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151:, of about c. 2300–1750 BCE, although this does not exactly show the usual later form. It may well derive from dance before art, but the remaining record in early art is more clear. The earliest versions are nearly all in female figures, but it gradually spread to males. Versions of the stance can be seen in (Buddhist)
347:
201:
The style of the stance changes somewhat over the centuries, and between different regions inside and outside India, as it was carried abroad, mainly to the east and south-east, in the art of both major religions. To simplify considerably, the earlier depictions in
260:, the stance tends to be a mark of recent Indian influence in early periods, and figures, especially major ones, then gradually straighten as time passes. In all areas this tendency may not apply to figures actually shown as dancing.
248:
playing his flute is very consistently depicted in a version of the pose with one lower leg crossed over (or behind) the other and on tip-toe, and he and Shiva are more often given stronger versions of the stance.
424:
217:
By perhaps the 9th-century the stronger version of the stance spreads to most types of figures, and becomes even more marked. This tendency begins to reduce from about the 13th century. The
673:, literally meaning three parts break, consists of three bends in the body; at the neck, waist and knee, hence the body is oppositely curved at waist and neck which gives it a gentle "
82:
The pose goes back at least 2,000 years in Indian art, and has been highly characteristic for much of this period, "found repeated over and over again in countless examples of
325:
307:
494:
937:
518:
408:
455:
206:
and Post-Gupta art show major figures in mildly-bent stances, with more pronounced poses in minor figures and especially female ones such as
362:
60:, where the body bends in one direction at the knees, the other direction at the hips and then the other again at the shoulders and neck.
266:
1068:
797:
474:
384:
626:
is also in the same posture. This style has also travels with Indian influence as in China where some sculptures at the
1112:
1029:
987:
287:
1019:
1215:
1197:
1183:
1169:
1148:
1054:
977:
863:
78:. As in other images of this form, the tribhanga is accentuated by the gender differences at hip and shoulders.
125:
for a slight bend in one leg giving a smaller curve to the figure. Other more complex positions in dance are
1264:
1102:
98:
poses in
Western art, it suggests movement in figures and gives "rhythmic fluidity and ... youthful energy".
619:
23:
1269:
1233:
961:
728:
or stance, which involves stamping of the foot and striking various postures, four in number, namely
631:
766:
literature not the name of a particular standing position but used, contrary to the modern usage in
1274:
272:
142:
117:
meaning "triple", making "triple-bend position". Other poses described in old texts on dance were
465:
717:
53:
1201:
1152:
867:
957:
1072:
8:
1259:
1021:
Art of Osian temples: socio-economic and religious life in India, 8th-12th centuries A.D
588:
440:
627:
353:
Tribhanga poses in a scene of people celebrating a festival, a rare example of secular
182:. During this period it became very common in both Buddhist and Hindu art (as well as
164:
63:
27:
1211:
1193:
1179:
1165:
1144:
1127:
Cf. Varma, K. M. Myth of the So-called ‘Tribhanga’ as a ‘Pose’. (Santiniketan, 1983).
1108:
1025:
983:
859:
1088:
The Hare
Krishna explosion: the birth of Krishna consciousness in America, 1966-1969
244:, which provide a profusion of tribhanga poses, include examples for both of them.
815:
Myth of the so-called "tribhaṅga" as a "pose", or, The nature and number of bhaṅgas
568:
546:
526:
87:
83:
17:
1101:
Harding, Paul; Patrick Horton; Janine Eberle; Amy
Karafin; Simon Richmond (2005).
651:
1254:
1249:
762:
614:
posture. In the back it carries an inscription dating it 1098, the period of the
481:
257:
67:
45:
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is depicted at various places in this position which is commonly reserved for
1243:
1157:
1100:
666:
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95:
240:
also only usually have slight versions of the stance; the famous temples of
1005:
Temples of
Khajuraho, (Volume 1) Issue 5 of Architectural survey of temples
721:
713:
662:
639:
559:
534:
522:
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338:
278:
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for the "figure in equipoise", whether standing, sitting or reclining, and
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767:
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369:
331:
229:
195:
31:
689:
643:
434:
Torso", c. 900, one of a pair of bodhisattvas flanking a Buddha statue.
49:
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positions, and used in many other classical Indian dance forms. The
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posture facing the east as seen in temple dating 8th-12th centuries.
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572:
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391:
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The history of the stance is often said to reach back to the famous
1050:
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is shown with her hand touching a tree branch, and a sinuous pose,
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Like many other poses used in traditional Indian dance, including
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186:). The most famous ancient Indian painting, the large figure of
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563:, whose examples dating to the 12th century can be found in the
1228:
1178:, 2nd edn. 1994, Yale University Press Pelican History of Art,
677:" shape It has been closely associated with the Hindu deity
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Socio-religious and cultural study of the ancient Indian coins
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carried it to East and South-East Asia. Like the equivalent
71:
395:
226:
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also in
Tribhanga style is best example is in Tamil Nadu.
1208:
618:
610:, the lion-man incarnation of Lord Mahavishnu is in the
770:, to describe the group of the “Three Bhangas”, namely
159:, c. 100 BCE, and the classical form of the stance at
1210:, 1967 (3rd edn.), Pelican History of Art, Penguin,
1188:
Masson-Ousel, P., Stern, P., Willman-Grabowska, H.,
1176:
1241:
882:, 324, 1986, B.R. Pub. Corp.; Harle, 17 for date
113:) is the word for an attitude or position, with
194:(c. 478) has the pose, which remains common in
1164:, 1987, Thames & Hudson (Praeger in USA),
1038:
1007:. Archaeological Survey of India. p. 205.
630:built in the Later Qin era (384-417 CE). Some
174:(c. 319 to 543 CE), by both the kings on the
1044:
319:lifting Mount Govardhana, 4th to 6th century
579:temples built around 9th century CE, where
418:Buddhist temple, Central Java, 9th century.
545:, Tribhangi or Tribhanga can be found in
688:
681:who is often portrayed in this posture.
517:
62:
22:
708:It is considered the most graceful and
654:. Takkolam pallava period Shiva temple
232:are almost never depicted in the pose.
178:and the deities on the reverse, and in
1242:
975:
756:and according to K. M. Varma the term
661:As compared with the similar European
638:(leaning) position and so are some of
170:The pose is used on many coins of the
1190:Ancient India and Indian Civilization
1017:
971:
969:
812:
1141:The Life of Form in Indian Sculpture
1085:
1024:. Abhinav Publications. p. 95.
1002:
948:Masson-Ousel, 382–383; Rowland, 427
13:
979:Encyclopaedia of Hinduism: (H - Q)
966:
744:being the most common of all. The
14:
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1221:
982:. Sarup & Sons. p. 868.
252:In the Buddhist and Hindu art of
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802:Art & Architecture Thesaurus
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133:figures are examples of this.
44:is a standing body position or
1143:, 2000, Abhinav Publications,
1055:Tirumala Tirupati Devasthanams
894:
891:Rowland, 158; Berkson, 121–122
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872:
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839:
830:
821:
806:
791:
1:
1192:, 2013 (reprint), Routledge,
1162:Indian Art: A Concise History
1133:
1107:. Lonely Planet. p. 65.
858:, 2019 (reprint), Routledge,
595:sculptures are to be made in
1090:. Palace Press. p. 162.
724:is characterized by various
620:Tirumala Venkateswara Temple
7:
684:
549:as well. Traditionally the
468:, showing extreme tribhanga
10:
1291:
962:Victoria and Albert Museum
646:Buddhist temples in Nara,
341:, cave 1, late 5th century
136:
15:
632:Buddha images in Thailand
602:The central deity at the
587:, playing the flute. The
513:
70:, the composite deity of
1086:Dasa, Hayagriva (1985).
1069:"Glossary of Indian Art"
785:
466:Western Chalukya dynasty
163:, around 10 CE, and the
936:Masson-Ousel, 380–383;
650:, built in 680 CE, the
221:only ever has a slight
16:For the 2021 film, see
1003:Deva, Krishna (1990).
976:Sehgal, Sunil (1999).
718:Indian classical dance
705:
530:
101:The word derives from
79:
54:Indian classical dance
34:
1045:Dr N Ramesan (1981).
856:The Hindu View of Art
817:. Proddu. p. 15.
813:Varma, K. M. (1983).
692:
521:
66:
26:
1265:Buddhist iconography
1236:at Wikimedia Commons
1018:Kalia, Asha (1992).
878:Chakraborty, Swati,
866:, 9780429627521114,
760:was in the original
48:used in traditional
1206:Rowland, Benjamin,
1047:The Tirumala Temple
938:Brahma at Khajuraho
571:, in south-central
129:; the famous Shiva
958:"The Sanchi Torso"
800:, Getty Research,
706:
628:Maijishan Grottoes
531:
281:, c. 2300–1750 BCE
167:(2nd century CE).
165:Bhutesvara Yakshis
80:
35:
30:(2nd century CE),
28:Bhutesvara Yakshis
1270:Hindu iconography
1232:Media related to
1200:, 9781136200656,
1151:, 9788170173762,
1139:Berkson, Carmel,
854:Anand, Mulk Raj,
190:in Cave 1 at the
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88:Indian religions
86:and painting".
84:Indian sculpture
74:and his consort
18:Tribhanga (film)
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225:stance and the
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68:Ardhanarishvara
56:forms like the
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1158:Craven, Roy C.
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836:Berkson, 130
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827:Rowland, 162
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663:contrapposto
660:
655:
640:Boddhisattva
635:
611:
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596:
589:Agamic texts
560:Salabhanjika
558:
557:pose, as is
554:
532:
523:Salabhanjika
449:at Khajuraho
377:Tang dynasty
339:Ajanta Caves
301:, c. 100 BCE
279:Mohenjo-Daro
274:Dancing Girl
273:
251:
230:tirthankaras
222:
216:
200:
192:Ajanta Caves
172:Gupta Empire
169:
149:Mohenjo-Daro
144:Dancing Girl
143:
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126:
122:
118:
114:
110:
106:
100:
92:contrapposto
81:
41:
37:
36:
1104:South India
927:Craven, 125
909:Craven, 118
798:"Tribhanga"
768:art history
669:poses, the
604:Simhachalam
567:temples of
370:gilt-bronze
332:Bodhisattva
196:bodhisattva
32:Mathura art
1260:Indian art
1244:Categories
1216:0140561021
1198:1136200657
1184:0300062176
1170:0500201463
1149:8170173760
1134:References
900:Craven, 70
864:0429627521
776:Samabhanga
644:Yakushi-ji
508:, c. 1800
119:samabhanga
50:Indian art
1234:Tribhanga
780:Atibhanga
758:Tribhanga
750:Tribhanga
742:Tribhanga
738:Atibhanga
702:Tribhunga
698:Govardhan
671:Tribhanga
667:"S Curve"
636:tribhanga
612:tribhanga
597:tribhanga
577:Khajuraho
573:Karnataka
555:tribhanga
400:Indonesia
392:Borobudur
355:Gupta art
335:Padmapani
293:Buddhist
254:East Asia
242:Khajuraho
223:tribhanga
204:Gupta art
198:figures.
188:Padmapani
127:atibhanga
96:"S Curve"
38:Tribhaṅga
1051:Tirumala
746:Sanskrit
685:In dance
575:and the
390:Tara at
368:Chinese
212:yakshini
184:Jain art
131:Nataraja
105:, where
103:Sanskrit
42:Tribunga
772:Abhanga
726:Bhangas
712:of the
710:sensual
694:Krishna
679:Krishna
585:Krishna
565:Hoysala
502:Krishna
500:Bronze
416:Plaosan
373:Guanyin
317:Krishna
299:Bharhut
246:Krishna
208:apsaras
176:obverse
157:Bharhut
137:History
123:abhanga
111:bhangha
76:Parvati
1255:Mudras
1250:Odissi
1214:
1196:
1182:
1168:
1147:
1111:
1028:
986:
862:
778:, and
752:means
740:, and
734:Abanga
730:Bhanga
722:Odissi
714:Odissi
704:stance
581:Vishnu
551:Yakshi
543:Kathak
535:Odissi
514:In art
506:Odisha
480:White
462:Mohini
447:Vishnu
432:Sanchi
295:yakshi
238:Brahma
234:Vishnu
219:Buddha
161:Sanchi
153:yakshi
107:bhanga
58:Odissi
46:stance
786:Notes
748:term
656:Durga
648:Japan
616:Chola
593:Shiva
569:Belur
486:Nepal
484:from
430:The "
314:Gupta
277:from
147:from
72:Shiva
1212:ISBN
1194:ISBN
1180:ISBN
1166:ISBN
1145:ISBN
1109:ISBN
1026:ISBN
984:ISBN
860:ISBN
665:and
541:and
396:Java
256:and
236:and
227:Jain
210:and
109:(or
94:and
52:and
720:of
297:at
155:at
115:tri
40:or
1246::
1160:,
1053::
1049:.
968:^
960:,
782:.
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214:.
1117:.
1057:.
1034:.
992:.
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