Java’s earliest Hindu temple complex, built between 675 and 725, lies high on the Dieng Plateau, some three hours drive from Borobodur in the Highlands of Central Java.
Here, up amid the sulphur springs and occluded by plumes of sulphurous steam belching out of geysers within the rim of a still active volcano, is the sacred space known as '‘The Place of the Gods.”
The temples are all Shaivite, though on the Trimurti temple, Brahma and Vishnu are also depicted in some of the very earliest Hindu figure sculpture to survive from SE Asia.
Most of the temples are built in a similar style to the Pallava temples in Kanchipuram and are especially close to the profile of the Shore Temple at Mahaballipuram, but none are directly modelled on any one temple, and the elongated doorways are unique.
These new SE Asian stone temples were constructed in a world with similar social and political processes at work to 7thC South India
... "yet while there is a great deal of evidence of the results of cultural interactions between South and Southeast Asia, direct evidence regarding the agents and actual processes of cultural transmission remains rather meagre.”
Most of the upper storeys of these temples have upturned corner accents, typical of Javanese prototypes & resembling Chinese flying eves—so amid the Indian influence, localisation is already taking place, a process that would soon spin off into its own fantastic trajectory.
"This geographical spread of cellae across South and Southeast Asia suggests not just parallel developments from a common source, but also exchanges in architectural ideas, technical expertise and interpretations of religious rituals..."
"The occurrence of particular architectural techniques, motifs or compositional characteristics in geographically separated locations begs numerous questions." (Datta)
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ZEBRAS & ZODIACS:
JAHANGIR & THE MUGHAL ART REVOLUTION
The Emperor Jahangir was a true connoisseur of beauty. His reign witnessed a flourishing of art, particularly through his patronage of workshops of brilliant artists who between them created a series of extraordinary masterpieces.
The reigns of Jahangir saw the artistic highpoint of the Mughal atelier, and with it the moment of greatest celebrity for the masters at court. Jahangir awarded his two master artists, the brilliant animal painter Mansur and his rival Abu’l Hasan, the titles Nadir al-Zaman, ‘Wonder of the Age,’ and Nadir al-Zaman, “Wonder of the Times.”
Abu’l Hasan seems to have been a particular favourite of Jahangir. “I have always considered it my duty to give him much patronage,” wrote the Emperor in his own autobiography, the Jahangirnama, “and from his youth until now I have patronised him so that his work has reached the level it has.”
The oldest surviving sculptures of the Buddha in Southeast Asia. Found at Oc Eo, now on the Vietnamese side of the Mekong Delta, and the presumed site of one the very first Indic-influenced courts in the region, known to the Chinese as Funan.
The Chinese called this city state Funan – the Indians, Vyadhapura. We do not know what it was called by its own inhabitants. A Chinese court envoy who came to Funan in the third century ce left the first eyewitness portrait of this nascent trading world. ‘This place is famous for precious rarities from afar,’ wrote the Chinese Xue Zong in the third century ce: ‘pearls, incense, elephant tusks, rhinoceros’ horn, tortoise shell, coral, lapis lazuli, parrots, kingfishers, peacocks, rare and abundant treasures enough to satisfy all desires.’
To 21stC eyes, the tall waterlogged wooden Buddhas found at the site are astonishingly beautiful- like Giacometti's Walking Man, and even more than that, the Etruscan bronze know as The Shadow of the Evening which inspired some of his best work
To close 2024 @tweeter_anita & I look at the chaotic first attempts of the English crown to open diplomatic relations with Mughal India
THE ROOTS OF THE RAJ-
Sir Thomas Roe at the Court of Jahangir
The East India Company realised that if it was to trade successfully with the Mughals, it would need both partners and permissions. This meant establishing a relationship with the Mughal Emperor himself.
The man chosen was a courtier, MP, diplomat, Amazon explorer, Ambassador to the Sublime Porte and self-described ‘man of quality’, Sir Thomas Roe.
"The Nabateans are a silent partner in everything that goes on in the high summer of the Ancient period” - Bettany Hughes
By the time of Jesus’ birth, a mysterious empire had built its wealth through trading two of the gifts present at the Nativity: frankincense and myrrh.
Aromatic crystals harvested from the sap of gnarled trees, frankincense and myrrh were highly desirable commodities known as the tears or the breath of the gods.
We are proud to present the first episode of our Christmas mini-series-
WHO WERE THE THREE WISE MEN?
Featured in every Nativity scene in school plays, churches, and art around the world, the Three Wise Men are key characters in the Christmas story. But they are actually only mentioned once in the Bible, appearing in Matthew’s gospel. He describes them not as Kings, not as generalised Wise Men, but specifically as Magi.
So what exactly did he mean by that?
The word ‘magi’, derives from the Old Persian ‘magus’, and specifically refers to the Zoroastrian Persian high priesthood, who were renowned throughout the Middle East for their knowledge of the stars and for their expertise in astrology.
The name title stood out in the gospel for being one of the only words in Persian. It is also the root of the English word 'magic' for which the Magi were renowned.
"Early in his reign, Akbar had made it clear that he had no time for ultra-Orthodox Muslim opinion which objected the depiction of the human form: “There are many that hate painting,” he wrote, but such men I dislike. It appears to me as if a painter had a quite peculiar means of recognising God; for a painter in sketching anything that has life, and in devising its limbs, one after the other, must come to feel that he cannot bestow individuality upon his work, and is thus forced to think of God, the giver of life."
As a child, Akbar was dislexic: no one was able to teach him how to read. But he still loved literature - the Indian and Persian epics and Ferdowsi poetry and were read to him by travelling picture showmen and discussed in detail. This seems to have inspired his love of visual arts: ‘one of the biggest paradoxes of art history: the prolific production of illustrated manuscripts was initiated by a man who could not read them himself’.
Akbar began the tradition by which the Mughals, perhaps more than any other Islamic dynasty, made their love of the arts and their aesthetic principles a central part of their identity as rulers.
They consciously used jewellery and jewelled objects as they used their architecture, art, poetry, historiography and the dazzling brilliance of their court ceremonial – to make visible and manifest their imperial ideal, to give it a properly imperial splendour, and even a sheen of divine legitimacy. As Abu’l Fazl put it, ‘Kings are fond of external splendour, because they consider it an image of the Divine glory.’