ART
Location: Bhubaneswar, Orissa
Main Attractions: Temples Of Bhubaneswar
In sharp contrast with the plain unadorned interior of the
temples, their outside is embellished with profuse sculptured reliefs at
various grades, bringing into focus the achievements of the artists and
the trends of art in different ages. The reliefs may be broadly classified
into:
(i)
Hieratic deities, including 'dikpalas', with their characteristic
iconographical features in conformity with the canonical prescription,
which itself was not static through all ages.
(ii) Human beings in domestic scenes, acrobatic feats and solemn
ritualistic worship, relaxing in music and revelry, listening to a
teacher, on a pilgrimage, fighting the enemy, in amorous dalliance,
attending on the superiors and on a procession, and above all the
Alasa-Kanyas 'indolent damsels', with an abandon of emotions and without
any serious work but in an ecstatic joy of living and vaunting their
voluptuous beauty in a wide variety of postures and suggestive flexions.
(iii) Birds, beats, aquatic animals and composite and mythological
figures the last including 'Nagas' and graceful 'Naga-Patnis'.
(iv) Endless patterns woven out of floral, plant, geometrical and
architectural motifs.
Earlier Temple Figurines
The figures on the early temples, like the
Parasuramesvara
, Svarnajalesvara and Satrughnesvara group, are characterized by a homely
feeling, restraint, stately repose, modesty and naivety, with a distinct
predilection for story-telling, as exemplified in the marriage and
marriage-procession of Shiva, Rama killing the golden deer, combat between
Shiva, Rama killing the golden deer, combat between Shiva, Rama killing
the golden deer, combat between Shiva, as a 'kirata', and Arjuna, Shiva
receiving alms from his consort Annapurna, Ravana trying to uproot Mount
Kailasa - all pervaded by an atmosphere of domesticity.
The reliefs are no doubt flattened, relatively speaking, but the soft
lines and curves, bringing into relief the plumpness of limbs, present the
appearance of soft rounded plasticity. The figures of divinities further
have an appeal in their serene expression, detached elegance and quiet
poise and are to a large extent free from the trammels of formularizations
of the cult-images.
Advancements In Techniques
In the continuous line of evolution from these reliefs are the carvings
and sculptures on the Vaital, Sisiresvara and Markandeyesvara temples,
showing an advance in technique, depth of relief and considerable maturity
in plastic sensitivity and naturalness; the reliefs are rounder and more
delicate. The dignified self-composed figures of the deities with the
expression of absorption are mellowed with warmth of spiritual grace and
are elegant and refined.
The
mastery over technique is equally evident in the treatment of other
decorative motifs. Though done in low relief, these have attained a clear
and sharp definition not, however, at the sacrifice of grace and beauty.
Artistically, these three temples form one cognate group and are in all
likelihood the products of the same school.
Aesthetic & Stylish Art
With the
Rajarani
,
Brahmesvara
and
Lingaraja
temples , where one meets with a great profusion of
delicately-modelled urban females in various flexible and captivating
poses and luxurious moods, art becomes sensuous and sophisticated, yet the
appeal is immediate and overwhelming. The slim and supple figures, high in
relief, emerge out of the body of the temple, the body itself often
elegantly embellished with floral, vegetal and geometric motifs, and have
amplitude of free movement.
Rich in the warmth of human emotions the slender and vivacious 'kanyas',
conscious of their beauty and with exquisite and seductive charm, and
often with an ineffable smile, are shown in various roles like fondling a
child, playing on musical instruments, making her toilet, holding branches
of trees or flowers, standing by the side of a door, amorous in the
company of her beloved and in other actions of similar nature.
Downfall Of Creativity
The later temples, like the Ananta - Vasudeva, Sari Deul and Yamesvara,
are characterized by an over ornamentation and lack of originality, the
still later ones degenerating ultimately into crude forms with
unimaginative decorations. The creative impulse had practically died down
when the latest temples on the bank of the Papanasini tank were built.
