Indian Art


This article mainly discusses ancient Indian temples design, art and architecture. The paper tries to explain the art designs in Harrapan period and historical art witting in India. The main emphasis is connecting the art designs of the post Harrapan period and pre-Budhist period. There is much emphasis of the structures of North West Indian which proves the existence of the Harrapan and Vedic era.

Vedic thoughts of sanctified geometry and their alteration into the traditional Hindu temple shape are illustrated. It is revealed that the study of the Vedic home by Coomaraswamy and Renou that has directed age groups of Indologists and art historians, is wrong. Th7814is construction that was adapted by them as the distinctive Vedic house, which is involved with the impermanent hut that is well-known in the square of the home in association with householder’s ceremony. The temple structure and its iconography are revealed as normal development of Vedic principles linked to recursion, modification and correspondence. The central point of recursion in Indian art is analyzed.

Sacred Geometry in the Harrapan Period

There are two fundamental issues that tried to influence the scholarly existence of Indian architectural designs. These are represented by Ananda writings that were written in the year 1930 and the year 1931. The other scholarly articles are represented by Louis Renou’s article that was written in the year 1931. Coomaraswamy writings try to show a connection of the structure designs of iconography beginning with Mauryas, together with Renou’s tried to show how the earlier Indian forms came to existence.

Coomaraswamy, and Renou begin with the theory of the early stages of Indian structural design are to be searched from the ancient Sūtra. Writings that talk of ancient constructions of Coomaraswamy, the Jātakas, as well as the classics, give written proof of the strategies of towns and city-gates, palaces, and places of worship. Except surface shines over the inconsistency in his initial point while he admits that although the Vedas come up with infrequent orientations to the towns of the Dasyus. It is to be noted that according to the Brahmanical commandment manuscripts that are almost the same, if not rather modern with the structural designs era to be analyzed, towns are reviled, and there are no rituals for town life.

The supposition is that the Sūtra writings fit in the era of the Dasyu tows; however, these towns are not included in the Vedic traditions. As long as the Dasyus are by themselves an Indo-Iranian community that demonstrate together as dahyu in the Iranian writings, the disagreement between the Vedic community and the Dasyus is a fight involving communities with kinship relation. Consequently, the initial millennium, before Buddhist era of the ancient Mahābhārata with its explanation of towns does not bear any descriptions of unfavorable Dasyu leaders. The simple strategy to settle this opposing circumstance is to assume that the Vedic ceremony writings, explain situations from the viewpoint of the pastors families dedicated to a philosophy of ease and rejection that is a thought that persisted in successive times. The Vedic era was like the period that came after that involved difficulty exposed in writings that do not involve itself with customs.

Renou was very acutely of the restrictions of his learning. He completed his thesis by mentioning, if they are so involved in Vedic writings, they are in the attendance of a home that is tremendously elementary, containing a framework of posts, linked at the top by slanting beams by which a person puts on a grass covering. The ramparts are woven carpets. Nor stone or blocks are utilized.