Mohenjo-daro: Indus Valley Civilization

• High Priest
• Media: Limestone
• Function: uncertain
• fairly small
• considered to be a priest because of headband
• robe covers only one shoulder, geometric designs, thick lips, downcast eyes, very stylized hair
• Resembles Mesopotamian art

Nude Male Torso: Indus Valley Civilization

• Media: red sandstone
• Harappa
• Function: unknown
• Size: only a few inches in size
• purpose of circular incisions unknown
• Description: very smooth and realistic texture, slightly protruding belly as a sign of beauty,

Indus Valley Civilization

• 3-faced Shiva with erect phallus depicted with various animals
• Square Stamp seal
• only about an inch in size
• Mohenjo -daro
• probably used for marking property
• text undeciphered

Lion Capital: Maurya Period

• Highly polished Chunar sandstone
• Sarnath
• At site of Buddha's first teaching
• Stylized mane with geometric designs
• Bears lotus capital with wheel of dharma and various symbolic animals, 
• Lions are a symbol of Buddha, Lotus is a solar symbol, wheel symbolizes dharma or law,

Chauri Bearer: Maurya Period

• Highly polished sandstone
• Didarganj near Patna
• Full bust, small waist, wide hips, wide open eyes, ornately dressed, slight belly protrusion,
• Function: Shows worship of female nature divinity
• Emphasized fertility

Chaitya Hall: Shunga Period

• Bhaja
• Rock-carved temple
• Contains relics of Buddhist monks, monks circumambulate stupa,
• No Buddha images, very little designs on pillars,
• Beams on ceiling imitate wood 

Queen Maya's Dream: Shunga Period

• Pillar Medallion on stupa railing
• Bharhut
• Sandstone 
• Queen Maya dreaming of her son that will be a great religious leader
• Part of a series of stories carved on stupa railing

The Great Stupa at Sanchi: The Andhra Period

• Stylized lining around dome
• Yasti at top, symbolizing the central axis of the universe
• Jatakas: stone relief carvings on railing with various stories of Buddha's life
• Relics of Buddha inside
• Stupa used for circumambulation to pay respect
• Made of stone 

The Andhra Period

• Bracket Figure on the East Torana of the Great Stupa
• Sanchi
• Similar to the Yakshis of the Shunga Dynasty, wide hips, full bust, small waists, relaxed position, arm wrapped around tree,
• Carved stone 

The Andhra Period

• Great Chaitya Hall
• Karle
• Supporting pillars with animal engravings, balconies  and couples carved on facade, Buddhist image added later, more complex than Chaitya Hall at Bhaja,
• Monks circumambulated stupa, which had relics within,
• Rock-cut temple 

Seated Buddha with Attendants: The Kushan Period

• Red sandstone
• Mathura
• 2 unidentified figures beside Buddha, Buddha making mudra to signify which sutra is being taught, 2 flying angels above Buddha, lions to symbolize Buddha on base of pedestal,
• Stylized drapery on clothing, stylized ushinisha, simplistic halo, wide open eyes and slight smile on lips (Mathura style),  

Buddhist Triad: The Kushan Period

• Grey stone
• Gandhara
• Greco-Roman style: classical style drape, wavy hair on ushinisha, downcast eyes, straight nose, full lips,
• 2 bodhisattvas of wisdom (Manjusri) and compassion (Avalokiteshvara), 2 apsaras behind Buddha, sutra inscription on base, Buddha seated on Lotus (symbolic for purification)

Standing Bodhisattva: The Kushan Period 

• Stone
• Gandhara
• Greco-Roman style: classically styled drapes, downcast eyes, straight nose, full lips,
• Bodhisattva very well dressed, styled ushinisha,

Standing Buddha: Gupta Period

• Red sandstone
• Mathura
• Very ornate halo, stylized ushinisha, geometric draping of the clothing,

The First Sermon: Gupta Period

• Chunar sandstone
• Sarnath
•  2 apsaras above Buddha, bodhisattvas at base sitting next to wheel, ornate halo,
• Combination of Mathura and Gandhara styles: round face, downcast eyes, stylized hair and ushinisha,
• Mudra hand position to indicate sutra,
• iconographic function

The Beautiful Bodhisattva Padmapani: Gupta Period

• Wall painting at Cave I
• Ajanta
• Distinct highlight on nose and brow

Boar Avatar of Vishnu: Gupta Period  

•  Stone relief
• Cave at Udayagiri
• Function: to convey that Vishnu triumphs over the evil demon Naga
  
• Boar rescuing the Goddess of the Earth from Naga, the witnesses are rigid rows of small deities,
• Naga (an evil demon symbolic of water) with gesture of veneration, woman with wide hips, small waist, and full bust,

Shiva Maheshvara [Shiva as Great Lord]: Gupta Period

• Stone relief
• Elephanta
• 3-faced shiva, left face is angry, Naga-demon on left; right face is feminine, possibly Uma (wife)
• Full-lips, downcast eyes, straight nose,

Kailashanatha Temple: Gupta Period

• Ellora
• Shiva's hometown
• Function: Hindu temple
• With small interior space, with linga inside, very ornate carvings of animals and gods, porch seperate from tower,
• Linga = phallus, fertility,
• Carved from stone

Shiva and Parvati on Mt. Kailasha: Gupta Period

• Kailashanatha Temple, Ellora
• Stone relief
• Female figures have large busts, wide hips, and small waists; males are very broad shouldered with narrow waists, very smooth body features, relaxed postures,
• Shiva and Parvati are very relaxed, being in their home, standing about demon Ravana

Five Raths: Gupta Period

• Mahamallapuram
• Function: Hindu temples
• Durga Shrine: Durga within, guardians outside, thatched roof, lion-vehicle
• Shiva Shrine: Nandi inside, dome/cap on top,
• Arjuna Shrine: images of early medieval period 

Parashurameshvara Temple: Gupta Period

• Orissa
• Stone
• Hindu architecture, Northern style with porch in front, tower behind with many layers, beehive shaped with an amalaka on top
• Shiva with multiple arms, depiction of devotees,
• Function: Hindu temple, poor and rich give money for commission,
• Very stylistic and geometric carvings

Brihadeshvara Temple: Chola Dynasty

• Thanjavur
• Southern style
• single-piece tower cap weighing 160,000 lbs, multiple images of Shiva
• strong influence by Gupta style

Alam Shah Closing the Dam at Shishan Pass: Mughal Period 

• Color and gold on Muslin, overlap for sense of depth, realistic water,
• Strong influence by Iranian painting, European influence,

Allegorical representation of the Emperor Jahangir seated on an Hourglass Throne: Mughal Period

• Color and gold on paper, overlap for sense of depth, Iranian miniature painting,
• European Renaissance influence
• School  of Jahangir
• Bottom left depiction of artist, European and Muslim man depicted, very soft spacial features and tones, halo around Emperor Jahangir, apsaras above halo,