Maya Patil (Shahapurkar)

Indian Streams Research Journal
Abstract:Sculptures have
added beauty to
archaeology. They have
created prominent place in
the field of archaeology.The
study of ancient Indian
culture is largely supported
by the archaeological
evidence and the ancient
sculptures spread across
the country are one of the
major archaeological and
artistic evidence to this
study. The sculptor never
looks at the stone or rock as
it is but he visualizes a
beautiful sculpture. He
removes the unwanted part
and carves out the
sculpture with all
emotions.
ORIGINAL ARTICLE
ISSN:-2230-7850
Maya Patil (Shahapurkar)
Deputy Director,Directorate of Archaeology &
Museum Maharashtra State.
Ex H.O.D.Of Dept. Of A.I.H.C. and Archaeology, School of
social sciences,Solapur University, Solapur.
SCULPTURE TRADITION OF MAHARASHTRA
PREHISTORY TO HISTORY
Keywords:
Sculpture Tradition , Maharashtra Prehistory , History , archaeology.
www.isrj.org
SCULPTURE TRADITION OF MAHARASHTRA PREHISTORY TO HISTORY
INTRODUCTION
Units- Sculpting is a science. In today's world we use different systems of measurement and a unit like
centimeters meter but during ancient time the sculptures were using units like angule & Tala as a unit. They
scientifically apply these units to different organs like hand, face, legs, etc. This scientific way of sculpting
would result in a very proportionate sculpture. The Indian vision of beauty is visibly evident in the
sculptures since Gupta era. The science of sculpting and it rules are found in ancient literature like
'Lakshana Grantha'. .(Joshi N.P. :1979,25)
Medium of Icons-The art of sculpting using material like rock, wood, clay, different metals like gold,
silver, copper, bronze, lead, etc. and the precious stones like diamond, pearl, sapphire, ruby, etc. is
explained in detail in such literature.(Joshi N.P. :1979,25-26)
The sculptures are classified into two major categories that is religious and non-religious. In
religious sculptures the Icons related to Hindu, Buddha and Jain religion are studied where as different
animals, birds, geographical designs, different trees, and musicians are studied.
Stone age- The ancient roots of sculpting are found in upper Paleolithic age (30,000BC). The sculpture of
'Matru Devata' (mother goddess) made from bone in Upper Paleolithic Age is found in Belen Valley ( Uttar
Pradesh). Bhimbetka near Bhopal in Madhya Pradesh is known for Stone age rock paintings and the icon of
Mother Goddess was found here. This clearly leads to the conclusion that Indian art of sculpting goes back
to 30,000 years.
There is one upper Paleolithic evidence of an engraved & painting on egg-shell fragment of ostrich with
criss-cross designs within horizontal lines . It was found in Patne Dist Dhulia.(Jain V.K.:2006,54) It is not a
sculpture but certainly an evidence of ancient art.
Chalcolithic Age- When we look at the in Maharashtra it is traced back to later Harappan culture. One of
the oldest sculptures of bronze chariot found at Diamabad, Ahmednagar could be focused as a classical
example. This chariot has two solid wheels and two bullocks, a man standing with a whip in his hand and a
dog nearby. The hair of man is tied backwards and is wearing clothes at his waist and the horns of bullock
are bending backwards. The forehead of this man is comparable with that of a terracotta icon found at
Kalibangan. In addition to this chariot bronzes of elephant, rhino and bison are found at Daimabad. The
chariot discussed above can be traced back to BC 2200 to 2000. It is a symbol of ancient sculpture. Mother
Goddess sitting on bullock and made of terracotta is contemporary sculpture to this chariot. Sculptures of
mother goddesses & bulls made from terracotta are also found from this site. (Dhavlikar M.K.:2006,76)
From Jorwe,Nevasa,Prakashe &Savalda excavations, Sculptures of mother goddesses & bulls from
terracotta are found .
Megalithic Period- The ornaments used in Megalithic culture in Vidharbh region could also be cited as
examples of ancient art. Megalithic circles at Khapa near Nagpur have revealed two ancient remains of
copper one is a lid having round base and tapering apex with four birds. Theses birds are beautiful and the
lid is contemporary to the clay leaves being used by tribal in Nilgiri forest. The other important ancient
remain is a copper ornament found on the face of horse skeleton. It matches the face of horse with triangular
copper design fixed with iron clips such ornaments have not been found anywhere else (Dev S.B., Edited
by Sankaliya H.D.& Mate M.S.1976:41-42.)
HISTORIC PERIODSatavahana – Vakataka Period- The beauty of sculptures from Satvahan era could be seen in the
sculptures at museum at Ter, Osmanabad. The front and rear part of the kaolin sculptures is artistically
joined. Such different types of head are seen her. They're carved with minute details with different
hairstyles they are decorated with flowers. The famous bollywood 'Sadhan cut' is also seen here since 2nd
BC century. Different ornaments like earrings, necklaces are also seen on these sculptures. A beautiful ivory
doll on the mirror handle is also part of this museum. She is wearing ornaments and drapery (sakachha). A
ivory doll found at Bhakardhan is identical to the doll at Pompy.
Another treasure of beautiful sculptures are sheltered in rock cut architecture. These sculptures
belong to different religions like Hindu, Buddha and Jain but the forms of sculptures are almost similar. The
sculptures at caves of Bhaje, Karla, Ajanta, Ellora, Pitalkhore, Elephanta are the best examples of marvel
art. The forms of sculptures are comparatively healthy. This can be verified with the couples at front area
and that of riding on animals. The Budha icons at Ajanta are either standing or sitting. It has opaque and
smiling face, half opened eyes and straight nose. As if the sculptor has sculpted peace and kindness out of
stone.
The ashtamukha (8 headed) and dwadash mukha (12 headed) Shiva icons found at Mandhal in
Vidarbha region are the best examples of Shiva philosophy. The Vakataka period sculptures of Brahma,
Durga, Narsimha, Vishnu are also found in this region. The sculpture of river Ganga at Pavnar is also
important. The doorway of Uttareshwar temple at Ter in Osmanabad is the best example of wooden
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SCULPTURE TRADITION OF MAHARASHTRA PREHISTORY TO HISTORY
sculptures. A unique idol of Brahma, Vishnu, Mahesh and Lord Sun is also there at Ter museum.
The Sadashiv i.e. Lord Shiva at Elephanta caves near Mumbai is again a different style of a large
sculpture reflecting unique expressions on face. This huge icon has three forms of Lord Shiva: Tatpurusha,
Wamdev and Aghor &Sadyojata. According to Dr. Karl Khandalwala and Dr. Sadashiv Gorakshakar these
caves are carved in 5th,6th century by Konkan Maurya.
Rashtrakuta Period - The 16th cave at Ellora popularly known as Kailas temple, is one of the largest
monolithic architecture in the world. It comes to one's surprise as to whether it is a temple or a sculpture. It is
a beautiful dream of Sahyadri mountain which came true at the instance of Rashtrakuta king the 1st
Krishnaraj. Words get meaningless when one tries to describe this eternal beauty of sculptures. At the
entrance, in a traditional way, Lord Ganesha is carved and then comes Godesses Mahishasurmardini killing
demon Mahishasur. The icons of holy rivers Ganga, Yamuna and Sarasvati are next to it. It gives a feeling
that you wash all sins with the holy water of these rivers and walk further to worship Lord Shiva. The huge
elephants and pillers give different dimension to this rock cut architecture. This monolith depicts different
forms of Lord Shiva. Some of them are in Roudra form and some are in the forms of soumya, anugraha and
kalyan sundar.Andhakasur vadha is another form of Shiva seen here. Shiva is holding trident in his lower
two hands and the body of demon Andhakasur is lying on the trident. The other forms of Shiva carved here
are Gajasur vadha and Tripurantakasur vadha. Some more forms of Shiva blessing his devotees like
Ravananugraha and Markandeyanugraha are also carved artistically. The sculpture depicting the event of
Ravana shaking Kailasa with his twenty hands, Parvati becomes panicky but Shiva is quite stable, is also
worth mentioning. Another sculpture showing Makandeya embressing shivalinga, Shiva emerging out of
linga and saving his life is also there. Shiva is playing saaripaat with Parvati. In some icons he is shown with
Parvati, Ganesh and Kartikeya. This shows his love and affection for his family. The marriage ceremony of
Shiva and Parvati is shown in Kalyan sundar pratima. Here Brahma is shown sitting in front of agnikunda
doing pourohitya of this ceremony. In another worth mentioning sculpture, Shiva holding Parvati's hand,
who has become shy, Parvati is looking at ground and touching her left leg with her right toe. In addition,
there are icons of ten incarnations of Vishnu, Ashtadikpal and Sapta matrika. There is one icon of Harihara
which is synchronization of Shiva and Vishnu. The Yadnya shala shown here has icons of Saptamatrika,
Ganesh and Shiva. The ornaments, drapery and hairstyles shown on these sculptures are unique and quite
appealing. It would not be out of place here to suggest the hairstylist, fashion designers and the jewellers to
study styles depicted over here and try to do something innovative in their own field.
Later Chalukya and Yadava Period- The period has also gifted art and architecture of their style. The
Markendaye temple in Gadchiroli is known as Khajuraho of Vidharbha region. At the outskirts of these
temples there are 3 Janghapatta. The icons of Vilakshan Sadashiv and Ashatadikpal shakti and other icons
are seen on this part of temple. Surasandaris found at Dhodambe in Nashik are also worth mentioning. The
sculptures in other parts of Maharashtra like Lonad in Thane, Katol in Nagpur, Ambernath in Thane,
Zhodge in Nashik, Gondeshwar in Nashik, Dharasur in Parbhani, Kopeshwar in Kolhapur have
proportionate and beautiful sculptures. They comprise of gods and goddesses in Garbhgriha and
Surasundari, Vyala, Elephants, Lions, etc. on the outskirts of temple. The Umameshwar sculpture at
Velapur is also unique. The sculptures at Kopeshwar and Mahalaxmi temple Kolhapur are of Sheelahaar
style. The sculptures at Mandkeshwar in Osmanabad are also beautiful but in ruined state. Neelkanteshwar
temple at Nilanga district Latur has sculptures of Ganesh, Saptamtrika, Naga, Mahishasurmardini, Shiva,
Parvati, Bhairav, Chamunda, Varaha, Narsinha, Harihar, etc. there are different forms of Sursundari like
Chamardharini, Jaya, Karpurmanjiri, Putravallabha, Nupurpadhika, Mardala, Shaalbhanjaika are also
carved beautifully. Their faces are attractive, face is proportionate and they are wearing different ornaments
and draperies.
Variety of sculptures on the ceiling of Harihareshwar temple at Hattarsangkudal in Solapur district
are worth mentioning. A sculpture on ceiling having 5 heads is unique Gajsheersha and Kichak are
shouldering the ceiling of Swargamandap. Sursundaris, Gandarbas and Vidyadhar are also seen here. A
very different kind of Shivalinga having 359 Shiva icons is found here. Each icon of Shiva is having Drum
and Trident in his hands. This Shivaling is kept near Sangameshwar temple of Hattarsangkudal.
Discussions in the foregoing paragraphs leads to the conclusions that the art value of sulptures in
Maharashtra state during the period of later Chalukya and Yadava was much better, however it got some
what diluted from later Yadav period. The architectural fineness is not there and even the sculptures are not
proportionate. This could be the impact of invasions. The invaders also destroyed some of the ancient
sculptures. In depth study of these sculptures does reveal the socio economic status, the overall lifestyle,
status of art and architecture and social status of women in particular and overall human life as well the
progressing civilization. We have unlimited treasure of this art and we need to conserve and preserve it. This
can only be achieved by creating awareness about importance of this art among the people at art and thereby
creating pressure groups to convince the government.
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REFERANCES:
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5. Deglurkar G. B. : Verul darshan, 2008, Pune.
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14.Fergusson James,: History of Indian and eastern architecture, 1910, Delhi.
15.Joshi N.P.: Bhartiya Murtishastra,1989,Nagpur.
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