Representation of Signs and Symbols in Paintings and Sculptures

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2 Representation of Signs and Symbols in Paintings and Sculptures (with special reference to Karnataka) A Final Report on U.G.C. MINOR RESEARCH PROJECT No : MRP(H)-0937/13-14/KMYA057/UGC-SWRO Dated: Year Submitted By : Dr. Laxmansing. R. Rathod Lecturer, Department of Applied Art Chamarajendra Government College of Visual Arts, (CAVA) German Press Complex, Siddarthanagar, Mysore

3 Representation of Signs and Symbols in Paintings and Sculptures (with special reference to Karnataka) Principal Investigator Dr. Laxmansing. R. Rathod Lecturer, Department of Applied Art Chamarajendra Government College of Visual Arts, (CAVA) German Press Complex, Siddarthanagar, Mysore Final U.G.C. MINOR RESEARCH PROJECT No: MRP(H)-0937/13-14/KMYA057/UGC-SWRO Dated: Year

4 Contents Acknowledgments Preface Chapter -1 Introduction Chapter -2 Chapter -3 Chapter -4 Chapter -5 Chapter -6 Origin and development of Sign and Symbols Early Periods; Maurya, Sunga, and Satavahana Signs and Symbols in 4-9th CenturyA.D. (As gleaned from Sculptures) Signs and Symbols in 10-19th Century A.D. (As gleaned from Sculptures and Paintings) Signs and Symbols in 20th Century and onwards Coclusions Bibliography

5 Acknowledgements The present Minor Research Project offers me an opportunity to see things in different perspective in visual art research. The systematic way of presentation created better platform in respect of quality learning and teaching. The present Minor Research project work is fully based on field work and its part of my continuous research. During the course of my study I have been benefitted with the support and help extended by the College Librarian, department and staff members, many friends and scholars. I first of all wish to record my deep sense of gratitude to the Authorities of the U.G.C., SWRO for the sanction and timely release of the money for carrying out the research project. I wish to thank the Dean, head of the institution of Chamarajendra Govt. College of Visual Arts (CAVA), Mysore for their co-operation and timely support. During the course of the study I have visited many historical sites in Karnataka, Industries in Bangalore and Mysore for collecting basic data. All of them have been very generous to me. I thank the officers of A.S.I. Bangalore, A.S.I. Dharwad, and Hampi Circle for permitting me to make photo documentation. I also thank the art agencies and Industrial friends here for their ready support. I thank Prof. T. Dayanada Patel and Dr. R.H. Kulkarni for their academic support and co-operation by providing the useful suggestions to improve it further. I also wish to record here the support of my wife, Children and family members. all those who helped me and their valuable time completing the project. MRP(H)-0937/13-14/KMYA057/UGC-SWRO Dated: Dr. Laxmansing. R. Rathod Lecturer, Dept. of Applied Art

6 Preface Representation of Sign and Symbols in Painting and Sculptures is remarkable in Indian context. There is a great deal to be learned from the ancient designs that have been passed down from generation to generation. Signs and Symbols has it's own importance role to play in the society as well as in the religion. It is also compressed visual forms carefully constructed to covey the massage. In all cultures, symbols borrow from experience, vision, and religion and become individualized through the creative process of the artists. The designs may be decorative, symbolic or combinations of both. These are the Visual language of universe in communication process. Most the sign and symbols of various culture and religion are representation of philosophies, and teachings. Hand gestures and the positioning of the body are called mudras while icons and drawings are called murti. Some Hindu symbols, like the lotus and the conch, are similar to the symbols used in Buddhism. The research work to make survey of the subject and the dynasties ruled Karnataka from the earliest period in chronological order. The particular work allows me to look and get into the deeper roots of various religious Sign and Symbols. The work finally represents a fully concerted object of the subject and narrates various aspects of visual art through the subjects. 2

7 1 : Introduction Signs and symbols play a very important role in the society. Signs are the synoptic versions of a particular form. Symbols represent synthesized versions of the subject. The antiquity of these forms is as old as the human evolution. From the very beginning of the society these forms play a pivotal role in development of the skills of communication. The structures of the communication and its variations have been transformed with the idea of suggestion. The suggestion is itself from a symbol. The sign is other means of the communications. However, the sign and symbols when they become part of a civilized society they were directly and indirectly adhered to the development of visual language. The visual language developed as part of modes of the expressions of the human being. Thus, confirming to the given situation and time, the language of the signs and symbols transformed with new dimensions. India has long cherished historical background. The earliest language on the earth is visual language. Even before the development of the sound based language, the communication was through the signs and symbols. The ancient human beings of the civilizations should be credited with the founders of the new visual language. The images of the animals like, bull, bison, dancing human figures, hunting scenes, all corroborate to the development of signs and symbols. These forms only transformed at later date as part of Indus civilizations. The very scope of the present research project is to understand the development of the signs and symbols in chronological order. This 3

8 helps in reevaluating the overall development and their functions as part of the socio-religious institutions. The ancient Indian art, especially sculptures and paintings adopted the semiotic functions as their main criteria. Historically, from Indus civilizations to the latest modern period, the signs and symbols have been in use in a large scale. Every language has become suggestive language. Thus, art also become part of this new concept. The forms and their functions have become very connected with development of the art as social functionary. Therefore, signs and symbols have evolved with new language in every time and every period. Each time they have new methods to depict. Present study inquires all aspects in synoptic manner in time brackets. Right from Indus valley art objects to the present day, these forms have been identified and studied in connection to Karnataka temples and art in general. In connection with this study, a field work to various places in Karnataka was conducted. A photo documentation was also done. Based on the direct study, material has been analyzed. The results of the study and field work, has been narrated in following pages in chapters. 4

9 2 : Origin and development of Sign and Symbols. Origin of Sign and Symbols in Painting and Sculptures is remarkable in Indian context. There is a great deal to be learned from the ancient designs that have been passed down from generation to generation. Signs and Symbols has it's own important role to play in the society as well as in the religion. In all cultures, symbols borrow from experience, vision, and religion and become individualized through the creative process of the artists. The designs may be decorative, symbolic or combinations of both. The signs and symbols developed from pre historic period only. The drawings and paintings that were done on the cave walls depict the images connected with animals, depictions human forms, depictions of dance etc,. They communicate certain information as they required of. The signs developed as means of communications. The hand gestures, body movements and gestures all connected with certain hidden meaning. Similarly visual forms connected with the subjects synthesized as synoptic or single art form as sign or symbol. Symbols developed as iconography in later periods. The Indus Valley Seals consisting of the various symbolsdepict certain meaning The symbolic depictions of seated Yogi represent the Pashupati or proto Siva. The animals around the image really make him the tamer of animals. Similarly the birds, animals, figures all connected with symbolic depictions. (Pic-1) The inscriptions of Asoka popularly known as edicts were much discussed among the scholars and students of the Epigraphy. The point to 5

10 be noted here is that Asoka used columns, rocks and boulders to engrave his edicts. These inscriptions where carved and erected in such a p l a c e, that everyone should see them, and get to know the importance of those edicts. The purport behind these edicts was very simple; Asoka wanted to popularize the teaching of Buddha. The edicts contain the information about Dharma and the path righteousness, so the edicts are the prototype of modern posters. In those days the permanent mediums were selected to popularize such subjects. These posters i.e., the edicts were given religious sanctity. 1. Indus Valley Seal of Siva 2. The First Sermon of Budha. That is why these were called as the Dharma Sasanas. Ashoka also tabloid certain images as the symbolic representations of Buddha i.e., Lion, Bull, Elephant, Horse, Swan and Wheel were used as the symbolic representations of Buddha. The Lion which denotes Buddha as the Lion of Shakya clan, Shakya Simha. These forms serve as source of inspiration to the succeeding period for Buddhist symbolism (Pic.2,3) The earliest representation of the figure of Buddha in human form also falls into the context of Applied Art. The Buddha is depicted as the Rishi. The very creation of the idol of Buddha represents 6

11 3. Symbolic representations of Buddha, Sannati, Karnataka Popularization of the Buddha imagery. It is like depicting for the first time imagery. The symbolism to formal figure transmutes as change in culture and belief that were part of the society. A few examples of sculptures may be taken from early Chalukya period. Early Chalukya period marks a new epoch in introduction of a new imagery of gods and goddesses. For example the depiction of Nataraja in cave No.1 is an unique in form and content. It is architectonically composed with circularly spread eighteen arms represented with different postures, gestures and holding different attributes. In the same cave temple is also found another rare example of sculpture depicting Harihara. Harihara is a composite visual representation of the Shiva and the Vishnu depicts an unique form. Here, along with the Harihara the respective consorts of Harihara i.e., Parvathi and Lakshmi are depicted on the respective sides of Harihara. Interestingly the vehicles of Harihara are also found depicted as tiny figures in zoo-anthropomorphic forms. Once again the texts are silent about such a depiction. The Chalukya artists created the marvel of sculptured forms. Harhara and Nataraja became prototype to the later works. The grandness of style and size of the images - popularize the 7

12 form of the particular deity. The symbolism has been adopted in more serene methods in thechalukya period. (Pic. 4, 5) 4. Nataraja, cave No.1, Badami. 5. Vishnu, cave No.1, Badami. The signs and symbols in contemporary context have been adopted as part of the applied art. Applied art is branch of visual art. It s importance has been always seen from the contemporary marketing, branding and also popularizing the particular product. It s concepts are to popularize a concept, a product, at the same time also stretches its scope into roots of the society. The Visual art particularly Applied art deals with the study of communication. The forms and contents of a particular Sign and Symbols are to give exact meaning and massage to the society. The successful communication of any massage requires a visualization that is not only on the application of graphic techniques but also on the expression of meaningful of values, to achieve this artists must make use of the valuable contribution of psychology, symbology and iconography. That is how a sculpture can be a tableau of a society and it s 8

13 belief. An inscription that communicates the content of particular subject and also informs about a purpose can be picturised as a poster, because it works like a permanent information board to the society. We can also bring in almost all Visual Art faculty into the peripheries of Applied Art, such as Narrative sculptures and paintings. As I mentioned in the beginning, the rock-paintings of pre-historic man, are the best efforts made for the communicative skills. The paintings at Ajanta communicate the stories of the previous lives of Buddha. They narrate the story in visual language in synoptic manner. The important episodes of the story are picturised and each episode is linked to the other to give a concealed picture of the narration. The similar concept also adopted in the narrative sculptures. The intention of the artists is to choose important episodes and highlight them alone in the depiction. This however is the technique developed by artists themselves. In the context of Applied art the narrative story is like an illustration and a detailed description about a branded product. In the context of narrative story, it is depicted to communicate the entire theme. This is how a designer or an artist creates his own visual picture to depict such themes. Symbolism and signage as part of the ancient period mainly has the religious affiliation. The religious forms when for the first time were introduced. Every historical periods have contributed quite a lot to the knowledge of the symbolism. A new subject was introduced with simple form and gradually it became a customary subject. Thus every form has it s own subjective development. The same subject in contemporary period has adaptation of the market strategy. Here, right from production to its marketing is involved. The product is designed based on its market popularity, or market survey creates popularity and an image about the product among the buyers. The signage and symbolism is used here to attract the public. The same criteria is adopted in studying the development of the sign and symbols. 9

14 The study is mainly based on the field work. In connection with this, conducted filed survey. Visited several monuments across Karnataka for collecting data. Documented the monuments and identified the sculptures and their importance. Considering all aspects including inscriptions and sculptures, here a concerted picture is attempted. The following chapters give a broad idea of the subject based on the art of the period. 10

15 significance. 3 : Early Periods; Maurya, Sunga, and Satavahana Early symbols and signage were developed with great The early sculptures of the Mauryan and succeeding periods mainly belonged to the Buddhist faith. The Buddha as the supreme hero was transformed as the symbolic representation. In early period, anthropomorphic form of the Buddha was not developed. In the absence of the image of Buddha, he was always depicted through the symbols. Here one can think that the symbolism stand as the image. The image was developed with the purpose of the narration. Here, narration was derived from the life of Siddhartha and Buddha. The Jataka stories which were only through the oral traditions then, now transformed for visual language. While these stories were transformed, artists definitely had in their mind about the common public. The difficult subjects were depicted in most direct manner. The public always nourished the demands of the religious sentiments. The Buddhism was prime religious belief, which was popular in that period. The miracles, birth stories and the jataka stories of the Buddha were made known to public. The media of the depiction was symbolism only. The symbolism was rather more to do with the religious belief of that period. The Buddhist faith was mainly carried by the Buddhist Monks. In early period, there was shift in the beliefs of the monks, who were the prime forerunners of the faith. It was the Ajivika Sect (Hinayana). Ajivikas strongly believed in the worship of symbolic depict of Buddha. They also believed in non-anthropomorphic form of 11

16 the Buddha. Therefore Buddha was depicted in symbols, which were worshipped and adored by one and all. Therefore, the symbolic forms of the Buddha became popular. Symbolic depiction of the Buddha confirms to a subject being communicated with the need of the day. The symbolism stands as the means of visual depiction of Buddha. The symbols are associated with life of the Buddha. They depict incidents of the life of Buddha. Some of the symbols are taken as auspicious ones. Interestingly they become part of even later days beliefs. Symbols that are prominently used here are the Shri Vatsa, Swatika, Tri Ratna, Chaitya, Vriksha Chaitya, Horse, Bull, Elephant, Five Hooded Serpent (Nagamucchalinda), Silk Cloth, Foot Prints (paduka), Head Dress (Turban), Empty Throne, and may others have been used here as symbolic depiction of the Buddha (Pic. 6). Here, symbolism connected with narration. The story is depicted as synthesized form in nutshell. It s exactly in the same manner as product is marketed in a larger scale. The image of Buddha made popularize by the monks. 6. Five Hooded Serpent (Nagamucchalinda), 7. Four Lions Capital, Saranath. 12

17 Every symbol is associated with the daily life of the period. The religious beliefs and practices were part and parcel of the life. The community oriented practices and customs are regarded as the religious practices. The Mauryan period witnessed the symbols in the religious art. The Buddha's teachings were made popularized for the first time. The teachings of the Buddha were popularized through the edicts issued all over the country by king Asoka. Asokan edicts speak about the religion. These Inscriptions were engraved on the Pillars, Boulders and rocky walls. They work like wall posters. One can compare them like billboards. Or one may also associate them to wall posters. Here also the text on the inscription written in Brahmi and language is prakrit. Prakrit was widely spoken by the public in those days. Therefore Asoka chose to issue charters in local language only. In connection with symbols of the period, Asoka pillar capitals depict mainly animals. Animals like Lion, Bull, elephant, Swan and Chakra are represented. Well known Lion Capital from Saranath depicts four Lions stand back to back facing outwards. These lions directly look at cardinal directions. It is symbolically depict that teachings of Buddha to spread in all four directions (Pic. 7). Buddha is also called as Shakya Simha- the lion of Sahkya clan. It is an epithet that Buddha had. The Mauryan period was the period of beginning of the Buddhism. We know that Asoka sent a good number of mission to propagate the Buddha's teaching. Asoka's own son and daughter went to Srilanka to propagate the religion of Buddhism. During the time, everywhere the Buddhism was the main practicing religion. Approach to the Buddha's teachings has significantly changed the visual language of the period. The symbols like Lion, Swan, Bull, elephant, Horse and Chakra are directly associated with Buddha. The image in the form animals refers to the Jataka stories of the Buddha. The horse 13

18 represent Buddha directly. Horse was symbolically represented as Buddha departing from Palace. It is very interestingly depicted in narratives of the Buddha. Horse is always shown as coming out of palace carried by the yakshas. In the early examples horse is only shown as standing. The elephant and Lions are shown as part of the Pillars with inscriptions. They surmounted on the top of the pillars as the capital figures. They stand and sit in majestic view overlooking a vast area as to express the message to public with religious fervour. Maurya period introduces a new dimension in the visual symbolism. It was in both visual signage and textual representations one can notice the change in the visual art. The succeeding periods like those of the Sunga and Satavahana have been responsible for the introduction of various symbols connected with the Buddhist narrations. It is interesting to note that the for the first time narrations of the birth scenes of the Buddha have been represented in most synoptic manner. Barhut Stupa has a good numbers of narratives depicted in roundels/medallions on the upright stones of the Stupa. The dream of Mayadevi has been depicted in a medallion. Here an elephant is hovering down towards reclining Mayadevi. Dream of Mayadevi is depicted as white elephant descending down in to her womb as he is future Buddha. Here the elephant is supposedly the white elephant. White elephant stands for the Bodhisattva and the future Buddha, to be born as Siddhartha. Similarly the birth scenes have been depicted again very symbolic. The images of the symbolic depictions are connected with Buddha. Besides, there are also secular subjects represented with symbols. The images of the symbols of the period have reflections on the society. The subjects also began to have captions. For instance, the dream of Mayadevi is depicted in such a manner, that the narration has synoptic narration. Buddha is represented as elephant. In other examples, 14

19 Buddha is represented in the form of cloth. Here cloth depicts symbolic Buddha. Sunga period sculptures transform the precursor images in to visual depictions. Symbolism and signs developed in the matured visual forms during Satavahana period. The Satavahana period introduces structural Stupa and rock cut monuments. Early examples of Stupas at Sanchi, Amaravathi and Sannathi establish a common visual language. Whereas the caves at Ajantha, Pithalakhora, Nasik, Karle, Bhaja and Naneghat have introduced a new language in paintings and sculptures. The sculptures here decorate the gateways of Stupa in Sanchi, while Sannathi and Amaravathi Stupas were decorated on drums and vedikas. While, the cave temples, especially at Ajanta only Caves 9, and 10 were decorated with the paintings. Interestingly, symbolic depictions of the Buddha has been in great popularity. Here the synoptic forms of the various narrations based on public communication have been depicted symbolically. Though, the symbolic forms continued with same fervour, as seen in Maurya, but they become part of the large mass. People began to adore Buddhism as their first choice. In this period also Hinayana Buddhism continued to dominate. So that symbolism also dominated the visual media of the period. In Sanchi the Buddha is depicted in various forms. Now more subjects of the Buddha are added to the earlier existing subjects. Sanchi examples are very realistic in the depictions. Here Buddha is depicted as Vriksha-Tree, lion, deer listening to first sermon of Buddha. Interestingly Buddha is also depicted as Dharmachakra- the great wheel. Besides, there are interesting Jataka stories where Buddha is depicted as elephant with six rusks- Jataka Shadhanta. Mahakapi Jatakaa divine monkey which saves its fellow monkeys. Stupa with decoration in relief also depicts Buddha. Sanchi sculptures in a way establish a more refined form of narration. Religious form transforming as social symbols. 15

20 Amaravathi and Sannathi sculptures have similar notion in depictions. Here too, the Buddha's life stories are depicted in symbolic representations. The birth is depicted as story of dream is narrated in, Mayadevi sees white elephant. Here, artists have delineated in a small box like form represents palanquin, while Mayadevi is reclining on a decorated cot. Elephant stands for Bodhisattva and future Buddha. In birth giving scene, Mayadevi is standing, holds a branch of Shala tree. Relaxing and releasing pain of labor. The child is symbolically shown in the form of cloth, spread on the hands of cardinal gods. Here the very visual language of the depiction negates with the artist's imagination. Artist transmutes the textual information in to the visual form (Pic.8, 9). 8, 9. Birth of Buddha, Sannati. Karnataka. In other examples of Buddha's life- the departure from palace, enlightenment and Mara Vijaya themes are depicted with great imagination. Amaravathi being one of the classical sites of Buddhism has elaborate images. The Jataka stories have been synoptically and symbolically narrated. The miracles of Buddha like subjugation of Nalagiri elephant, Vidurapandita Jataka, Mahakapi, Shadhanta, Ruru, Mriga Jatakas are depicted with symbolic narration. Here, Buddha is depicted as Bidhisattva. Sannathi sculptures may be taken here as examples. Sannathi sculptures are nothing but symbolic depicts. The important symbols used here to represent Buddha are Bodhi tree, Padukas, a tree with a 16

21 throne, and a Stupa with Nagas. In the narrative themes, perhaps the earliest and most interesting ones are, the sculpture depicting the birth of Buddha, and stories connected with the birth events of Buddha. All the Buddhist symbols incorporated into visual forms have particular symbolic definition. For example Bodhi tree with throne represents the enlightenment of the Buddha. The Stupa stand for the Mahaparinirvana of the Buddha. There is a small story connected with the beginning of the Stupa constructions. It is said that, the Buddha himself told Ananda, his friend and follower, that, the Stupas may be erected for the great personalities like the Chakravartimaharajas, or fond memories of the Universal Emperors, with their relics. The stupa also thus became the memorial for the great ones. A few sculptural examples having the symbolic representations of the Buddha, is given here to understand the early art of Sannathi. The slab containing the Bodhi tree and throne depicts the enlightenment of the Buddha. It is a rectangular slab having two divisions. The upper division has the tree and throne and lower portion is shown with a decorative lotus flower. In the center a band of flower is represented, that separates the upper and lower portions. The forms are carved in low reliefs and their treatment is flat. The tree occupies the whole space on the upper portion. It branches off widely above with detailed carvings of the Bodhi tree leaves. There are two garlands depicted as hanged onto the branches on either side of the trunk. They are also shown as flying artistically. The throne in front of the trunk is carved in incised lines, which indicate only the outlines of the throne. It is very simple in form, reminding an ordinary wooden chair. The padukas are kept on a low cushion, which is placed on the throne. It is interesting to note that, in Amaravati and Nagarjunakonda also, similar examples are found. The present slab is 17

22 undoubtedly contemporaneous to those. The tree motif with throne becomes a standard symbol depicting the enlightenment in the succeeding period also. The standardization or becoming a magnum opus form of the enlightenment was accepted by one and all in those days. Therefore, the image of Buddha was more of kinetic one than static form. It always tends to motivate the public for the religious purposes and also to achieve peace (Pic. 10). 10. Enlightenment of Buddha, Sannati. Karnataka. A sculptural slab that depicts the relief of a Stupa and the Nagas has the stupa in relief. The stupa is in a cylindrical form. Though the upper and lower portions of the relief are missing certain details on it can be seen. It is interesting to note that, the stupa is divided into two portions. In the centre a thin band separates it. The band also stands for the Medhi portion of the stupa. In the upper portion the lotus flowers with wavy vine and leaves decorate the stupa. The body of the vine is delicately carved with thin lines and roundels. The details in the full blown lotus are also carved. In the lower portion, the nagas are shown as entwining the drums of the stupa. As said above lower portion of the stupa is missing, hence, only tails and some parts of the bodies of the nagas can be seen. The bodies are carved with details to show the texture of their physique. They are artistically entwined to the lower drum. The whole relief gives the feeling that, the Nagas are carrying the stupa on their hoods or they are paying their respect to the Lord. Adoration of the stupa by the Nagas evidently depicts the Naga 18

23 and Buddha's strong association. In the Buddhist texts it is said that, the Nagas had the one eighth part of share of the Buddha's relics. The Nagas are said to have constructed a stupa with the mortal relics of the Buddha under the water. The entwined Nagas of the stupa or the adoration of the stupa by the Nagas is called as Ramagama Stupa (Ramagrama). The early depiction of the Ramagama Stupa may be seen at Barhut. In the Krishna valley also there are a number of such examples. The present relief with stupa entwined by the snake depicts the Ramagama/Ramagrama stupa. This example from Sannati gives evidence to the spread of the common belief of the Buddhistand its depiction in uniform pattern throughout India. In the Buddhist lore, the Nagas have an important place. They have direct association with the Buddha. It is often mentioned in the ancient Buddhist texts. It is said that, the divine Serpents have preserved the sacred texts. The serpents are also said to have had the share of the Buddha's relics, and waited for the appearance of the master in the nether world. In the Buddhist art all over, the Nagas are oftenly shown in important places. The Krishna Valley sites, such as Amaravati, Nagarjunakonda also have several. In Barhut and Sanchi also the Nagas are found depicted on the Stupa railing. At Sannati itself the Nagas are depicted with five hoods, depicting Nagamunchalinda concept. Symbolism also continued to even dominate the narrative sculptures. Buddhist narratives at Sannathi have interesting subjects. The birth scenes are common even at Sannathi. Artists have depicted various themes. In the early phase, there are a few sculptures containing the narrative themes. The narrative themes found in the reliefs are the Birth scene of Buddha, and other related stories in separate slabs. There are also instances of the depiction of jatakas in the early phase. These slabs 19

24 were veneered to the lower portion of the anda adjacent to the ayaka platform. To discuss with the sculpture depicting figures of Mayadevi and four male figures represent the birth event of the Buddha. Early sculptures does not depict Buddha in human forms. In the birth events also, he is depicted symbolically through foot prints over a cloth. In a relief slab, the birth of Buddha is symbolically represented with Foot prints on a cloth. The footprints become representative objects of the Buddha, One of the examples from Sannathi has depictions of Buddha's birth in symbolic narration. The relief slab is partly damaged; it has a pilaster and an architrave. The pilaster has seated deer over the lotus capital. The architrave has a hamsamala. These hamsas hold fruits and leaves in their beak. The birds and animals are realistically carved. All the figures in the relief are shown in standing posture. The female figure in standing posture appear like Shalabhanjika may be identified as that of Mayadevi-the mother of Buddha. The other figures who have standing and holding cloths, may be cardinal deities. These were said to have guarded Mayadevi during her pregnancy period. Interestingly these guardian gods had received the divine child on silk cloth. The fot prints over the cloth depict that immediately after birth of Buddha, walked seven steps. In the sculptural depiction she holds the branch of a tree in her left hand, which is artistically bent above her head and creating an arch like form. The tree is shown just in thin lines. In her left hand she holds her right ear ornament. The hands are decorated with coiled bangles almost upto her elbows. Armlet is also seen. The face is round with flat treatment. The eyes, eye brows, nose and lips are carved with great care. She has artistic linear hair-do, evenly combed, fillet is tied over the hair 20

25 and a round diadem is on the fore-head. The breasts are quite heavy in look and they are flattened in the front. She has no ornaments such as necklace. The male figures are almost identical in features excepting a little variation in the treatment of their turbans. They have bunned head dress with embedded diadem. The turbans are artistically dressed and remind us of the similar figures turban over the from Barhut, Amaravati and Jaggayyapeta. Guardian deities have coiled armlets, kundalas, and a strip like thin necklace. They also have dhotis tightly worn. The kativastras are tied on to the waist, and form artistic knot on the sides of the hip. It hangs along the side of the limbs. The gods hold the cloth with their bent elbows. All the five fingers of the hand are shown folded holding the vastra which clearly exhibits an archaic feature. The deities are rendered with physical details which are flat in treatment. The faces are overlapped, and each figure is depicted one on other. They are compactly arranged that, they become one figure in the relief. All the figures including Mayadevi are compactly arranged in the composition. The cloth spread in the hands of the deities, touches the right hand of Mayadevi. In the later version of the birth events, similar representations are seen. The cloth in the later depictions is shown as touching the hip of Mayadevi-as to show a direct connection to the cloth and the birth place. Here, the position of holding the cloth is interesting. The gods actually show the cloth to Mayadevi, which suggestively indicates the event after the birth of Buddha. The second relief slab datable to the early phase has the depiction of seated figures. The slab has a pilaster on left side. This slab is also partly damaged. The figures are seated on decorated asanas. There are three male figures and two female figures in the relief. The large figure with much decorated turban seems to be an important person in the slab. 21

26 Two male figures are seated submissively with folded hands. The female figure which is visible partly, is seated freely on an asana, with one leg folded and the other kept on a round foot rest. The male figure in the left corner in the first row is also having the foot rest. There is a considerably small figure carved in between the female and other male figures. The figure in the first row has kept his right hand on the thigh, and in the left he holds the necklace. This figure seems to represent some royal person i.e., king (Naga King). The female figure just behind him is luxuriously ornamentation. She has coiled heavy anklets and bangles covering almost up to elbow. She seems to be his wife i.e., the queen. The other male figures in the relief might be his courtiers. The small female figure seems to be an attendant which is considerably small in scale. The figures are carved with flat treatment. There is no attempt to show the optical perspective as they are carved one above the other. The treatment of space is also very tight, and so also the figures look compactly arranged. This slab possibly represents some important event of a jataka, which cannot be asscertained at present, or it might also depict a contemporary scene from Buddhas life. In another slab represents an incident from Jataka story, (unidentified or contemporary scene). Here, a man is represented as standing, wearing a turban holding his kundala in right hand and the left hand is placed on his waist. Behind this man is a standing elephant, represented through its fore parts. Two men are standing one behind the other. The man in front wears a rolled cloth. He is holding an unidentified object in his hand. He looks like a mendicant. The person behind him is shown only by his head. The next man is carrying a child seated on his two shoulders. He is wearing only a lower garment. The child is wearing bracelets, a necklace, turban and some unidentified object in hand. The child also seems to be holding the kundala. In front of these men, is a pond 22

27 filled with lotus flowers and leaves. In the middle of which a human face is carved. The whole scene appears to represent an important episode from a jataka or contemporary life of Buddha which has to be identified. In the carving of this sculpture the artist has not strictly followed the optical perspective. The treatment of the relief is also archaic, in the sense, the limbs are not round but they are flat like bands. The faces are almost identical, the depth of the space is also very little. Overall treatment of the relief is not refined as found in the later period. In the Jataka narration on a slab, the figures arranged in seated posture on round asanas. They look like royal personalities. They have decorated roped turbans, armlets and necklaces. The figures occupy the foreground and the background figures are carved above the front row figures. A group of female figures is also represented in the slab. They are also shown in seated postures and decorated with regular ornaments, like, armlets, necklace, coiled anklets etc., It is to be noted that, the Jataka Sujasomiya is not at all found in the Jataka malas. Hence, it is not possible at present to give a clear identification of the incident narrated in the Jataka Sujasomiya. The sculptures of the Early Phase at Sannathi are no doubt less refined in technique of carving. The sculptures are simple and less sophisticated in their making. They appear more like rudimentary forms, but representing a strong visual culture. The Sannati artists seem to have developed their own indigenous art. That is why one can see the difference between the Mauryan and the early art form of Sannati. The images and symbols have been depicted with great vivacity. The form metamorphosed with significance of the religious subjects. The over-all belief is to communication and propagation. Sannathi being the early Buddhist site has contributed a good numbers of the forms. Symbolism has developed with religious forms. 23

28 In the later phase sculptures of Sannathi, the symbolism though less dominated, the forms like animals, signs continued with same flair. The sculpture decorate the anda portion of the Stupa. Later period sculptures share symbolism through the narrative contents. The sculpture of Buddha in human form dominates the period. Here another important development that is seen is calligraphic text appearing on the sculptures. Now sculpture became like having caption or title. The text in the form of inscription has detailed narration of the subject. The change is mode of the depiction narrates two important incidents. The images are more connected with religious publically narrations. Sannathi sculptures of the merchants are depicted with carts and unyoked carts, bullocks sitting beside of them. These examples depict the merchants on the way or in resting. Interestingly these examples are memorial stones. These memorial stones are connected with religious institution. Interestingly, sculptures connect the social media of that period. The memorial stones exhibit the patronage of the business community of the period. Similarly, the business community used the Buddhist images as their contribution towards socializing the religious theme. It is one way of publicity given to the religious beliefs. Yaksha Figures as symbolic depictions: Among the early sculptures Yaksha figures form a separate group. They are protective deities. They have nature to serve the divinities. Here are a few examples from Sannathi having symbolic depictions. Yaksha sculptures found at Sannati are very simple and bold in the treatment. The figures are dwarfish and stout in physiognomy. They have overhanging pot belly and plump hands and legs. They wear dhoti as undergarment. It is thickly tied on the waist and from it falls a loop in 80 the front. On the backside, cloth forms a kaccha form. It is quite 24

29 realistically depicted. It is noteworthy that the artist has employed this particular method for the depiction of the drapery, especially the dhoti type, sparsely found in the early sculptures. The figure is truncated and the hands are mutilated. The Yaksha found at Harasagundgi is no doubt the best among the contemporary Yaksha figures found elsewhere. The Yaksha is in standing posture. The head and left hand and legs below the knee are mutilated. The right hand is shown in katyavalambita posture (Pic. 11). The Yaksha figure is decorated w i t h a t h i c k l y b e a d e d m u l t i stranded necklace, with a round pendant in the center and spacer pendants at regular intervals. From the necklace, branches out a few loops like beaded and twisted strings. He wears a coiled armlet, also decorated with a flock of beaded strings and an armlet. The figure has a thick undergarment, 11. Yaksha, Harasagundgi, Karnataka which is in dhoti and kaccha fashion. The Kativastra is also shown here. It is thickly twisted and a heavy knot on the side of right hip. The figure is realistically rendered. The physique is not bulgy as Sannati Yakshas. Here it is more stocky yet not fatty. The navel and slightly projected paunch create a sense of tactility of the skin and physique. The most important depiction of this Yaksha sculpture is, the representation of Gajalakshmi on the central pendant of the necklace. It is for the first time a relief of Gajalakshmi is represented in Karnataka art. The representations of Gajalakshmi datable earlier to this period 25

30 are found at Barhut, Sanchi, Pitalakhora and also at Amaravati, all in the Buddhist context. Interestingly, Gajalakshmi in all these places are found on the railings. However, no Gajalakshmi sculpture on a pendant of a necklace is found any where else, either in Buddhist or in the Hindu context. The Gajalakshmi pendant is very unique. In the context of Karnataka, the present Gajalakshmi appears to be the earliest representation of the theme. The depiction of Gajalakshmi on pendant is very neat, clear and elaborate. She is seated in sukhasana on a fully blossomed lotus having a long stalk. She is two handed; keeping her left hand on her left lap, while the right elbow is folded and the hand holds a lotus. Two tusked elephants on either side, each standing on lotus with long stalk, hold pots in their trunks and are pouring water on her. The entire relief is carved inside a double banded round frame. Based on the relief of Gajalakshmi in the pendant, the figure under discussion may be identified as that of Kubera Yaksha. Another seated figure was also discovered at Sannati, may be identified as that of Yaksha. The sculpture is badly mutilated, but the lower body with legs are intact. The figure is seated on a raised seat. The figure has dhoti as garment. A bag clings to the left side of the hip. Interestingly it is tied with a thin thread to the waist of the figure. The figure also has a kativasara. It is to be noted that the purse or the bag is always associated with the Yaksha Kubera or the Yaksha Panchika in the Buddhist context. Basing on the 'purse' representation the present sculpture may be identified as that of Kubera or Panchika. It is worthy of note that, the Kubera or Pnachika were the Yaksha gods worshiped by the Sarthavahas or the merchant community. Hence, Sannati's association with trade is a well established fact. Hence, these figures indicate the existence of Yaksha worship in the region of Sannati. 26

31 Sculptural representations of young couple found at Sannati are highly sensuous and refined in their appearance. These figures not only exhibit a developed phase of art at Sannati but also possess masterly qualities of the artist. Probably these loose sculptures were kept on separate pedestals in the enclosure of the stupa and also on the thabas of the railings. A mutilated sculpture representing a couple now preserved in the Gulbarga museum is noteworthy for its quality and workmanship and mode of representation. The remaining part of the sculpture are the torso and two legs up to the knee. It is a male figure wearing dhoti, with long heavy folds with neatly tied knot and heavy tassels on the right side. The long festoon like loop of the dhoti in front is a noteworthy feature of this sculpture. This feature marks the beginning of a strong tradition of carving the drapery in this manner, which continued during the succeeding centuries, to the extent that it becomes a characteristic features of the sculptures produced during that period. This sculpture appears to have had a female counterpart on his right side, which is totally missing. However her left hand gently embraces the wrist of the standing male figure. The relief of left arm of the female figure is seen on the back of the male figure. Thus it may be presumed that there was a standing lady figure on the right side and on her shoulder the male had kept his hand. The left hand of the male figure was probably in the katyavalambita pose (Pic. 12). 12. Young couple, Sannati, Karnataka. 27

32 In spite of the fragmentary nature of the sculpture, the superb quality in which it is sculpted is to be appreciated. Though simple in execution, the contours of the body are quite strong. The soft and smoothness of the skin are also well delineated. The formal drapery is quite attractive. The sculpture is carved out of lime stone. To have a fuller picture of the consort of the male figure described above, we may go to another sculpture from Sannati itself, now preserved in the temple of Sri Chandralamba at Sannati. In this example, the female figure is better preserved. Unfortunately, the torso of the male is missing. The lady figure is carved on the right side. She is holding a cup, probably filled with wine, in her right hand with elbow bent and left hand kept pendant. She appears to have been forcefully drawn towards the male by his hand, held near the shoulder. To resist that, she is slightly leaning away from the male figure. The treatment of drapery for both the figures are similar to the one described above. The lady wears a plain head dress and flocks of heir rest on her shoulders. She also wears a thickly twisted katibhandha with artistic knots and tassels on the right hip. The representation exhibits a matured skill of the artist in modeling a figure in the round. The similar examples at Amaravathi are seen with much more common depictions. Amaravathi sculptures exhibit more refined qualities than Sannathi. Amaravathi exhibits standard of the visual depictions. Here also the images are connected with social structure. Here another development may be traced in sculptural art. The forms began to flower in given situation. They form a very clear cut genre of the images that are taken in to consider as religious symbolism. During the period under consider the symbolism and signage developed as the motif that are suggestive. The forms are connected with clear indications of the socio-cultural entities. The forms have life to enhance the volume of 28

33 images. It should be noted the religious institution connected with social structure that is directly reflect up on day today life of society. Amaravathi sculptures or also known as Krishna Valley sculptures have very interesting forms. They may be seen in general forms as part of the nature of symbolism. A brief account of Krishna Valley art would be necessary here in the context of Pre-chalukya art in Karnataka. The sculptural art at Amaravati as said earlier has different phases. The sites in Krishna Valley are spread over a large area on the bank of river Krishna and its tributaries. Some of the important sites are; Amaravati, Nagarjunakonda, Chezarla, Jaggayyapeta, Goli and Battiprolu. The Mahachaityas, as it is called for the stupas of the Krishna Valley, are richly decorated with the sculptural representations. The sculptures mainly decorate the drum of the stupa. The sthambas, suchis and the ushnishas are decorated with varieties of sculptures, narrative and decorative themes. As stated earlier, the sculptures of the formative phase of this region are flat in their treatment. In the second or the middle phase, a refinement and stylistic developments are noticed, while the last phase has the elegant classical qualities in the sculptural representations. The last phase is generally ascribed to the greeco-roman influence on the native Krishna Valley art. The Jataka stories appear in interesting narrative patterns on independent slabs, friezes as well as medallions. The important Jataka stories repeatedly seen in Krishna Valley are; the subjugation of Nalagiri, the Sibi Jataka, the Chaddanta Jataka, the Vidurapandita Jataka, the Mahakapi Jataka etc., the scenes from the life of Buddha such as Abhinishkramana (departure from palace), his dhyana scenes, attack of Mara, and defeat of Mara, the first sermon of Buddha are found. The Mahaparinirvana theme is represented only at Amaravati and at 29

34 Nagarjunakonda. Besides these, a large number of social themes, such as worshiping of the Lord, donor couples, mithuna couples, animals of different category, varieties of floral decorations blended tastefully with architectural and other motifs. The human figures depicted here exhibit an aesthetic sense. The rhythmic and artistic standing postures, dramatic hand gestures, facial expressions, bodily movements and bends, all suggest a natural representation of the subject matter. The female and male figures are richly decorated. They are rendered with a high dramatic gestures. The delicate bends of the human bodies create a kind of natural and meaningful movements. The tubular and slim physique of the figures are skillfully adjusted with the limited available space. The drapery and ornaments worn by the human figures are almost uniform in their appearance. The figures wear heavy and wavy type-antariya and uttariya, and dhotis. The females have bunned and evenly combed hair do. The males wear turbans. The keyura, angada, hara and katibandhas artistically adorn both male and female figures. In a few figures heavy ear ornaments are seen, such as patrakundala, makarakundalas, ear rings and drum like heavy ornaments are also seen. The composition of the figures in narrative theme achieved a high standards in Krishna Valley School. The artist definitely had a clear visual sense in composition of figural forms in the space. He arranged the themes perhaps in the most meaningful way. The movement is created with different gestures and postures, different episodes of a single story are not shown in continuity. The architectural or other motifs are used to separate the episodes of the same story. These divisions also are sometimes get mixed up with the other episodes of the same story. A feeling of optical perspective is achieved through the arrangement of figures and compartments in the composition. 30

35 The artists of Amaravati and other sites of Krishna Valley were very bold in their expression of forms. They adopted identical styles and forms uniformly, that were derived from indigenous forms. From these they created own way of compositional patterns. Sometimes the figures types of different sites are so identical that they give a feeling that the sculptor of these works were apparently of the same spool, or were trained under common guild. There are also a few exceptions to this general pattern. In certain examples, Amaravati sculptures differ from Nagarjunakonda examples. This is possibly because, the artist guild worked in that particular period were different. The stylistic variations found here may also be due to the different tastes and skills of the artists who worked there. However it is very difficult to give definite reason for the minor variations of the artistic features. Among the interesting images Lajjagauri figurines form some special group. They are connected with fertility symbols. They have strong socio-religious association. The Lajjagauri has been associated with the fertility as well as tantric cults in its nature and function. Sometimes they could be votive in nature also. Surprisingly almost similar types of figures of Lajjagauris are found in contemporary sites like Ter, Brahmapuri and in Krishna valley sites etc. The figures found at Sannati are of two varieties. In the first type, the head portion is depicted with a Stupa type round mold. The body is rather very simple. The centrally incised line separates the upper and lower parts. The legs and abdomen are quite realistically done. In the second type, the treatment of physiognomy appears like a kumbha i.e., a pot. The artist in this variety has used the pot motif and employed all the detailed portrayal of the figure. The projected neck of the figure has a fully blossomed lotus, at the same time it gives the feeling of the mouth of 31

36 a pot. The body is decorated with beaded strings and interestingly the navel is also shown, which enhance the feminine feature of the figure. However, these figures definitely had some religious significance during those days. The symbolism here works as signage. The head less goddess depict as the fertility object. Even today similar symbolic art forms are associated with the faith in the imagery. 13. Various forms of Lajja Gauri The various forms of Lajja Gauri are associated with the concept of fortune, fertility and reproduction. In Indian art, the lotus is the symbol of fortune, fertility and reproduction. It is also associated with ideas of purity and perfect wisdom. 32

37 4 : Signs and Symbols in 4-9th Century A.D. (As gleaned from Sculptures) The post Mauryan and Satavahana periods seen as grand revival of Hindu renaissance. The kings who began to rule had adopted the Vedic faith and its practices. The divinities who were not so importantly worshiped began to appear on lime light. They occupied the prime positions in the religious strata of the society. The concepts about the gods and goddesses have become much clearer. Here the divinities have developed with the background of the Vedic and Puranic lore. The Indian concepts of the gods and goddesses has transformed with contemporary notions. The socio-political and religious developments have reflected over the society. The symbolism has new dimension and meaning the post Satavahana periods. The signage also has similar forms. The symbolism metamorphosed with evolvement of new visual language and belief. The symbolism of the day today life was religious centric. Therefore the life was associated with the religious practices. The images that were developed as part of the new tendencies were mainly symbolic. The cultic practices that were found in Pre Gupta period have now recognized as the classical deities. The images of Puranic origin, Balarama, Krishna, Skandha, Narasimha, Siva, Vishnu, Ganesha, Mahishamardini and many other divinities have been developed for the first time in visual form. Their forms were sought after socio-religious and also textual sources (Pic.13,14, 15). 33

38 13. Ganesh, Gokrna. 14. Narashimha, Kubatur. 15. Mahishamardini, Talkad. Each form of the divinities has socio- religious implications. They have developed with particular form transformed as anthropomorphic and zoo-anthropomorphic forms. The sculptures and paintings of the period have great deal of narratives and also reflecting up on the symbolism. The political establishments of the period such as the Gupta and Vakataka in the central and North India, the Kadamba and Ganga dynasties in Karnataka have been instrumental in propagating the religious and Vedic art. Cave temples at Ajanta were developed during this period. The Vakataka kings were responsible for the Ajanta works. The great Varaha Cave temple at Udaigiri was excavated by the Gupta kings. Similarly in Karnataka several temples and images were created. The cultic depictions have ability to introduce a new visual language. The religious beliefs though were gradually shifting; one can visualize the last phase of zenith in Buddhist art. Ajanta paintings decorated the inner walls of the Vihara and Chaityas depict both religious and secular themes of the period. The Buddhist lore has been depicted in the unframed large wall murals. The very subjects depict the life of Buddha and his own Jataka stories. There are also civilian subjects rendered in the murals. The images those developed in these murals represent the contemporary nuances. In one 34

39 hand they exhibit high artistic qualities; on the other they also seem to have clear and strong notions of the Buddhist theology and teachings. Here, the forms are communicative through the visual melodrama. Ajanta paintings collected the visual data of the contemporary period and transformed it in wall paintings. They are undoubtedly best of their class. They have been painted as substitutes to the sculptures. Here, interestingly the wall of cave temples are not very suitable for carving. Therefore artists have found out the alternative for the artistic creations. The walls have been covered with the clay background and white washed as prelude to the painting execution there. Ajanta painting evolved with great deal of the religious and artistic milieu. The forms that are evolved there have power to communicate. This is what is the symbolic depiction. For instance, the theme of the Jataka narration in Ajanta Cave 2- refers to Vidura Pandita Jataka. This Jataka represents the story of Bidhisattva who was born as Minister in Benaras. Minister's name was Vidura Pandita. He was very pious and well read. Well known in his country for his administrations and orations (Pic. 16). 16. Vidura Pandita Jataka, Ajanta. 35

40 The early Hindu sculptures were formulated over the period of a few centuries. The images have been evolved with religious and sociocultural nuances. The sculptures and paintings are together developed in almost all dynastic periods. In early formative phases synoptic forms were used to narrate the images. The images of Vedic divinities such as Siva, Balarama, Narasimha, Krishna, Devi, Yadava Panchaveeras, Kumara/Skandha, Ganesha and many others like Yaksha, Gandharva and Yakshis, Apsaras. These figures were part of some or the other mythological stories. The figures of these divinities have developed with graceful features. Iconography, icnometry and its physical details go well together. For instance the sculpture of Devi is to be depicted, the formal features of the Devi were made known to the artists. Artist then create his own forms and imaginations. The Devi form was first evolved during the combat of the demon Durga and Chamunda and also Mahisha. The Devi was evolved of the synthesis of the power of the Trinity and other divinities. The Devi assumes forms of Durga, Mahishamardini and also Chamunda. However all these figures are connected together at one form. The Devi is shown as killing Mahisha, Victoriously standing over Mahisha, sitting on lion, having depicted with only two arms in the beginning and later on she has been represented with four and six arms and also with eight arms with various weapons. The weapons are very interestingly depicted here. She has Trishula, spear headed trishula, Shankha, Chakra, Bow and Arrow, Ghanta and many others. Usually when Devi is represented in two of four arms she is in very simple form. She is more of simple type in depiction. The very conception of Devi image has gone through various formative phases. Devi as the killer of demon has lot to do with combating figure. She has been depicted as victorious in early imaged. The early form depicted in Kadamba and early Chalukya are more less 36

41 similar in the representation. The form Devi is victorious and celebrating the killing of demon Mahisha. In the sculptures Devi is shown as lifting the hind portion of Mahisha by holding the tail in her hand. She keeps a leg on the back of the demon and presses him. She pierced the trishula /spear head in the neck of the Mahisha. In the other two hand she holds Shankha and Chakra. The image is very simple and sophisticatedly done. This example hails from Jambehalli in Siddapur taluk of Uttarakannada district. Similar figures are also found in Devihal in Haveri district, Talagunda in Shimoga district. All these expels are from Kadamba period. Interestingly, the image of Devi for the first time depicted in this region of the country. Combating of the Devi with titan demon was very popular subject based on Devi Bhagavata and many Puranas. Artists and scholars have used the form which were popular at that time. The very conception of the figure of Devi killing demon Mahisha stands as the examples. The image of Devi has been always an interesting issue for the cultural figures. The image of Mahisha is represented as the Buffalo. Synoptically, the whole narration of the Devi Killing demon has been simply depicted with lady over riding the demon. Among the early depiction of the sculptures-more of simple nature adopted in the narration of Lord Ganesha figures a very important form. The synoptic depiction of Ganesha as symbol of remover of bad omens. He is also figured as having receiving the first obeisance. Though the Ganesha sculptures have depicted from very early periods. One of the images from Gokarna, which is still being worshiped in the temple there, is an important example. Gokarna Ganapati sculpture is an interesting specimen worth discussions. The sculpture is shown in frontal posture, standing on a high pedestal. He has two arms. Artistically carved elephant face, heavy looking pot-belly are the prominent features. Ganesha holds an elongated jar in the left hand, which obviously represent the modakapatra. The trunk of Ganesha touches the modakapatra 37

42 as if he is taking modakas from it. The right hand has a lotus stalk. He wears a circular kativastra which follow the lower contour of his belly. It is tied into knots on either sides and two tassels are falling out and touching the pedestal. He has bell shaped sacred thread tied with line of bells, which appear as worn out. The deity also wears necklace, armlet, fore arm lets. The backside of the Ganesha figure is treated like human form. He has beautifully carved hair locks. These hair locks are further arranged into plaits. A circular flowered broche is also shown on the hairs locks. In the depiction of Ganesha sculptures, the sculptor seem to have tried to make these sculptures as nearer as possible to the verbal descriptions of the deities in the puranas. Gokarna is a place which finds mention in Ramayana. Here, Ganesha is said to have appeared in the form of a dwarf Brahmana before Ravana. The sculptor has visualized this form, and has created it in stone with utmost nearness to its natural form. Hence, we find the characters of a dwarf Brahman with pot-belly, short legs and heavy natural elephant head. The ghantayagnopavita is a unique in early Ganesha form, because elephants are decorated with ghantamalas. The nearness of the sculpture in its form and decoration indicates that, these sculptures are the products of the conceptions of the artist of the early period. Here also the sculptor has tried to bring as natural form as described in the myths. Two identical Buddhas sculptures in standing postures are also found at Haigunda itself. These sculptures on historical grounds can be attributed to the middle of the 5th century AD. Both the sculptures are unfortunately mutilated. However, the transparency of the cloths is quite distinctly discernible. No, Buddhist school of art in Karnataka has provided with the sculptures of Buddha in transparent cloth. Not even at the sites of Sannati, such a feature is noticed. Hence, the source and the 38

43 motivation for introducing this concept into Karnataka was probably from a different source. The late Mathura sculptures of the Gupta period are known to have worn the transparent clothes. Early sculptures found in the early Western Indian Buddhist caves, have Buddha sculptures wearing this type of cloth. Hence it is possible that, this method of carving the garment of the sculpture must have come from the Western India through the coastal route. The facial features, thickly carved curled hair clearly distinguish the form from its prototypes found in Karnataka. The Sculpture can be dated to 5th Century A.D. The artist of early Kadamba period also conceived and created different imagery of the Gods and Goddess. These Hindu/Vedic gods and goddesses have been part of the narrative synthesized in synoptic form as an image. That stand as totem of the society. The iconography and physical features are connected with the contemporary beliefs. They formulate visual language that is understood by a large mass. Here the symbolism play pivotal role. Of these; Vishnu, Mahishamardini, Hari- Hara Skandha and Narasimha sculptures are predominant in representation. In these sculptures also a gradual development in the stylistic features may be noticed. The artist had introduced the weapons and attributes to these Gods and Goddesses. Interestingly the position of weapons and the way they are held by the respective deities also matters in the study. The artist of the Kadamba period seems to have had greater exposure to the contemporary tradition and methods of sculpture carving. Stylistically a gradual development may be clearly identified in the sculptures. They were definitely heading for a much superior plane of development. The early refined qualities may be noticed in the sculpture of a male figure identified as Kartikeya, found in an archaeological excavation at Banavasi. Interestingly, it is the only sculpture found so far 39

44 in a scientific excavation in this region. Kartikeya sculpture is presently kept in the Museum of Art and Archaeology, University of Mysore. The image was found during the excavation at Banavasi ( ), inside the brick Chaitya hall. Its lower part is broken, what remains today are, the right hand and the face. In the right hand the figure holds a heavy staff, which obviously represents the spear. The figure is nicely treated. He has rather an oval shaped face. The figure wears a richly decorated small kirita. His ear ornaments are noteworthy for their depiction. In the left ear, he has heavy drum shaped patrakundala, while the right ear has a makarakundala. The representation of different types of kundalas for the same sculpture becomes special trait is a carving of patrakundalas of large size is an early features. The treatment of the figure is more realistic. The facial details like rounded supple cheeks, eyebrows and eyes, small nose and mouth are the salient features of the face. The eyes are realistically shown. The figure is not rigid in appearance. There is a touch of delicacy and naturalness. Similar features may be noticed in the Mahishamardhini sculpture found at Talagunda, The figure measures about 3ft. in height, and it is preserved in KRI Museum, Dharwad. In the sculpture, the Devi is standing in Samabhanga on a pedestal with a pivot in the center below. She is two handed. She holds a long thick staff in her right hand, similar to the earlier one, while the left hand which is broken, supposed to have held the tail of the demon. The Mahisha is shown as bent across in front of her feet, while its hind portion is lifted up. Devi has a round face, prominent breasts and rope like ornamentation and also a similar Katibandha. The figure appears more hefty and strong in physiognomical treatment. Though the delicacy of the earlier images is absent here, the strong contours and rustic quality in the treatment of the 40

45 physique enhance the dynamic aspect of the deity. Both the sculptures, viz., Kartikeya and Mahishamardhini mentioned above, by their features may be dated to about the middle of the 5th Century A.D. Definite refinement and sophistication in the sculptural style of the Kadambas may be noticed in two Harihara sculptures. They are, for certain, datable to the pre-chalukya period. Gokarna has contributed a Harihara image and another example is under worship in Harihareshwara Temple at Harihara. Both the images are partly mutilated. But still, they represent a developed stage of the stylistic development in the treatment. The treatment of the figure is more realistic. The artist of this sculpture definitely must have had superior skill. He has taken utmost care in the rendering of the physiognomic details. The round realistic face, supple and smooth cheeks, sharp eyebrows and eyes and smiling mouth are the salient features. There is an expression of meditation on the face, which apparently enhances the beauty of the sculpture. Thin lines on the neck suggest the supple and softness of the flesh. The torso is also naturalistically delineated. The strong contours and delicately treated physique enhance the naturalness of the figure. The artist has also shown the knees in a naturalistic way, as they are in real human forms. There is no rigidity in the forms. In general, the figure looks more artistic and realistic in appearance. Perhaps a more delicate and refined features of depiction may be said to be found in the image of Mahishamardhini from Devihal (Hangal Tq. Haveri Dist). Mahishamardhini, has four hands. Devi is standing on a pedestal which has pivot. Devi stands in a rhythmic posture. She has kept her right foot on the face of the Mahisha and left seems to be resting straight. In the lower left hand she lifts the hind part of the demon. The Devi has roundish face, thick lips, and decorated crown and a large halo 41

46 (Partly broken). She is adorned with a stringed necklace which flow in between her breast and tasseled on either side of her waist. Devi wears a lower garment which of the dhoti type. It is characteristically depicted with folds in the front. Though the figure is not very big in volume, the appearance of the image is very strong. The very stone selected for carving the image is quite thin. But skill of the artist is visible in this work. The treatment of physique is clearly exhibit delicacy and softness. A sense of tactility may be felt. The figure is more graceful in delineation. The composition of the figure is artistically planned. The pose is balanced by pressing the head and lifting the hind of the buffalo, as she stands in a relaxed Posture. The hands are also adjusted in similar way.ntury AD. Similar features of Devi are to be seen in yet another example from Jambehalli (Shikaripura Tq. Shimoga Dist.) Here also the Devi is depicted in almost similar manner, while it is complete image still being popularly worshipped by the local folk. Here, the hands have the shankha, a Khadga and trishula, while the left hand is usually shown as lifting the tail. The physical details are more natural in the treatment. Based on the features of the sculpture, the Devihal Mahishamardini th figure may be reconstructed. It may also be placed to 5 Century AD. In the symbolic depictions of the period, God Narasimha occupies primordial place. The image depicts entire Prahlada Charita story. Interestingly, the figures of Narasimha exhibits the earliest visual representation of the theme. The artist has chosen rather simple form of the deity. He has taken the imagery of post-combating event of Narasimha. According to iconography, this form confirms the kevala/girija or benign aspect of the deity. In this form, the figure is generally shown in seated or standing posture. The deity, some times is accompanied with his weapons or would be without them. The artist of 42

47 Kadamba period favoured the form of seated Narasimha. The zoo-anthropomorphic representation of Narasimha figures are found in a good number all over the North and South Kanara regions. These Lion headed and human body sculptures represent an interesting aspect of the Vedic art. The figures are generally shown in seated postures in sukhasana. These sculptures are shown with bare hands, idly resting both hands on knee and thighs. In some examples, the bahubijaphala or saligrama is held in the right hand, while the left is again idle. The third type of Narasimha figures have either shankha or chakra as their attributes. Interestingly, majority of the images found so far and datable to the Kadamba period are represented with two hands. Most of these figures are simple in form. They have minimum decoration and yagnopavita is evidently absent. Interestingly, the lotus is invariably depicted on the head of the figure. In many examples, the lotus motif is shown like a crown, with central projection and petals spreading evenly all around. It may be reminded here that, a similar lotus motif is already noticed in the Ganesha sculpture found at Idagunchi. As stated earlier, the lotus has symbolic meaning associated with the 'supreme knowledge' of a person. The period under study has put in with enormous amount of the subjects. The paintings in other hand at Ajanta have definitive purposes to popularize the subjects and faith in Buddhism. Similarly the early Hindu sculptures like Vishnu, Ganesha, Siva, Skanda, Devi, Yaksha and many others have developed with concerted forms that again popularize the Vedic cultic forms. These symbolize the socio-political and religious state of the society in the period. It also reflects on the day to day life of the public. In Karnataka, as has been seen above, these forms introduce a strong socio-cultural milieu. The early period of the visual imagery is constructive or it may also be called as formative period. The next period 43

48 importantly is that of very fertile for the iconography and image making. The early Chalukya period marks the matured phase of the civilization in image making. During the period, the Badami Chalukya art has become pivotal in many reasons. Not only they exhibit an important format of the development, but also they evolve with great maturity and refinement in the image making. The meaning and symbolism together form a new dimension in the representation. Badami Chalukya sculptures are colossus and iconic in their appearance. They have religious sentiments with populist nature as they have been part of image making. Badami has four cave temples. Of these first three belonged to Hindu pantheon and while the fourth one belonged to the Jain faith. Cave No. 1 has some rare examples of the sculptures. In the verandah the are Harihara flanked by the respective consorts. On the western side wall Ardhanari Siva is depicted. Both the sculptures represent a very special iconography and they are tabloid forms of the iconic depictions. Ichnographically the Harihara image is first of its kind seen in entire sculptural history. The representation of the consorts of the duo gods is first time imagined here and depicted. Chalukya artists have conceived the imagery of the figure and depicted it in most advanced way. Similarly, Ardhanari Shiva depicts confluence of male and female powers together in synchronized forms. Here he is shown as resting on Bull behind him and holds a Veena/Lyre. Another most interesting sculpture are Mahishamardini and Ganesha as well as Nataraja. Nataraja on the Western extended wall has eighteen arms. It is new method and iconography that Chalukya artists introduced. In the image Natararaja is shown dancing posture. He is poised with stance that is very sophisticatedly rendered by the artist. 44

49 In Cave Nos. 2 and 3, the sculptures depict similar mode of the symbolism. The image of Varaha- lifting Bhudevi and another important example is that of Vamana-Trivikrama- and Bali episode. In the Varaha image Vishnu is shown as lifting rather rescuing the goddess Bhudevi. The sculpture symbolically depicts the victory over the demon Hiranyaksha. The sculpture in a synoptic method depicts entire narration of the Puranic version of the story. Varaha is heroic in the pose and he performs the heroic deed only. The image is composed in rectangular space of the wall. The whole idea has been rendered to suit the puranic story. In the image of Vamana-Trivikrama and Bali, the artist has composed the most complex subject in a simple way. The story of this episode is depicted in Bhagavata and Vishnupuranas. Here Bali is giving alms of three steps as desired by the lord Vishnu in the form of young Vamana. Once gets the same grows infinite as almighty. He encompasses the whole world by his three steps. The sculpture is in high relief. Artist has very beautifully rendered the details of the image in most interesting manner. The synoptic method of narration continued here also. Iconic and symbolic depictions of the sculptures are to be noticed in the examples of cave No. 3. The images of Vishnu sitting on coiled serpent as Sheshasana Vishnu, Varaha, Ashtabhuja Vishnu, Harihara, Kevala Narasimha and Trivikrama images are to be noted here. Here, the images are tabloid in stance with symbolic depiction. Every aspect of the narrative content is hidden in the synoptic form. The sculptures represent the imagery that have strong socio-cultural and religious beliefs. During Chalukya period only a new dimension was added to religious depictions. Saptamatrika images have been represented at Aihole Ravnpahadi Cave temple. Here, all the seven divine mothers Brahmani, Maheshwari, Kaumari, Vaishnavi, Varahi, Indrani and 45

50 Chamunda are been depicted with Nataraja and his family consisting of Parvati, Ganesha and Skandha. This is a unique depiction of the image of seven goddesses. They stand for feminine power. So that, they are always depicted together. Chalukya artists mesmerizingly associated the day to day life with the artistic creations. One such beautiful example comes from Ravan Pahadi Cave, Aihole Ardhanari Shiva, the most beautifully depicted one. The forms of Shiva and Parvati have been blended so nicely that they are integrated in most harmonious way. Each one of the images depicts a synoptic form of symbolism. The symbolism of the female energy is transformed as the Devi. The Chalukya artists knew about the energy of the subjects that were directly connected with the life in the society (Pic. 17). There are several such symbolic depictions used by the Chalukya artists in delineating the subjects like the great epics. Pattadakal has some such interesting subjects depicted on the outer walls of the Virupaksha and Papanatha temples. Both were built between AD. The sculptures belonged to the various gods and goddesses. Virupaksha temple has Ramayana panels, Narasimha combating Hiranyakashipu, Shiva Parvati and also various other forms of the Shiva. Papanatha temple has beautiful Ramayana panels. Interestingly each one of these panel are engraved with titles of the characters and episodes. Interestingly this was the simple technic adopted by the artists to educate the public. Ramayana narrative themes like abduction of Sita, Rama meeting Sugriva and Hanuman, Vali Vadha, etc are beautifully depicted with great sense of reality. The artists were always represented a thought process that was very much appreciated by the public. The story of the ancient lore has converted visually to enable the educational importance (Pic. 17, 18, 19). 46

51 17. Ardhanari Shiva, Aihole, Karnataka. 18. Ravana lifting Kailas Pattadakal, Karnataka. 19. Lingodbhava Shiva, Pattadakal, Karnataka. The Post Chalukya periods are being those of Rashtrakuta and Later Chalukyas or Kalyana Chalukya, have been rendered the subject the most beautiful manner. The artists blended the precursors with great respect. During this period, the monolithic monument at Ellora the great Kailasnath temple was excavated by the Rashtrakuta artists. The monument is of great excellence with its mesmerizing beauty and technical expertise. The monument is carved in a single huge mountainous rock. The temple has sculptures and narrative sculptures recalling the Pattadakal temples. The great examples like Ravana lifting Kailas, Lingodbhava Shiva, Combat of Narsimha, etc have been depicted with monumental sizes. These sculptures are also over life size as the monument itself is. 47

52 5 : Signs and Symbols in th Century A.D. (As gleaned from Sculptures and Paintings) The period between th Century is rather vast phase of Indain as well as Karnataka art. In initial phase there has been several new dimensional activities were conducted. The art being the aesthetic commodity, also been adopted as religious functionary. The period has witnessed a large number of changes in political powers. The power change also resulted in religious and cultural changes. The approach to the arts and beliefs also comparatively changed. The images were were some time more religious and democratic. The images were also exhibited with great energy and life. However, they followed the precursors of the period. Among the images makers the dynasties that patronized the arts and letters are discussed in the following chapters. 20. Apsara Jalasangi, Karnataka Later Chalukya period is the one which marks the beginning of the new rather th renewed visual language of the 10 century. The artists depict the most matured forms of the sculptures. Temples in Ittagi, Lakkundi, Jalasangi, Kalgi, Narayanapura, and many others have evolved with new dimensions of the sculptural art. The images have been developed from the predecessor figures. The 48

53 Apsara sculptures developed with new visual language. Apsara from Jalasangi, who is depicted as reading the script in long scroll held in her both the hands. The pose and tilted body gesture extremely beautiful in its treatment. She is reading the text from the scroll is an eulogy of the king Vikramaditya (Pic. 20). Similar examples with new visual language have been depicted in Kalgi temple. Here Apsara sculptures speak about the Ragamala subjects. Inscriptions written right above them have references to the Ragas depicted in those days. Naturally sculptures of these Apsaras represent the Ragamala examples. Ragas represent music and singing. Lakkundi temple also has some interesting sculptures. They are Ravana lifting Kailas, Bheema fighting elephant, Parvati as Yogini are noteworthy (Pic. 21). 21. Madanika sculptures Kalgi, Karnataka. The Hoysala period which contemporary to those of later Chalukyas have astonishingly beautiful temple and sculptures. Sculptures at Belur Chennakeshava temples are known for their beautiful poses and intricate carvings. The Madanikas as they are popularly called depicts the forms of Apsara figures only. They decorate the outer canopy of the temple. They are undoubtedly best of their class in the late medieval sculptural art. Hoysala art is known for new 49

54 experimentations in Temple forms and also very intricate designs. The sculptures represent the most advance technological developments. Apsara sculptures are shown with various forms. They are holding Veena, Archery, Bow, in Dancing postures and may more to be seen. Hoysala artists have used the forms that were popular during that period. Interestingly after the Hoysala sculpture there are no such example yet be seen. Not only the Apsaras of the Hoysala period depict the maturity, but also other sculptures too have similar evolvements. The symbolism and synoptic depictions continue here also. Beside there are also long narrative sculptures depicting like un-scrolled scrolls. The wall sculptures, synoptic ones have spread in tapestry like form in narrative examples. Great epics and many minor Puranic stories have been depicted as to educate the public. These figures always have contents of publicizing the subjects to the public (Pic. 22). 22. Apsaras, Belur, Karnataka. The period under the scrutiny has shown a steady development of the symbolism in the form of the sculptures. There are also another interesting genre of sculptural examples depicting the Inscribed stones and Hero-stones. The inscriptions of the period have quality of public posters. 50

55 They are meant to be read publically. The King always used to publicize the social and religious work that he under took. The great inscriptions like Kadamba Ravivarma Pillar inscription from Gudnapura stands for the publicizing about his deeds. It also informs about Lake, Palace and also festivals like Vasantotsava. Similarly Talagunda inscription of Kakusthavarma referes to the temple built for Siva by the satakarni kings. These public charters are very important edicts-inscriptions popularize the Kings' projects and achievements like wars, donations etc. the epigraphs work like two way publications. The public notifications were issued in the form stone inscriptions erected in Public places to enable the public to read through it. While, the other one is copper plate, which was meant for private one. The copper plates also contain similar contents as to enable to record. It was private record only like our bonds, and important papers records. The practice of issuing such charter began rd as early as 3 Century BC. During the time of Asoka, such edicts were issued and erected in public place. Even today they have been preserved and also still one can see them. Some of them are on Temple walls, separate stone plank erected in the temple premises. And even the rocks boulders, Pillars etc. were also used for such grants and carvings. Interestingly, these inscriptions also being carved with the fine examples of sculptures on the upper portion of the slab. The slabs totally connected with the public utility and information. Though they are not of the great artistic piece, they definitely exhibit a sense of the commodity of the public. The other genre that is worth connected here for discussion is the Hero stones. They represent the direct socio-political cause of the society. The hero stones are raised for the deceased heroes who last the life in the wars against the enemies, driving the thieves, cattle steelers etc. over all they might have last life in the interest of the village or state against 51

56 fighting bad deeds. Such person were given social respect by extending the issue of hero stone erected in public places. Heroes are always depicted fighting the enemy. Or he would depict as being escorted by the Apsaras to the heavens. On the upper strata of the slab, Shiva and Nandi are depicted. This is quite common feature in almost all slabs. These examples have direct relying on the public. Kannada folklore tells a tale of a young man Sala, who saved his Jain guru Sudatta by striking dead a Tiger he encountered near the temple of the Goddess Vasantika at Angadi, now called Sosevuru. The word "strike" literally translates to "hoy" in Kannada (Old Kannada), hence the name "Hoy-sala". This legend first appeared in the Belur inscription of Vishnuvardhana (1117), but owing to several inconsistencies in the Sala story it remains in the realm of folklore. The legend may have come into existence or gained popularity after King Vishnuvardhana's victory over the Cholas at Talakad as the Hoysala emblem depicts the fight between the mythical warrior Sala and a tiger (Pic. 23, 24). 23. Chennakesava Temple, Belur. 24. Buchesvara, Koravangal Karnataka. Hoysala Symbol : in typical Hoysala temple, especially those built during the 12th and early half of the 13th century, an image of Sala slaying a tiger (Lion) is placed either at the main entrance of the temple or 52

57 an the projecting section of the Sikhara called Sukanasika. As we know that Hoysala temples are aesthetically beautiful for their minute details in sculpting the figures. Also known for Finest Architecture and Sculptures of this dynasty had symbolized by placing the Symbol of Hoysala on the top of some temples. It reminds me the present day branding of the products. In equal or more numbers of temples, this Hoysala symbol does not find a place. The Kesava temple at Somanathapura offers an example for missing Hoysala symbol. In the post Hoysala period, the images were usually tabloid as colossus ones. Vijayanagara period for instance has adopted this grand depiction methodology. The temples are also large and vast with lots of space added to the temple premises. In Hampi its one can see that how temples are planned. Sculptures associated as the grand stylistic depictions. The images like Kadale Kalu Ganapati, Sasive Kalu Ganapati, Lakshmi Narasimha, Veerabhadra stand for iconic results of the images. Stone Chariot in the premises of Vithala temple stand as an edifice of the Vijayanagara art as excellence. Images here also synoptically depicted as they symbolizes the narrations. Paintings also play a pivotal role during this period. Painting tradition, especially the Mural tradition was revived. Hampi, 25. Arjun Matsaya, Hampi. 26. Sriram Kalyan, Hampi. 27. Manmata Viajay, Hampi. 53

58 Virupaksha Temple Maharangamantapa ceiling paintings are considered as the best of their class. The Paintings synoptically connected as they display the images of Vishnu, Shiva, and Brahma along with their trinities. Similarly Manmata Viajay, Girija Kalyana-the marriage of the lord Shiva and Parvathi are depicted with a fine Rendering of images. The paintings also have the representations of Mahabharata and Ramayana as well as Bhagavata depictions. Hampi paintings are the synoptic versions of the detailed story that is dealt with (Pic. 25, 26, 27). In the post Vijayanagara period Painting continues rather is low key. The art was went on to patronized by their subordinates in their political absence. The Nayakas of Chitradurga and Mysore Wodeyars were the one who continued the patronization. Hiriyur Terumalleshwara temple continues the Vijayanagara traditions. The Paintings on the ceiling of the Sabhamantapa are beautifully done. Unfortunately they are badly damaged. Here also we come across Kiratarjuniyam, Hunting scenes etc. they are nicely composed with great aesthetic essence. The composition itself very much imparted in the general outlook. The figures are formally looking down towards the devotees. Thus the whole composition make the painting more appropriate. In continuation with the development of symbolism in the next level and further it has transformed in Mysore region. Myosre wodeyars have used the Paintings and structures as the means of edifices. The miniaturesque forms have been depicted in the traditional Mysore style paintings. They are the most popular forms of the exhibition of the public art. Almost all houses of the period had procured the paintings like Rama Pattabhisheka, Rajarajeshahwari, Vatapatra Shayi Krishna, many themes depicting popular themes of the day. This had done revolutionary impact of image building in that period. Mysore palace patronized all sorts of art activities. Mysore Wodeyars also popularized the mural traditions as 54

59 continuing tradition from Vijayanagara period. They painted the temples in Palace premises like those of ShwetaVaraha swamy and Sri Prasanna Krishna. Bhagavata and Ramayana stories have been painted as to popularize the theme among the public. This was the only means in those days to popularize the culture. All these narratives were educative in the basic conception. The same subjects also continue by the traditional artists in the painting (Pic. 28) Ramayana panel, Mysore. The most important revelation of the period is that of the arrival of Raja Ravivarma in Mysore court. He not only painted some of the most important examples of the art of his time but also they established a new visual language of the period. Ravivarma impact was very strong both visually and artistically. He adopted the European mannerism in his style of painting. His paintings are blend of the European style and Indian subjects. Ravivarma becomes a kind of public face of Indian modern art. His paintings on Mahabharata characters, Ramayana Characters, Shakuntala are interestingly dealt as the masterpiece. These have been regarded as the best examples of the period. 55

60 The image making has various genre in its under folds. The art and artistic creations are always matched with contemporary necessities and popularities. The signs and symbolism thus become part of the well-articulated subjects. Signs and Symbols play a pivotal role in promoting and popularizing an image. Symbol or Signs is nothing but a synoptic version or even it may be said as synthesis of a large narrative or an image. Ancient artists have employed the symbolism in great meaningful way. The emblem and insignia also connected with the same meaning and genre. Ancient Buddhist art and succeeding periods also employed symbolism to depict a large content and narrative. Synoptic sculptures of a larger story also connected with the similar content. One can notice that symbolism has varied meaning and connections. For example in contemporary context, a company's logo can be the representation of that particular company's belief, and ideology. Similarly the logo depicts very conceptual dearth of the image. Ancient Indian dynasties had developed their own insignias. These emblems depict the very concepts of the kingdom. This may be applied even to the period of Mahabharata. The emblem of Hanuman as flag image of Arjuna has deep sense of belongingness. In connection with Karnataka ruling dynasties, when looked upon, they have used varied interesting images as symbols, which can be called as royal crests. The Kadambas of Banavasi had Lion with a leg raised little up as their royal crest. Gangas of Talkad had Elephant as their Royal Crest, while Chalukyas of Badami used Varaha as their royal insignia. Whereas, the Hoysalas used young man attacking a tiger, popularly known as Hoy-Sala the firs legendary king who believed to have killed a tiger single handedly. The Mysore kings adopted the double headed bird known as Ganda Bherunda. 56

61 The images as insignia are always dwell in the minds of people. They are synoptic and direct in their visual appearance. Symbolically, they also connect the people with the subject they inherit. Therefore even in the contemporary context also the government of India has adopted the Lion Capita of Saranath as the Nation's symbol, while Government of Karnataka inherited Ganda Bherunda as state symbol after Mysore state got merged with Union of Indian Republic (Images- I to IX). I. Banavasi Kadamba Symbol II. Ganga Dynasty Symbol, Talkad III. Chalukya Symbol, Aihole. IV. Chalukya Symbol V. Hoyasala Symbol VI. Vijayanagara Empire symbol VII. Keladi Symbol VIII. Mysore Wodeyar Symbol IX. Indian Emblem However, the symbols/ signs/insignia/emblem and modern Logo all belonged to the same genre, associated with a great meaning. 57

62 6 : Signs and Symbols in 20th Century and onwards. Twentieth Century represents a new wave of the Change in the world. Whole world had witnessed steady industrialization in one hand, on the other, the world wars hit the world to reconcile the power and moralities. This was held with a new dimension in the world of consumerism. Every aspect was based and aimed at selling and buyingthus it created a big community of the essential consumers. Similarly Industrialization in the Europe, America and Japan and also India has led to new consumer and economic revolution. Indian and Karnataka were no different to this new wave of Visual change in the media also. Visual art suffered a great heap of dimension in the period. In the previous periods we have seen how religious symbolism played role in the society. The people had to understand the consequences of the visual imagery that was more connected with the th emotional and religious sentiments. 20 century represents mainly technological entities with changing vision and beliefs about the morale of the life. Public also were in tune with consumer ideology that was percolated in the period. The royal families like Royal British Family had it s own customized items. Such as Bath Soap, Cloth, even food items and also jewelery etc. Public imitated the items in their own way. The commodities have now become household and popular objects. The growth in the industrial production also leads to heavy consumerism. Thus making the image as productive entity developed with great stance. Interestingly another new trend seen in that period was publicity 58

63 about the products. The productions based on original raw materials, transforming in to a new brand attractive objects were in race to call public for buying the things. This was very common trend everywhere. The companies aimed at the small time regular consumers for day today items. Whereas, big investors aimed at the large quantity of productions and aimed at consumers. To propagate the product they found publicity media. The products were printed with nice designs published separately in news media. In the absence of super fast public media like today, in those days they had found their own methods. The posters, sound announcements and radio broadcast were approached. Advertising of the objects/products received a large attention. Artists were called to design attractively about the products. There was a heap of competition among the companies. Only multinational investors survived in the competition. In the wake of world war there was a strong resonance about the advertisements. The art movements in Europe; like Impressionism, Post Impressionists, Cubism, Dadaism, Surrealism all were directly and indirectly connected with the grooving unrest in the world. Paris was fountainhead of all artistic creations. However England controlled whole eastern world as their colonies. The Industrialization shifted from common commodities to war weaponry and heavy earth movers, vehicles as part of the mining and war. The rapid growth even in heavy industry also developed with new visual language. New scientific discoveries like Computer has changed the lives of the people. Every country is a small world of organizations representing its development. Similar to other countries, there are multiple organizations in India belonging to different categories like IT, banking, business, telecommunication and many more. Every company has its own Sign and Symbol (logo) making them look unique from others. In simple 59

64 words, the logo is a symbol or emblem representing a company or organization. It acts as a short representation for the company creating good promotion in public. Today Signs and symbols can be highly charged with emotional, political, economic, aesthetic, or religious meaning. Any conceptual symbols are expression of religious, philosophical and scientific system. Thus from primitive, simple shapes such as the cross, the pyramid, the circle, and the square-to which other connotations of the sun, the moon, the stars, the tree, the sacred mountain and so on. A sign that is used almost universally as a symbol is the circle. Although it originally may have been used as a patterning device or a pictogram of the earth, sun, moon. The circle takes on far greater meaning when it conveys a particular massage. As a word finds its meaning in the context of sentence, so the symbol finds its meaning in the context of other symbols with which it is associated. The simplest signs have so much meaning encoded in them that a basic symbol expression is enough to understand its significance. The following are some Symbols and Logos of famous Indian organizations designed exclusively. Logo design should be in such a way that it represents some or the other information about the company. It means the design should depict the name or motive or at least type of company it belongs to. By this representation, everyone will get some idea about the company easily just by looking at the logo itself. It is the best way to get more familiar with public using exclusive promotion gained by the logo. State Bank of India - SBI State Bank of India - SBI is one of most prominent banks of India re-branded its logo from banyan tree to circular logo cross-sectioned with a straight line ended with a small circle from downside. Initially, the logo was a banyan tree designed in The current logo was designed in 60

65 1971 by Shekhar Kamat, who belongs to National Institute of Design (NID), Ahmedabad. The logo represents a key hole unlocking all the banking needs of common people. AIDS-Symbol : The Red Ribbon is the international symbol of HIV and AIDS awareness. It was first developed in 1991 under the Ribbon Project by Visual AIDS Artists Caucus in New York, a New York-based charity group of art professionals that to recognise and honour friends and colleagues either died or are dying of AIDS. Mysore University Emblom The University emblem is adapted from the Royal Emblem of Mysore. The motto of the University, as envisaged in its emblem is, "Nothing is Equal to Knowledge" and the second line "I Always Uphold The Truth"summarizes the vision, moral fabric and idealism of the Founders and of the University. It is also fact that modern visual language has changed according to the visual imagery that has developed in the light of individual and public interest. When Canara Bank changes its symbol with entangled triangles, directly associate with the public. Similarly Syndicate bank has dog as symbols. Dog being the most trusted animal, the bank connects itself with public through dog's imagery. When it comes to education, the universities develop their logos which directly shed new light of the very concept of University and its function. For example Kannada University has slogan of Matembudu Jotirlinga while Karnataka University Dharwad has Arive Guru. Interestingly, these words have been taken from the Vachanakaras of th Century. Matembudu Jotilringa means the speech is like that Siva Linga. Similarly the Knowledge is the teacher. These words directly touch the minds of the public, and they also develop kind of broad sense of belief about the education. 61

66 State Bank of India HIV and AIDS Symbol Mysore University Emblem Karnataka University Emblem, Dharwad Kannada University, Hampi, Emblem Karnataka State Open University Emblem 62

67 Conclusions. Generally Sign and symbols are compressed forms of elaborative descriptions. Sign and symbols are very distinctive forms from the ancient period. It holds the very prominent place. Line drawings of pre-historic man are known as oldest forms of communication. The developed phase of this form took the shape of two dimensional and three dimensional representations in sculptures and paintings. The signs and symbols are found decorated the stupas during Maurya and Satavahana period, depicting Buddha symbolically in many signs. Indus valley civilization are the part of origin of subject. Creative individuals whose images expressed ideas and feelings that became characteristic of their age. Applied Art or advertising Art deals with the study of visual communication and publicity. The communication process mainly evolves on form, line, space, texture, colour, shape and proportion. These are the sources artists use to create their ideas. The representation of sign and symbols on monuments, painting and murals of Karnataka are very fertile. Hence a comparison study can be made between the modern trend of corporate logos and sign and symbols. The study of sign and symbols in Indian context is very rare. Very few scholars have attempted to identify these to with rulers of famous dynasties. Sign and symbols are integral part of visual communication and advertising. We come across with many authors of west in connection to the said topic. If we go through the history of art, the king Ashoka of Maurya dynasty is the first to give sign and symbols of Buddha to the world. 63

68 In the study whole issues connected to the subjects mentioned above have been reviewed and attempted to enlighten on them. The sign and symbols becomes merely secondary at one stance as the whole world is standing upon them. 64

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