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Academic Year 2004/2005


Indian Sculpture and its Contexts: Harappan Seals to Chola Bronzes
ARHA 285 SP

Crosslistings:
EAST 285

Figures of eroticized goddesses, dancing Shivas, and quietly meditating Buddhas hold pride of place in the Indian galleries of museums around the world. Such works are variously prized for their qualities of sensuousness, dynamic plasticity, or introspective harmony. But these objects were not originally intended for enjoyment within the aestheticized environment of the museum. This course attempts to provide a deeper understanding of Indian sculpture by considering these and other objects within the varied contexts of their production and use. To help make sense of long historical development from the time of the Harappan civilization (c.2500-1750 BC) through the early medieval period (700-1200), Indian sculpture is considered from the vantage point of six different interpretive themes, with examples arranged in a broad chronological progression. The themes and examples include: sculpture and magic (Harappan terracottas and seals), sculpture and cosmos ("Asokan" columns and Buddhist stupa railings), sculpture and narrative (Buddhist reliefs), sculpture and the body (Buddhist and Hindu icons of the Gupta age), sculpture and architecture (medieval north Indian temple sculpture), and sculpture and ritual (south Indian processional bronzes of the Chola period).

MAJOR READINGS

Vidya Dehejia, INDIAN ART
Aschwinn Lippe, THE FREER INDIAN SCULPTURES
Vishakha Desai et al, GODS, GUARDIANS, AND LOVERS: NORTH INDIAN TEMPLE SCULPTURE 700-1200
Richard Davis, LIVES OF INDIAN IMAGES

EXAMINATIONS AND ASSIGNMENTS

Two short papers, mid-term and final.

COURSE FORMAT: Lecture/Discussion

REGISTRATION INFORMATION

Level: UGRD    Credit: 1    Gen Ed Area Dept: HA ART    Grading Mode: Graded   

Prerequisites: NONE Links to Web Resources For This Course.

Last Updated on MAR-21-2005


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