India, like the art of medieval Europe, was primarily in the service of religion. The devotee’s spiritual experience was enhanced by meditation inspired by works of art and architecture. Nataraja”—nata meaning dance or performance, and raja meaning king or lord this particular statue was intended to be movable, which explains its moderate size and sizeable circular base, ideal for lifting and hoisting onto a shoulder. From the 11th century and onwards, Hindu devotees carried these statues in processional parades as priests followed chanting prayers and bestowing blessings on people gathered for this purpose. In a religious Hindu context, the statue is the literal embodiment of the divine. When the worshiper comes before the statue and begins to pray, faith activates the divine energy inherent in the statue, and at that moment, Shiva is p...