Buddhist Art II Keywords chaitya hall: cave temple with stupa toward the back end for worship

(Lee calls a nave church) fresco: A technique in which water-based pigments are applied to a plaster surface. If the plaster is painted when wet, the color is absorbed by the plaster becoming a permanent part of the wall. If the plaster is painted when dry, the color may eventually flake off. maala: cosmic diagram or map of the metaphysical universe, aid to meditation in some schools of Buddhism. mandorla: almond-shaped aureole surrounding the entire body of an eminent or important person; used often times to note light and to mark the person as sacred. This is contrasted with halos, which generally surround the head of a personage. royal ease pose: A pose where the left leg is folded horizontally and the right is bent vertically, with the extended right arm resting on the right knee and the other arm supporting the torso on the left side.

toraa: post-and-lintel gateway at one of the four cardinal directions around a stupa. vihana: monastic cells usually adjacent to chaitya halls; rooms for individual clerics as well as for the monastic community, such as a refectory. Gupta period (320-647 CE): Established by Chandra Gupta (r. 320-335 CE) or son, Samudra Gupta (r.c. 335-375 CE). The capital was at Patna in Bihar. 2 art styles: that of Mathura and Sarnath.

Buddhist Arts II Image list 1) Temple no. 17. Stone. Sanchi, Madhya Pradesh, India. Gupta period, 5th c. CE. (Lee p. 111, fig. 146) 2) Standing Buddha. Red sandstone; h: 160 cm. Mathura, Uttar Pradesh, India. Gupta period, early 5th c. CE. (Lee p. 112, fig. 147) 3) The First Sermon. Stela; Chunar sandstone; h: 160 cm. Sarnath, Uttar Pradesh, India. Gupta period, c. 475 CE. (Lee p. 112, fig. 148) 4) The Beautiful Bodhisattva, Padmapani. Fresco. Cave 1, Ajanta. Maharashtra, India. C. 500 CE. (Lee p. 119, colorplate 8) 5) Colossal Buddha. Stone; h: 53.3 m. Bamiyan, Afghanistan. 4th-5th c. CE. (Lee p. 152, fig. 191)