Art and Architecture of Ancient Nepal
KATHMANDU UNIVERSITY, SCHOOL OF ARTS, CENTRE FOR ART AND DESIGN, MANDIKHATAR, KATHMANDU
South Asian Art Studies I Revised Handouts 2008/12 Batch
Teaching Faculty Tejesh Man Shakya
Chapter 2 Art and Architecture of Ancient Nepal
A. Swayambhu Mahachaitya
• It is said that Swayambhu Mahachaitya is the oldest architecture of Nepal due to its originality before origin of Nepal Valley.
• According to Swayambhupuran, Nepal valley was a lake in the primordial period (very ancient period/prehistoric period) and there was a small islet where Vipashwimuni (primordial Buddha), born earlier than Shakyamuni Gautam Buddha, planted lotus seed that later bloomed with radiant light and put up Stup onto the light.
• According to the found inscription of Thakuri King Anshuvarma, Swayambhu Mahachaitya has mentioned as Bhuchaitya.
• However, its present architectural structure can not be from primordial period.
B. Kiranti art and architecture
• According to Kiranti’s record of 3100 BC, Yalambar was the first Kiranti Ruler of Nepal.
• It is said that Kiranti might have link to the ancient Egypt. As stated in the book Mundhum written by Imansin Chemjong, Kirantis are also called as Thebe that is very similar to the Thebs (name of Egyptian Valley) near Nile River. However, it could be only the hypothesis of the writer.
• Also it is said that there was found a petrography of Kiranti at Hanumandhoka but it is still an anonymous to the people.
• Mourya Emperor Ashok also came in Nepal Valley and put up four Stups (Thur/Thup) named Lagan Thur, Pucho Thur, Ibahi/Yampi Thur and Teta Thur in the ancient capital Yala (Patan) in the period of 14th KIranti Ruler Syung i.e. Sthunko. Those are also well-known as Ashok Stups in the locality.
• Stup means the symbolical body of the Buddha that also represents the complete teaching of the Buddha.
• Charumati, the daughter of Emperor Ashok, married Prince Devpal and later they established Charumati Bihar in Yen in c.3rd cent BC. Today it is known as Chabahil.
• Bihar is related to Buddhism and it has been established by the various purposes like living room or resting room for the monks, for chanting, for meditation, for scriptural education, for religious practice, for pray and worship, etc.
• It is also believed that there is a ruin of Kiranti Palace in Patko (the name fallen down from Kiranti Ruler Paduko), Yala (located at north-west of Patan Durbar Square).
• No authentic evidences of Kiranti art and architecture are still found even if Ashok Stups, Charumati Bihar and sculpture of Virupakshya.
Chapter 2 Art and Architecture of Ancient Nepal
• Kiranti art and architecture might be destroyed by natural disaster or destroyed by lack of conservation and restoration or might be destroyed by Aryans who had to struggle against Kiranti’s distress in their activities.
• But it can be supposed that Nepali art and architecture might have already developed in Kiranti period due to the advanced and developed arts are found from Lichchhavi period except Lichchhavi architectures. And nothing might be developed suddenly in short time and period.
• It may helps to prove the substance mentioned above, if we assume the sculpture of Virupakshya, located at Pashupati Aryaghat, form Kiranti period since the historians are still unsure of its period of origin.
B.1. Virupakshya
• The stone sculpture Virupakshya is known as the image of god Shiva among the eleven Rudra since it has three eyes on its face.
• It is also said that the sculpture is of Kiranti Feudal.
• Some historians are supposed to the period of this sculpture is from Lichchhavi.
• It is made of black stone as a medium in subtractive (carving) method.
• It has round-shaped face with coarse lips, big nose and big eyes. In addition, it has curly hair on its head.
• It has short neck and triangular- shaped torso, which seems sturdy.
• No use of apparel on its body and less use of ornament (only the Kundals on its ear).
• The sculpture is buried up to its waist.
Chapter 2 Art and Architecture of Ancient Nepal
C. Lichchhavi art and architecture
• There could be seen a distinct identification in Nepali art, especially in Nepali Sculpture.
• A new tradition of art was appearing in Nepal from the period of Lichchhavi King Mandev I, which are also famous as Lichchhavi Art.
• The art from this period seems very advanced with perfection in style.
• Lichchhavi art and architecture are based on Vaishnavite, Shaivite and Buddhism.
• For instance,
Based on Vaishnavite
# The stone sculptures like Gajalaxmi (Pre-Lichchhavi Period), Shayani Vishnu, Garudasan Narayan, Trivikram, Dhumrabarah, Kaliyadaman, Vishwarup, Garuda, etc.
# The temple like Changunarayan.
Based on Shaivite
# There are few subjects based on Shaivite than Vaishnavite due to the minority of Shaivite in Lichchhavi period. Such as Uma-Maheshwar and Shivaling.
Based on Buddhism
# In Lichchhavi period, Buddhism was stood in the parallel of Vaishnavite. So, there could found the stone and metal sculptures of Buddha, Lokeshwar, etc.
# The Buddhist architectures like Boudha Stup, Dharmadev Chaitya, Lichchhavi Chaityas and Baha-Bahi.
(The present architectural structure of the temple or shrine mentioned above can not be from this period.)
• No existence of paintings from this period except the continuation of mural painting of Nag at Nagbahal, Patan.
• No existence of Lichchhavi Palaces like Mangriha, Bhadradiwas and Kailashkut Bhawan except in the inscription of Lichchhavi Kings and in the record of Chinese traveller Hsuan – Tsang.
• Buddhist art transferred to Tibet in the period of King Anshuvarma after marriage of his daughter Bhrikuti with Tibetan King Srong – btsan sgam – po.
• By this period, sculptures (especially Buddhist sculptures) began to made on metal (copper, bronze and brass) using Lost Wax Casting Technique.
• In this period, sculptures were probably either influenced by Mourya (4th cent. B.C. – 2nd cent.B.C.), Kushan/Mathura (1st cent.B.C. – 7th cent.A.D.), Gupta (4th cent.A.D. – 7th cent.A.D.), Sung (2nd cent.B.C. – 1st cent.A.D.) and Pal/Sen (8th cent.A.D. – 12th cent.A.D.) styles or Lichchhavi style influenced to those styles, which were the contemporary style of Lichchhavi in South Asia (now located in India).
• Lichchhavi Buddhist Art made influence to Tibetan Buddhist Art that is now known as Tibetan Sacred Art.
Chapter 2 Art and Architecture of Ancient Nepal
C.1. Feature of Lichchhavi Sculpture
1) Religious Theme
• Vaishnavite
• Shaivite
• Buddhism
2) Medium
• Black stone with Lauhalep (Polish made of ferrous) or Tamralep (Polish made of copper).
• Bronze or Copper with gold plating using Lost Wax Casting Technique.
• Wood
3) Appearance
• Oval-shaped face
• Triangular-shaped body with emphasized proportion
• Sturdy body with flexibility
• Transparent apparel and less use of ornament
• Round halo and simple base
C.2. Gajalaxmi
• Consort of god Vishnu with her conveyance Gaja (Elephant) is from c.1st cent.AD., located at Chyasal, Patan.
• Sculpture seems very rusty and old.
• It has sturdy body with big breast and wide hip wearing thin and transparent apparel that makes it bold.
• It has simple and thick ornaments like kundal, bala and Kalli.
• It has two hands holding Bayar (a kind of fruit) and Padma (Lotus) assuming from its iconography.
• There are images of Gajaraj on the top and praying Deities in the bottom
• The sculpture is made on stone that may be influenced by the Mourya style of India. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
Chapter 2 Art and Architecture of Ancient Nepal
C.3.Uma-Maheshwar
• Also Known as Shiva-Parvati.
• From c.9th cent.AD. and located at Kumbheshwar Dhara, Patan.
• 27” high and 16” wide in the size.
• Main image of Uma-Maheshwar is in Lalitasan Mudra, sitting on decorated cushion.
• Base under cushion represents Kailash Parvat.
• Maheshwar is holding Akshyamala and Trishul by his upper right and left hands respectively.
• His lower right hand is in Varad Mudra (but in damaged condition) and left hand is putting on his consort Uma’s shoulder.
• Maheshwar has Jattajut on his head and curly hair is falling down on his shoulder.
• Consort Uma is also sitting on the cushion with relax, leaning on left lap of Maheshwar by her right elbow and putting her left hand on her own knee with relax.
• Faces of both Uma-Maheshwar have big eyes, big nose and coarse lips.
• They are wearing apparel only in the lower part of the body. The upper parts of the body seem nude.
• Maheshwar has also Janai (Holy string) on his body.
• Ornaments on their body like Yagyapabit on their neck, Mukut on their head, various Mundals in their ears. In addition, Maheshwar has Akshyamala in his hands and Parvati has Bala in her hands.
• There is round and tip shaped Prabha (Halo) behind Maheshwar’s head.
• There are images of flying Ganga in Binaya Mudra surrounded by the Moon and Sun on the top and, Jay and Bijay, Anuchar (Attendants) of Maheshwar, on above the main images.
• In addition, there are the images of Kumar, Nandi and Sewak in the right of Maheshwar and, Chamardharini and Charansewika in the left of Uma.
• In the bottom, there are also the images of other Ganas (Families of Uma- Maheshwar) like Gandharva, Rakshyas, Ganesh, Yakshya, Pichas, Vringi and Gandarva from right to left of the sculpture.
• The sculpture is made on stone with the high standard of imagination of the scene of Kailash and family of Shiva-Parvati. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
C.4. Buddha
• 71 cm high copper image of Buddha is from the transitional period of Lichchhavi dated c.10th /11th cent.AD., that is now located in Po ta la Collection, Tibet.
• Hollow cast in single piece using Lost Wax Casting Technique with faint traces of gilding.
• The face is painted with cold gold and the hair with a blue pigment.
• Buddha stands in Abhangasan (a slightly bent attitude) on a circular slight base.
• Right hand is in Varad Mudra and left hand is holding Chibar (the border of the simple dressing gown).
• Uttarsanga (upper apparel) is rendered without folds in transparent manner and covering both shoulders.
• Antaravasaka (lower apparel) is also visible.
• It concludes that Nepal achieved its greatest fame from the Lichchhavi period onward for the tradition of metal casting. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
C.5. Lichchhavi Chaitya
• Approx. 3’ high Chaitya is from early Lichchhavi period and located at Nagbaha, Patan.
• It worships as a symbolical representation of Buddha.
• There is two tiered square base that is called Pha (Plinth) and above that there is another two tiered circle base.
• Above the base, there are Garvakshyas surrounded by the carving of flora in the four sides of the Chaitya.
• Inside the Garvakshyas, there could be seen none of Images which is the primary specialty of Lichchhavi Chaityas.
• Above the Garvaskshya, there is encircling chunky line that is called Nagbaha, which supports hemispherical dome called Garvagriha.
• However, the Trayodarshibhuwan on the top of the Chaitya is lost.
• It is made of stone, whole part of it is rusty, and half of its part can carry away.
• Leftovers of Camero (white clay) that is painted on it can see.
• It is agonizing that lack of restoration or conservation may trounce the history of ancient architecture.
South Asian Art Studies I Revised Handouts 2008/12 Batch
Teaching Faculty Tejesh Man Shakya
Chapter 2 Art and Architecture of Ancient Nepal
A. Swayambhu Mahachaitya
• It is said that Swayambhu Mahachaitya is the oldest architecture of Nepal due to its originality before origin of Nepal Valley.
• According to Swayambhupuran, Nepal valley was a lake in the primordial period (very ancient period/prehistoric period) and there was a small islet where Vipashwimuni (primordial Buddha), born earlier than Shakyamuni Gautam Buddha, planted lotus seed that later bloomed with radiant light and put up Stup onto the light.
• According to the found inscription of Thakuri King Anshuvarma, Swayambhu Mahachaitya has mentioned as Bhuchaitya.
• However, its present architectural structure can not be from primordial period.
B. Kiranti art and architecture
• According to Kiranti’s record of 3100 BC, Yalambar was the first Kiranti Ruler of Nepal.
• It is said that Kiranti might have link to the ancient Egypt. As stated in the book Mundhum written by Imansin Chemjong, Kirantis are also called as Thebe that is very similar to the Thebs (name of Egyptian Valley) near Nile River. However, it could be only the hypothesis of the writer.
• Also it is said that there was found a petrography of Kiranti at Hanumandhoka but it is still an anonymous to the people.
• Mourya Emperor Ashok also came in Nepal Valley and put up four Stups (Thur/Thup) named Lagan Thur, Pucho Thur, Ibahi/Yampi Thur and Teta Thur in the ancient capital Yala (Patan) in the period of 14th KIranti Ruler Syung i.e. Sthunko. Those are also well-known as Ashok Stups in the locality.
• Stup means the symbolical body of the Buddha that also represents the complete teaching of the Buddha.
• Charumati, the daughter of Emperor Ashok, married Prince Devpal and later they established Charumati Bihar in Yen in c.3rd cent BC. Today it is known as Chabahil.
• Bihar is related to Buddhism and it has been established by the various purposes like living room or resting room for the monks, for chanting, for meditation, for scriptural education, for religious practice, for pray and worship, etc.
• It is also believed that there is a ruin of Kiranti Palace in Patko (the name fallen down from Kiranti Ruler Paduko), Yala (located at north-west of Patan Durbar Square).
• No authentic evidences of Kiranti art and architecture are still found even if Ashok Stups, Charumati Bihar and sculpture of Virupakshya.
Chapter 2 Art and Architecture of Ancient Nepal
• Kiranti art and architecture might be destroyed by natural disaster or destroyed by lack of conservation and restoration or might be destroyed by Aryans who had to struggle against Kiranti’s distress in their activities.
• But it can be supposed that Nepali art and architecture might have already developed in Kiranti period due to the advanced and developed arts are found from Lichchhavi period except Lichchhavi architectures. And nothing might be developed suddenly in short time and period.
• It may helps to prove the substance mentioned above, if we assume the sculpture of Virupakshya, located at Pashupati Aryaghat, form Kiranti period since the historians are still unsure of its period of origin.
B.1. Virupakshya
• The stone sculpture Virupakshya is known as the image of god Shiva among the eleven Rudra since it has three eyes on its face.
• It is also said that the sculpture is of Kiranti Feudal.
• Some historians are supposed to the period of this sculpture is from Lichchhavi.
• It is made of black stone as a medium in subtractive (carving) method.
• It has round-shaped face with coarse lips, big nose and big eyes. In addition, it has curly hair on its head.
• It has short neck and triangular- shaped torso, which seems sturdy.
• No use of apparel on its body and less use of ornament (only the Kundals on its ear).
• The sculpture is buried up to its waist.
Chapter 2 Art and Architecture of Ancient Nepal
C. Lichchhavi art and architecture
• There could be seen a distinct identification in Nepali art, especially in Nepali Sculpture.
• A new tradition of art was appearing in Nepal from the period of Lichchhavi King Mandev I, which are also famous as Lichchhavi Art.
• The art from this period seems very advanced with perfection in style.
• Lichchhavi art and architecture are based on Vaishnavite, Shaivite and Buddhism.
• For instance,
Based on Vaishnavite
# The stone sculptures like Gajalaxmi (Pre-Lichchhavi Period), Shayani Vishnu, Garudasan Narayan, Trivikram, Dhumrabarah, Kaliyadaman, Vishwarup, Garuda, etc.
# The temple like Changunarayan.
Based on Shaivite
# There are few subjects based on Shaivite than Vaishnavite due to the minority of Shaivite in Lichchhavi period. Such as Uma-Maheshwar and Shivaling.
Based on Buddhism
# In Lichchhavi period, Buddhism was stood in the parallel of Vaishnavite. So, there could found the stone and metal sculptures of Buddha, Lokeshwar, etc.
# The Buddhist architectures like Boudha Stup, Dharmadev Chaitya, Lichchhavi Chaityas and Baha-Bahi.
(The present architectural structure of the temple or shrine mentioned above can not be from this period.)
• No existence of paintings from this period except the continuation of mural painting of Nag at Nagbahal, Patan.
• No existence of Lichchhavi Palaces like Mangriha, Bhadradiwas and Kailashkut Bhawan except in the inscription of Lichchhavi Kings and in the record of Chinese traveller Hsuan – Tsang.
• Buddhist art transferred to Tibet in the period of King Anshuvarma after marriage of his daughter Bhrikuti with Tibetan King Srong – btsan sgam – po.
• By this period, sculptures (especially Buddhist sculptures) began to made on metal (copper, bronze and brass) using Lost Wax Casting Technique.
• In this period, sculptures were probably either influenced by Mourya (4th cent. B.C. – 2nd cent.B.C.), Kushan/Mathura (1st cent.B.C. – 7th cent.A.D.), Gupta (4th cent.A.D. – 7th cent.A.D.), Sung (2nd cent.B.C. – 1st cent.A.D.) and Pal/Sen (8th cent.A.D. – 12th cent.A.D.) styles or Lichchhavi style influenced to those styles, which were the contemporary style of Lichchhavi in South Asia (now located in India).
• Lichchhavi Buddhist Art made influence to Tibetan Buddhist Art that is now known as Tibetan Sacred Art.
Chapter 2 Art and Architecture of Ancient Nepal
C.1. Feature of Lichchhavi Sculpture
1) Religious Theme
• Vaishnavite
• Shaivite
• Buddhism
2) Medium
• Black stone with Lauhalep (Polish made of ferrous) or Tamralep (Polish made of copper).
• Bronze or Copper with gold plating using Lost Wax Casting Technique.
• Wood
3) Appearance
• Oval-shaped face
• Triangular-shaped body with emphasized proportion
• Sturdy body with flexibility
• Transparent apparel and less use of ornament
• Round halo and simple base
C.2. Gajalaxmi
• Consort of god Vishnu with her conveyance Gaja (Elephant) is from c.1st cent.AD., located at Chyasal, Patan.
• Sculpture seems very rusty and old.
• It has sturdy body with big breast and wide hip wearing thin and transparent apparel that makes it bold.
• It has simple and thick ornaments like kundal, bala and Kalli.
• It has two hands holding Bayar (a kind of fruit) and Padma (Lotus) assuming from its iconography.
• There are images of Gajaraj on the top and praying Deities in the bottom
• The sculpture is made on stone that may be influenced by the Mourya style of India. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
Chapter 2 Art and Architecture of Ancient Nepal
C.3.Uma-Maheshwar
• Also Known as Shiva-Parvati.
• From c.9th cent.AD. and located at Kumbheshwar Dhara, Patan.
• 27” high and 16” wide in the size.
• Main image of Uma-Maheshwar is in Lalitasan Mudra, sitting on decorated cushion.
• Base under cushion represents Kailash Parvat.
• Maheshwar is holding Akshyamala and Trishul by his upper right and left hands respectively.
• His lower right hand is in Varad Mudra (but in damaged condition) and left hand is putting on his consort Uma’s shoulder.
• Maheshwar has Jattajut on his head and curly hair is falling down on his shoulder.
• Consort Uma is also sitting on the cushion with relax, leaning on left lap of Maheshwar by her right elbow and putting her left hand on her own knee with relax.
• Faces of both Uma-Maheshwar have big eyes, big nose and coarse lips.
• They are wearing apparel only in the lower part of the body. The upper parts of the body seem nude.
• Maheshwar has also Janai (Holy string) on his body.
• Ornaments on their body like Yagyapabit on their neck, Mukut on their head, various Mundals in their ears. In addition, Maheshwar has Akshyamala in his hands and Parvati has Bala in her hands.
• There is round and tip shaped Prabha (Halo) behind Maheshwar’s head.
• There are images of flying Ganga in Binaya Mudra surrounded by the Moon and Sun on the top and, Jay and Bijay, Anuchar (Attendants) of Maheshwar, on above the main images.
• In addition, there are the images of Kumar, Nandi and Sewak in the right of Maheshwar and, Chamardharini and Charansewika in the left of Uma.
• In the bottom, there are also the images of other Ganas (Families of Uma- Maheshwar) like Gandharva, Rakshyas, Ganesh, Yakshya, Pichas, Vringi and Gandarva from right to left of the sculpture.
• The sculpture is made on stone with the high standard of imagination of the scene of Kailash and family of Shiva-Parvati. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
C.4. Buddha
• 71 cm high copper image of Buddha is from the transitional period of Lichchhavi dated c.10th /11th cent.AD., that is now located in Po ta la Collection, Tibet.
• Hollow cast in single piece using Lost Wax Casting Technique with faint traces of gilding.
• The face is painted with cold gold and the hair with a blue pigment.
• Buddha stands in Abhangasan (a slightly bent attitude) on a circular slight base.
• Right hand is in Varad Mudra and left hand is holding Chibar (the border of the simple dressing gown).
• Uttarsanga (upper apparel) is rendered without folds in transparent manner and covering both shoulders.
• Antaravasaka (lower apparel) is also visible.
• It concludes that Nepal achieved its greatest fame from the Lichchhavi period onward for the tradition of metal casting. (Please make your own conclusion.)
Chapter 2 Art and Architecture of Ancient Nepal
C.5. Lichchhavi Chaitya
• Approx. 3’ high Chaitya is from early Lichchhavi period and located at Nagbaha, Patan.
• It worships as a symbolical representation of Buddha.
• There is two tiered square base that is called Pha (Plinth) and above that there is another two tiered circle base.
• Above the base, there are Garvakshyas surrounded by the carving of flora in the four sides of the Chaitya.
• Inside the Garvakshyas, there could be seen none of Images which is the primary specialty of Lichchhavi Chaityas.
• Above the Garvaskshya, there is encircling chunky line that is called Nagbaha, which supports hemispherical dome called Garvagriha.
• However, the Trayodarshibhuwan on the top of the Chaitya is lost.
• It is made of stone, whole part of it is rusty, and half of its part can carry away.
• Leftovers of Camero (white clay) that is painted on it can see.
• It is agonizing that lack of restoration or conservation may trounce the history of ancient architecture.
