Survey 1 ch10

Copyright © 2018, 2014, 2011 Pearson Education, Inc. All Rights Reserved
Art History
Sixth Edition
Chapter 10
Art of South and Southeast
Asia before 1200

Learning Objectives (1 of 2)
10.a Identify the visual hallmarks of South and Southeast Asian art for
formal, technical, and expressive qualities.
10.b Interpret the meaning of works of South and Southeast Asian art
based on their themes, subjects, and symbols.
10.c Relate South and Southeast Asian artists and art to their cultural,
economic, and political contexts.

Learning Objectives (2 of 2)
10.d Apply the vocabulary and concepts relevant to South and Southeast
Asian art, artists, and art history.
10.e Interpret a work of South or Southeast Asian art using the art
historical methods of observation, comparison, and inductive reasoning.
10.f Select visual and textual evidence in various media to support an
argument or an interpretation of a work of South or Southeast Asian art.

ASHOKAN PILLAR
Kutagarasala Vihara near Vaishali, Bihar, India. Maurya period, c. 279–232 BCE.
© Dinodia Photos/Alamy Stock Photo. [Fig. 10-01]

The Origins of Civilization in South Asia
(1 of 3)
• The South Asian subcontinent is a peninsular region that includes the
present-day countries of India, Afghanistan, Pakistan, Nepal, Bhutan,
Bangladesh, and Sri Lanka.

(2 of 3)
• Southeast Asia can be divided into two geographic regions.
– The first part is the mainland portion including Myanmar,
Cambodia, Laos, Malaysia, Singapore, Thailand, and Vietnam.
– The second region is comprised many islands and includes the
states of Brunei, East Timor, Indonesia, and the Philippines.

SOUTH AND SOUTHEAST ASIA
As the deserts in western China heat during the summer months, the hot air rises and
pulls cool air north off the oceans. As this water-laden air hits the Himalayas and the
Tibetan plateau, it drops the torrential monsoon rains over much of South and Southeast
Asia. [Map 10-01]

(3 of 3)
• A chance late nineteenth-century discovery of some small Seals
provided the first clue that an ancient civilization had existed in the
Indus River Valley.

SEAL IMPRESSIONS
A, D horned animal; B buffalo; C sacrificial rite to a goddess (?); E yogi; F three-headed
animal. Indus Valley civilization, c. 2500–1500 BCE.
Seals steatite, each approx. 1-1/4" × 1-1/4" (3.2 × 3.2 cm).
National Museum of Karachi, Karachi, Pakistan/Bridgeman Images. [Fig. 10-02]

The Indus Civilization (1 of 4)
• Mohenjo-Daro
– At Mohenjo-Daro archaeologists discovered an elevated citadel
area about 50 feet high, surrounded by a wall.
 Inside the citadel is a water tank that may have been a public
bath but could also have had a ritual use.

LARGE WATER TANK, MOHENJO-DARO
Indus Valley (Harappan) civilization, c. 2600–1900 BCE.
© akg-images/Gerard Degeorge. [Fig. 10-03]

• Indus Valley Seals
– Motifs on seals and other artworks strongly suggest continuities
with later South Asian cultures.
– Numerous terra-cotta figurines and a few stone and bronze
statuettes have been found at Indus sites.
 They reveal a confident maturity of artistic conception and
technique.

• "Priest-King" from Mohenjo-Daro
– The "Priest-King" from Mohenjo-Daro suggests a structure of
society where priests functioned as kings.
 The man's garment is patterned with a trefoil motif.

TORSO OF A "PRIEST-KING"
From Mohenjo-Daro. Indus Valley civilization, c. 2600–1900 BCE.
Steatite, height 6-7/8" (17.5 cm).
National Museum of Pakistan, Karachi. © akg-images/Jean-Louis Nou. [Fig. 10-04]

• Nude Torso from Harappa
– A nude male torso found at Harappa is an example of a
contrasting naturalistic style of ancient Indus origin.
 It emphasizes the soft texture of the human body and the
subtle nuances of muscular form.

MALE TORSO
From Harappa. Indus Valley civilization, c. 2600–1900 BCE.
Red sandstone, height 3-3/4" (9.5 cm).
National Museum, New Delhi. © akg-images/Jean-Louis Nou. [Fig. 10-05]

The Vedic Period (1 of 2)
• During this period (1500 BCE–late fourth century BCE), metaphysical
texts known as the Upanishads were written.
– They emphasize the relationship between the individual soul and
universal soul, or Brahman.
– Believers aspire to attain liberation from the endless cycle of
existence, samsara.

The Vedic Period (2 of 2)
• Religious communities arose that engendered basic Upanishadic
tenets.
– Shakyamuni Buddha's teachings (c. 500 BCE) became the basis for
Buddhism.
– Mahavira was the founder of the Jain religion.
– Both rejected the authority of the Vedas and hereditary class
structure of Vedic society.

The Flourishing of Buddhism and
Hinduism
• Buddhism
– Following his enlightenment, the Buddha ("Awakened One") gave
his first teaching in the Deer Park at Sarnath.
 Here he gave the Four Noble Truths which are the foundation
of Buddhism.
– Life is suffereing; this suffering has a cause, which is
ignorance and desire; this ignorance and desire can be
overcome and extinguished; the way to overcome them is
by following the eightfold path.

The Maurya Period (1 of 3)
• During the reign of the third Maurya king, Ashoka Buddhism became a
religion to extend across the entire empire.
• There were monolithic pillars set up primarily at the sites of Buddhist
monasteries, including the Ashokan pillar.

• Lion Capital from Sarnath
– The Mauryan Lion Capital is an example of the emperor Ashoka's
sponsorship of Buddhism.
 Four lions face the cardinal directions, symbolizing the
universal nature of Buddhism.
 A lion, horse, bull, and elephant alternate with chakra wheels
and are carved into a deep collar.

LION CAPITAL
From Ashokan pillar at Sarnath, Uttar Pradesh, India.
Maurya period, c. 250 BCE. Polished sandstone, height 7' (2.13 m).
Archaeological Museum, Sarnath. Borromeo/Art Resource, NY. [Fig. 10-06]

• Female Figure from Didarganj
– There were a number of religious practices centered on local gods
of villages and fields who were believed to oversee worldly
matters such as health, wealth, and fertility.
 The Female Figure Holding a Fly-Whisk found at Didarganj
may represent one such deity.

FEMALE FIGURE HOLDING A FLY-WHISK
From Didarganj, Patna, Bihar, India.
Probably Maurya period, c. 250 BCE. Polished sandstone, height 5'4-1/4" (1.63 m).
Patna Museum, Patna. © akg-images/De Agostini Picture Lib./G. Nimatallah. [Fig. 10-07]

Elements of Architecture: Stupas and
Temples
• Buddhist architecture in South Asia consists mainly of stupas and
temples, often at monastic complexes containing viharas.
– Stupas derive from burial mounds and contain relics beneath a
solid, dome-shaped core.
– The two general Hindu temple types are the northern and
southern styles.

ELEMENTS OF ARCHITECTURE: Stupas and Temples

The Period of the Shunga and Early
Satavahana (1 of 5)
• Between the second century BCE and the early centuries CE, two of the
most important of these dynasties were the Shunga and the
Satavahana.
• Stupas are fundamental to Buddhism.
– The first stupas were constructed to house the Buddha's remains
after his cremation.

Satavahana (2 of 5)
• The Great Stupa at Sanchi
– This stupa is the most famous structure in central India.
 A 10-foot-high railing punctuated by four torana gateways
surrounds the entire stupa.
 The railing provides a physical and symbolic boundary
between an inner, sacred area and the outer, profane world.

STUPA 1 (THE GREAT STUPA) AT SANCHI
Madhya Pradesh, India.
Founded 3rd century BCE; enlarged c. 150–50 BCE.
© veice/Shutterstock. [Fig. 10-08]

A CLOSER LOOK: The Great Departure
East torana (exterior middle architrave) of Stupa 1 (The Great Stupa) at Sanchi.
1st century BCE. Sandstone.
Dinodia/Bridgeman Images. [Fig. 10-09]

Satavahana (3 of 5)
• The Great Stupa at Sanchi
– Also on the Great Stupa at Sanchi are elaborately carved symbols
and scenes of Buddha's life and the Jatka tales, stories of
Buddha's past lives.
– Between each capital and the lowest crossbar on the east gate is
a sculpture of a Yakshi, some of the finest female figures in Indian
art.

YAKSHI BRACKET FIGURE
East torana of the Great Stupa at Sanchi. 1st century BCE.
Sandstone, height approx. 60" (152.4 cm).
© veice/Shutterstock. [Fig. 10-10]

Satavahana (4 of 5)
• The Chaitya Hall at Karle
– The monastic community utilized two types of rock-cut halls.
– The vihara functioned as the monks' living quarters, and the
chaitya usually enshrined a stupa.

Satavahana (5 of 5)
• The Chaitya Hall at Karle
– A Chaitya Hall at Karle is one of the largest and most fully
developed examples.
 Flanking the doorways are sculpted panels of mithuna couples.

EXTERIOR OF CHAITYA HALL, KARLE
Maharashtra, India. 1st century BCE–1st century CE.
Image: Regents of the University of Michigan, History of Art Department, Visual
Resources Collections. [Fig. 10-11]

INTERIOR OF CHAITYA HALL, KARLE
Maharashtra, India.
1st century BCE–1st century CE.
© Ivan Vdovin/JAI/Corbis. [Fig. 10-12]

The Kushan Period (1 of 5)
• The Kushans were heavily-bearded warrior kings who made
widespread use of royal portraiture on coins and in sculptural form.
– King Kanishka is one of the kings used in sculpture.
• These rulers were eclectic in their religious views and supported a
wide range of religious institutions.

KING KANISHKA
From Uttar Pradesh, India. c. 2nd–3rd century CE.
Sandstone, height 5'3" (1.6 m).
Government Museum, Mathura. © T Paramjit/Ancient Art & Architecture Collection Ltd.
[Fig. 10-13]

• Buddhism underwent profound development and images of the
Buddha began to appear around the first century CE.
– Buddha was consistently portrayed with a simple monk's robe,
distended earlobes, an ushnisha resembling a topknot, and an
urna between his eyes.

• The Gandhara Style
– Gandhara sculptors typically portrayed the Buddha as an athletic
figure, more powerful and heroic than an ordinary human.
 The Standing Buddha is an example.

STANDING BUDDHA
From Gandhara, Pakistan. Kushan period, c. 2nd–3rd century CE.
Gray schist, height 47-1/2" (1.2 m).
Los Angeles County Museum of Art. Gift of Mr. and Mrs. Eric Lidow in honour of the
museum's twenty-fifth anniversary (M.91.90). [Fig. 10-14]

• The Mathura Style
– The Mathura style evolved from representations of yakshas, the
indigenous male nature deities.

• The Mathura Style
– Early images of the Buddha produced at Mathura often portraying
him in a frontal stance with broad shoulders and wide eyes.
– The Mathura work gives a powerful impression of the Buddha.
 His robe is pulled tightly, making him appear almost nude.

BUDDHA AND ATTENDANTS
From Katra Keshavdev, Mathura, Madhya Pradesh, India.
Kushan period, c. late 1st–early 2nd century CE.
Red sandstone, height 27-1/4" (69.2 cm)
Government Museum, Mathura. Photo: Frederick M. Asher. [Fig. 10-15]

Art and Its Contexts: Mudras
• Mudras are ancient symbolic hand gestures that came to be regarded
as physical expressions of a particular action or state of being.
– The most common of these are Dharmachakra mudra, Dhyana
mudra, Vitarka mudra, Abhaya mudra, Bhumisparsha mudra, and
Varada mudra.

Hinduism
• Hinduism is not one religion but many related beliefs and innumerable
sects.
• Each Hindu sect takes its particular deity as supreme.
• The most popular deities are Vishnu, Shiva, and the Great Goddess,
Devi.

The Gupta Period and Its Successors
(1 of 5)
• The Guptas founded a dynasty in the eastern region of central India.
– They were renowned for their flourishing artistic, mathematical,
and literary culture.

(2 of 5)
• Temple of Vishnu at Deogarh
– The Temple of Vishnu at Deogarh is dedicated to the Hindu god
Vishnu.
 The entire temple site is patterned on a mandala.

(3 of 5)
• Temple of Vishnu at Deogarh
– Large panels sculpted in relief with images of Vishnu appear as
"windows" on the temple's exterior.
 One panel depicts Vishnu Lying on The Cosmic Waters at the
beginning of creation.

VISHNU TEMPLE, DEOGARH
Uttar Pradesh, India.
Gupta dynasty, c. 530 CE.
Borromeo/Art Resource, NY. [Fig. 10-16]

VISHNU LYING ON THE COSMIC WATERS
Relief panel in the Vishnu Temple, Deogarh. c. 530 CE.
Sandstone, height approx. 5' (1.5 m).
© akg-images/Jean-Louis Nou. [Fig. 10-17]

(4 of 5)
• Seated Buddha from Sarnath
– Buddhism continued to thrive during the Gupta period.
– The seated Buddha embodies the fully developed Sarnath Gupta
style.
 The plain robe, portrayed with none of the creases and folds is
distinctive of the Sarnath style.

BUDDHA PREACHING HIS FIRST SERMON
From Sarnath, Uttar Pradesh, India. Gupta period, c. 465–485 CE.
Sandstone, height 5'3" (1.6 m).
Archaeological Museum, Sarnath. Luca Tettoni/Robert Harding. [Fig. 10-18]

(5 of 5)
• The Ajanta Caves
– There were at least 20 Ajanta caves and each have their own
patron.
 They preserve examples of wall paintings.
– Some depict episodes from the Buddha's past lives while
two large bodhisattvas flank the entrance to the shrine
chamber.
• Bodhisattvas are enlightened beings who postpone
nirvana and buddhahood to help others achieve
enlightenment.

BODHISATTVA
Detail of a wall painting in Cave I, Ajanta, Maharashtra, India.
Vakataka dynasty, c. 475 CE.
© age fotostock/Dinodia. [Fig. 10-19]

Other Developments, Fifth to the
Seventh Centuries (1 of 4)
• The Bamiyan Buddhas
– At the site of Bamiyan two enormous Buddhas were carved from
the rock of a cliff, one 115 feet tall and the other 165 feet tall.
– These huge figures likely served as the model for those at rock-cut
sanctuaries in China
– The Taliban destroyed them in 2001.

STANDING BUDDHA
Bamiyan, Afghanistan. c. 5th century CE.
Sandstone coated in stucco, 165' (50 m).
Borromeo/Art Resource, NY. [Fig. 10-20]

• Sigiriya, Sri Lanka
– The palace site of Sigiriya was built on a dramatic plateau in north-
central Sri Lanka.
 This structure was built by King Kassapa.
 As visitors climbed higher they were greeted by painted murals
depicting elegant, Heavenly Maidens moving among clouds.

SIGIRIYA
Matale District, Central Province, Sri Lanka.
5th century CE. Aerial view.
© Tuul and Bruno Morandi/Getty Images. [Fig. 10-21]

HEAVENLY MAIDENS
Detail of wall painting, Sigiriya.
5th century CE.
Fuchsphotography/Fotolia. [Fig. 10-22]

• Temple of Shiva at Elephanta
– The Hindu god Shiva exhibits a wide range of aspects or forms,
both gentle and wild.
– Many of these forms of Shiva appear in the monumental relief
panels adorning a cave-temple on the island of Elephanta.

• Temple of Shiva at Elephanta
– The focus of the north–south axis is a relief on the south wall with
a huge bust of Shiva representing his Eternal Shiva.
 Three heads rest upon the broad shoulders of the upper body,
but five heads are implied.

CAVE-TEMPLE OF SHIVA, ELEPHANTA
Maharashtra, India. Post-Gupta period, mid 6th century CE.
View along the east-west axis to the linga shrine.
© age fotostock/Dinodia. [Fig. 10-23]

ETERNAL SHIVA
Rock-cut relief in the cave-temple of Shiva, Elephanta.
Mid 6th century CE. Height approx. 11' (3.4 m).
© ephotocorp/Alamy Stock Photo. [Fig. 10-24]

The Pallava Period (1 of 3)
• Rising to power in the late sixth century, the Pallava dynasty spread
from its heartland in southeastern India.

• Dharmaraja Ratha at Mamallapuram
– At Mamallapuram there are many large boulders and cliffs from
which the Pallava-period stonecutters carved entire temples and
reliefs.
– Each story of the superstructure is articulated by a cornice and
carries a row of miniature shrines.

DHARMARAJA RATHA, MAMALLAPURAM
Tamil Nadu, India.
Pallava period, c. mid 7th century CE.
Arvind Balaraman/Fotolia. [Fig. 10-25]

• The Great Relief at Mamallapuram
– The Descent of the Ganges relief at Mamallapuramis an
enormous relief depicting the penance of king Bhagiratha.
– In response to his penance, the god Shiva sent the sacred
Ganges River.

DESCENT OF THE GANGES
Rock-cut relief, Mamallapuram, Tamil Nadu, India.
Mid 7th century CE. Granite, approx. 20' (6 m).
Snowwhiteimages/Fotolia. [Fig. 10-26]

CAT IN YOGIC POSTURE
Detail from rock-cut relief, Mamallapuram, Tamil Nadu, India.
Mid 7th century CE.
Nstanev/Fotolia. [Fig. 10-27]

The Eighth through Twelfth Centuries
(1 of 5)
• Regional styles developed in ruling kingdoms that were generally
smaller than those that had preceded them.
• Hindu gods Vishnu, Shiva, and the Great Goddess grew increasingly
popular.
• By around 1000 the Hindu temple reached unparalleled heights of
grandeur and engineering.

(2 of 5)
• Kailasha Temple, Ellora
– There are 43 caves as Ellora variously dedicated to Buddhism,
Jainism, and Hinduism.
– The most spectacular is "Cave 16," or Kailasha Temple.
– Architects and artists managed successfully to sculpt an entire
two-story, highly ornamented Shiva temple out of a single mass of
stone.

KAILASHA TEMPLE, CAVE 16, ELLORA
Aurangabad District, Maharashtra, India.
Mid 8th century CE.
Michalknitl/Fotolia. [Fig. 10-28]

(3 of 5)
• Kandariya Mahadeva at Khajuraho
– This temple is dedicated to Shiva.
– A curvilinear shikhara rises over the garbhagriha of the temple.
– Despite its apparent complexity, the temple has a clear structure
and unified composition.
– The Khajuraho temples are especially well known for their erotic
sculptures.

KANDARIYA MAHADEVA TEMPLE, KHAJURAHO
Madhya Pradesh, India.
Chandella dynasty, c. 1000 CE.
© Westend61 GmbH/Alamy Stock Photo. [Fig. 10-29]

EROTIC SCULPTURES, KANDARIYA MAHADEVA TEMPLE
Detail of reliefs. Height of registers approx. 3'3" (1 m).
Sandstone, c. 1000 CE.
© Hitendra Sinkar/Alamy Stock Photo. [Fig. 10-30]

(4 of 5)
• Gal Vihara, Sri Lanka
– Two major religious movements were developing that affected
Hindu practice and art: the tantric, or esoteric, and the bhakti, or
devotional.
– Buddhism declined in India, but was thriving in Sri Lanka.

(5 of 5)
• Gal Vihara, Sri Lanka
– The construction of the Gal Vihara is linked to a series of
construction projects by King Parakramabahu.
 The rock-cut Parinirvana of the Buddha at this monastic
complex is one of three colossal Buddhas at the site.

PARINIRVANA OF THE BUDDHA
Gal Vihara, near Polonnaruwa, Sri Lanka.
11th–12th century CE. Granite.
© ziggymars/123RF. [Fig. 10-31]

The Chola Period (1 of 2)
• The Cholas founded a dynasty that governed most of the far south of
India.
• Rajaraja built the Rajarajeshvara Temple to Shiva in his capital,
Thanjavur.
– At 216 feet, this temple was probably the tallest structure in India
in its time.

The Chola Period (2 of 2)
• No sculpture is more representative of Hinduism than the statues of
Shiva Nataraja, or Shiva as the Lord of Dance.
– The dance of Shiva signifies the universe's cycle of death and
rebirth.
– This sculpture shows Shiva with four arms dancing on the
prostrate body of Apasmara.

SHIVA NATARAJA (SHIVA AS LORD OF THE DANCE)
South India. Chola dynasty, 11th century CE.
Bronze, 43-7/8" × 40" (111.5 × 101.65 cm).
The Cleveland Museum of Art. Purchase from the J.H. Wade Fund (1930.331)
Bridgeman Images. [Fig. 10-33]

Early Art and Architecture of Southeast
Asia
• Southeast Asia's earliest human settlements formed along the rivers
and coastlines.
• Bronze casting developed early in the region.

Early Southeast Asia
• Archaeological work at sites in northeastern Thailand has uncovered a
wide range of bronze tools, jewelry, and finely decorated ceramics.

Sixth to the Ninth Century (1 of 7)
• The South Asian religions of Hinduism and Buddhism gained
popularity just as some of the earliest large-scale kingdoms were
emerging.
• Dharavati-style Buddha, Thailand
– Characteristic of the sculpture associated with early Mon sites are
the standing Buddha images in bronze.

STANDING DVARAVATI BUDDHA
Mon Dvaravati style, from Thailand. 8th century CE. Bronze, 52" (1.3 m).
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill
Nelson Trust (51-23) [Fig. 10-34]

• Harihara, Cambodia
– This pre-Angkorian Khmer work depicts a merged form of the
Hindu gods Shiva and Vishnu, known as Harihara.
– The right side of the image depicts Shiva with his trident, matted
hair, third eye and animal skins.
– The left half represents Vishnu whose cylindrical crown and fine
garments indicate his identity.

HARIHARA
From Phnom Da, Angkor Barei, Cambodia. Pre-Angkorian Khmer, 7th century CE.
Sandstone, 68" (76 cm).
Musée Guimet, Paris, France. Photo © RMN-Grand Palais (musée Guimet, Paris)/Thierry
Ollivier. [Fig. 10-35]

• Borobudur, Indonesia
– The islands of Southeast Asia produced some of the earliest and
grandest responses to imported Buddhist ideas.
– One examples is the structure of Borobudur.
 It has characteristics typical of a stupa as well as those
suggestive of a three dimensional mandala.

• Borobudur, Indonesia
– One examples is the structure of Borobudur.
 It is a stepped pyramid.
 There are bas reliefs on Borobudur with elegant figures with
full rounded bodies.

• Loro Jonggrang, Indonesia
– Slightly later than Borobudur came the extensive site of Loro
Jonggrang in Prambanan, Java.
– This Hindu monument employs a concentric plan and shares
Borobudur's repetition of bell-shaped forms.

– All the temples are raised on high plinths decorated with narrative
scenes in relief.
– A portion of these reliefs depicts scenes from the Ramayana.

– The buildings in the complex are arranged around the central
temple dedicated to Shiva.
– The central structure stands almost 155 feet high and is flanked by
two smaller structures dedicated to Vishnu and Brahma.

SCENE OF DRUNKENNESS AND MODERATION
Borobudur, east side. Central Java, Indonesia.
c. 800 CE.
© Ari Sanjaya/123RF. [Fig. 10-37]

LORO JONGGRANG
Prambanan, central Java, Indonesia.
9th century CE.
NJ/Fotolia. [Fig. 10-38]

ABDUCTION OF SITA
Illustration of the Ramayana, relief 13, scene 2, Chandi Shiva, Prambanan, central Java,
Indonesia. 9th century CE.
©1983 Visual Resources Collections, Department of History of Art, Regents of the
University of Michigan. [Fig. 10-39]

Tenth to the Twelfth Century (1 of 4)
• By the tenth through twelfth centuries, the powerful kingdoms in
Angkor and Bagan were reaching their peak.
• Lavish temple-building projects were not just a means for the king to
demonstrate his legitimacy and accrual of good karma, it was also
seen as means of ensuring the welfare of state interests and public
well-being.

• Ananda Temple, Myanmar
– The unique architectural plan of this temple is rather complex.
– Of particular note are two gilded lacquer images in postures of
reverence flanking the Buddha image in the west-facing shrine.
 These images are believed to depict King Kyanzittha.

ANANDA TEMPLE
Bagan, Mandalay Division, Myanmar.
12th century CE. Height 35’ (10.5 m).
Noelbynature/Fotolia. [Fig. 10-40]

PORTRAIT OF KING KYANZITTHA
West shrine, Ananda Temple, Bagan.
11th century CE. Gilded lacquer. Height 30" (76 cm).
Photo: John Listopad. [Fig. 10-41]

• Angkor Wat, Cambodia
– Jayavarman II and other rulers in his lineage claimed the title of
"god-king."
– Among the grandest and most unusual structures is Suryavarman
II's temple mountain, known today as Angkor Wat.
 The temple is comprised of three concentric galleries that
frame a stepped pyramid crowned by five tapered towers.

• Angkor Wat, Cambodia
– One relief on the east side of the outer gallery portrays a Hindu
story known as the Churning of the Ocean of Milk.

VISHNU CHURNING THE OCEAN OF MILK
Detail of relief sculpture, Angkor Wat.
12th century.
© Kevin R. Morris/Corbis. [Fig. 10-43]

Think About It (1 of 2)
• Consider the use of rock-cut architecture. What were the benefits and
drawbacks to this architectural technique? How did it influence, and
how was it influenced by, built architecture? Give examples.
• Select one architectural work and one work of sculpture from this
chapter. Explain how either Buddhist or Hindu ideas are expressed
through their decoration, form, or iconography.

Think About It (2 of 2)
• Describe the typical form of Indian temples, northern and southern.
Directly contrast the stupa and the temple, paying attention to specific
building features and how they are used.
• How do sites like Mamallapuram, the Ananda Temple, and Angkor Wat
help legitimize the authority of the ruler?

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