Topic–Salient aspects of Art Forms, Literature and Architecture from ancient to modern times.
2) The bronze casting technique and making of bronze images of traditional icons reached a high stage of development in South India during the medieval period. Discuss.(250 words)
NCERT, An Introduction to Indian Arts.
Discuss- this is an all-encompassing directive which mandates us to write in detail about the key demand of the question. we also have to discuss about the related and important aspects of the question in order to bring out a complete picture of the issue in hand.
Key demand of the question.
The question wants us to write in detail about the bronze art of the southern India and its significant aspects and achievements.
Structure of the answer
Introduction– write a few introductory lines about the bronze art of India. E.g Indian sculptors had mastered the bronze medium and the casting process as much as they had mastered terracotta sculpture and carving in stone. The cire-perdue or ‘lost-wax’ process for casting was learnt as long ago as the Indus Valley Culture.
Discuss the bronze art of south India as it developed during the medieval period of Indian history. E.g Although bronze images were modelled and cast during the Pallava Period in the eighth and ninth century south India, some of the most beautiful and exquisite statues were produced during the Chola Period in Tamil Nadu from the tenth to the twelfth century. The technique and art of fashioning bronze images is still skillfully practised in South India, particularly in Kumbakonam. The distinguished patron during the tenth century was the widowed Chola queen, Sembiyan Mahadevi; The well-known dancing figure of Shiva as Nataraja was evolved and fully developed during the Chola Period and since then many variations of this complex bronze image have been modelled;
A wide range of Shiva iconography was evolved in the Thanjavur (Tanjore) region of Tamil Nadu. The ninth century kalyanasundara murti is highly remarkable for the manner in which Panigrahana (ceremony of marriage) is represented by two separate statuettes; During the sixteenth century, the Vijayanagara the sculptors experimented with portrait sculpture in order to preserve knowledge of the royal patron for posterity.Life-size standing portrait statues were cast in bronze, depicting Krishnadevaraya with his two queens, Tirumalamba and Chinnadevi. The sculptor has combined the likeness of the facial features with certain elements of idealisation. The idealisation is further observed in the manner the physical body is modelled to appear imposing as well as graceful etc.
Conclusion– based on your discussion, form a fair and a balanced conclusion on the given issue.