History of stone sculpture work in Nepal were long way back, hundred of years
ago. During the time,of the Gopalas, also known as
the cow herders and the earliest settlers of the Kathmandu
Valley, stone sculpting was uncommonly practiced.
Even at this time, there seems to have been some influence
from the Southern sculpting tradition of what is now
India in Nepal. The stone sculptures found here during
the early centuries seem to be reminiscent of a similar
craft to those found in Mathura. Old stone works found
in both countries share a similarity in stances, expressions,
coiffures, ornaments, and decorations. Sculptures
in the Varada mudra art from, a gesture of charity
that is easily distinguished by the awkward right
hand, cupped palm, and long disproportional fingers,
are most common in the early stone art of Nepal, mainly
from the second and third centuries. Examples of the
Varada mudra art form are Vishnu of Hadigoan, Shiva
of Balambu, Kumari of Balkhu,the mother goddess from
Haugal Bahal, and Hari Hara of Saugal. Unlike the
Brahmanical sculptures, some Buddhist sculptures of
male deities from later centuries possess these features
as well.
Different earpieces, armlets, bracelets,
anklets, styles of halos, folds of garments, manners
of sash, and many others are the distinguishing features
that classify the variety of art forms found in stone
sculptures. For example, the sculptures of female
deities like the mother goddess from Haugal Bahal
and Vaisnavi from Kirtipur (third century) have a
central form that rises from their heads; this may
be an ornament that was worn during that century.
Their hair is also parted in the middle with tresses
falling from both sides of the forehead. This trend
in hairstyle can only be seen in sculptures from the
early centuries and seems to have become lost by the
Licchavi, Thakuri, or Malla periods. Brahman sculptures
formed during and after the fourth century can be
seen holding a round object, which represents a fruit,
in their right hands, known as Hamsaya mudra. This
trait in stone sculpting continued throughout the
Licchavi, Thakuri, Malla and Shah dynasties.
Changes took place with the arrival
of the Licchavi kings in the fourth century who reigned
until late into the ninth century. Towards the end
of the fourth century, craftsmen in Nepal slowly abandoned
the Mathura sculpting style and developed their own
stylistic traits based on local values and traditions.
The earlier bulky forms were replaced by stylized
curves, sophisticated artistry, and good proportions
allowing for the stone sculpture to develop in size
and craftsmanship.
The Licchavis, who originally migrated
from the south of Nepal, brought along with them the
fashion of Gupta sculpting from North India. That
is why the images from the Licchavi era during the
fifth and sixth centuries show great similarity to
the work of the Gupta sculptors. Likewise, those of
the latter century show similar characteristics to
the Pala sculptures of Eastern India. Thus, during
the time of the Licchavis, stone sculpting entered
a new phase. The sculptures of that period began to
have finer details and, in time, the valley's artisans
slowly developed their own style of sculpting derived
from the Indian tradition.
The Licchavi kings contributed much
to the growth of the stone art form in Nepal. The
oldest stone inscription found in the valley dates
back to King Mana Deva during the fifth century AD.
Until now, more than 189 Licchavi stone inscriptions
have been retrieved and translated. By the end of
the fifth century, the sculptures of Nepal began showing
increased finesse and intricate details, as one can
observe in the sculpture of Vishnu Vikaranta of Lazimpat
and Tilganga. During King Amsuvarma's time (seventh
century), stone sculpting had become highly developed
and later on, King Vishnugupta carried out an order
to have three huge sculptures made over a decade.
Jalasayan Narayana at Budhanilkantha (641) and Mrigasthali
Pasupatinatha (640) are two of these sculptures.
The craftsmen of the Licchavi period
were highly gifted in their profession. Among all
the traditional art forms of Nepal, they have, without
a doubt, showed their greatest workmanship in stone
carving. Even now, craftsmen of today have not been
able to copy some of the sculptures of the Licchavi
era; so intricately shaped were the produce of their
labour. ("Even today's craftsmen have not been
able to copy some of the sculptures of the Licchavi
era; so intricately shaped were the products of their
labour. The carvings of several chaityas (Buddhist
religious monuments) that date back to the fifth century
display the enormous talent of these sculptors belonging
to that era. Later, their stone works would serve
as prototypes in the Thakuri and Malla dynasties that
followed.
Stone sculptures experienced a lull
in their production during the transition period between
the decline of the Licchavi region and the rise of
the Malla rulers (879-1200). During this time, old,
abraded, and broken down sculptures of deities were
replaced by new ones according to the present fashion.
Damaged sculptures were taken out from their original
place and plastered in new locations such as the walls
of temples, water sprouts, and other unlikely places.
Some idols which were once highly revered were left
neglected in subsequent centuries. The sculpture of
Yaksha Bodhisattva found in Hadigaon is one such example.
Some chaityas were emulated during
the transition period and some, like the Chaturmukha
Chaitya of Swayambhu and Tapahiti, are dated between
the seventh to the ninth century. The few sculptures
that were made during this time show more of a Nepalese
stone carving style than the Gupta style that was
popular during the Licchavi era. The sculpture of
Maya Devi
(ninth century) in Deo-Patan, however, is very different
from the sculptures of that era found around the rest
of the country. This idol shows a resemblance to the
sculptures of Bihar from the eighth to the ninth century.
With the onset of the Malla reign
around the thirteenth century, stone sculpture became
popular once again. There were many sculptures of
deities based on tantric manuscripts. Some chaityas
such as the Chahabil Chaitya were made during this
era as well as a monument of Durga (fourteenth century)
which was found at Kavache Tol, Bhaktapur. Besides
giving orders for their own creations, the Malla Kings
also worked to preserve older stone works. King Pratap
Malla recovered and installed the Kalabhairava (height
13 feet) at Basantapur and the three Jalasayana Narayanas
at Hanuman Dhoka, Budhanilkantha, and Balaju. He also
found two sculptures of the Licchavi period north
Kathmandu. One was a Garuda and the other a 91-inch
high magnificient Kaliyadamana. During his reign,
he ordered his craftsmen to emulate Vishnu as Narasimha
in Nasal Chowk. The Malla kings also had stone pillars
put up in front of temples to show their devotion
to the gods. Some examples of their dedication are
the pillars in front of the Taleju Temple.
When the Kathmandu Valley became
divided into different kingdoms (Kathmandu, Bhaktapur,
and Patan) under three Malla kings,competitions grew
between the three cities regarding their wealth of
architectural monuments and art items. So highly protective
did they feel about this issue that they even had
the hands of talented artisans cut off; they feared
that the artisans would be stolen by their neighbouring
kingdoms where they would be instructed to create
similar if not greater works of beauty. Legend has
it that King Bhupatindra Malla was greatly impressed
by the sculpture of Ugracandadevi (1707) and he had
the right hand of the sculptor cut off. However, the
sculptor remained determined and went on to carve
an image of Bhairava with his left hand, which was
eventually amputated as well. But undeterred, it is
said that he used his feet to make yet another piece
of work which, sadly, is still lost today.
If one visits the historical sites
of the three old kingdoms, one can see and appreciate
the many sculptures of deities,animals, serpents,
people, bells, water fountains, vessels, dwarfs, and
Garudas (mythical half-bird half-human creatures)
that were made during the Malla era.
History
of stone sculpture in Nepal were long way
back, hundred of years ago. During the time,of the
Gopalas, also known as the cow herders and the earliest
settlers of the Kathmandu Valley, stone sculpting
was uncommonly practiced. Even at this time, there
seems to have been some influence from the Southern
sculpting tradition of what is now India in Nepal.
The stone sculptures found here during the early centuries
seem to be reminiscent of a similar craft to those
found in Mathura. Old stone works found in both countries
share a similarity in stances, expressions, coiffures,
ornaments, and decorations. Sculptures in the Varada
mudra art from, a gesture of charity that is easily
distinguished by the awkward right hand, cupped palm,
and long disproportional fingers, are most common
in the early stone art of Nepal, mainly from the second
and third centuries. Examples of the Varada mudra
art form are Vishnu of Hadigoan, Shiva of Balambu,
Kumari of Balkhu,the mother goddess from Haugal Bahal,
and Hari Hara of Saugal. Unlike the Brahmanical sculptures,
some Buddhist sculptures of male deities from later
centuries possess these features as well.
Different earpieces, armlets, bracelets,
anklets, styles of halos, folds of garments, manners
of sash, and many othersare the distinguishing features
that classify the variety of art forms found in stone
sculptures. For example, the sculptures of female
deities like the mother goddess from Haugal Bahal
and Vaisnavi from Kirtipur (third century) havea central
form that rises from their heads; this may be an ornament
that was worn during that century. Their hair isalso
parted in the middle with tresses falling from both
sides of the forehead. This trend in hairstyle can
only be seen in sculptures from the early centuries
and seems to have become lost by the Licchavi, Thakuri,
or Malla periods. Brahman sculptures formed during
and after the fourth century can be seen holding a
round object, which represents a fruit, in their right
hands, known as Hamsaya mudra. This trait in stone
sculpting continued throughout the Licchavi, Thakuri,
Malla and Shah dynasties.
Changes took place with the arrival
of the Licchavi kings in the fourth century who reigned
until late into the ninth century. Towards the end
of the fourth century, craftsmen in Nepal slowly abandoned
the Mathura sculpting style and developed their own
stylistic traits based on local values and traditions.
The earlier bulky forms were replaced bystylized curves,
sophisticated artistry, and good proportions allowing
for the stone sculpture to develop in size and craftsmanship.
The Licchavis, who originally migrated
from the south of Nepal, brought along with them the
fashion of Gupta sculpting from North India. That
is why the images from the Licchavi era during the
fifth and sixth centuries show great similarityto
the work of the Gupta sculptors. Likewise, those of
the latter century show similar characteristics to
the Pala sculptures of Eastern India. Thus, during
the time of the Licchavis, stone sculpting entered
a new phase. The sculpturesof that period began to
have finer details and, in time, the valley's artisans
slowly developed their own style of
sculpting derived from the Indian tradition.
The Licchavi kings contributed much
to the growth of the stone art form in Nepal. The
oldest stone inscription found in the valley dates
back to King Mana Deva during the fifth century AD.
Until now, more than 189 Licchavi stone inscriptionshave
been retrieved and translated. By the end of the fifth
century, the sculptures of Nepal began showing increasedfinesse
and intricate details, as one can observe in the sculpture
of Vishnu Vikaranta of Lazimpat and Tilganga. During
King Amsuvarma's time (seventh century), stone sculpting
had become highly developed and later on, King Vishnugupta
carried out an order to have three huge sculptures
made over a decade. Jalasayan Narayana at Budhanilkantha
(641) and Mrigasthali Pasupatinatha (640) are two
of these sculptures.
The craftsmen of the Licchavi period
were highly gifted in their profession. Among all
the traditional art forms of Nepal, they have, without
a doubt, showed their greatest workmanship in stone
carving. Even now, craftsmen of today have not been
able to copy some of the sculptures of the Licchavi
era; so intricately shaped were the produce of their
labour. ("Even today's craftsmen have not been
able to copy some of the sculptures of the Licchavi
era; so intricately shaped were the products of their
labour. The carvings of several chaityas (Buddhist
religious monuments) that date back tothe fifth century
display the enormous talent of these sculptors belonging
to that era. Later, their stone works would serve
as prototypes in the Thakuri and Malla dynasties that
followed.
Stone sculptures experienced a lull
in their production during the transition period between
the decline of the Licchavi reign and the rise of
the Malla rulers (879-1200). During this time, old,
abraded, and broken down sculptures of deities were
replaced by new ones according to the present fashion.
Damaged sculptures were taken out from their original
place and plastered in new locations such as the walls
of temples, water sprouts, and other unlikely places.
Some idols which were once highly revered were left
neglected in subsequent centuries. The sculpture of
Yaksha Bodhisattva found in Hadigaon is one such example.
Some chaityas were emulated during
the transition period and some, like the Chaturmukha
Chaitya of Swayambhu and Tapahiti, are dated between
the seventh to the ninth century. The few sculptures
that were made during this time show more of a Nepalese
stone carving style than the Gupta style that was
popular during the Licchavi era. The sculpture of
Maya Devi(ninth century) in Deo-Patan, however, is
very different from the sculptures of that era found
around the rest of the country. This idol shows a
resemblance to the sculptures of Bihar from the eighth
to the ninth century.
With the onset of the Malla reign
around the thirteenth century, stone sculpting became
popular once again. There were many sculptures of
deities based on tantric manuscripts. Some chaityas
such as the Chahabil Chaitya were made during this
era as well as a monument of Durga (fourteenth century)
which was found at Kavache Tol, Bhaktapur. Besides
giving orders for their own creations, the Malla Kings
also worked to preserve older stone works. King Pratap
Malla recovered and installed the Kalabhairava (height
13 feet) at Basantapur and the three Jalasayana Narayanas
at Hanuman Dhoka, Budhanilkantha, and Balaju. He also
found two sculptures of the Licchavi period north
Kathmandu. One was a Garuda and the other a 91-inch
high magnificient Kaliyadamana. During his reign,
he ordered his craftsmen to emulate Vishnu as Narasimha
in Nasal Chowk. The Malla kings also had stone pillars
put up in front of temples to show their devotion
to the gods. Some examples of their dedication are
the pillars in front of the Taleju Temple.
When the Kathmandu Valley became
divided into different kingdoms (Kathmandu, Bhaktapur,
and Patan) under three Malla kings,competitions grew
between the three cities regarding their wealth of
architectural monuments and art items. So highly protective
did they feel about this issue that they even had
the hands of talented artisans cut off; they feared
that the artisans would be stolen by their neighbouring
kingdoms where they would be instructed to create
similar if not greater works of beauty. Legend has
it that King Bhupatindra Malla was greatly impressed
by the sculpture of Ugracandadevi (1707) and he had
the right hand of the sculptor cut off. However, the
sculptor remained determined and went on to carve
an image of Bhairava with his left hand, which was
eventually amputated as well. But undeterred, it is
said that he used his feet to make yet another piece
of work which, sadly, is still lost today.
If one visits the historical sites
of the three old kingdoms, one can see and appreciate
the many sculptures of deities,animals, serpents,
people, bells, water fountains, vessels, dwarfs, and
Garudas (mythical half-bird half-human creatures)
that were made during the Malla era.
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