Bharatiya Prachin Shilpkala - Book Summary

Here's a comprehensive summary of the Jain text "Bharatiya Prachin Shilpkala" (Ancient Indian Sculpture) by Dr. Pravinchandra C. Parikh, based on the provided pages:

Book Title: Bharatiya Prachin Shilpkala (Ancient Indian Sculpture) Author: Dr. Pravinchandra C. Parikh Publisher: University Granthnirman Board, Gujarat State Publication Year: 1978

Overall Scope and Purpose: The book, "Bharatiya Prachin Shilpkala," is a scholarly work that aims to provide a comprehensive, period-wise overview of ancient Indian sculpture, covering its evolution from the proto-historic era up to the 13th century CE. It is intended for university-level students of Indian Culture and History, as well as for scholars, enthusiasts, and connoisseurs of Indian sculptural art. The author acknowledges that aspects of iconography have been omitted as separate works on Hindu, Buddhist, and Jain iconography are being published or have been published by the University Granthnirman Board.

Key Themes and Structure:

The book is structured into nine main chapters and four appendices, followed by a bibliography and a glossary of terms.

Chapter 1: Introduction: This chapter defines sculpture, its place within the fine arts, and discusses the concepts of full-round and relief sculptures. It also outlines the materials used in sculpture, the various subjects depicted, and the rich sculptural literature available.
Chapter 2: Proto-Historic Sculpture (c. 2500 BCE - 1500 BCE): This chapter delves into the earliest stages of Indian sculpture, beginning with pre-Harappan traditions found in regions like Balochistan and Sindh. It highlights the findings from the Zhob and Kulli cultures, focusing on terracotta figurines of females and animals, noting their artistic merits and potential religious significance. The chapter then moves to the Harappan civilization, discussing the various forms of sculpture found, including seals with depictions, terracotta figures, and stone and metal sculptures. The famous "Priest-King" and the "Dancing Girl" figurines are implicitly referred to. The book emphasizes the advanced artistic skills evident even in these early periods.
Chapter 3: Sculpture from the Vedic Period to the Nandas (c. 1500 BCE - 325 BCE): This chapter explores the mentions of sculpture in Vedic and post-Vedic literature. While no physical examples from the early Vedic period survive, the text discusses the concept of "shilpa" as encompassing various arts and crafts. It notes the early association of deities with physical forms, hinting at nascent idol worship. The mention of artisans like Vishwakarma and Takshan (carpenter/sculptor) suggests a developed craft tradition. The chapter also touches upon the Mahajanapada period, acknowledging the development of sculptural forms, though concrete examples are scarce.
Chapter 4: Mauryan Sculpture (c. 325 BCE - 187 BCE): This chapter focuses on the significant advancements made during the Mauryan period, particularly under Ashoka. It highlights the polished stone pillars (lakshana) and their animal capitals (e.g., lion, elephant), noting the foreign (Persian and Greek) influences evident in their style and polish. The text discusses the free-standing Yaksha and Yakshi figures found at various sites like Patna (Didarganj Yakshi) and Mathura (Parikham Yaksha), noting their colossal size and robust forms, indicative of local folk traditions. The rock-cut sculptures in caves like Barabar and Nagarjuni hills are also mentioned, particularly the facade of the Lomas Rishi cave, which mimics wooden architecture.
Chapter 5: Post-Mauryan Sculpture (c. 187 BCE - 350 CE): This extensive chapter covers a crucial transitional period. It is divided into sections discussing:
- General Characteristics: The shift from Mauryan court art to a more popular, widespread art form is noted. The rise of distinct regional styles is highlighted.
- Sunga Period Art: Focuses on the relief sculptures found on the railings and gateways of stupas at Sanchi and Bharhut. The "uniloccal" or "topographical" method of depicting multiple events in a single panel is discussed, along with the hierarchical scale used to represent important figures. The narrative style and the depiction of various Jataka tales and scenes from Buddha's life are analyzed. The absence of Buddha's anthropomorphic form and the use of symbols are emphasized.
- Bodha Gaya: Discusses the sculptural elements associated with Bodh Gaya, including the earliest forms of relief work.
- Udayagiri and Khandagiri Caves: Explores the rock-cut architecture and sculptures in these caves, particularly the depictions related to King Kharavela and the artistic styles prevalent in Odisha.
- Gandhara Style: Analyzes the art developed in the Gandhara region, characterized by the fusion of Indian Buddhist themes with Greco-Roman naturalism and style. The idealized depiction of Buddha and Bodhisattvas, the flowing drapery, and the influence of classical aesthetics are discussed.
- Mathura Style: Highlights the indigenous development of sculpture in Mathura, noted for its robust figures, use of red sandstone, and the depiction of Buddhist, Jain, and Brahmanical themes. The evolution from Yaksha figures to Buddha and Tirthankara images is traced.
- Gujarat Sculpture: Discusses the influences of Gandhara and Mathura styles on Gujarat during the Kshatrapa period, noting unique features in cave architecture and relief panels.
- Deccan Rock-Cut Architecture Sculpture: Covers the sculptural art associated with the rock-cut caves in the Deccan region, including sites like Ajanta, Karle, Bhaja, and Kanheri, detailing their architectural features and sculptural elements.
- Influence of Foreign Styles: The chapter revisits the debate on foreign (Persian, Greek) influences on Mauryan and subsequent art, acknowledging the interplay of cultures but also emphasizing the strong indigenous traditions.
Chapter 6: Gupta-Vakataka Period Sculpture (c. 350 CE - 550 CE): This chapter highlights the "Golden Age" of Indian sculpture, characterized by its classical ideals, balance, proportion, and spiritual expression. It discusses the development of a universal Gupta style, the adherence to sculptural treatises (Shilpa Shastras), and the idealized yet naturalistic depiction of human forms. The chapter examines sculptures from various regions:
- North and East India: Focuses on the art centers of Sarnath and Mathura, discussing the evolution of Buddha images and the shift from symbolic representation to anthropomorphic forms. The serene expressions and refined drapery of Sarnath sculptures are contrasted with the more earthly and robust figures from Mathura.
- Madhya Pradesh: Covers the sculptures from sites like Udayagiri (famous for the Varaha and Vishnu reliefs), Eran, and Devgarh, noting their thematic richness and artistic execution.
- Gujarat: Discusses the sculptures from sites like Shamlaji, Devni Mori, and Vadnagar, noting the blend of indigenous and foreign influences during the Kshatrapa and Maitraka periods.
- Deccan: Examines the rock-cut sculptures and reliefs in the caves of Ajanta, Ellora, and other sites, emphasizing the continuation and evolution of Buddhist themes with a growing emphasis on narrative and emotional expression.
Chapter 7: Post-Gupta Sculpture (c. 550 CE - 700 CE): This chapter covers the period following the Gupta Empire, marked by the rise of regional powers and the continuation of existing artistic traditions with new regional variations. It discusses the art of the Maukharis, Vardhanas in the north, and the Chalukyas and Pallavas in the south. The increasing complexity of iconography, the emergence of Tantric influences in Buddhist art, and the narrative richness of temple sculptures are discussed.
Chapter 8: Rashtrakuta-Pratihara-Pala Period Sculpture (c. 700 CE - 1000 CE): This chapter details the sculptural developments under major dynasties like the Rashtrakutas (famous for the Kailasa temple at Ellora), Pratiharas (found in North India), and Palas (known for their bronze sculptures and Buddhist art). The emergence of dynamic and powerful forms, the increased use of ornamentation, and the flourishing of regional styles are highlighted. Specific examples from Ellora, Aihole, Pattadakal, and various Pala sites in Bihar and Bengal are discussed.
Chapter 9: Early Medieval Sculpture (c. 1000 CE - 1300 CE): This final chapter covers the period of flourishing temple architecture and sculpture in regions like Orissa (Konark, Bhubaneshwar), Khajuraho (Bundelkhand), and Gujarat (Solanki style). It discusses the increasing emphasis on intricate ornamentation, the depiction of erotic themes, and the regional variations in style, noting the distinct characteristics of each region's contribution.

Appendices:

Appendix 1: Terracotta Sculptures: Discusses the tradition of terracotta art from proto-historic times to later periods, highlighting its widespread use and continuous evolution.
Appendix 2: Metal Sculptures: Covers the development of metal casting techniques and the significant metal sculptures, particularly the famous dancing girl from Mohenjo-daro and later bronze images.
Appendix 3: Wooden Sculptures: Addresses the use of wood in ancient Indian art and architecture, noting its ephemeral nature and the limited surviving examples.
Appendix 4: Ivory Sculptures: Discusses the use of ivory in ancient Indian art, citing examples from various sites and mentioning its significance in decorative arts.
Appendix 5: Vyala Sculptures: Explains the importance and various forms of "Vyala" (composite mythical creatures) in Indian sculpture, noting their presence across different periods and cultures.

Key Strengths of the Book (as indicated by the text):

Chronological Approach: The book systematically traces the evolution of Indian sculpture through distinct historical periods.
Regional Analysis: It covers various geographical regions, highlighting regional stylistic variations and influences.
Integration of Textual and Archaeological Evidence: The author draws upon literary sources and archaeological findings to provide a comprehensive understanding.
Detailed Descriptions: The book provides detailed descriptions of specific sculptures and artistic features, often referencing specific examples and their locations.
Scholarly Rigor: The author cites various scholars and engages with different interpretations, particularly concerning foreign influences.
Visual Aids: The mention of "Rekhankana" (line drawings) and "Pattas" (plates) suggests the inclusion of visual aids to clarify sculptural details.

In essence, "Bharatiya Prachin Shilpkala" by Dr. Pravinchandra C. Parikh serves as a foundational text for understanding the vast and complex history of ancient Indian sculpture, offering a detailed and well-structured exploration of its development, styles, themes, and regional variations.