Sculptures of Goa | Goa State PSC (GPSC) Preparation - GPSC (Goa) PDF Download

 Page 1


SCULPTURE  
In the preceding chapter on iconography reference to the 
schools of sculptures of various images which have been dealt 
with and the probable dates have been suggested. However, 
there was no scope for elaborate discussion on the stylistic 
aspects of the schools. Here an attempt is made to study 
sculpture from the region of Goa. The author of the Kadamba 
kula  in the chapter on sculpture could hardly do justice to 
the subject. 1  No exhaustive survey of sculptures from Goa as 
well as the region of Karnataka associated with various 
branches of the Kadambas was undertaken. In the last six 
decades, many new sculptures have been discovered. The 
material in hand facilitates for the study of the evolution of 
_ 
sculpture from Bhoja-Chalukya to Southern Silahara and to the 
Kadambas and finally to Vijayanagara period. 
Two thirds of Goa area is covered by primary laterite. 
The people of this costal track used laterite for building 
houses temples and forts. However, it is not suitable material 
for carving images. Hence predominantly schist has been used 
for carving images. Schist quarry from Akeri in Sawantwadi 
provided raw material for north Goa sculptures from the period 
of Badami Chalukyas. 2  Such schist quarries in south Goa 
supplied material for carving sculptures from South Goa. 
Page 2


SCULPTURE  
In the preceding chapter on iconography reference to the 
schools of sculptures of various images which have been dealt 
with and the probable dates have been suggested. However, 
there was no scope for elaborate discussion on the stylistic 
aspects of the schools. Here an attempt is made to study 
sculpture from the region of Goa. The author of the Kadamba 
kula  in the chapter on sculpture could hardly do justice to 
the subject. 1  No exhaustive survey of sculptures from Goa as 
well as the region of Karnataka associated with various 
branches of the Kadambas was undertaken. In the last six 
decades, many new sculptures have been discovered. The 
material in hand facilitates for the study of the evolution of 
_ 
sculpture from Bhoja-Chalukya to Southern Silahara and to the 
Kadambas and finally to Vijayanagara period. 
Two thirds of Goa area is covered by primary laterite. 
The people of this costal track used laterite for building 
houses temples and forts. However, it is not suitable material 
for carving images. Hence predominantly schist has been used 
for carving images. Schist quarry from Akeri in Sawantwadi 
provided raw material for north Goa sculptures from the period 
of Badami Chalukyas. 2  Such schist quarries in south Goa 
supplied material for carving sculptures from South Goa. 
However, a few granite sculptures have also been noticed. Only 
one lime-stone sculpture has been discovered in Goa and has 
been acquired by the State Museum of Goa. 3  Through laterite is 
not suitable for carving the images, two laterite sculptures 
from Goa show that the people of Goa tried their best to use 
the locally available material. Mother goddess of Curdi (c. 
300 B.C.) is the earliest laterite sculpture and indicates 
that the people who were inhabiting this costal track had 
begun to show their artistic talents. 4 . However, laterite was 
rarely used for sculpturing the icons of the gods and 
goddesses. One such specimen is the Ganesh from Redi, the 
laterite sculpture of Ganesh from Redi belongs to c.600 A.D. 
After c. 300 B.C. till about c. 600 A.D. sculpture has been 
found in Goa. No Satavahana sculptures or terracottas have 
been discovered in Goa. After a lapse about seven hundred 
years sculptures belonging to Bhoja-Chalukyas period are 
noticed. 
The study of the sculptures has revealed that Bhoja-
Chalukyas sculptures are only a few and these are namely the 
Ganesa laterite sculpture of Redi in Sawantwadi, Kartikeya of 
Korgaon (plate No. 33) MahishEsurmardini Lamagaon (Plate No. 
39') Ganesa of Kudne (Plate No. 3.9), Ganesa of 
Ganesa of Curdi 	 "), Mahishlisurmardini  of 
Nundcm 	 Mahishrisurmardini  of Quepem and of Naga 
of Peddem ( 	 it and 'M. Therefore, the study of Bhoja- 
Page 3


SCULPTURE  
In the preceding chapter on iconography reference to the 
schools of sculptures of various images which have been dealt 
with and the probable dates have been suggested. However, 
there was no scope for elaborate discussion on the stylistic 
aspects of the schools. Here an attempt is made to study 
sculpture from the region of Goa. The author of the Kadamba 
kula  in the chapter on sculpture could hardly do justice to 
the subject. 1  No exhaustive survey of sculptures from Goa as 
well as the region of Karnataka associated with various 
branches of the Kadambas was undertaken. In the last six 
decades, many new sculptures have been discovered. The 
material in hand facilitates for the study of the evolution of 
_ 
sculpture from Bhoja-Chalukya to Southern Silahara and to the 
Kadambas and finally to Vijayanagara period. 
Two thirds of Goa area is covered by primary laterite. 
The people of this costal track used laterite for building 
houses temples and forts. However, it is not suitable material 
for carving images. Hence predominantly schist has been used 
for carving images. Schist quarry from Akeri in Sawantwadi 
provided raw material for north Goa sculptures from the period 
of Badami Chalukyas. 2  Such schist quarries in south Goa 
supplied material for carving sculptures from South Goa. 
However, a few granite sculptures have also been noticed. Only 
one lime-stone sculpture has been discovered in Goa and has 
been acquired by the State Museum of Goa. 3  Through laterite is 
not suitable for carving the images, two laterite sculptures 
from Goa show that the people of Goa tried their best to use 
the locally available material. Mother goddess of Curdi (c. 
300 B.C.) is the earliest laterite sculpture and indicates 
that the people who were inhabiting this costal track had 
begun to show their artistic talents. 4 . However, laterite was 
rarely used for sculpturing the icons of the gods and 
goddesses. One such specimen is the Ganesh from Redi, the 
laterite sculpture of Ganesh from Redi belongs to c.600 A.D. 
After c. 300 B.C. till about c. 600 A.D. sculpture has been 
found in Goa. No Satavahana sculptures or terracottas have 
been discovered in Goa. After a lapse about seven hundred 
years sculptures belonging to Bhoja-Chalukyas period are 
noticed. 
The study of the sculptures has revealed that Bhoja-
Chalukyas sculptures are only a few and these are namely the 
Ganesa laterite sculpture of Redi in Sawantwadi, Kartikeya of 
Korgaon (plate No. 33) MahishEsurmardini Lamagaon (Plate No. 
39') Ganesa of Kudne (Plate No. 3.9), Ganesa of 
Ganesa of Curdi 	 "), Mahishlisurmardini  of 
Nundcm 	 Mahishrisurmardini  of Quepem and of Naga 
of Peddem ( 	 it and 'M. Therefore, the study of Bhoja- 
Chalukya sculptures is primarily based on the study of loose 
sculptures from Goa region. Majority of the temples in this 
costal region were of laterite and hence the walls of the 
temple had hardly any sculptures. This has led to the total 
absence of the sculptures depicting mythological themes on the 
walls of the temples. These thematic sculptures are dynamic 
and are full of movement. The shrines of ramana  and Trivikrama  
were located in Salcete and most probably belonged to the 
period of Badami-Chalukyas. 5  These above deities of Badami 
caves are good illustration to show that sculptor had 
considerable scope in showing movement in the sculptures. Both 
these shines were destroyed in the 16th century. The above 
list of Bhoja-Chalukya sculptures are static and hardly show 
any movement. Therefore, the dates suggested are based on 
ornaments and facial expression etc. 
4 	 The stone sculptures of Wartikeya and NEgii have 
characteristics of post-Gupta sculpture. These have thick lips 
and flat ear-rings. 6  The faces show inwardly trace and serene 
appearance. These qualities give these sculptures divine 
appearance. Mahishasurmardini  from Lamagaon has also such flat 
ear-rings and bracelets and thick lower lip. 7  The faces of 
all these sculptures are round. 
After the Bhoja-Chalukya epoch, the southern-SilaharEs 
established their power and the region of Goa was included in 
it. The Southern-Si laharEs were the feudatories of 
Page 4


SCULPTURE  
In the preceding chapter on iconography reference to the 
schools of sculptures of various images which have been dealt 
with and the probable dates have been suggested. However, 
there was no scope for elaborate discussion on the stylistic 
aspects of the schools. Here an attempt is made to study 
sculpture from the region of Goa. The author of the Kadamba 
kula  in the chapter on sculpture could hardly do justice to 
the subject. 1  No exhaustive survey of sculptures from Goa as 
well as the region of Karnataka associated with various 
branches of the Kadambas was undertaken. In the last six 
decades, many new sculptures have been discovered. The 
material in hand facilitates for the study of the evolution of 
_ 
sculpture from Bhoja-Chalukya to Southern Silahara and to the 
Kadambas and finally to Vijayanagara period. 
Two thirds of Goa area is covered by primary laterite. 
The people of this costal track used laterite for building 
houses temples and forts. However, it is not suitable material 
for carving images. Hence predominantly schist has been used 
for carving images. Schist quarry from Akeri in Sawantwadi 
provided raw material for north Goa sculptures from the period 
of Badami Chalukyas. 2  Such schist quarries in south Goa 
supplied material for carving sculptures from South Goa. 
However, a few granite sculptures have also been noticed. Only 
one lime-stone sculpture has been discovered in Goa and has 
been acquired by the State Museum of Goa. 3  Through laterite is 
not suitable for carving the images, two laterite sculptures 
from Goa show that the people of Goa tried their best to use 
the locally available material. Mother goddess of Curdi (c. 
300 B.C.) is the earliest laterite sculpture and indicates 
that the people who were inhabiting this costal track had 
begun to show their artistic talents. 4 . However, laterite was 
rarely used for sculpturing the icons of the gods and 
goddesses. One such specimen is the Ganesh from Redi, the 
laterite sculpture of Ganesh from Redi belongs to c.600 A.D. 
After c. 300 B.C. till about c. 600 A.D. sculpture has been 
found in Goa. No Satavahana sculptures or terracottas have 
been discovered in Goa. After a lapse about seven hundred 
years sculptures belonging to Bhoja-Chalukyas period are 
noticed. 
The study of the sculptures has revealed that Bhoja-
Chalukyas sculptures are only a few and these are namely the 
Ganesa laterite sculpture of Redi in Sawantwadi, Kartikeya of 
Korgaon (plate No. 33) MahishEsurmardini Lamagaon (Plate No. 
39') Ganesa of Kudne (Plate No. 3.9), Ganesa of 
Ganesa of Curdi 	 "), Mahishlisurmardini  of 
Nundcm 	 Mahishrisurmardini  of Quepem and of Naga 
of Peddem ( 	 it and 'M. Therefore, the study of Bhoja- 
Chalukya sculptures is primarily based on the study of loose 
sculptures from Goa region. Majority of the temples in this 
costal region were of laterite and hence the walls of the 
temple had hardly any sculptures. This has led to the total 
absence of the sculptures depicting mythological themes on the 
walls of the temples. These thematic sculptures are dynamic 
and are full of movement. The shrines of ramana  and Trivikrama  
were located in Salcete and most probably belonged to the 
period of Badami-Chalukyas. 5  These above deities of Badami 
caves are good illustration to show that sculptor had 
considerable scope in showing movement in the sculptures. Both 
these shines were destroyed in the 16th century. The above 
list of Bhoja-Chalukya sculptures are static and hardly show 
any movement. Therefore, the dates suggested are based on 
ornaments and facial expression etc. 
4 	 The stone sculptures of Wartikeya and NEgii have 
characteristics of post-Gupta sculpture. These have thick lips 
and flat ear-rings. 6  The faces show inwardly trace and serene 
appearance. These qualities give these sculptures divine 
appearance. Mahishasurmardini  from Lamagaon has also such flat 
ear-rings and bracelets and thick lower lip. 7  The faces of 
all these sculptures are round. 
After the Bhoja-Chalukya epoch, the southern-SilaharEs 
established their power and the region of Goa was included in 
it. The Southern-Si laharEs were the feudatories of 
Rastrakutas. Naturally, southern-SilaharZs sculptures was 
influenced by Rastrakutas sculptures. In the early southern-
Silahar'a sculptures belonging to the period of transition 
still Chalukya influence can be seen. To the school of 
southern-Silah-aras and Rastrakutas belong Sadasiva (Plate 24) 
Surya (Plate 36) and unique icon of Visnu (Plate 20). 8  All 
displayed in Old Goa Museum Kubera (Plate 7J) Yaksi (Plate e) 
Uma 	 .) and Mahishasurmardini  (Plate)-41 from Netravali 
also belong to Rashtrakuta 	 (Silahliias)School. These are all 
in the collection of State Museum of Goa. There are two more 
sculptures of Southern-Silataras period. These are namely 
unidentified sculpture of two warriors from Kundai locally 
called Kghtadev erected in front of Novadurga temple, Kundai 
and the Surya  (?) stone sculpture kept in the circumbiilatory 
(pradakshinapath) of Chandreshwar temple. 9  A student of art 
can distinguish the subtle characteristics of early Southern-
Silaharas (Rastrakuta) sculptures. The faces found in the 
sculptures of early Chalukyan period are normally broader and 
round. From the beginning of Southern-Silaharas period faces 
become longer, ear-rings becomes thinner and lips also 
gradually become thinner. On the neck of the sculptures 
belonging to this period lines are noticed. These lines it 
seems have appeared on account of excessive fat on the body. 
Moreover bud motif found on Sadasiva (Plate 24) is a peculiar 
motif which appears in early' Rastrakuta period." The stone 
sculpture of Visnu (Plate 211) is proportionately carved and 
Page 5


SCULPTURE  
In the preceding chapter on iconography reference to the 
schools of sculptures of various images which have been dealt 
with and the probable dates have been suggested. However, 
there was no scope for elaborate discussion on the stylistic 
aspects of the schools. Here an attempt is made to study 
sculpture from the region of Goa. The author of the Kadamba 
kula  in the chapter on sculpture could hardly do justice to 
the subject. 1  No exhaustive survey of sculptures from Goa as 
well as the region of Karnataka associated with various 
branches of the Kadambas was undertaken. In the last six 
decades, many new sculptures have been discovered. The 
material in hand facilitates for the study of the evolution of 
_ 
sculpture from Bhoja-Chalukya to Southern Silahara and to the 
Kadambas and finally to Vijayanagara period. 
Two thirds of Goa area is covered by primary laterite. 
The people of this costal track used laterite for building 
houses temples and forts. However, it is not suitable material 
for carving images. Hence predominantly schist has been used 
for carving images. Schist quarry from Akeri in Sawantwadi 
provided raw material for north Goa sculptures from the period 
of Badami Chalukyas. 2  Such schist quarries in south Goa 
supplied material for carving sculptures from South Goa. 
However, a few granite sculptures have also been noticed. Only 
one lime-stone sculpture has been discovered in Goa and has 
been acquired by the State Museum of Goa. 3  Through laterite is 
not suitable for carving the images, two laterite sculptures 
from Goa show that the people of Goa tried their best to use 
the locally available material. Mother goddess of Curdi (c. 
300 B.C.) is the earliest laterite sculpture and indicates 
that the people who were inhabiting this costal track had 
begun to show their artistic talents. 4 . However, laterite was 
rarely used for sculpturing the icons of the gods and 
goddesses. One such specimen is the Ganesh from Redi, the 
laterite sculpture of Ganesh from Redi belongs to c.600 A.D. 
After c. 300 B.C. till about c. 600 A.D. sculpture has been 
found in Goa. No Satavahana sculptures or terracottas have 
been discovered in Goa. After a lapse about seven hundred 
years sculptures belonging to Bhoja-Chalukyas period are 
noticed. 
The study of the sculptures has revealed that Bhoja-
Chalukyas sculptures are only a few and these are namely the 
Ganesa laterite sculpture of Redi in Sawantwadi, Kartikeya of 
Korgaon (plate No. 33) MahishEsurmardini Lamagaon (Plate No. 
39') Ganesa of Kudne (Plate No. 3.9), Ganesa of 
Ganesa of Curdi 	 "), Mahishlisurmardini  of 
Nundcm 	 Mahishrisurmardini  of Quepem and of Naga 
of Peddem ( 	 it and 'M. Therefore, the study of Bhoja- 
Chalukya sculptures is primarily based on the study of loose 
sculptures from Goa region. Majority of the temples in this 
costal region were of laterite and hence the walls of the 
temple had hardly any sculptures. This has led to the total 
absence of the sculptures depicting mythological themes on the 
walls of the temples. These thematic sculptures are dynamic 
and are full of movement. The shrines of ramana  and Trivikrama  
were located in Salcete and most probably belonged to the 
period of Badami-Chalukyas. 5  These above deities of Badami 
caves are good illustration to show that sculptor had 
considerable scope in showing movement in the sculptures. Both 
these shines were destroyed in the 16th century. The above 
list of Bhoja-Chalukya sculptures are static and hardly show 
any movement. Therefore, the dates suggested are based on 
ornaments and facial expression etc. 
4 	 The stone sculptures of Wartikeya and NEgii have 
characteristics of post-Gupta sculpture. These have thick lips 
and flat ear-rings. 6  The faces show inwardly trace and serene 
appearance. These qualities give these sculptures divine 
appearance. Mahishasurmardini  from Lamagaon has also such flat 
ear-rings and bracelets and thick lower lip. 7  The faces of 
all these sculptures are round. 
After the Bhoja-Chalukya epoch, the southern-SilaharEs 
established their power and the region of Goa was included in 
it. The Southern-Si laharEs were the feudatories of 
Rastrakutas. Naturally, southern-SilaharZs sculptures was 
influenced by Rastrakutas sculptures. In the early southern-
Silahar'a sculptures belonging to the period of transition 
still Chalukya influence can be seen. To the school of 
southern-Silah-aras and Rastrakutas belong Sadasiva (Plate 24) 
Surya (Plate 36) and unique icon of Visnu (Plate 20). 8  All 
displayed in Old Goa Museum Kubera (Plate 7J) Yaksi (Plate e) 
Uma 	 .) and Mahishasurmardini  (Plate)-41 from Netravali 
also belong to Rashtrakuta 	 (Silahliias)School. These are all 
in the collection of State Museum of Goa. There are two more 
sculptures of Southern-Silataras period. These are namely 
unidentified sculpture of two warriors from Kundai locally 
called Kghtadev erected in front of Novadurga temple, Kundai 
and the Surya  (?) stone sculpture kept in the circumbiilatory 
(pradakshinapath) of Chandreshwar temple. 9  A student of art 
can distinguish the subtle characteristics of early Southern-
Silaharas (Rastrakuta) sculptures. The faces found in the 
sculptures of early Chalukyan period are normally broader and 
round. From the beginning of Southern-Silaharas period faces 
become longer, ear-rings becomes thinner and lips also 
gradually become thinner. On the neck of the sculptures 
belonging to this period lines are noticed. These lines it 
seems have appeared on account of excessive fat on the body. 
Moreover bud motif found on Sadasiva (Plate 24) is a peculiar 
motif which appears in early' Rastrakuta period." The stone 
sculpture of Visnu (Plate 211) is proportionately carved and 
is one of the masterpieces of Silaharg art from Goa. 11  As 
regards MahishZsurmardini (Plate A40 from Netravali, it is the 
best representation of the goddess. This goddess is four-
armed. The faces of the goddess is chiseled in a profile. The 
sharply chiseled nose has added beauty to the face of the 
deity. The proportionate and sharply carved face, sharp nose 
and the eye make the face of the goddess serene and divine. 
The above factors contribute in making the stone sculpture one 
of the master pieces of female deities of Silahaeg period. 
There was a considerable difficulty in tracing the 
sculptures of th Bhoja-Chalukya period and Silahar-g-Rastrakuta 
period. Only a few specimen of the above school could be 
noticed. However, from the Kadamba period many examples are 
available. The Kadambas of Goa were the contemporaries of 
later Chalukyas and infect they were the feudatories of 
Chalukyas. Therefore, on Kadamba sculptures the influence of 
later Chalukyas as well as Hoysalas is found. The Goa Kadambas 
has close contact with Chalukyas of Gujrat (Solankis). This 
close contact with Gujrat has brought influence of Gujrat 
sculpture on the sculpture of Goa. 
On Kadamba sculptures torariEs  with intricate carvings can 
be noticed and such two delicately carved toranas may be cited 
as e.g. These are namely the sculpture of NIrayana from 
Korgaon-Pedne (Plate No: 161) and MabichWsurmardini sculpture 
from Vargaon, Bicholim. Narayana is embellished with intricate