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This book is a celebration of India through Hindu eyes. Those eyes are of sages and kings, artists and artisans, potters and poets, rasikas and bhaktas. In that journey we remember the almond-shaped eyes of Shrinathji, the round eyes of Jagganathji. Those are human eyes through which we have received the darshan of our gods and goddesses and also the blessings of our elders and teachers. Those eyes are ancient and have witnessed magnificent kingdoms and trackless empires. They have watched the creations of monumental temples as well as charming havelis. They have travelled through the pages of history and chronicled the glory of the raja and the praja. Hindu eyes see the past even when they watch the present for they guide us through linear time but when we close our eyes we contemplate in circular time. Our eyes delight in asserting the finite but they rest when they find the infinite. They rejoice in the various akritis but they direct us to our sanskriti. They have been witness to our love stories and heroic sagas. They have smiled and spoken, invited and whispered. Hindu eyes belong to our mind which is buddhi pradhan but they throb with our heart which is bhava pradhan. They are the eyes of a people for whom adornment is beautiful but the serenity of ananda is blissful, for those eyes are the windows of our atman forever seeking the Brahman. Join us in this celebration.
Volume four contains 1344 records on South and Southeast Asia selected out of 1800 records from the ABIA South and Southeast Asian Art and Archaeology Index database. Volume four has been compiled by the ABIA project team at IGNCA New Delhi. It includes all forms of scholarly publications, ranging from survey works to small but important articles in composite books and journals published in India between 2006 and 2011. Subjects include pre- and protohistory, historical archaeology, ancient art history, modern art history, material culture, epigraphy and palaeography, numismatics and sigillography (seals). The bibliographic descriptions (with the original diacritics), keywords and annotations have made this reference work a reliable guide to recently published scholarly work in the field.
Volume four contains 1344 records on South and Southeast Asia selected out of 1800 records from the ABIA South and Southeast Asian Art and Archaeology Index database. Volume four has been compiled by the ABIA project team at IGNCA New Delhi. It includes all forms of scholarly publications, ranging from survey works to small but important articles in composite books and journals published in India between 2006 and 2011. Subjects include pre- and protohistory, historical archaeology, ancient art history, modern art history, material culture, epigraphy and palaeography, numismatics and sigillography (seals). The bibliographic descriptions (with the original diacritics), keywords and annotations have made this reference work a reliable guide to recently published scholarly work in the field.
Dr. Tanaka, for the first time ever, explores the absence of the Buddha-image in early Buddhist art. Applying the motif of the empty throne, she undertakes a comparative study of Buddhism and other religions.
It is next to impossible today to even think of Buddhism without the presence of the Buddha image! The image of the Buddha, in truth, has not only come to symbolise the essence of Buddhism but is also a brilliant expression of the cultural/artistic achievements of the Buddhists since ancient times. Surprisingly, the Buddha image developed at a later stage of the evolutionary process; after the parinirvana of the Buddha, the Buddhists for a considerable time beheld the Buddha and experienced him in their own minds without taking recourse to the Buddha image itself. In Absence of the Buddha Image in Early Buddhist Art, Dr. Tanaka, a well-versed scholar, has for the first time ever explored the absence of the Buddha image in Buddhist art particularly in the period from third century bc to late first century ad in order to rediscover the significance of this phenomenon. Dr. Tanaka observes Bharhut and Sanchi sculptures to point out the most essential motifs and elements of stupa-art design the visible facts pertaining to the absence of the Buddha image. The author studies the religious, philosophical, artistic and political significance of the visible facts, highlighting the concept of the empty throne as the motif representative of that absence. She applies the empty throne concept to the sanctuaries of monotheistic religions, and thus undertakes a comparative study of Buddhism and other religions, particularly, Zoroastrianism, Judaism, Christianity, Islam and Sikhism to suggest that present-day discussions on the linkage between religions can centre on this theme. The dexterous handling of the topic combined with the authors use of first-hand research material makes this an erudite study. The directness in the authors approach and the unwavering eye on the theme sustains the interest throughout. An abundance of visual material, i.e., drawings and photographs, and tables immensely aid in analysis of the visible facts. This intense work on a rich theme offers well-researched and interesting material that will be useful to scholars of religious studies, fine arts and even philosophy.
This collection of essays takes a broad view of South Asian art and culture by providing a wide geographic and chronological scope. Each essay on its own constitutes a solid, well-grounded academic study, but taken collectively they provide a wide and inclusive view of issues of art and material culture that span the region and invite comparison.
All too often, modern scholarship limits its scope according to the boundaries of contemporary nations and current geopolitical borders. Academic expertise frequently ties itself artificially to these pre-defined spaces and in so doing often does a disservice to the past. It is no great revelation to point out that people of the past defined the limits of their political and cultural reach in ways that were very different from those found on modern maps. Ancient rulers, merchants, and priests understood the reach of their influence and defined foreignness in ways that would be deeply unfamiliar to those only knowledgeable of the modern world. Yet, despite the well-recognized truth in these observations, it is still relatively rare for scholars to research in ways that transcend modern boundaries.
This collection of essays invites readers to take a broad view of South Asian art and culture by providing a wide geographic and chronological scope. The articles are united only by their focus on art historical and archaeological concerns and their concentration on South Asia ranging from Afghanistan to the island kingdoms of Indonesia. Each essay on its own constitutes a solid, well-grounded academic study, but taken collectively they provide a wide and inclusive view of issues of art and material culture that span the region and invite comparison.
By taking this approach, this volume is a tribute to Prof. Robert L. Brown whose lifetime of teaching has always emphasized connections as well as differences. Over his professional career, he has trained a large cohort of students (many of whom are contributors to this volume) whose expertise truly does reach across the south of Asia.
Akbar, the most powerful Mughal emperor, was a great aesthete and promoter of arts. Eminent Persian and Indian artists thronged his Royal Studio who were studiously committed to paint numerous emotive miniatures of style and substance, communicating highly complex narratives. These minitatures are a beautiful manifestation of human expressions, vividly encapsulating moments of history for posterity.
Mughal miniatures are a vivid account of the cultural, sociopolitical scenario of the Mughal era. Jalal-ud-Din Muhammad Akbar, the most powerful Mughal emperor, was a great aesthete and promoter of arts. Eminent Persian and Indian artists thronged his Royal Studio and were encouraged to paint numerous emotive miniatures of style and substance, communicating highly complex narratives. These miniatures are a beautiful manifestation of human expressions, vividly encapsulating moments of history for posterity.
This book combines the sources and methodology of history and art history of the Mughal era, and is an analysis of a select group of paintings of Akbar’s reign. The miniature paintings incorporate a wide variety of rich, vibrant and varied themes, ranging from durbar scenes, depicting Akbar in different moods and forms, the princes and nobles in their finery, hunting and battle scenes, elaborate scenes of royal births, construction scenes, ascetics, common man, and countryside scenes, to the flora and fauna. Individual analyses of these miniatures, shows the manner of their composition and the inherent value of their sociocultural content in a lively manner. These paintings became a passion and a diversion for Akbar, who had an innate aesthetic sense.
However, there are hardly any true-to-life paintings of women of the royal seraglio. This book thus attempts to cover some images of femininity, whether it is of Queen Alanquwa, Akbar’s mother, or of Madonna as sacred mothers, and women, per se, in different roles. These miniatures make one wonder how much these women contributed to the life of Mughal India.
This unique volume, having given transliteration and translation of the original Persian text of the miniatures, provides an insight into Akbar as an aesthete, and will help academics and laymen alike in appreciating the beauty and history of Akbar’s period.
This volume, based on the paintings at Shivaji Maharaj Vastu Sanghralaya, formerly Prince of Wales Museum, Mumbai, makes us travel through the bright and radiant world of the many splendours of Malwa painting and its silent pages are alive with the whispers of romantic love.
Amarushataka is considered to be one of the finest poetic creations in Sanskrit in ancient India and is a watershed development in the genre of Shringara Rasa. We do not know who the poet Amaru was, but a number of legends abound and it is believed that he lived in the seventh century. In Amarus poetic gems love is not measured but experienced, it is not evaluated socially but felt in the deepest recesses of the mind and heart. He paints the varied moods and nuances of love with words that evoke vivid colours and rhythms that are sonorous with music. Amarushataka basks in a sunlit space, fragrant with the aroma of love, brilliant with the hues of a throbbing heart and within the minute compass of the few lines of a verse we are privy to a whole universe of romance. Amarus lovers inhabit a non-descript space, so that our attention is entirely on them and not on the surroundings. Amarus lovers are driven by desire, devoid of guilt, finding their fulfilment in a passionate embrace or a loving gaze. Using traditional Prakrit romantic idioms Amaru prepares us for the feast both for the eyes and the ears that is to follow, for the muktakas of Amaru create an emotionally charged world, where every nuance of romantic love is explored, where the pangs and pleasures, pathos and poignancy, of amorous dalliances are sensitively portrayed, where neither the restraint of dharma nor the restriction of samsara is allowed to interfere with a glorious celebration of love. Whatever its origins, for 1,300 years this work has retained its reputation in India as one of the foundational collections of poetry. Poets and critics still use its verses as a template against which to consider other poems. Such was the impact of Amarushataka, especially in Malwa of the seventeenth century, that it was transformed into miniature paintings in the evocative Malwa style. The one room chamber with strong monochromatic colours and robust figures marks the painting. The book also traces the history of Malwa painting. An interesting side light of the book is an attempt to demonstrate that the verses of Amaru were also perhaps responsible for amorous sculptures in Khajuraho and other temples. The book is richly illustrated, has the verses of Amaru in Sanskrit and English and is a source book of Shringara Rasa for scholars and students alike.
The book documents Indias rich tradition of ornamentation as reflected in its numerous and varied collection of amulets and pendants recovered from archaeological excavations in Maharashtra. It examines the different types of amulets and pendants excavated, techniques used in making them, and their parallels in literary and sculptural representations.
The book documents Indias rich tradition of ornamentation as reflected in its numerous and varied collection of amulets and pendants recovered from archaeological excavations in Maharashtra. It studies the significance of these ornaments as a visible expression of the artistic excellence and cultural wealth of the ancient Indian civilisation particularly at the time of the great Mauryan and Satvahana dynasties. Discussing the evolution of these portable charms against their socio-economic and religious background, the authoress examines the different types of amulets and pendants excavated, the techniques used in making them, their parallels in literary and sculptural representations, and Buddhist influence on them. Giving insights into the sources of raw materials used in these charms, she takes up in detail the trade relations of a specific site with other contemporary sites. With a number of figures and maps, the work promises to be useful to both scholars and students of Indology focussing on facets of Indian culture.
The scholarly work throws light on the artistic, aesthetic, literary and philosophical aspects of the Ardhanarisvara form of Siva. Providing a conceptual and historical background of the doctrines relating to Siva and Sakti worship it involves an iconographical study of the Ardhanarisvara image.
The scholarly work throws light on the artistic, aesthetic, literary and philosophical aspects of the Ardhanarishvara form of Shiva the form which is a divine expression of the amalgamation of the male and the female and is said to contain the whole world in it. Providing a conceptual and historical back-ground of the doctrines relating to Shiva and Shakti worship it involves an iconographical study of the Ardhanarishvara image, with the focus on its dress, ornaments, coiffure, posture and other features. With many visuals of the Ardhanarishvara images even the unpublished ones, it describes the images found in different parts of India and discusses the emergence of the deity relying on literary sources and theories. Explaining how the idea and actual representation of the unity of Shiva and Shakti came to acquire supreme importance with the growth of sects each worshipping the deity in its own form, Dr. Yadav points out that the Ardhanarishvara aspect is basically the output of the Tantra philosophy. Providing maps and line-drawings and a list of the places that have yielded Ardhanarishvara images, she makes an interesting and indepth analysis, based on extensive field-work, to come up with some brilliant and new explanations of the meaning and implications of the Ardhanarishvara.
The book begins with an introduction on the prehistoric and proto-historic cultures of India and discusses human evolution as gathered from hominid fossil remains. It also examines the nature of cultural relics belonging to each period and dynastic rule; agriculture, trade, settlement and migration patterns related to making, use and spread of art materials; and social and religious aspects of society that are revealed by the art and architecture of the periods.
The book begins with an introduction on the prehistoric and proto-historic cultures of India. Well-known historians discuss human evolution as gathered from hominid fossil remains, pre-human hominid remains of the Siwaliks and fossil remains of the Narmada basin. The systematic study, mentioning the areas of finds and their geography and other characteristics, examines the nature of cultural relics belonging to each period and dynastic rule; agriculture, trade, settlement and migration patterns related to making, use and spread of art materials; how the finds reflect upon rise of craft and industrial centers at the time; and social and religious aspects of society that are revealed by the art and architecture of the periods. Importantly, it reveals the interchange of cultural thoughts and lifestyles and of art and architectural influences; and the synthesis of artistic style and materials as evident in especially the periods of Muslim rule in India. The book also features fossil finds, art and architectural materials pertaining to painting, pottery, sculpture and iconography, and literary materials like Persian documents housed in the Indraprastha Museum of Art and Archaeology, New Delhi. The materials date from the stone ages, Indus-Saraswati Civilization and Chalcolithic period to what are commonly identified as the ancient medieval and modern periods of Indian history. The volume will be useful to scholars and students of various disciplines history, archeology, art and culture, and sociology.
“An assemblage of twenty-six scholarly essays: in honour of Dr Kapila Vatsyayan, the book attempts to conjure up the integral vision of art — exploring, as it does, the underlying unity of different disciplines. Written by distinguished Indian and foreign scholars: artists, art historians, archaeologists, anthropologists, scientists, philosophers and litterateurs, who have shared or subscribed to Dr Vatsyayan’s holistic vision of arts, these essays look for the linkages that have existed within the arts, between the arts, and across the cultures — focusing, contextually, on the form, the content, and the vision of art in terms of time and space. With at once stimulating alternative viewpoints available to humankind today, the authors consider space, time and consciousness as they are related to, and expressed in, metaphor, symbol and creative process. Together with cross-cultural comparisons of art, the book also explores the future of man as an artist. Art: The Integral Vision, besides the Editors’ Introduction giving an overview on the presentations, is blessed by His Holiness the Dalai Lama’s personal message. A foremost authority on Indian art and culture, Dr Kapila Vatsyayan is well-known to all serious scholars of art history, religion, philosophy and cosmology. A prolific author and recipient of several honours, including the prestigious Padma Shree (1990) and Padma Vibhushan (2011), she has convincingly spelt out the unifying principles of cultural plurality and the interdependence and interrelatedness of creative arts. This holistic vision — unmistakably manifest in her writings — has come to finest fruition in her setting up (in 1985) the Indira Gandhi National Centre for the Arts (IGNCA), New Delhi. This is a fascinating book for wide-ranging specialists and students interested in the mathematical, geometrical, metaphysical, astrophysical, cosmological, philosophical, psychological, historical, mythological and metaphorical understanding of art, especially the Indian art.”
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