Incipit Liber Quintus.

Aprochen gan the fatal destinee
That Ioves hath in disposicioun,
And to yow, angry Parcas, sustren three,
Committeth, to don execucioun;
For which Criseyde moste out of the toun,  
And Troilus shal dwelle forth in pyne
Til Lachesis his threed no lenger twyne. --

The golden-tressed Phebus heighe on-lofte
Thryes hadde alle with his bemes shene
The snowes molte, and Zephirus as ofte  
Y-brought ayein the tendre leves grene,
Sin that the sone of Ecuba the quene
Bigan to love hir first, for whom his sorwe
Was al, that she departe sholde a-morwe.

Ful redy was at pryme Dyomede,  
Criseyde un-to the Grekes ost to lede,
For sorwe of which she felt hir herte blede,
As she that niste what was best to rede.
And trewely, as men in bokes rede,
Men wiste never womman han the care,  
Ne was so looth out of a toun to fare.

This Troilus, with-outen reed or lore,
As man that hath his Ioyes eek forlore,
Was waytinge on his lady ever-more
As she that was the soothfast crop and more  
Of al his lust, or Ioyes here-tofore.
But Troilus, now farewel al thy Ioye,
For shaltow never seen hir eft in Troye!

Soth is, that whyl he bood in this manere,
He gan his wo ful manly for to hyde.  
That wel unnethe it seen was in his chere;
But at the yate ther she sholde oute ryde
With certeyn folk, he hoved hir tabyde,
So wo bigoon, al wolde he nought him pleyne,
That on his hors unnethe he sat for peyne.  

For ire he quook, so gan his herte gnawe,
Whan Diomede on horse gan him dresse,
And seyde un-to him-self this ilke sawe,
'Allas,' quod he, 'thus foul a wrecchednesse
Why suffre ich it, why nil ich it redresse?  
Were it not bet at ones for to dye
Than ever-more in langour thus to drye?

'Why nil I make at ones riche and pore
To have y-nough to done, er that she go?
Why nil I bringe al Troye upon a rore?  
Why nil I sleen this Diomede also?
Why nil I rather with a man or two
Stele hir a-way? Why wol I this endure?
Why nil I helpen to myn owene cure?'

But why he nolde doon so fel a dede,  
That shal I seyn, and why him liste it spare;
He hadde in herte alweyes a maner drede,
Lest that Criseyde, in rumour of this fare,
Sholde han ben slayn; lo, this was al his care.
And ellis, certeyn, as I seyde yore,  
He hadde it doon, with-outen wordes more.

Criseyde, whan she redy was to ryde,
Ful sorwfully she sighte, and seyde 'Allas!'
But forth she moot, for ought that may bityde,
And forth she rit ful sorwfully a pas.  
Ther nis non other remedie in this cas.
What wonder is though that hir sore smerte,
Whan she forgoth hir owene swete herte?

This Troilus, in wyse of curteisye,
With hauke on hond, and with an huge route  
Of knightes, rood and dide hir companye,
Passinge al the valey fer with-oute,
And ferther wolde han riden, out of doute,
Ful fayn, and wo was him to goon so sone;
But torne he moste, and it was eek to done.  

And right with that was Antenor y-come
Out of the Grekes ost, and every wight
Was of it glad, and seyde he was wel-come.
And Troilus, al nere his herte light,
He peyned him with al his fulle might  
Him to with-holde of wepinge at the leste,
And Antenor he kiste, and made feste.

And ther-with-al he moste his leve take,
And caste his eye upon hir pitously,
And neer he rood, his cause for to make,  
To take hir by the honde al sobrely.
And lord! So she gan wepen tendrely!
And he ful softe and sleighly gan hir seye,
'Now hold your day, and dooth me not to deye.'

With that his courser torned he a-boute  
With face pale, and un-to Diomede
No word he spak, ne noon of al his route;
Of which the sone of Tydeus took hede,
As he that coude more than the crede
In swich a craft, and by the reyne hir hente;  
And Troilus to Troye homwarde he wente.

This Diomede, that ladde hir by the brydel,
Whan that he saw the folk of Troye aweye,
Thoughte, 'Al my labour shal not been on ydel,
If that I may, for somwhat shal I seye,  
For at the worste it may yet shorte our weye.
I have herd seyd, eek tymes twyes twelve,
"He is a fool that wol for-yete him-selve."'

But natheles this thoughte he wel ynough,
'That certaynly I am aboute nought,  
If that I speke of love, or make it tough;
For douteles, if she have in hir thought
Him that I gesse, he may not been y-brought
So sone awey; but I shal finde a mene,
That she not wite as yet shal what I mene.'  

This Diomede, as he that coude his good,
Whan this was doon, gan fallen forth in speche
Of this and that, and asked why she stood
In swich disese, and gan hir eek biseche,
That if that he encrese mighte or eche  
With any thing hir ese, that she sholde
Comaunde it him, and seyde he doon it wolde.

For trewely he swoor hir, as a knight,
That ther nas thing with whiche he mighte hir plese,
That he nolde doon his peyne and al his might  
To doon it, for to doon hir herte an ese.
And preyede hir, she wolde hir sorwe apese,
And seyde, 'Y-wis, we Grekes con have Ioye
To honouren yow, as wel as folk of Troye.'

He seyde eek thus, 'I woot, yow thinketh straunge,  
No wonder is, for it is to yow newe,
Thaqueintaunce of these Troianis to chaunge,
For folk of Grece, that ye never knewe.
But wolde never god but-if as trewe
A Greek ye shulde among us alle finde  
As any Troian is, and eek as kinde.

'And by the cause I swoor yow right, lo, now,
To been your freend, and helply, to my might,
And for that more aqueintaunce eek of yow
Have ich had than another straunger wight,  
So fro this forth, I pray yow, day and night,
Comaundeth me, how sore that me smerte,
To doon al that may lyke un-to your herte;

'And that ye me wolde as your brother trete,
And taketh not my frendship in despyt;  
And though your sorwes be for thinges grete,
Noot I not why, but out of more respyt,
Myn herte hath for to amende it greet delyt.
And if I may your harmes not redresse,
I am right sory for your hevinesse,  

'And though ye Troians with us Grekes wrothe
Han many a day be, alwey yet, pardee,
O god of love in sooth we serven bothe.
And, for the love of god, my lady free,
Whom so ye hate, as beth not wroth with me.  
For trewely, ther can no wight yow serve,
That half so looth your wraththe wolde deserve.

'And nere it that we been so neigh the tente
Of Calkas, which that seen us bothe may,
I wolde of this yow telle al myn entente;  
But this enseled til another day.
Yeve me your hond, I am, and shal ben ay,
God help me so, whyl that my lyf may dure,
Your owene aboven every creature.

'Thus seyde I never er now to womman born;  
For god myn herte as wisly glade so,
I lovede never womman here-biforn
As paramours, ne never shal no mo.
And, for the love of god, beth not my fo;
Al can I not to yow, my lady dere,  
Compleyne aright, for I am yet to lere.

'And wondreth not, myn owene lady bright,
Though that I speke of love to you thus blyve;
For I have herd or this of many a wight,
Hath loved thing he never saugh his lyve.  
Eek I am not of power for to stryve
Ayens the god of love, but him obeye
I wol alwey, and mercy I yow preye.

'Ther been so worthy knightes in this place,
And ye so fair, that everich of hem alle  
Wol peynen him to stonden in your grace.
But mighte me so fair a grace falle,
That ye me for your servaunt wolde calle,
So lowly ne so trewely you serve
Nil noon of hem, as I shal, til I sterve.'  

Criseide un-to that purpos lyte answerde,
As she that was with sorwe oppressed so
That, in effect, she nought his tales herde,
But here and there, now here a word or two.
Hir thoughte hir sorwful herte brast a-two.  
For whan she gan hir fader fer aspye,
Wel neigh doun of hir hors she gan to sye.

But natheles she thonked Diomede
Of al his travaile, and his goode chere,
And that him liste his friendship hir to bede;  
And she accepteth it in good manere,
And wolde do fayn that is him leef and dere;
And trusten him she wolde, and wel she mighte,
As seyde she, and from hir hors she alighte.

Hir fader hath hir in his armes nome,  
And tweynty tyme he kiste his doughter swete,
And seyde, 'O dere doughter myn, wel-come!'
She seyde eek, she was fayn with him to mete,
And stood forth mewet, milde, and mansuete.
But here I leve hir with hir fader dwelle,  
And forth I wol of Troilus yow telle.

To Troye is come this woful Troilus,
In sorwe aboven alle sorwes smerte,
With felon look, and face dispitous.
Tho sodeinly doun from his hors he sterte,  
And thorugh his paleys, with a swollen herte,
To chambre he wente; of no-thing took he hede,
Ne noon to him dar speke a word for drede.

And there his sorwes that he spared hadde
He yaf an issue large, and 'Deeth!' he cryde;  
And in his throwes frenetyk and madde
He cursed Iove, Appollo, and eek Cupyde,
He cursed Ceres, Bacus, and Cipryde,
His burthe, him-self, his fate, and eek nature,
And, save his lady, every creature.  

To bedde he goth, and weyleth there and torneth
In furie, as dooth he, Ixion in helle;
And in this wyse he neigh til day soiorneth.
But tho bigan his herte a lyte unswelle
Thorugh teres which that gonnen up to welle;  
And pitously he cryde up-on Criseyde,
And to him-self right thus he spak, and seyde: --

'Wher is myn owene lady lief and dere,
Wher is hir whyte brest, wher is it, where?
Wher ben hir armes and hir eyen clere,  
That yesternight this tyme with me were?
Now may I wepe allone many a tere,
And graspe aboute I may, but in this place,
Save a pilowe, I finde nought tenbrace.

'How shal I do? Whan shal she com ayeyn?  
I noot, allas! Why leet ich hir to go?
As wolde god, ich hadde as tho be sleyn!
O herte myn, Criseyde, O swete fo!
O lady myn, that I love and no mo!
To whom for ever-mo myn herte I dowe;  
See how I deye, ye nil me not rescowe!

'Who seeth yow now, my righte lode-sterre?
Who sit right now or stant in your presence?
Who can conforten now your hertes werre?
Now I am gon, whom yeve ye audience?  
Who speketh for me right now in myn absence?
Allas, no wight; and that is al my care;
For wel wot I, as yvel as I ye fare.

'How sholde I thus ten dayes ful endure,
Whan I the firste night have al this tene?  
How shal she doon eek, sorwful creature?
For tendernesse, how shal she this sustene,
Swich wo for me? O pitous, pale, and grene
Shal been your fresshe wommanliche face
For langour, er ye torne un-to this place.'  

And whan he fil in any slomeringes,
Anoon biginne he sholde for to grone,
And dremen of the dredfulleste thinges
That mighte been; as, mete he were allone
In place horrible, makinge ay his mone,  
Or meten that he was amonges alle
His enemys, and in hir hondes falle.

And ther-with-al his body sholde sterte,
And with the stert al sodeinliche awake,
And swich a tremour fele aboute his herte,  
That of the feer his body sholde quake;
And there-with-al he sholde a noyse make,
And seme as though he sholde falle depe
From heighe a-lofte; and than he wolde wepe,

And rewen on him-self so pitously,  
That wonder was to here his fantasye.
Another tyme he sholde mightily
Conforte him-self, and seyn it was folye,
So causeles swich drede for to drye,
And eft biginne his aspre sorwes newe,  
That every man mighte on his sorwes rewe.

Who coude telle aright or ful discryve
His wo, his pleynt, his langour, and his pyne?
Nought al the men that han or been on-lyve.
Thou, redere, mayst thy-self ful wel devyne  
That swich a wo my wit can not defyne.
On ydel for to wryte it sholde I swinke,
Whan that my wit is wery it to thinke.

On hevene yet the sterres were sene,
Al-though ful pale y-waxen was the mone;  
And whyten gan the orisonte shene
Al estward, as it woned is for to done.
And Phebus with his rosy carte sone
Gan after that to dresse him up to fare,
Whan Troilus hath sent after Pandare.  

This Pandare, that of al the day biforn
Ne mighte han comen Troilus to see,
Al-though he on his heed it hadde y-sworn,
For with the king Pryam alday was he,
So that it lay not in his libertee  
No-wher to gon, but on the morwe he wente
To Troilus, whan that he for him sente.

For in his herte he coude wel devyne,
That Troilus al night for sorwe wook;
And that he wolde telle him of his pyne,  
This knew he wel y-nough, with-oute book.
For which to chaumbre streight the wey he took,
And Troilus tho sobreliche he grette,
And on the bed ful sone he gan him sette.

'My Pandarus,' quod Troilus, 'the sorwe  
Which that I drye, I may not longe endure.
I trowe I shal not liven til to-morwe;
For whiche I wolde alwey, on aventure,
To thee devysen of my sepulture
The forme, and of my moeble thou dispone  
Right as thee semeth best is for to done.

'But of the fyr and flaumbe funeral
In whiche my body brenne shal to glede,
And of the feste and pleyes palestral
At my vigile, I prey thee tak good hede  
That be wel; and offre Mars my stede,
My swerd, myn helm, and, leve brother dere,
My sheld to Pallas yef, that shyneth clere.

'The poudre in which myn herte y-brend shal torne,
That preye I thee thou take and it conserve  
In a vessel, that men clepeth an urne,
Of gold, and to my lady that I serve,
For love of whom thus pitously I sterve,
So yeve it hir, and do me this plesaunce,
To preye hir kepe it for a remembraunce.  

'For wel I fele, by my maladye,
And by my dremes now and yore ago,
Al certeinly, that I mot nedes dye.
The owle eek, which that hight Ascaphilo,
Hath after me shright alle thise nightes two.  
And, god Mercurie! Of me now, woful wrecche,
The soule gyde, and, whan thee list, it fecche!'

Pandare answerde, and seyde, 'Troilus,
My dere freend, as I have told thee yore,
That it is folye for to sorwen thus,  
And causeles, for whiche I can no-more.
But who-so wol not trowen reed ne lore,
I can not seen in him no remedye,
But lete him worthen with his fantasye.

'But Troilus, I pray thee tel me now,  
If that thou trowe, er this, that any wight
Hath loved paramours as wel as thou?
Ye, god wot, and fro many a worthy knight
Hath his lady goon a fourtenight,
And he not yet made halvendel the fare.  
What nede is thee to maken al this care?

'Sin day by day thou mayst thy-selven see
That from his love, or elles from his wyf,
A man mot twinnen of necessitee,
Ye, though he love hir as his owene lyf;  
Yet nil he with him-self thus maken stryf.
For wel thow wost, my leve brother dere,
That alwey freendes may nought been y-fere.

'How doon this folk that seen hir loves wedded
By freendes might, as it bi-*** ful ofte,  
And seen hem in hir spouses bed y-bedded?
God woot, they take it wysly, faire and softe.
For-why good hope halt up hir herte on-lofte,
And for they can a tyme of sorwe endure;
As tyme hem hurt, a tyme doth hem cure.  

'So sholdestow endure, and late slyde
The tyme, and fonde to ben glad and light.
Ten dayes nis so longe not tabyde.
And sin she thee to comen hath bihight,
She nil hir hestes breken for no wight.  
For dred thee not that she nil finden weye
To come ayein, my lyf that dorste I leye.

'Thy swevenes eek and al swich fantasye
Dryf out, and lat hem faren to mischaunce;
For they procede of thy malencolye,  
That doth thee fele in sleep al this penaunce.
A straw for alle swevenes signifiaunce!
God helpe me so, I counte hem not a bene,
Ther woot no man aright what dremes mene.

'For prestes of the temple tellen this,  
That dremes been the revelaciouns
Of goddes, and as wel they telle, y-wis,
That they ben infernals illusiouns;
And leches seyn, that of complexiouns
Proceden they, or fast, or glotonye.  
Who woot in sooth thus what they signifye?

'Eek othere seyn that thorugh impressiouns,
As if a wight hath faste a thing in minde,
That ther-of cometh swiche avisiouns;
And othere seyn, as they in bokes finde,  
That, after tymes of the yeer by kinde,
Men dreme, and that theffect goth by the mone;
But leve no dreem, for it is nought to done.

'Wel worth o

AN INTRODUCTION TO INDIAN ART IN VERSE  
By Raj Nandy : Part One

INTRODUCTION
Background :
The India subcontinent and her diverse physical features,
influenced her dynamic history, religion, and culture!
The fertile basin of the Sapta-Sindu Rivers* cradled one of
world’s most ancient civilization, (seven rivers)
Contemporary to the Sumerians and the Egyptians, popularly
known as the Indus Valley Civilization!
The Sindu (Indus), Jhelum, Chenab, Ravi, Sutlej, Bias, along
with the sacred river Saraswati, shaped India’s early History;
Where once flourished the urban settlements of Harappa and
Mohenjodaro, which lay buried for several centuries;
For our archaeologists and scholars to unravel their many
secrets and hidden mysteries!
Modern scholars refer to it as ‘Indus-Saraswati Civilization’;
By interpreting the text of the Rig Veda which mentions
eclipses, equinoxes, and other astronomical conjunctions,
They date the origin of the Vedas as earlier as 3000 BC;
Thereby lifting the fog which shrouds Ancient History! +
(+ Two broad schools of thoughts prevail; Max Mullar refers
to 1500 BC as the date for origin of the Vedas, but modern scientific findings point to a much earlier date for their Oral composition and
their long oral tradition!)

On the banks of the sacred Saraswati River the holy sages
did once meditate, *
When their third eye opened, as all earthly bonds they did
transcend !
From their lips flowed the sacred chants of the Vedas, as
they sang the creator Brahma’s unending praise!
These Vedic chants and incantations survived many
centuries of an oral tradition,
When Indian Art began to blossom into exotic flowers like
Brahma’s divine manifestations;
With all subsequent art forms following the model of
Brahma’s manifold creations!
The Vedas got written down during the later Vedic Age
with commentaries and interpolations,
And remain as India’s indigenous composition, forming a
part of her sacred religious tradition! *
(Rig Veda the oldest, had hymns in praise of the creator;
Yajur Veda spelled the ritual procedures; Sama Veda sets
the hymns for melodious chanting, & is the source of seven
notes of music; Artha Veda had hymns for warding off evil
& hardship, giving us a glimpse of early Vedic life.)

IMPACT OF FOREIGN INVASIONS:
Through the winding Khyber Pass cutting through the rugged
Hindu Kush Range,
Came the Persians, Greeks, Muslims, the Moguls, and many
bounty hunters storming through north-western frontier gate;
Consisting of varied racial groups and cultures, they entered
India’s fertile alluvial plains!
Therefore, while tracing 5000 years of Art Story, one cannot
divorce Art from India’s exotic cultural history.
From the Cave Art of Bhimbetka, to the dancing girl of Harappa,
To the frescoes and the evocative figures of Ajanta and Ellora;
Many marvelous and exquisitely carved temples of the South,
And Muslim and Mogul architecture and frescoes along with
India’s rich Folk Art, enriched her artistic heritage no doubt!
Yet for a long time Indian Art had been the least known of
the Oriental Arts,
Perhaps because from Western point of view it was difficult
to understand the spirit behind Indian Art!
For Indian Art is at once aesthetic and sensual, also passionate,
symbolic, and spiritual !
It both celebrates and denies the individual’s love of life,
where free instinct with rigid reason combine !
These contradictory elements are found side by side due to
her culturally mixed conditions, as I had earlier mentioned!
Now, if we add to this the constant religious exaltation,
With the extensive use of symbolic presentation, from the
early days of Indian civilization;
We have the basic elements of an Art, which has gradually
aroused the interest of Western Civilization!

The further we get back in time, we only begin to find,
That religion, philosophy, art and architecture,
Had all merged into an unified whole to form India’s
composite culture!
But while moving forward in time, we once again find,
That art, architecture, music, poetry and dance, all begin to
gradually emerge, with their separate identities,
Where Indian Art is seen as a rich mosaic of cultural diversity!

(NOTES:-In the ancient days, the Saraswati River flowed from the Siwalik Range of Hills (foothills of the Himalayas) between Sutlej & the Yamuna rivers, through the present day Rann of Kutch into the Arabian Sea, when Rajasthan was a fertile place! Indus settlements like Kalibangan, Banawalli, Ganwaiwala, were situated on the banks of Sarsawati River, which was longer than the Indus & ran parallel, and is mentioned around50 times in the Rig Veda! Scientists say that due to tectonic plate movements, and climatic changes, Saraswati dried up around 1700BC ! The people settled there shifted east and the south, during the course of history! Some of those Indo-Aryan speaking people were already settled there, & others joined later. Max Muller’s theory of an Aryan Invasion which destroyed the Indus Valley Civilization during 1500BC, supported by Colonial Rulers, was subsequently proved wrong ! Indo-Aryans were a Language group of the Indo- European
Language Family, & not a racial group as mistaken by Max Mullar! Therefore Dr.Romila Thapar calls it a gradual migration, & not an invasion! The Vedas were indigenous composition of India. However, they got compiled & written down for the first time with commentaries, at a much later date! I have maintained this position since it has been proved by modern scholars scientifically!)

SYMBOLISM IN INDIAN ART
From the ancient Egyptian hieroglyphic to the Cretan Bull
of Greece,
Symbols have conveyed ideas and messages, fulfilling
artistic needs.
The ‘Da Vinci Code’ speaks of Leonardo’s art works as
symbolic subterfuge with encrypted messages for a secret
society!
While Indian art is replete with many sacred symbols to
attract good fortune, for the benefit of the community!
The symbols of the Dot or ‘Bindu’, the Lotus, the Trident,
the Conch shell, the sign and chant of ‘OM’, are all sacred
and divine;
For at the root of Indian artistic symbolism lies the Indian
concept of Time!
The West tends to think of time as a dynamic process which
is forward moving and linear;
Commencing with the ‘Big Bang’, moving towards a ‘Big
Crunch’, when ‘there shall be no more time’, or a state of
total inertia !
Indian art and sculpture is influenced by the cyclic concept
of time unfolding a series of ages or ‘yugas’;
Where creation, destruction and recreation, becomes a
dynamic and an unending phenomena!
This has been artistically and symbolically expressed in the
figure of Shiva-Nataraja’s cosmic dance,
Which portrays the entire kinetic universe in a state of
eternal flux!
The hour-glass drum in Nataraja’s right hand symbolizes
all creation;
Fire in his left hand the cyclic time frame of destruction!
The raised third hand is in a gesture of infinite benediction;
And the fourth hand pointing to his upraised foot shows the
path of liberation!

It was easier to teach the vast untutored population through
symbols, images, and paintings in the form of Art;
For a picture is more effective than a thousand words!
The Dot or ‘bindu’ becomes the focus for meditation,
Where the mental energies are focused on a single point of
creation,
As seen in the cotemporary art works of SH Raza’s
artistic representations!
Yet the same dot when expanded as a circle becomes
wholeness and infinity;
The shape of celestial bodies of the cyclic universe in its
creativity!
The Lotus seen in many sculptures, on temple walls, and
majestic columns, denotes purity;
A symbol of non-attachment rising above the muddy waters,
retaining its pristine color and beauty!
The Lotus is a powerful and transformational symbol in
Buddhist Art,
Where pink lotus is for height of enlightenment, blue for
wisdom, white for spiritual perfection, and the red lotus
symbolizing the heart!
This Lotus symbol also finds a place in Mughal sculptural
carvings and miniatures;
The inverted lotus dome resting on its petals, forms the
crown of Taj Mahal’s white marble architecture!
The trident or ‘trishul’ symbolizes the three god-heads
Brahma, Vishnu and Shiva;
As the Creator, Preserver and Destroyer, in that cyclic
chain which goes on forever!
The ***** stone of Shiva-lingam surrounded by the oval
female yoni symbolizes fertility and creation,
Usually found in the inner sanctuary of Hindu temples!
Finally, the symbol of ‘OM’ and its vibrating sound,
Echoes the primordial vibrations with which space and
time abounds!
All matter comes from energy vibrations manifesting
cosmic creation;
Also symbolized in Einstein’s famous matter-energy equation!
The Conch Shell a gift of the sea when blown, sounds the
ancient primordial vibration of ‘OM’!
It’s hallowed auspicious sound accompanies marriage
ceremonies and rituals whenever occasion demands;
And pacifies mother earth during Shiva-Nataraja’s sudden
seismic dance! (earthquakes)
Dear readers the symbols mentioned here are very few,
Mainly to curb the length, while I pay Indian Art my
artistic due!

A BRIEF COMPARISON OF ART:
Despite the many foreign influences which entered India
through the Khyber and Bholan pass,
India displayed marvelous adaptability and resilience, in
the development of her indigenous Art!
The aesthetic objectivity of Western Art was replaced by
the Indian vision of spiritual subjectivity,
For the transitory world around was only a ‘Maya’ or an
Illusion,- lacking material reality!
Therefore life-like representation was not always the aim
of Indian art,
But to lift that veil and reveal the life of the spirit, - was
the objective from the very start!
Egyptian funerary art was more occupied with after-life
and death;
While the Greeks portrayed youthful vigor and idealized
beauty, celebrating the joys of life instead!
The proud Roman Emperors to outshine their predecessors
erected even bigger statues, monuments, and columns
draped in glory;
Only in the long run to drain the Roman treasury, - a sad
downfall story!
Indian art gradually evolved over centuries with elements
both religious and secular,
As seen from the period of King Chandragupta Maurya,
Who defeated the Greek Seleucus, to carve out the first
united Indian Empire ! (app. 322 BC)

SECULAR AND SPIRITUAL FUSION IN ART:
Ancient Indian ‘stupas’ and temples were not like churches
or synagogues purely spiritual and religious,
But were cultural centers depicting secular images which
were also non-religious!
The Buddhist ‘stupa’ at Amravati (1stcentury BC), and the
gateways at Sanchi (1stcentury AD), display wealth of carvings
from the life of Buddha;
Also warriors on horseback, royal procession, trader’s caravans,
farmers with produce, - all secular by far!
Indian temples from the 8th Century AD onwards depicted
images of musicians, dancers, acrobats and romantic couples,
along with a variety of Deities;
But after 10th Century ****** themes began to make their mark
with depiction of sensuality!
Sensuality and ****** interaction in temples of Khajuraho and
Konarak has been displayed without inhibition;
As Tantric ideas on compatibility of human sexuality with
human spirituality, fused into artistic depictions!
Religion got based on a healthy and egalitarian acceptance
of all activities without ****** starvation;
For the emotional health and well-being of society, without
hypocritical denial or inhibition!
(’Stupas’= originated from ancient burial mounds, later became devotional Buddhist sites with holy relics, & external decorative gateways and carvings!)

KHJURAHO TEMPLE COMPLEX (950 - 1040 AD) :
Was built by the Chandela Rajputs in Central India,
When Khajuraho, the land of the moon gods, was the first
capital city of the Chandelas!
****** art covers ten percent of the temple sculptures,
Where both Hindu and Jain temples were built in the north-Indian
Nagara style of Architecture.
Out of the 85 temples only 22 have stood the vagaries of time,
Where a perfect fusion of aesthetic elegance and evocative
Kama-Sutra like ****** sculptural brilliance, - dazzle the eyes!

KONARAK SUN TEMPLE OF ORISSA - EAST COAST:
From the Khajuraho temple of love, we now move to the
Konark temple of *** in stones - as art!
Built around 1250 AD in the form of a temple mounted on
a huge cosmic chariot for the Sun God;
With twelve pairs of stone-carved wheels pulled by seven
galloping horses, symbolizing the passage of time under
the Solar God !
Seven horses for each day of the week, pulls the chariot
east wards towards dawn;
With twelve pairs of wheels representing the twelve calendar
months, as each cyclic day ushers in a new morn !
The friezes above and below the chariot wheels show military
processions, with elephants and hunting scenes;
Celebrating the victory of King Narasimhadeva-I over the
invading Muslims!
The ****** art and voluptuous carvings symbolizes aesthetic
bliss when uniting with the divine;
Following yogic postures and breathing techniques, which
Tantric Art alone defines!
(Both Khjuraho & Konark temples were re-discovered by the
British, & are now World Heritage Sites!)

Artistic invention followed the model of cosmic creation;
Ancient Vedic tradition visualized the spirit of a joyous
self-offering with chants and incantations!
The world was understood to be a structured arrangement
of five elements of earth, water, fire, air, and ethereal space;
Where each element brought forth a distinct art-expression
with artistic grace!
Element of Sculpture was earth, Painting the fluidity of water,
Dance was transformative fire, Music flowed through the air,
and Poetry vibrated in ethereal space!

CONCLUDING INTRODUCTION TO INDIAN ART:

Indian Art is like a prism with many dazzling facets,
I have only introduced the subject with its symbolism,
- without covering its complete assets!
After my Part Three on ‘Etruscan and Roman Art’,
Christian and Byzantine Art was to follow;
But following request from my few poet friends I have
postponed it for the morrow!
Traditional Indian Art survives through its sculptures,
architecture, paintings and folk art, ever evolving with
the passing of time and age;
Influenced by Buddhist, Jain, Muslim, Mogul, and many
indigenous art forms, enriching India’s cultural heritage!
While the art of our modern times constitutes a separate
Contemporary phase !
The juxtaposition of certain concepts and forms might
have appeared a bit intriguing,
But the spiritual content and symbolism in art answers
our basic artistic seeking!
The other aspects of Indian Art I plan to cover at a later
date,
Hope you liked my Introduction, being posted after
almost forty days!
ALL COPY RIGHTS ARE WITH RAJ NANDY
E-Mail: rajnandy21@yahoo.
    FEW COMMENTS BY POETS ON 'POETFREAK.COM' :-
I have a vicarious pleasure going through your historical journey of Indian art! Thanks for sharing this here! 2 Mar 2013 by Ramesh T A | Reply
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The prism of Indian Art is indeed has myriads of facets and is an awesome mixture of many influences some of which you list here so clearly - a very understandable presentation of symbolism too - -thank you for your fine effort Raj. 2 Mar 2013 by Fay Slimm | Reply
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Oh what an interesting read with immense information capturing every single detail. You painted this piece of art with utmost care. Truly, it's works Raj…tfs 2 Mar 2013 by John Thomas Tharayil | Reply
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First, I have to say, the part about the lotus symbolism reminds me – My name ‘NILOTPAL’ can be split into ‘NIL’ meaning BLUE and ‘UTPAL’ meaning LOTUS. So my name represents wisdom (although it contradicts ME.. LOL). A lot of things were mentioned in the veda and other ancient Indian texts that were way ahead of the time Like the idea of ‘velocity of light’ got considerable mention in the rig veda-Sahan bhasya, ‘Elliptical order of planets, ‘Black holes’ , although these are the scientific aspects. The emphasis on contradictory elements or even the idea of opposites in Indian art is interesting because India developed the mathematical concept of ‘Zero’ and ‘infinity’. Hard to believe Rajasthan was a fertile place but now it possesses its own beauty. It was great to read about the Natraja, ‘OM’ and the trident(Trishul). Among symbolisms, Lord Ganseha is my favorite because a lot is portrayed in that one image like the MOOSHIK representing