Browsing by Author "Chavan, S.M."

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Iconography of Parshvanatha at Annigere in North Karnataka – An Analysis
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Chavan, S.M.
India being the country which is known to have produced three major religions of the world: Hinduism, Budhism and Jainism. Jainism is still a practicing religion in many states of India like Gujarat, Karnataka, Madhya Pradesh, Maharashtra, and Rajasthan. The name Jaina is derived from the word jina, meaning conqueror, or liberator. Believing in immortal and indestructible soul (jiva) within every living being, it’s final goal is the state of liberation known as kaivalya, moksha or nirvana. The sramana movements rose in India in circa 550 B.C. Jainism in Karnataka began with the stable connection of the Digambara monk called Simhanandi who is credited with the establishment of the Ganga dynasty around 265 A.D. and thereafter for almost seven centuries Jain communities in Karnataka enjoyed the continuous patronage of this dynasty. Chamundaraya, a Ganga general commissioned the colossal rock-hewn statue of Bahubali at Sravana Belagola in 948 which is the holiest Jain shrines today. Gangas in the South Mysore and Kadambas and Badami Chalukyans in North Karnataka contributed to Jaina Art and Architecture. The Jinas or Thirthankaras list to twenty-four given before the beginning of the Christian era and the earliest reference occurs in the Samavayanga Sutra, Bhagavati Sutra, Kalpasutra and Pumacariyam. The Kalpasutra describes at length only the lives of Rishabhanatha, Neminatha, Parshvanatha and Mahavira. The iconographic feature of Parsvanatha was finalised first with seven-headed snake canopy in the first century B.C. followed by other Tirthankaras. Each of the Tirhtankaras have specific yaksha and yakshi flanking them. There are many temples in Karnataka dedicated to Parshvanatha. The present paper attempts to discuss the iconography of Parshvanatha Tirthankara and with a special reference to the scultpure in the temple dedicated to him at Annigere, a village in Dharwad district in the Northern Karnataka.
Paintings of Ajanta and Dambulla – A Discussion of the Themes
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Chavan, S.M.
The Buddhist art depict Buddhas, bodhisattvas, and other entities; notable Buddhist figures, both historical and mythical; narrative scenes from the life of Buddha, along with mandalas and other graphic aids to practice; as well as physical objects associated with Buddhist practice, such as vajras, bells, stupas and Buddhist temple architecture. Buddhist art originated on the Indian subcontinent following the historical life of Gautama Buddha, and thereafter evolved by contact with other cultures as it spread throughout Asia and the world. The Ajanta frescos scattered in the caves along the Waghora River date from the second century B.C., when the first Buddhists forbade representation of the Buddha himself. The subject-matter of the paintings of Ajanta are mostly the various lives of the Buddha as told in the Jataka tales. Buddhist art followed believers as the dharma spread, adapted, and evolved in the Asian countries. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, and to the east as far as Southeast Asia to form the Southern branch of Buddhist art. The five caves at Dambulla converted into shrine rooms and within these rooms is housed a collection of one hundred and fifty statues of Buddha, and several more deities along with other personages of the Buddhist order of Sri Lanka. The uniqueness of this site lies in the fact that along with paintings on the walls there are also painted sculptures with a unique style, colour, composition and a range of themes depicting the life and teachings of Buddha. The present paper proposes to explores some themes of Buddhist paintings in India and Sri Lanka with reference to paintings at Ajanta and Dambulla.
Parshvanatha-An Image in Trance at Annigere in Karnataka
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2017) Chavan, S.M.
Representation of Elephant in Hoysala Temples with Reference to Hoysaleshwara Temple of Halebidu
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2016) Chavan, S.M.
Representation of Elephant in Hoysala Temples: with Reference to Hoysaleshwara Temple of Halebidu
(Centre for Asian Studies, University of Kelaniya, Sri Lanka, 2016) Chavan, S.M.
The temples built between 11th and 14th centuries by the Hoysala rulers exhibit intricate sculptures and freezes in stone as a part of its architecture. Being extremely stylistic, they belong to Karnataka a state in the southern part of India. Some of the temples of this period include the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere etc. Some of the important ones are marked as Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebid and the Keshava Temple at Somanathpura. The temples dedicated to Shiva or Vishnu the two main deities of the Hindu pantheon placed in the sanctum sanctorum with a circumambulatory passage, the outer portion unfolds on a unique plan with projections and recesses in the external walls. The temple walls are richly covered with intricately carved sculptures with themes of different forms of the Hindu gods and goddesses, along with stylised animal figures and exquisitely decorative patterns of flora and fauna. The Hoysaleswara temple is well known for its sculptures that run all along the outer wall, starting with a dancing image of the elephant god Ganesha on the left side of the south entrance and ending with another image of Ganesha on the right hand side of the north entrance. There are also good examples of the elephants sculpted on the walls, represented as the vehicle of Indra and as the demon Gajasura who is slayed by Shiva. Other interesting representations of the elephant are elephant flanked by the steps of parapets that lead to the temple as also represented as part of the freezes of the temple walls. The present paper proposes to study the elephant images presented in the Hoysaleshwara temple of Halebidu, along with its characteristic form, and it would also analyse the symbolic representations.
Yantra – The Visual aspects of Shankara’s Philosophy and its relevance to Contemporary Indian Artists
(Centre for Asian Studies, University of Kelaniya, 2015) Chavan, S.M.
Yantras of Shankara and their influence on Indian Tantric Artists Wwith reference to G.R. Santosh and K.V. Haridasan
(Centre for Asian Studies, University of Kelaniya, 2015) Chavan, S.M.
Yantra, defined as a ‘mystic energy diagram’, is a simple composition of lines, triangles, squares, circles, lotus petals, a trident and with a dot of seed syllable in the centre. Amongst the numerous thinker saints of India, Shankara of the 8th century has integrated religious thought, rituals, spirituality, philosophy, poetry and the art of drawing yantras in his composition of one hundred hymns of Saundarya Lahari. The uniqueness of this composition is that each of the hymn has a yantra complimenting it. Two Indian artists GR Santosh and KV Haridasan drew inspiration from Saundarya Lahari and depicted the yantras vividly in their paintings. GR Santosh a poet artist and who was adept in yoga, born in Kashmir, often visited Shankara’s shrine in Srinagar which kindled an interest in the philosophy of Shankara. These impressions from his early life reflected in his paintings were compositions of human silhouettes juxtaposed with yantras. Born and brought up in a traditional Hindu family, Haridasan was introduced to the philosophy of Shankara early in his life. His paintings were an exploration and creative visual representations of Shankara’s yantras. The present paper inquires the influence of Shankara’s yantras on two Indian Tantric artists GR Santosh and KV Haridasan illustrating relevant examples of their paintings.