ART AND Architecture OF Assam PDF

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You've probably been to Guwahati's Kamakhya Temple or Sibsagar's Rangghar, Talatal Ghar. They are a symbol of Assam's cultural heritage and pride. You may be wondering why studying temples, tanks, masjids, and other structures is so important. To gain a better understanding of our indigenous culture...

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ART AND ARCHITECTURE OF ASSAM INTRUCTION

You've probably been to Guwahati's Kamakhya Temple or Sibsagar's Rangghar, Talatal Ghar. They are a symbol of Assam's cultural heritage and pride. You may be wondering why studying temples, tanks, masjids, and other structures is so important. To gain a better understanding of our indigenous culture and civilization, we must look back at the cultural legacies left to us by our forefathers. Sculptures, paintings, and architectures are reenactments of past events that reveal the character of a community or society. In this unit, we will look in depth at the art and architecture created in Assam, which has left an indelible mark on the state's culture. To better understand our cultural past, we will delve deeper into the style and pattern of paintings, as well as the construction activities carried out under various rulers of known and unknown lineage.

SCULPTURE

Stone sculptures were discovered in large numbers in Pre-Ahom Assam. In early Assamese sculpture, we can see the influence of the Gupta classical idiom. A temple door frame in Da Parvatiya, Tezpur, is reminiscent of the Gupta style of art, which can also be found in Bhumara, Deogarh, and Nachna Kuthara. The use of plastic activity in stone is revealed in this work. However, since the 7th century, the Gupta classical idiom has been fading, and no sculptures from this period have been found. The classical idiom, however, persisted in Eastern India, as evidenced by three images: a metal image of Buddha, a stone image of Chakrapurusha discovered in Aphsad (Bihar), and a metal image of Sarbani discovered in Chauddagram (Bangladesh). Tendencies for the development of regional religious schools of art, regional language, and literature began to emerge in the second half of the eighth century.

Due to its emergence during the Pala rule, the Eastern School of Art, also known as the Pala School of Art, developed. In Assam, two sculpture trends emerged: one that was a hybrid of the Gupta classical idiom and the autochthonous, and the other that was entirely reliant on the autochthonous. The Eastern School had developed a distinct identity by the first half of the ninth century. This period could be attributed to Vishnu's Dudhnai image. The rock-cut images of Vishnu and Siva at Suryapahar, as well as two rock-cut images of Tirthankaras in a cave at Suryapahar, display this sophisticated 9th-century idiom. However, as a result of the various ethnic affiliations, Assamese plastic art revealed a certain amount of uniqueness. By the end of the 12th century, Assamese plastic art had reached its peak. SCHOOL OF PALA

The fusion of indigenous and Gupta idioms, which gave rise to a new idiom named after Kamarupa, can be seen in the earliest sculptures available in Assam. The Pala School of art was followed in the sculptures found between the 9th and 12th centuries. It's possible that some of the sculptures came from Bengal or Bihar (the main seat of power of the Palas and the Senas). The locally available stones, on the other hand, support the theory that the sculptures were created in Kamarupa by local artists trained in Pala styles. Kamarupa was familiar with the Pala-Sena style before the beginning of the 13th century, and the sculptures were a mix of the Pala-Sena style and local influences. Brahmanical culture flourished in Assam by the 17th century, creating a favourable environment for the production of sculptures with Brahmanical themes. Stone, metal, terracotta, and wood were used to create sculptures during the mediaeval period. The area is home to a number of different types of sculpting stones. Ambari's sculptures are made of granite and gneiss. The findings at Ambari suggest that sculptured objects were made well beyond the so-called "7th to 12th century" period. The Vishnu icon in Ambari hints at the unconventional art form that flourished in Assam after the 12th century. The icon stands erect in the samaspadasthanaka pose, his two lower hands holding lotus stalks and his one upper hand holding a disc

(chakra) and a long mace (gada). The deity's posture is unrhythmic. The two smaller female figures flanking the male deity are depicted in tribhanga posture. The figures are placed on a plain pedestal, with the figure of Garuda carved in the middle of the front portion of the pedestal. Behind the pedestal, a stela can be seen rising. All of the figures, including Garuda's, are angular and rigid in appearance. The sculpture was originally from the Pala-Sena School, but it had been ruined and had deviated from the original Pala style, as evidenced by the lack of precision in the ornaments and the stela's lack of decoration. This type of deviated Pala idiom persisted from antiquity to the Middle Ages. Mariani and Singari's two female figures, as well as Tezpur and Silbari's structured panels, are examples of this deviated form of art. The discovery of icons of Indra and Karttika dating from the 13th to 14th centuries A.D. in Malinithan (Siang District, Arunachal Pradesh) suggests that the deviated idiom spread beyond the region's borders.

SCHOOL OF KAMARUPA

The Gupta and the "deviated Pala" idioms were brought together in the Kamarupa style. The Gupta idiom influenced the ancient Kamarupa School, while the Pala idiom influenced the "deviated style" The nymph on the architectural sections of Numaligarh combines elements of both styles (Gupta and Pala). The figures, for example, have an oval face with open eyes and thick lips, with the lower portion of the face turned out, resulting in an odd smile. The oval face is a hallmark of the Kamarupa style, while the way the lotus stalk is held reveals the influence of the "deviated" idiom. The emergence of a new phase, known as the early Medieval Kamarupa style, was marked by the amalgamation of these two Schools of art (Gupta and Pala). A few inscriptions, sculptures, and sculptured panels discovered in Numaligarh (near Kamargaon) have a distinct feature marked by its rigid appearance. The sculptures in the Kamakhya shrine, as well as those at Pingalesvara, Khamtighat, and Sukresvara, share similar characteristics. These figures' bodies are characterised by broad shoulders and stump-like legs. Female figures in the sculptures found at the Kamakhya shrine, however, appear to be more agile.

The Ahoms were ardent supporters of architectural and sculptural endeavours, so the sculptures' styles evolved. The rock cut figures discovered near the river Dihing are among the first stone sculptures from this period. The human figures have broad shoulders and a squarish face, with eyes that are half open at times and open at other times. It has a flat nose and thick lips, and the majority of the figures are dressed in regional garb. However, the Mughal influence can be seen in the clothing of the figures in the Phulabari sculptures. The figures' facial details indicate a visual impact of the local population and, on occasion, outsiders. There are differences in sculptures from different areas and themes (secular or religious), and even sculptures from the same age and place can differ significantly. We can see the differences between two panels of sculpture, one depicting Parvati seated on Shiva's bull (Nandi) and the other depicting a seated Vishnu. The icons of Parvati, who is seen seated under a foiled arch on the back of a walking Nandi in the profile, lack angularity. The figure is bounded by almost gliding lines and captures the classical quality of Indian art. The angularity of Vishnu seated in padmasana pose, on the other hand, receives more attention. Mahisamardini from Sivasagar and Kali from Gaurisagar are both depicted in an angular style. Differences in artistic standards can also be seen in the sculptures of various shrines and locations. New artists were commissioned due to a scarcity of skilled artisans, resulting in the production of low-quality works. Quality products were produced, however, and it would be unfair to judge them by comparing them to works of art created by low-calibre artists. The figures of Rama, Sita, and Laksmana in Jai-daul, the icon of Parasurama from Tezpur, and the figure of a female deity from Gaurisagar, for example, were all of high quality. Animal figures are also depicted in a variety of artistic styles. While bovine animals are of natural standard, animals such as lions appear monstrous due to the sculptors' unfamiliarity. A horse, on the other hand, has a more dynamic and natural figure. The Ahom ruler, Rudra Singha, is depicted as an equestrian at the Jai Daul. The geese in a sculptured panel at Phulbari appear to be alive. The mythical figures are also given strange appearances. Makara, a Varuna icon in Rangpur, for example, resembles an

elephant-headed winged lion or a Chinese dragon. Floral works, like the geometric patterns skillfully drawn on pillars and walls of buildings, appear stylized and soothing to the eyes (secular and religious). Aside from stone sculptures, the Tabaqat-i-Nasiri mentions that ancient Kamarupa had a strong tradition of bronze sculptures. It is a reference to a temple in Kamarud (Kamarupa) where gold and silver idols were deposited. Several metallic icons can be traced back to the mediaeval Kamarupa period. A bronze icon of Mahisamardini discovered in Hahara, Kamrup district, is one example. Standing in the alidha position with one foot on the severed buffalo and the other on the back of a lion, the figure is depicted (or on the pedestal). In contrast to late mediaeval art, the lion has an unusual appearance. The Goddess, who has ten arms and three eyes, is wielding traditional weapons and piercing the demon with her trident. She wears a long garment, ornaments, and a turreted crown topped by a crescent, flanked on both sides by Ganesa on a rat (musika) and Karttikeya on a peacock (mayura). The deity's body is well-shaped, with broad shoulders, a slender waist, thick lips, and open eyes, and angular bends in the body. The characteristics of this image place it in Kamarupa sculpture's early mediaeval phase. Some stone icons have a folk element to them, and their treatment can be coarse and angular at times. The Hahara icon of Gaja-Laksmi and Surya is a good example. Surya is depicted in a bronze sculpture holding stalks of lotuses in two hands and sitting on a lotus with a long stem that emerges from the back of a horse standing in the middle of a row of seven horses. The seven horses are said to be the seven horses of Arjuna's chariot, which carries the Sun. A semi-circular rim with a pitcher appears behind the deity and his two attendants. Many metallic icons were installed in the late mediaeval period. Brass icons of Madanamohana (Goalpara and Kamrup districts), Vasudeva (Tezpur), and Visvanatha (Tezpur) are notable in this regard. On the orders of the king, a few of these icons were installed. Rudra Singha had a gold statue of his mother erected in Rangpur, as well as a silver image of Umananda in the Umananda temple (Guwahati). The icons of Mahisamardini (Tinsukia) and Vishnu are two metal sculptures from the late mediaeval period worth noting (Dibrugarh). The Gdess Mahisamardini image, which dates from the 17th to 18th centuries, is made of brass and has ten arms. She is

seen wearing a turreted crown and diaphanous drapery in the name of ornamentation. She is pictured standing in the pratyalidha pose, with one foot on the demon and the other on the lion. The figures are all placed on the same pedestal. The demon's agony and terror are well conveyed, and the lion's depiction is fairly standard. The demon's cap and attire appear to be similar to costumes popular in areas known to have been influenced by the Mughals. The Goddess Mahisamardini's four-handed bronze icon is from the same era as Vishnu's four-handed bronze icon. The God, accompanied by Laksmi and Saraswati, stands erect and tall on a pedestal. The turreted crown and other ornaments are placed on Vishnu's image. The sculptures from the time of Ahom supremacy are not of the same quality. There are some exceptional works of art, while others are of a mediocre quality. The treatment of the images appears to be of poor quality, which could be due to the hiring of inexperienced artisans and their use of faulty casting techniques. Clay was yet another medium for expressing one's creativity. Pottery, bricks, and terracotta plaques were all made with clay. The latter was made to adorn shrines, monasteries, and other structures. The Ghanashyam daul in Jaisagar and Na-Math near the Kamakhya temple in Guwahati are two examples. In mediaeval Assam, terracotta placques were used to replace carved wooden panels and pillars. The terracotta placques depicted not only icons, but also scenes from life and nature, such as the Baghapara terracotta placques, which depict a row of geese or a group of dancers. The figures have broad chests, bulging eyes, and unattractive faces carved in low relief. The postures and actions are also lifeless. They could be Assamese art with folk elements, or they could be the result of an age-old practise. According to the data, royal patronage was granted for the creation of clay items. Pratap Singha is said to have dispatched someone to Koch Behar to learn the intricacies of earthen image making. Human figures made of clay were used in rituals, plays, and toys made of clay, and they catered to the needs of people from all walks of life. The terracotta figures are particularly noteworthy among the sculptures found in Assam. The oldest specimen has been discovered at the Da-Parbatiya site. Pre-Ahom terracotta sculptures, including divinity figures, can also be found at Goalpara. The

terracotta placques can also be found on the walls of several mediaeval Sibsagar temples and structures. The Ambari Urvasi (female figure) in Ambari, Guwahati, is an excellent example of terracotta sculpture. The two most popular and widely available art mediums are wood and bamboo. It was used to make architectural pieces (doors and pillars) as well as utilitarian objects (utensils, furniture etc.). Wood was known to have been used for sculptural art in both ancient and mediaeval Assam. In this regard, Bhaskaravarman of Kamarupa (first half of the 7th century) sent Harshavardhana numerous gifts, including "carved boxes with panels" Vanamala's Tezpur plate instruction mentions boats "embellished with different ornaments" which most likely refers to the beautiful carvings on the wooden vessels. As the Harihara image from Deopani shows, images were also prepared in wood (9th century). In mediaeval Assam, patronage from the royal household aided the flourishing of wood carving. The interiors of the palace of the Ahom ruler Jayadhvaja Singha were described in detail by Shihabuddin Talish, demonstrating the use of wood. Indeed, the enormous demand for wood led to the creation of a separate department headed by an officer known as Kath-Barua at one point. The use of wood in building structures was limited by the introduction of bricks, but it was still used for decoration and religious purposes. Many mediaeval Assam wooden artefacts have decayed, but specimens from the later period of Ahom rule have survived. These artefacts can be found in Assam's Satras. The structural style of the satras has preserved the wood carving tradition. Beautiful wood carvings adorn the doors, pillars, windows, beams, and wall surfaces of the sanctum (manikuta) and the prayer hall (kirtanghar). The Barpeta, Sundaria, Jania, Kamalabari, and other satras are worth mentioning. The treatment of human figures has a sense of force and life, whereas the treatment of divine figures, such as the Ganesa figure at Kamalabari, is static and frontal. Another example of wooden carving in the Satras can be found in the throne that holds the Bhagavata Purana's Tenth Book in the sanctum. The throne is made up of rectangular tiers with progressively smaller surface areas. Animal motifs are drawn at

the four corners of each tier, and the throne is defined by the animal motif drawn. Singhasana is named after the lion-on-elephant figures that appear in the corner, and there are others such as mayurasana, hamsasana, gajasana, and others. The thrones in the Satras, as well as those in the palaces, were ornately decorated. Dolas, which were used to transport royal Ahom families and nobility, were made of wood, and even metal is considered sculptural art. Ivory was also used to create beautiful objects. Brahmanical art dominated the entire art scene in mediaeval Assam, especially among divine figures. Despite the fact that it has existed since antiquity, new developments have been noted. For example, Vishnu's Matsya (fish) incarnation is sometimes depicted as having half of his body devoured by a fish. In many depictions of Vishnu's Varaha (Boar) incarnation, Dharitri is replaced by a spherical object (implying earth). The traditional representation of Surya from the satra at Kamalabari, for example, was created using innovative ideas and skills. Non-brahmanical icons were few and far between, making them insignificant. We can mention the image of Buddha (13th century) who is seen seated, as well as a few terracotta representations of stupa and Buddha, as examples of mediaeval icons. Metallic sculptures flourished in Assam, as evidenced by a large collection of bronze, brass, bell metal, copper, gold, and silver images and objects. The icons include human figures of divinities as well as ceremonial objects such as chariots, asanas, and other yoga poses. The objects' styles range from the sophisticated to the more folkinspired. Despite the fact that the brass metal industry is still alive and well, the artisans mostly work on household items. They do, however, make attractively designed xarais and batas (offering trays) and dunas (tray for holding lit earthen lamps). Thus, early mediaeval Assam saw the continuity of the "deviated" Pala and ancient Kamarupa School, which absorbed stylistic traits from the Gupta idiom and later from the Palas. New features and styles were incorporated into the late mediaeval Kamarupa School.

ARCHITECTURE

Many places in Assam, such as Tezpur, Guwahati, Hajo, Goalpara, Nagaon, Golaghat, and others, have architectural remains from the early mediaeval period. Architectural activities in Pre-Ahom Assam are mentioned in literary and epigraphic records. The activities related to the construction of secular and religious structures are mentioned. Some important cities in ancient Assam are mentioned in the Kalika Purana. The first was Pragjyotishapura, which the Kalika Purana refers to as giri-durga. The city is also described in the Bhagavata Purana as being inaccessible due to its strong natural and human defences. The Vishnu Purana mentions the city's strong defensive measures as well. Alaka, Chandravati, Bhogavati, Varasana, and Sonitapura are some of the other cities mentioned in the Kalika Purana. The Kalika Purana describes six types of forts: jala durga (water fort), bhumi durga (earthen fort), vriksha durga (fort surrounded by thorny trees), aranya durga (fort surrounded by deep forest), bala durga (fort equipped with skilled soldiers), and sailaja durga or giri durga (fort equipped with skilled soldiers) (hill fort). Another fortress city named Durjaya or Sri Durjaya is mentioned in the Bargaon Inscription, indicating its invincible defence power. According to Balavarman's Nagaon grant, king Vanamala built a palace that was both aesthetically pleasing and functionally efficient. Hieun Tsang mentioned about a hundred deva temples in Kamarupa in the 7th century, among the religious structures. Sacred places of worship associated with deities such as Siva, Devi, and Vishnu are also mentioned in the Kalika Purana. It also mentions a Kubera temple on Darpana Hill, as well as a Vishnu temple on Agnimala Hill. The sacred tirtha of Apunarbhava was adorned by several temples, according to the Yogini Tantra. The earliest epigraphic record of a rock cut shrine dedicated to Lord Balabhadrasvamin is found in the Umachal rock inscription. Similarly, Vanamala's Tezpur grant mentions the Hatakasulin temple's reconstruction. The white washed temples of Sambhu were built by king Ind...