Here is a piece I wrote on some of my favourite early Buddhist monastic sites
India’s ancient cave monasteries
To the north of Pune lie rock-cut complexes as startling as Petra but completely overlooked by tourists ft.com/content/e0ce28…
"Open at one end, and entered by a magnificent 9m-tall horseshoe-arch, it still miraculously preserves its ancient wooden roof beams, like the wrecked keel of a prehistoric ark. These wooden shards crown one of the oldest rooms in the world..."
"Carved window frames, blind arches and tiers of fretwork mouldings give way to bamboo railings and balconies out of which half-naked Satavahana men and women peer, as if gazing out arm in arm from the terrace of their apartment block, surveying the valley below..."
"These cells and monastic debating halls were already 200 years old when Augustus started the rebuilding of Rome, or when Jesus of Nazareth led his first disciples into the fastness of the Judaean hills..."
"These amazing masterworks of early Buddhist art and architecture are the prototypes of the forms that would later spread over the Himalayas to Afghanistan, China and Japan, or by sea to Sri Lanka, Myanmar, Thailand, Cambodia, and the rest of southeast Asia..."
"The roots of all this lie scattered around these stark Maharashtrian hills, alone among the precipices and dragon’s back peaks, apparently forgotten and ignored by all."
• • •
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Head of Shiva
Phnom Bok (Siem Reap)
Angkor Period, 10thC
Love the details here- the sharp line of the eyebrows, the finely incised iris in the eyes, the hint of beard at the chin, the metallic perfection of the skin & the otherworldly distance of the smile
Head of Brahma
Phnom Bok (Siem Reap)
Angkor Period
1st quarter of the 10thC
Head of Vishnu
Phnom Bok (Siem Reap)
Angkor Period
1st quarter of the 10thC
The Nataraja, Shiva as Lord of the Dance, is arguably the greatest artistic creation of the Chola dynasty. It is the perfect symbol of the way Chola sculptors managed to imbue their creations with both a raw sensual power & a profound theological complexity
The dancing figure of the god is not just a model of virile bodily perfection, but also an emblem of higher truths: on one level Shiva dances in triumph at his defeat of the demons of ignorance and darkness, and for the pleasure of his consort.
At another level- dreadlocks flying, haloed in fire- he is also dancing the world into extinction so as to bring it back into existence in order that it can be created and preserved anew.
Natraj- Chola,Tanjore 11thC
Now in the collection of the Guimet & Humboldt Forum
More faces of Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE
More faces from Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE
More faces from Kizil
The first meeting of Indian and Chinese art-- with Persian, Central Asian, Zoroastrian and Manichean influences- at the Kizil Buddhist Caves near Turfan in Xinjiang, c350CE
For the new Humboldt Forum galleries, @LillaBRS, Lilla Russell-Smith, has dug out of storage a whole range of 5th-10thC murals from Bezeklik and Kizil near Turfan in Xinjiang. Many have not been on display for decades.
These murals from Xinjiang are so similar in tone to the murals at Ajanta and Bagh they may well be the work of itinerant Indian artists at work in Central Asia.
These apsaras and gandhavras remind me of the similar heavenly begins hovering over Arjuna's penance at Mahabalipuram