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Week1 History Notes

The document discusses the Mauryan art, highlighting its significance as a reflection of the socio-economic prosperity of the Maurya Empire. It details various forms of art including political art, pillars, stupas, and guha vihar, along with their structural features and historical context. The document also distinguishes between royal and folk art styles, providing examples and characteristics of each.

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Week1 History Notes

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70 BPSC Mains Notes

MAINS CLASS MAINS ANSWER
PROGRAMME WRITING PROGRAMME

Histor English Medium

Arts and Culture

01 Mauryan Art
Pala Art
Patna Kalam Painting
Madhubani Painting and Manjusha Painting
Cave and Stupa Architecture
Art of temple construction in India
Buddhist and Jain art and Architecture
Contribution of Dr. Rajendra Prasad in the
National Movement
1 BPSC MAINS NOTES (HISTORY)

Mauryan Art

Introduction
As a reflection of the social and economic prosperity of the Mauryas, Maurya art is an excellent example of
the ancient and magnificent art of India. This art style, which basically exists as a state art style, also reflects the
distinctive folk art. The basis of the artistic prosperity of the Mauryas was the creation of a prosperous and
economically strong Maurya Empire as a result of political unification. Maurya art with its artistic characteristics
reflects the socio-economic aspects of contemporary India quite accurately and practically. Maurya art has an
era-divisive significance in the history, because at that time the use of stone along with clay or wood in art
provided stability and continuity.

Characteristics of Maurya Art

❖ Pillar -
• These were built by Ashoka to mark holy places related to the life of Buddha or to commemorate some
great event.
• Most of these pillars contained articles related to the propagation of Dhamma or Ashoka's government
orders to the public.
• Various animal figures (lion, elephant, bull etc.) are found above the circular abacus at the top of the
pillars.
• On the pillar of Rampurva, Natuva bull is standing in a fine posture (Lalit Mudra), while on the pillar of
Lauria-Nandangarh, a lion is sitting.
• The Maurya period pillar head found in Sarnath, which is famous by the name of Lion Capital of
Ashoka, is the best example of the sculpture tradition of the Maurya period.
• Large statues of four roaring lions are installed on its circular altar and in the lower part of that altar,
horse, bull, deer etc. have been carved in dynamic posture, which clearly shows the excellent skill of the
sculptor.
• This pillar top is the standard symbol of Dhamma Chakra Pravartana and marks a great historical event
in the life of Buddha.
• All these pillars are completely independent in themselves and are standing under the open sky.
• It is also our national symbol.

Pillar

Script Pillar Simple Column

• Dhamma scripts are engraved on them. • These are normal columns.

• This type of pillars have been found from places • This type of pillars have been found from
like Delhi-Meerut, Sarnath, Sanchi, Rampurwa etc. places like Basadh, Kosra etc.
Structural features -
• These pillars are made of red sandstone of Chunar.
• The height of the pillars is 35 to 50 feet and weight is about 50 tons.
• A special kind of polishing has been done on these pillars which is called
'Op' due to which their shine remains the same even today.
• All the pillars are tall, well shaped and monolithic with carved tops.
• These pillars have become progressively thinner from bottom to top.
• Shaft - Its width decreases from bottom to top.
• Top - The animal figures carved on the pedestal above the gorge at the
top of the pillar are a testimony to the excellence of Mauryan art.
❖ Stupa -
• This is a word related to the Buddhist period. The literal meaning of
Stupa is heap. In Pali texts it has been called 'Thuh' or 'Dhoop', which
later became a stupa.
• The art of stupa construction was prevalent in India even before the Maurya period, which reached its
peak during the reign of Ashoka.
• At this time, by dividing the existing body remains and enshrining them in monuments, stupas began to
be used for worship.
• After the death of Buddha, 9 stupas were built, which include Rajgriha, Vaishali, Kapilvastu, Alpkappa,
Ramgram, Pava, Kushinara Bethpid/Vethadipa and Pippalivan. Of these, 8 contained the relics of Buddha
while the ninth contained the vessel in which these relics were originally kept.
• 'The Stupa of Sanchi was built with bricks during the time of Ashoka. Later, during the Sunga-Satavahana
period, it was carved with stones and other changes were made.

Stupa Structure

Types of Stupas

Physical Stupa Paribhogika Stupa Preface Stupa Resolved Stupa

In this the bones and In this, the items used It was built as a This type of stupa
bodily remains of by Buddha (alms memorial to events was built purely for
Buddha and his chief bowl, foot pad, seat related to the life of worship.
disciples were kept. etc.) were kept. Mahatma Buddha or
at a place made
sacred by his travels.
❖ Guha Vihar-
• Guha Vihar was built by cutting rocks for the residence of Buddhist monks.
Structural features of Guha Vihar -
• During the time of Ashoka and his grandson Dasharatha, the hills of Barabar and Nagarjuna were cut and
houses were built for the AJIVIKAS.
• There are bright polishes on the roofs and walls of these caves. There are two chambers in Sudama's cave.
Their roofs are circular.
• The walls and ceilings of both the chambers are polished like glass.
• The architecture of Lomash Rishi cave is similar to that of Sudama's cave. The only difference is that its
inner chamber is not square but oval.
• 'Gopika cave' in Nagarjuni group is in the shape of a tunnel
with two round mandap built at both ends. Of these, one
seems to be a garbh grih (sanctum sanctorum) and the other
a mukhmandap. It has all the characteristics of cave
architecture of the Maurya period.

Guha Vihar located on Guha Vihar located on

Barabar Hill Nagarjuna Hill

• These hills include Sudama and Karna • These cave monasteries built by Ashoka's
Chaupar Guha Vihar, which were built by grandson Dasharatha were donated to the
Ashoka. Ajivakas.
• Ashoka had given these caves to the Ajivika • Its main caves – Gopi Cave, Lomash Rishi's cave
sect. are noteworthy.
• Sudama Cave in Barabar Hill is the oldest
cave monastery.

During the Maurya period (324-187 BC), various forms of art developed significantly. Solid evidence of
artistic remains of this period still exists. On the basis of available artefacts, artists have divided the sculpture of
the Maurya period into two categories, i.e. royal and folk art styles, the main features of which are as follows:
❖ Features of royal sculpture style -
• Under the royal sculpture style, animal figures have been made on the top of the
Ashoka Pillar. Among these, the shape of Natua bull of Rampurwa and lion of
Sarnath are special. The lion statue of Sarnath was adopted as the national
symbol of India after independence due to its uniqueness.
• These statues are made by carving monolithic sandstone.
• The idols have been excellently polished and their shine remains intact even
today.
• Special emphasis has been given on accuracy in the making of idols. Special
attention has been paid to enhancing its body parts. Due to which these animal
statues appear alive.
• Due to royal patronage, the royal style of sculpture came to an end with the end
of the Maurya dynasty.
State Location Animal figure Key Facts
Nandangarh (Motihari, Bihar) Lion Most beautiful maurya pillar
Lauria Arreraj (Motihari, Bihar) Bull
Bihar
Rampurva (West Champaran) Bull
Basadh Lion The oldest and simplest Maurya pillar
Uttar Sankisa Lion
Pradesh

❖ Features of FOLK ART style –

(1) Potteries-
• These were made by common people for their daily needs as well as for decorative purposes.
• Characteristics- Northern black polished ware (NBPW), it was famous for shiny black polished surface.
• In Bihar, mostly found around Patliputra.
(2) Sculpture-
• Under this style, human-shaped statues of Yaksha-Yakshinis have been made. The idol of Yakshini
obtained from Didarganj of Patna is the best among them, which is placed in Patna Museum.

• 7 feet high
Parkham, • Face and arms fragmented
Mathura Yaksha • Costumes of the Maurya period
(Uttar Pradesh) • Made of sandstone
• Use of shiny polish
Rajghat • Three faced Yaksha
Varanasi Yaksha • Use of sandstone in construction process
(Uttar Pradesh) • Use of shiny polish

Apart from the above mentioned sculptures, other sculptures are also found under folk art.
Location/State Statue Features
Bulandibagh, Statue of woman and Feeling of motherhood and affection
Patna (Bihar) child
Kalsi, Dehradun Elephant Stone cut sculpture
(Uttarakhand)
Lohanipur, Patna Jain Tirthankar Naked, no arms, leg and thigh broken
Dhauli (Odisha) Elephant Artistic and natural construction of the trunk and legs,
the trunk seems as if something is wrapped around it.

Foreign influence on Mauryan Art

Mauryan art is a unique example of Indian architecture but many historians like John Marshall, Nihar Ranjan Rai
and Percy Brown believe it to be inspired by foreign influence. In relation to which they have given the following
arguments.
• Due to the technique of bright polish on the pillars, bell design and animal motifs at the top in Maurya art,
Western scholars believe that it was inspired by Iranian art.
• Maurya sculpture, especially the Yakshini sculpture, was inspired by Greek Holstein art.

How does Maurya art reflect the contemporary socio-economic life?

Art is a mirror of the socio-economic and cultural aspects of any civilization. The importance of the art of
this era is unique in understanding the social and economic system of the Stone Age and Harappan civilization.
Similarly, the importance of Maurya art is unique. Maurya art depicts the condition of socio-economic and
cultural life of that time in the following manner.
• From the palace of Chandragupta Maurya, we realize the grandeur, building style and economic prosperity of
the then Mauryan rulers.
• Ashoka's inscriptions, stupas and cave constructions etc. are important parts of Maurya art.
• It gives a detailed description of the socio-economic aspects of the then Maurya Empire, which we can see
through the following chart.

Association with Buddhism

Influence of buddhism - It is also noteworthy that Ashoka had adopted Buddhism and made every
possible effort to propagate it. Therefore, the influence of Buddhism is clearly reflected on the state art that
flourished under state patronage.
• The pillars, stupas, chaityas, vedikas, guha viharas built by Ashoka were inspired by Buddhism. The lotus and
animal figures on the pillar represent various symbols of Buddha's life. Guha Vihar built in Barabar Hills and
Nagarjuni Hills was also built to be the residence of Buddhist monks.
• The orders mentioned on the pillars are also inspired by the thoughts of Buddha. For example, Ashoka has
described non-violence, condemnation of animal sacrifice, preaching and religious journey on his pillar which
was inspired by Buddhism.
• Apart from this, the influence of contemporary Buddhism is also visible on the idols of Yaksha and Yakshini
created in folk art.

Influence of Mauryan art in Bihar

• The art tradition in Bihar started from the Mauryan period, which further strengthened during the Gupta
period and Pala period.
• The remains of the royal palace of the Maurya period still exist as a tourist center in Patna.
• The pillars built by Ashoka are still displayed as cultural heritage in Lauriya Areraj, Lauriya Nandangarh in
Bihar.
• Guhavihar built in Barabar and Nagarjuna hills in Jehanabad is a cultural heritage with tourism.
• Various state and folk arts of the Maurya period made Bihar a rich place from the point of view of art.

Conclusion
Thus, in the light of the above description, it can be concluded that the art of the Maurya period was not
only full of various dimensions but was also rich and unique in its imagination, sculptural-scientific method and
creativity. Maurya art is visible in the areas of royal life and ordinary life. While on one hand there are centralized
political elements in its basic system, on the other hand components of ordinary public life are also visible.
In fact, various forms of Maurya art, architecture and sculpture were organized and expanded, but the art also
included those fundamental elements, which were continuously developed and organized in the years to come
and became the symptoms of development of art tradition and culture of Bihar and India. It is still relevant as
the Lion Capital of Ashoka is placed on the roof of new parliament building of India.
❑ ❑ ❑

Questions asked from this chapter in BPSC

1. What are the distinctive features of Mauryan sculpture? (40th)
2. Describe the characteristics of Maurya art in Bihar. (42nd)
3. Critically examine the main features of Maurya art. (45th)
4. Analyze the main features of Maurya art and architecture. (47th)
5. Discuss the main features of Maurya art. (53-55th)
6. Explain the main characteristics of Maurya art with examples. (Auditor Exam)
7. Throw light on Maurya art and analyze its impact in Bihar. (60-62nd)
8. Discuss the features of Maurya art and architecture and its relationship with Buddhism. (64th)
9. Describe the main characteristics of Mauryan art. (67th)

Pala Art

General Introduction
Art is the fundamental identity of any culture. Many art developed in India, in which the Pala art
developed in early medieval Bihar (8th-12th century) has special significance. Because it not only provided
continuity and expansion to the art tradition developing from Maurya art but also promoted and disseminated it
at the national and international level.
Pala art is visible in three forms – architecture, sculpture and painting, which can be understood from the
following diagram.

Architecture/Building Art-
In the field of building art, many viharas, Stupas, Chaityas and temples were built during the Pala period.
The influence of religion is clearly visible on the architecture of this period. Among various Mahaviharas, the
credit for the establishment of Odantpuri, Nalanda, Vikramshila and Sompur Viharas goes to the artistic
inclinations of Pala rulers Gopal, Dharmapala and Devpala. Pala rulers have made a major contribution in the
development of temples, stupas and viharas etc. built in different area of Bihar and Bengal . The houses built for
Buddhist monks during this period show a definite plan. The remains of Vikramshila Mahavihara demonstrate
the uniqueness of Pala period architecture. Remains of a temple and stupa have been found here. Apart from this,
the cave temple of Kahalgaon (Bhagalpur), Ardhamandap of Vishnupad temple located at Gaya, Surajgarh,
Jaimangalgarh etc. are vivid and visible examples of Pala period architecture and building construction.
Features of architecture-
• The main features of Pala period architecture are the construction of buildings based on baked bricks. Their
evidence is found from Odantpuri, Nalanda and Vikramshila monasteries.

❖ Stupa-
Stupas were the main religious centers of Buddhism. Many
stupas were built during the Pala rule. During this period the
structure of stupas got a more organized form. Its structural
features can be seen in the following figure-

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Patna Musallahpur Hat Mob. 7250740458 | Gaya Center Mob. 8252507118 | Purnia Centre Mob. 8092086324 | Bihar Sharif Centre Mob. 7004382832 | Ara
Center Mob. 7255092722 | Muzaffarpur Centre Mob. 7707093072 | Siwan Center Mob. 7739620596 | Motihari Centre Mob. 9430052874 | Sasaram Centre
Mob. 8084994876 | Bhagalpur Centre Mob. 9431690496 | Delhi Mukherjee Nagar Centre Mob. 8603855800 | Delhi Karol Bagh Centre Mob. 9870288703
12 BPSC MAINS NOTES (HISTORY)
❖ Temple-
Although the Pala rulers believed in Buddhism, they also encouraged the construction of Hindu temples. The
temples built during this period represent the Nagar style. Examples of Hindu temples built during the Pala
period are – Cave Temple of Kahalgaon (Bhagalpur), Vishnupad Temple located in Gaya etc. The biggest
feature of Vishnupad temple is the Ardh Mandap
built in it.
• The temples of this region (Bengal) are known to
express the local Vanga style. For example, the
ninth-century Siddheshwar Mahadev temple at
Barakar in Burdwan district, shows a large curved
spire surmounted by a large amalaka and is an
example of the early Pala style. It is similar to
contemporary temples of Odisha.
• As centuries pass, this basic form becomes even
higher. The black to gray basalt and chlorite stone
pillars and arched niches of these temples heavily influenced the early buildings of the Bengal Sultanate
at Gaur and Pandua in which many of the local building traditions of Bengal played a role.
Pala period sculpture-
• During the Pala period, there was unprecedented development in the field of sculpture. The Gupta tradition of
sculptural art achieved a new height under the patronage of the Pala rulers and was designated as the 'Pala
school of sculptural art'. This is an Eastern style of medieval sculpture. The art incorporated many local
characteristics in Bihar and Bengal under the Palas and this continued till the end of the 12th century. Stone
and bronze sculptures were produced in large numbers at the monastic sites of Nalanda, Bihar Sharif, Rajgir,
Bodh Gaya, Ghosranwan etc.
• Most of the sculptures of this period were inspired by Buddhism. Apart from Buddha, idols of Hindu gods and
goddesses like Vishnu, Balarama, Uma, Maheshwar, Surya and Ganesha were also created.
• The finest sculptures of this school include a statue of a woman, two standing Avalokiteshvara statues from
Nalanda; The pictorial Buddhist sculptures of Seated Buddha in 'Bhumisparshasamudra' and Avalokiteshvara
seated in 'Ardha Paryanka' etc. are characterized by a prominent and elaborately carved black-slab and lotus-
seat.
❖ Bronze Statue:-
• This is considered to be the best artistic achievement of the Pala period. Bronze statues were made by
casting them in moulds. Decoration was prominent in this. Dhiman and Veethpal, residents of Nalanda,
were two prominent sculptors who were contemporaries of Dharmapal and Devpal. The artistry of these
bronze sculptures is compared to the bronze Nataraja idols made during the Chola period. Statues of
Buddhist and Hindu Gods and Goddesses were made in these bronze statues. Among which Buddha,
Bodhisattva, Vishnu, Balram etc. are prominent. These bronze sculptures have been found from Nalanda,
Kukrihar (Gaya), Sultanganj etc.
❖ Stone Statue:-
• In addition to bronze, stone statues were also made during the Pala period. These idols were made from
black basalt stone, which was obtained from Santhal Pargana and Munger. Emphasis was laid on
ornamentation in these sculptures also.

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Patna Musallahpur Hat Mob. 7250740458 | Gaya Center Mob. 8252507118 | Purnia Centre Mob. 8092086324 | Bihar Sharif Centre Mob. 7004382832 | Ara
Center Mob. 7255092722 | Muzaffarpur Centre Mob. 7707093072 | Siwan Center Mob. 7739620596 | Motihari Centre Mob. 9430052874 | Sasaram Centre
Mob. 8084994876 | Bhagalpur Centre Mob. 9431690496 | Delhi Mukherjee Nagar Centre Mob. 8603855800 | Delhi Karol Bagh Centre Mob. 9870288703
13 BPSC MAINS NOTES (HISTORY)
Features of Sculpture :-
• Pala period sculptures are made from brown and black basalt stones found
from Gaya and Rajmahal.
• Often in Pala period sculptures, attention was paid to showing the front part of
the body. Special emphasis has been laid on adequate jewellery and traditional
decoration in the slim and graceful shapes of the idols.
• The sculptures found from Bihar are thicker and heavier than those from
Bengal.
• Pala period sculptures have inscriptions. Dates are also inscribed on it.
• There is similarity at the level of style in the Buddhist and Brahmin sculptures
made in the Pala period but there is difference at the level of weapons, vehicles and symbolism.
• In the sculptures of Pala period, mainly gods are depicted, in which the statues of Buddha predominate
and the influence of Tantrayana can be clearly seen on them.
• Bronze statues were made by casting in moulds. Its main sculptors were Dhiman and Veethpal.
• Pala period sculptures are compared with Chola period sculptures.
• These statues are mainly found in Nalanda Kukrihar (Gaya) of Bihar, Bhagalpur and many areas of Bengal.
Pala period painting -
During the Pala period, along with architecture and sculpture, various forms of painting also developed, which
can be seen by dividing them into two parts -
• Manuscript Painting :- This painting was mainly on copper plates which were used for decoration. In these
paintings, red, black, blue, white as well as green and purple colours were used. Its main examples are
“Ashtsahsaarikaprajnaparamita” and “Pancharaksha” which are currently preserved in the British Museum.
• Murals Painting :- It was used to depict walls, caves etc. Fruits, flowers, animals, humans and geometric
forms predominate in these paintings. Its main example has been found from Sarai Fort (Nalanda). A picture
of a woman applying make-up and admiring her appearance has been displayed on a board, which displays
human psychology as well as art.
Features of Painting :-
Circular lines and light shades of colour are present in Pala painting. This is a naturalistic style which is also
found in the ideal forms of contemporary bronze and stone sculpture.
• On the paintings of this style, fleshy and soft figures like those of Ajanta are found and their postures and
expressions are also similar to those of Ajanta.
• Paintings of this style are made on palm leaves in which pictures
related to the life of Mahatma Buddha are decorated in the
middle of the paper and written in beautiful letters on both the
edges.
• In making these pictures, red, blue, black and white are used as
primary colours and green, purple, light pink and gray are used
as secondary colours.
• The clear influence of Vajrayana branch of Buddhism is visible
on Pala painting.

Influence of Buddhism on various forms of Pala Art

• The Pala rulers religiously followed Buddhism. Hence, naturally various forms of art were influenced by
Buddhism. The influence of Buddhism is visible on all forms of art, architecture, painting, sculpture and
murals.
• Under architectural art, Mahavihara was built as a centre of Buddhist education. Where Buddhist monks not
only received education but also resided there. Apart from this, Chaityas and Stupas were also built during the
Pala period, which were philosophical places of Buddhism.
• In sculpture, most of the statues were related to Buddhism. Idols of Buddha, Bodhisattva, Manjushri,
Avalokiteshvara, Tara etc. have been found from Nalanda, Bodh Gaya, Kukrihar, Rajgriha, Bhagalpur etc.
• In the painting of Pala period, the paintings made in manuscripts are the main examples of
Ashtsahsaarikaprajnaparamita and Pancharaksha which are related to Buddhism.
• Evidence of murals has been found from the Sarai site of Nalanda, in which depictions of Bodhisattva,
Jambhala etc. along with geometric shapes have been found on granite stone.
In the light of the above description, we find that architecture, sculpture and painting were in a very
advanced state during the Pala period. All the Pala rulers took interest in all these types of artistic genres and
strengthened the already existing artistic development. Although Buddhist influence was the main feature of Pala
art, the influence of other religions, such as Hinduism and Jainism, reflects their syncretistic ideology.

Criticism
• Excessive use of bricks in architecture, less use of stones which reduces durability.
• More emphasis on the front part of the sculptures while the back part is completely flat.
• Natural beauty is not visible in the sculptures of Pala period, which is visible in the sculptures of Gupta period.
• Predominance of ornamentation in sculptures which hides the real beauty, giving a clear lack of artificiality.
• Excessive emphasis on religious themes in various forms of art and less importance to localism.
• Seeing some statues gives the impression of religious intolerance.
• Many Buddha statues are shown insulting Hindu gods and goddesses. From this point of view, the tolerance
and syncretism prevalent in Indian culture is not visible in Pala Art.
In the context of these criticisms, it can be said that Pala Art lacked originality and was inspired in various
forms by earlier art traditions. To some extent, the influence of religious fanaticism is also visible, but after
careful examination it can be said that the Pala rulers patronized various arts and tried to give place to all
religions in their art forms. At the same time, contemporary life is also depicted in this art and the miniature
painting style developed in its initial form in this period.

Conclusion
So, we can say that there was unprecedented development of various forms of art during the Pala rule. Its
biggest feature is that despite being continuously engaged in tripartite conflict, the Pala rulers gave new heights
to the art tradition.
❑ ❑ ❑
Questions asked from this chapter in BPSC

1. Give a description of the main features of Pala art in Bihar. (41st)

2. Critically examine the salient features of Pala Art. (43rd)
3. Discuss the salient features of Pala architecture and sculpture. (46th)
4. Discuss the features of Pala art and architecture and its relationship with Buddhism. (65th)

Patna Kalam Painting

Introduction
Patna Kalam painting style developed as a regional art style in the region of Bihar and Bengal in the middle
of the 18th century. Unlike Maurya, Pala and Mughal art, the predominance of folk life is seen in this art.
Influenced by Mughal and European art, this art prominently depicts the society, culture and folk life of that
time, due to which this painting is special and unique in itself.

Background
Due to Aurangzeb not patronizing art and as the decline of Mughal power started, Mughal artist started
migrating to far-flung areas. One such group of artists was patronized by Nawab Mir Jafar of Bengal from where
the Patna Kalam style started. Further due to the restrictions imposed on art by Mir Jafar's son Miran, these
artists migrated to areas like Patna, Arrah, Danapur, Purnea, Bettiah of Bihar, where Patna Kalam painting
developed gradually. Thus, Patna Kalam painting developed in the areas of Bihar whose main center was in the
areas around Patna City like Machharhatta, Diwan Mohalla, Lodikatra, etc. For being centred around Patna, this
style of painting started to be known as Patna Kalam. Other names of this painting style are Company style, Kajali
seahi style or men's painting style.

Features
❖ Mixed style –
• Patna Kalam painting developed as
a miniature painting style by a
mixture of Mughal and Persian
painting style, British painting
style and local style.

Image: Regional expansion of Patna Kalam painting

❖ Contents –

Materials used in Painting

• Colours used- obtained from natural sources, minerals, fruits, flowers.
Colour- dark brown, dark red, dark yellow, dark blue.
• Brush- Made from the tails of goat, pig, squirrels.
• Canvas- Mostly on paper, also leather, ivory, cotton clothes, metal etc.

Critical
❖ Arguments in favour -
• For the first time, activities related to common life, folk festivals and celebrations were depicted.
• The specific construction method of this style (kajli seahi method) and the location of the paintings made
the painting popular among the common people and abroad.
• Without government patronage, this art created its own unique identity in the Indian art world.
❖ Arguments against -
• Border and background were not used in the pictures.
• Lack of grandeur in contrast to Mughal art.
However, many art critics supported the Patna style of painting on the grounds that it was done like this
due to lack of funds.
Reasons for the decline of Patna Kalam painting
Due to Patna and Calcutta becoming the trade centres and the arrival of European traders here, Patna Kalam
painting got fame all over the world without any government privilege and encouragement, but with time the
glory of this art declined and due to following reasons this art had become decadent:
• After independence, due to lack of government patronage and encouragement, Patna Kalam painting artists
started migrating to other parts of the country.
• Patna Kalam Painting could not maintain its popularity like Madhubani Paintings, because Madhubani
Painting style is a folk form which could be easily transferred from one generation to another generation.

Conclusion
Hence, Patna Kalam painting style is currently present in museums and art galleries after losing
its golden past and glory. The glory of this painting style of Bihar and India can be returned through collective
efforts with strong will power. This will not only provide employment opportunities to art lovers and youth, but it
can also prove to be an important means of regaining the glory of the then world famous art style of Bihar. In
this context, reasons of survival of Madhubani Painting can play an important role in making Patna Kalam
painting alive and world famous.

❑ ❑ ❑

Questions asked from this chapter in BPSC

1. Discuss the chief characteristics of Patna Kalam painting. (45th)
2. Discuss the salient features of Patna Kalam painting style. (48-52nd)
3. Bring out the salient features of Patna Kalam painting. (56-59th)
4. Examine the salient features of the Patna Kalam painting style. (63rd)
5. Bring out the main features of Patna Kalam painting. (66th)

Madhubani Painting and Manjusha Painting

/// Madhubani Painting ///

Introduction
Madhubani painting has a place in the glorious and rich art and
culture tradition of Bihar. In the areas of Mithilanchal, Darbhanga,
Madhubani, Katihar districts and Janakpur, the folk art painting style
prevalent with the participation of women is called 'Madhubani painting'.
The use of natural colours in it is also a proof of its sensitivity towards the
environment. The credit for bringing this in front of the world goes to W.J.
Archer, Sub Divisional Officer of Darbhanga district. Due to the originality
and uniqueness of folk art, Madhubani painting has gone beyond its local
and geographical boundaries and has become popular at the national and
international level.

Features of Madhubani painting

Three types are available-
• Murals: Under this, the decoration of the house is done through religious pictures. Radha-Krishna, Shiva-
Parvati and Lakshmi-Vishnu are mainly depicted in it.
→ In another form, murals are written on the walls of the inner rooms, kohbar and its corners. There are
also pictures of animals and birds here, like lion is symbol of power, elephant, horse is symbol of
opulence, sun and moon are symbols of longevity.
• Aripan: It is made by women in front of the courtyard or doorstep of the house. In this, pictures are made by
mixing ground rice, water and different colours.
• Patta Chitra: In this, a person is portrayed with a focus on his physical beauty instead of merely highlighting
his features. The paintings are mainly done with fingers or bamboo brushes and natural colours are used.
Other characteristics-
• Here only symbolic form of the depicted objects was given.
• Pictures are mainly made on walls. But recently, due to commercial reasons and a sense of protection,
paintings have started being made on cloth and paper.
• Pictures are made with fingers or a bamboo brush. Hence, the lack of fineness and subtlety like patna kalam
painting is visible.
• The high flight of folk imagination, deep emotional attachment to art and the use of beautiful natural
colours in the paintings provide special attraction.
• Women use this style of painting at home to fulfill their cultural responsibility.
• Use of indigenous and self-made natural colours is an important feature of this painting style.

**********************************
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Current Scenario
• Important painters of Madhubani Painting are Sita Devi, Ganga Devi, Baua Devi, Godawari Dutta, Padmashri
Jagdamba Devi, Satya Narayan Lal Karn, Bharti Dayal, Kaushalya Devi etc.
• Now-a-days it got maximum popularity all across the world. Recently many exhibitions of Madhubani
Paintings are being organised one of such exhibition is of the paintings of Shashikala Devi was organised
in Japan.
• A museum of Madhubani Painting is also being constructed in Tokamachi City of Japan. such kind of
museum of Madhubani Painting is not even constructed in India.

Conclusion
Although Madhubani Painting traces it's history from the marriage of Sita, but it got maximum
popularity in recent times. Madhubani Painting is also heavily synced with the daily life Festivals in Maithili
speaking population of Bihar and Nepal. Now-a-days there is a very good demand of clothes(especially sarees)
painted with Madhubani paintings on them. To promote Madhubani Paintings, Indian Railways and Government
of Bihar painted the Sampark Kranti Express with Madhubani Painting and are planning to paint other trains
(bound to Bihar) as well. Indian Railways also painted the Madhubani Railway Station with the Madhubani
Paintings.d to Bihar) as well. Indian Railways also painted the Madhubani Railway Station with the Madhubani
Paintings.

/// Manjusha Painting ///

Main features of Manjusha painting
Manjusha painting is the only folk art of India in which the story is depicted sequentially and in a series.
This picture is made during the folk festival Bihula-Bishari Puja in Bhagalpur region of Bihar. Mainly pictures of
snake god are made in this. Manjusha painting is the gift of the lowest rung of the society.
• Mainly pictures of snakes are made in this. The special feature of this picture is that only a part of the face of
the man and woman is shown in it.
• Colours like green, Yellow, red etc. are used in it.

Difference between Manjusha painting and Madhubani painting

Manjusha painting Madhubani painting
• Manjusha painting belongs to Anga region of • Madhubani painting belongs to Mithila region of
Bihar. Bihar.
• Mainly three colours are used in Manjusha • Various colours are used in Madhubani painting.
painting – Red, Green and Yellow. • Madhubani painting is mainly based on religious
• This art is based on Bihula-Bishhari folk tale. subjects.
• Manjusha painting is story based. • Madhubani painting is design oriented.
• Use of border is essential in Manjusha painting. • The use of border is optional in Madhubani painting.

❑ ❑ ❑

Cave and Stupa Architecture

Stupa construction Art in India
Stupa is one of the oldest examples of Indian architecture. 'Stupa' is derived from Sanskrit word 'stupa'
which means 'to collect or pile up'. In fact, the tradition of building stupas started in the Vedic period which
was used as a burial mound but it reached its peak during the reign of Ashoka. According to one belief,
Ashoka built about 84,000 stupas during his reign.
Despite being from Vedic tradition, stupas were made popular by Buddhists. During the reign of
Ashoka, stupas were built from the remains of Buddha. In Buddhist art and religion, stupas were accepted as
a memento of Lord Buddha.
Structure of Stupa
• Stupas were built on flat land with bricks or stones. Every stupa had a small chamber in which the
mortal remains of Buddha or Buddhist saints or monks were kept in an urn.
• There was a harmika and chhatra on the upper part of the stupa. There was a Pradakshina path to
circumambulate the stupa, which was surrounded by railings.
• Toran gates were made to enter the stupa.
Some important stupas of India:
• Mahastupa of Sanchi: It is a historical and religious site located in the Raisen district of Madhya
Pradesh. Due to this UNESCO has declared it as a World Heritage Site. It is in the safest condition. It
was constructed with the help of bricks during the time of Ashoka and a wooden altar was built
around it, but during the Shunga period it was studded with stone plates and the altar was also made
of stone.
• The diameter of this stupa was increased to 126 feet and its height to 54 feet, due to which its size
became double than before. The Mahastupa has three medhis which were underground, central part
and harmika. Its egg is in the shape of an inverted bowl. There is a stone floor around the stupa on
the ground floor on which there is a round altar. The altar is simple and without decoration. • The
arches of the Sanchi stupa are extremely beautiful, artistic and attractive and they have their own
parallel in the history of art. The arches are full of paintings of the events of Mahatma Buddha's life
and Jataka tales.
• In the outer corners of the pillar and the lower wall, there are statues of women standing in a
posture of posture, taking support of the branches under the dense trees, which are called
'Shalabhanjika'. These are extremely attractive.
Amravati Stupa:
• Amaravati Stupa is located in the present Guntur district of Andhra Pradesh. It was built in the third
century BC by Emperor Ashoka of the Maurya dynasty. However, no concrete evidence has been
found in this regard yet.
• In fact, Amaravati Stupa is one of the largest stupas in India. It is related to the Mahayana branch of
Buddhism.

Ancient Cave Temple

Cave or cave architecture originated in the Mauryan period. More than a thousand caves have been
discovered in different parts of India, which date from the second century BC to the tenth century AD. Most
of the caves are related to Buddhist art, although some are also related to Hindu, Jain and Hindu sects.
Barabar Caves
The architecture of the Barabar caves indicates its infancy. This cave was built by Ashoka during his reign
for the Ajivika sect. These caves were the site of authentic religious meeting places, which consisted of a
round hut with a roof built in the courtyard. The caves of Barabar and Nagarjuni hill are completely devoid
of decoration. But only one cave of Nagarjun near Barabar has a simple carved door which is of the Mauryan
period. The walls of all its caves are well polished. There is no doubt that this polish has been done by the
artists of the same style who had polished the pillars of Ashoka.
Ajanta Caves
• The caves of Ajanta are situated on the hill of Ajanta in Aurangabad district of Maharashtra. Ajanta
has a very high place among Indian art centers from the point of view of both sculpture and
painting. Till the second century AD, there was influence of Hinayana sect here, after that of
Mahayana sect. A total of 29 caves were carved here. There are four chaityas and the remaining 25 are
Bihar caves.
• The 10th cave of Ajanta is considered to be the oldest chaitya, which dates back to the second
century BC. There is a row of 59 pillars between its mandap and pradakshinapath. The pillars are
square in the middle and inclined towards the end. The base of the stupa is circular but its upper
part is long oval.

❑ ❑ ❑

Art of temple construction in India

Major differences between ancient city and Dravidian temple building styles
Temples have a special place in the ancient architectural style of India. The construction of temples in
ancient India was inspired by the objective of providing religious comfort and practicality to the people. In
ancient times, temples emerged as the center of socio-economic and political system in India. The Gupta period is
very important from the point of view of temple architecture throughout India, which saw the emergence of
three major styles of temple construction (Nagara, Besar and Dravida). Nagara and Dravida styles flourished in two
different areas and there is the following fundamental difference between these two temple building art styles.
❖ Main differences between Nagar and Dravidian temple construction styles
• The Nagara style developed in North India from the Himalayas to the north of the Vindhya
Mountains, while the Dravidian style developed in South India from the Krishna River to
Kanyakumari.
• In Nagara style the most prominent element is the shikhara whereas in the Dravidian style the most
prominent element is the gopuram.
• In Nagara style, the rivers Ganga and Yamuna have been depicted in humanized form at the entrance
of the sanctum sanctorum (garbh-griha). Whereas in Dravidian style there is a sculpture of gatekeeper
(dwarpal) at the entrance.
• Sun Temple of Konark, Khajuraho Temple, Somnath Temple, Jain Temple of Dilwara, Mukteshwar
Temple are Nagara style temples and Brihadeshwar Temple, Meenakshi Temple, Kailash Temple,
Koranganath Temple etc. are examples of typical Dravidian style temples.
• In Nagar, a structure called Amalak and Kalash was built on the top part of the peak, while in
Dravidian style, Stupika was built on the top part of the peak.
• Nagara temple was generally built on a high platform whereas this was not the case in the temple
built in Dravidian style.
• There was no need for a grand entrance in the Nagara style, whereas in the Dravidian style the grand
entrance (Gopuram) was the main one.
• From the point of view of Vastushastra, the Nagara style pyramid is called ‘Prasad’, whereas, Dravidian
style pyramid is called ‘Vimana’.
• Unlike the Nagara style, Dravidian temples were situated within high walls.
• Nagara style temples are quadrangular while Dravidian style temples are octagonal.
Both the styles of temple construction art style, Nagar and Dravidian style of architecture are beautiful
expressions. Nagar style and Dravidian style present a living example of the society and culture of North
and South India respectively.

Difference between Nagara and Dravidian style of temple architecture

The differences between Nagara and Dravidian styles of temple architecture are mentioned in the table
below for better understanding.
Factor of
Sl.No. Nagara Style Dravidian Style
difference
• The Nagara style of temple • Dravidian style of temple architecture
1. Place architecture can be found in the can be found in the southern regions of
northern parts of India. India.

• Gopuram is not prominent in • The southern temples are surrounded

Nagara style of temple architecture. by a huge boundary wall called
5. gopuram • However, the presence of massive Gopuram.
boundary walls can be seen in the
Odisha school of Nagara architecture.
• In this style the crow element is • Here the crow element is called
6. Crow element
called Kalash and Amalak. Shikhara.
• In this style of architecture the • Here, the pedestal is placed at a higher
7. Kursi
pedestal is usually at ground level. level
• In North India, temples are usually • In South India, temples served larger
Purpose of built for aesthetic purposes. purposes besides aesthetic purposes like
8. temple administrative purposes, exercising
construction control over territories, serving as
centers of learning, etc.
• Gods and Goddesses are found inside • Under Dravidian temples, the deities
9. Place of gods
the temple are found outside the temples.
• Lakshman Temple, Sun Temple at • Brihadeshwara Temple,
10. Example Konark, Lingaraja Temple at Gangaikondacholapuram Temple at
Bhubaneswar Thanjavur
Image: Difference in styles of Nagara and Dravidian temple architecture

❑ ❑ ❑

Buddhist and Jain art and Architecture

Introduction :- The rise of Buddhism and Jainism in the 6th century BC not only gave a new dimension
to the religions culture of ancient India but also made an invaluable contribution in making the richness of art
and architecture of ancient India more distinct and unique. Many ancient dynasties such as Maurya, Gupta and
Pala rulers being the followers of Buddhism and Jainism have propounded this religion mainly in areas like Bihar,
Bengal, Gujarat, Rajasthan and Karnataka etc.

Temple architecture

Main parts of Cave,

Stupa and
Buddhist and Monastery
Chaitya
Jain art and Vihara

Sculpture

Features and examples of Buddha and Jain art:

(i) The evidence of Buddha and Jain architecture is the Ellora and Ajanta that highlight the artwork of
Buddha, Jain and Hindu monuments showing religious tolerance in the contemporary period.
(ii) Other significant examples of Cave/Vihara/monasteries architecture include the Barabar and Nagarjuni
caves of Jehanabad (Bihar) built during Mauryan period, the Nalanda Mahavira founded by Kumargupta-I,
Vikramshila Mahavihara built by Dharmpala, Talaja hills in Bhavnagar Gujarat, Vajragiri and Ratnagiri
(Maharashtra) etc. are eminent Buddhist architectures while Hathigumpha caves (Odisha), Udayagiri
Khandagiri (Odisha), Badami cave temples (Karnataka) are of Jain ones.
(iii) The pre-eminent Buddhist site i.e., Bodhgaya has the most famous Mahabodhi Temple which is narrow
like nagara temples but rises without curving like Dravida era. While the most famous Jain temples are
located at Mount Abu, i.e., Dilwara temple constructed by Vimal Shah, the Palitana temples in Kathiawar,
Gujarat etc.
(iv) Apart from the oldest Jain pilgrimage sites in Pavapuri (Bihar), Aihole, Deoghar, Khajuraho, Chanderi and
Gwalior also have excellent pieces of Jain temples.
(v) Stupas hold a significant position among Buddha and Jain architecture styles. Kankali Tila and
Ayagapatas in Mathura are the oldest evidence of Jain Stupa while the Sanchi Stupa (MP), Sarnath Stupa
(UP), Chaukhandi Stupa (UP), Kesaria Stupa (Bihar), etc are famous Buddhist stupas.
(vi) The Sculpture art is quite significant among both the Jain and Buddhist architectures that were mainly
sculptured with stone and bronze. The Nalanda School of Buddhist sculptures depicted Buddhist deities of
Mahayana pantheon such as standing Buddha, Avalokiteshwara, Bodhisattvas, Manjusri Kumar, etc. Sirpur
Chhattisgarh also have some Odisha and Nalanda style sculptures of Buddha.
(vii) Among the Jain sculptures, the statue of Gomateshwara at Sravana Belagola (Karnataka) is the world’s
tallest monolithic free-standing structure. Also, Jain Bronze sculptures are found from Chausa (Bihar),
Hansi (Haryana), Adinath (MP), Statue of Mahavira (Delhi), etc.
Conclusion :- Thus, the Buddhist and Jain art provide us the knowledge of religious architectures of ancient India
as well as of the contemporary socio-cultural status of society which are still the very significant structures
delivering the message of peace to whole world. They also enhance the historical heritage of Bihar as one of the
most vibrant religious places in India since ancient age.
❑ ❑ ❑
Patna Boring Road Chauraha Centre Mob. 9031053260 | Patna Rajiv Nagar Centre Mob. 8252405793 | Patna Dinkar Galamber Centre Mob. 7322004164 |
Patna Musallahpur Hat Mob. 7250740458 | Gaya Center Mob. 8252507118 | Purnia Centre Mob. 8092086324 | Bihar Sharif Centre Mob. 7004382832 | Ara
Center Mob. 7255092722 | Muzaffarpur Centre Mob. 7707093072 | Siwan Center Mob. 7739620596 | Motihari Centre Mob. 9430052874 | Sasaram Centre
Mob. 8084994876 | Bhagalpur Centre Mob. 9431690496 | Delhi Mukherjee Nagar Centre Mob. 8603855800 | Delhi Karol Bagh Centre Mob. 9870288703
28 BPSC MAINS NOTES (HISTORY)

Contribution of Dr. Rajendra Prasad in the National Movement

Contribution of Dr. Rajendra Prasad in the Indian National Movement

Dr. Rajendra Prasad, the first President of independent India, was a prominent pillar of modern India. He had
made an important contribution in expanding the role of Bihar in the national movement and ensuring the
unprecedented contribution of Bihar in the national movement, which we can see in two phases:-
(i) Contribution of Dr. Rajendra Prasad in expanding the national movement in Bihar before
Champaran Satyagraha.
• In this phase, Rajendra Prasad took active part in the Swadeshi movement in 1905 as a student leader
and this was his first contribution in the national movement which spread nationalism throughout
India including Bihar.
• He had an important role in the formation of Bihar Student Conference in 1906, whose objective was to
propagate nationalism among students and youth.
• He participated for the first time in the annual session of the Indian National Congress held in Calcutta
in 1906 AD and took membership of the Indian National Congress in 1911 AD, which increased the
contribution of the freedom fighters of Bihar in the freedom movement at the national level.
(ii) Role of Rajendra Prasad in expanding the contribution of Bihar in the national movement after
Champaran Satyagraha.
• Rajendra Prasad met Gandhiji during the Champaran Satyagraha and was greatly influenced by his
thoughts. Later, he became the main architect of Gandhian movements in Bihar.
• He left his lucrative profession like advocacy in 1920 and directly participated in the non-cooperation
movement and made this movement effective in Bihar through conferences, speeches and travels.
• He played a central role in the establishment of Bihar Vidyapeeth and Sadakat Ashram, which later
became the main center of Salt Satyagraha and Quit India Movement in Bihar.
• To make the Salt Satyagraha successful in Bihar, the outline of protests and boycott was determined.
•
He was arrested under Operation Zero Hour during the Quit India movements which is a testimony to
his prominent role in the national movement.
• He served as the President of the Indian National Congress in 1934, 1935 and 1947 for the third time after
the resignation of J.B. Kripalani.
• Became the Minister of Food and Agriculture in the interim cabinet formed in 1946 and had the honor
of becoming the first President of the country after independence.
Dr. Rajendra Prasad had made his active and important contribution in every phase of the national
movement in expanding and ensuring the contribution of Bihar in the national movement. In view of his
contribution to the national movement and independent India after independence, he has been awarded the title
of Deshratna.

Conclusion
In the Gandhian phase of the national freedom struggle, many such leaders including Dr. Rajendra Prasad,
Ram Manohar Lohia, Dr. Shri Krishna Singh, Anugrah Narayan Singh, Jaiprakash Narayan, Mazharul Haq emerged
who contributed not only in the struggle for freedom but also in the reconstruction of independent India and
Bihar. In this sequence, Dr. Rajendra Prasad getting the honor of becoming the President of the Constituent
Assembly and the first President of India shows the influential role of Bihar in those times.
❑ ❑ ❑
Patna Boring Road Chauraha Centre Mob. 9031053260 | Patna Rajiv Nagar Centre Mob. 8252405793 | Patna Dinkar Galamber Centre Mob. 7322004164 |
Patna Musallahpur Hat Mob. 7250740458 | Gaya Center Mob. 8252507118 | Purnia Centre Mob. 8092086324 | Bihar Sharif Centre Mob. 7004382832 | Ara
Center Mob. 7255092722 | Muzaffarpur Centre Mob. 7707093072 | Siwan Center Mob. 7739620596 | Motihari Centre Mob. 9430052874 | Sasaram Centre
Mob. 8084994876 | Bhagalpur Centre Mob. 9431690496 | Delhi Mukherjee Nagar Centre Mob. 8603855800 | Delhi Karol Bagh Centre Mob. 9870288703

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Week1 History Notes

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Week1 History Notes

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70 BPSC Mains Notes

Histor English Medium

Arts and Culture

Characteristics of Maurya Art

Script Pillar Simple Column

• Dhamma scripts are engraved on them. • These are normal columns.

Physical Stupa Paribhogika Stupa Preface Stupa Resolved Stupa

Guha Vihar located on Guha Vihar located on

❖ Features of FOLK ART style –

Foreign influence on Mauryan Art

How does Maurya art reflect the contemporary socio-economic life?

Association with Buddhism

Influence of Mauryan art in Bihar

Questions asked from this chapter in BPSC

Influence of Buddhism on various forms of Pala Art

1. Give a description of the main features of Pala art in Bihar. (41st)

Patna Kalam Painting

Image: Regional expansion of Patna Kalam painting

Materials used in Painting

Questions asked from this chapter in BPSC

Madhubani Painting and Manjusha Painting

/// Madhubani Painting ///

Features of Madhubani painting

/// Manjusha Painting ///

Difference between Manjusha painting and Madhubani painting

Cave and Stupa Architecture

Ancient Cave Temple

Art of temple construction in India

Difference between Nagara and Dravidian style of temple architecture

• Gopuram is not prominent in • The southern temples are surrounded

Buddhist and Jain art and Architecture

Main parts of Cave,

Features and examples of Buddha and Jain art:

Contribution of Dr. Rajendra Prasad in the National Movement

Contribution of Dr. Rajendra Prasad in the Indian National Movement

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