Showing 111–120 of 147 results
The book employs the multi-disciplinary methodologies of art historical interpretation to contextualise nearly the whole range of Saptamatrka icons within the larger historical evolution of accultured Brahmanical religion, mythology, theology and cultic developments.
The worship of Saptamatrika; the seven Mother Goddesses (or the seven Saktis, the divine feminine powers), is over a millennia and half old, pan-Indian phenomenon. And, over the centuries, the Matrika concept has come to have varied ideational, literary, visual and ritualistic manifestations which not just interconnect the totality of Brahmanical and non-Brahmanical religious traditions, but are integral components of the diverse historical processes of Indian society. A reputed scholar of art history here offers an insightful iconological study of Saptamatrika divinities: the Brahmanical goddesses found invariably as a single collective whole, consisting literally of seven (though sometimes eight or more) female deities, variably accompanied by different forms of Shiva, and Ganesha or Skanda. Employing the multidisciplinary methodo-logies of art historical interpretation, including the recent feminist interventions, Dr. Panikkars inquiry contextualises nearly the whole range of Saptamatrika icons within the larger historical evolution of accultured Brahmanical religion, mythology, theology and concomitant multifarious cultic developments. Also clarifying some of the basic principles of Brahmanical iconic tradition, his study has, for the first time, exceeded the accepted Art Historical procedures by incorporating the questions of class conflict, gender representations and ideology within the iconological discourse and has, thus, advanced the frontiers of Art Historical practice. It is a compelling, painstakingly researched work growing from the authors indepth survey of diverse Saptamatrika sculptures and an astonishing mass of both primary textual sources and research publications of more recent years. And, yet more significantly, it is enlivened with exquisite visual material: comprising nearly 200 photographic reproductions.
The book throws light on the structural, philosophical and scientific perspectives of mandala designs of temples, and explores the relationship between spiritual ideas and the ideas of scientific advancement as exhibited in the mandalas of ancient temples.
Indian temples are a rich repository of the religious, cultural, and artistic life of the society. Of special importance here are the circular, intricate, and artistic patterns called the mandalas, which are placed in the bhuvaneshvari of the temple that is conceived as the microcosmic representation of the cosmos in a temple.
The study of the significance of the mandalas are based on the aspects like symbolism, fractals, numerology, and sacred geometry that are used as codes to reveal the mystery of the universe and the eternal laws that govern the order of the universe. The diagrams of mandalas, concealing vast and grandest knowledge of science and spirituality in an amalgamation, are condensed to simplest graphic designs so that the knowledge of science was accessible to the commoners. The study presents the structural, philosophical and scientific perspectives of some mandalas belonging to the early Calukya, late Calukya and the Hoysala temples of south India. The research work also explores the study of the Golden ratios on which the mandalas and the divine images of the temples are designed.
The book will prove extremely absorbing to scholars concerned with the study of the art and architecture of the ancient divine sculptures.
The world famous Amaravati sculptures and art pieces take the pride of place in India’s best museums today. This volume lists and analyses with photo illustrations the large museum antiquities typologically and chronologically. The book will interest historians, archaeologists and general readers.
The Amaravati sculptures are famous throughout the world for their special features and they form a distinct school of art called Amaravati school of art. Though Amaravati art pieces take the pride of place in Indias best museums, the sculptures in the site museum at Amaravati itself have not been assigned enough significance. This volume lists and analyses the museum antiquities typologically and chronologically. The effort includes all the museum antiquities, including many objects of seemingly minor importance, which are described in detail. Their types and features, provenance, probable period, measurements and accession number, references to them and details of inscriptions relating to them are provided. The catalogue of objects features twenty main headings including the pillars, slabs, pilasters, beads, ceramics and copper plate grants. There are photo illustrations of a large number of antiquities that form the museum collection which have enormous archaeological, epigraphic and iconographic merit. The book will interest historians, archaeologists and general readers keen on knowing about Indian culture and art.
The work it two volumes explores the physical and emotional interaction between Siva and Parvati as represented in sculptural works in the Indian subcontinent and examines a host of images supported by classifications of Siva-Parvati figures in texts like the Saiva Agamas and iconographic studies of the past decades. The images are related not only to religious beliefs but also iconographical.
The work explores the physical and emotional interaction between Shiva and Parvati as represented in sculptural works in the Indian subcontinent. In two volumes, it examines a host of images supported by classifications of Shiva-Parvati figures in texts like the Shaiva âgamas and iconographic studies of the past decades. It surveys an astounding sculptural diversity of Shiva-Parvati icons particularly forms of seated or standing Umasahita-murti, standing Alingana murti and Tantric forms of the deities. The images are related not only to religious beliefs but also iconographical research for instance, linking depiction of figures in certain postures and areas to their places of origin. With numerous charts, it highlights iconographical peculiarities, distribution and popularity, and identifies similarities and differences over periods of time and areas of making. Referring to sculptural collections in museums and private acquisitions, the painstaking research examines the sculptor’s technique of combining aesthetic harmony and beauty with the sacred in ontological symbols as of Umamaheshvara. There is a detailed mythological background concentrating on the individual character of Shiva and Parvati in their mutual relationship; their marriage and conjugal life; explicitly Shaiva motifs where the major concern is with the all-important Lord Shiva; and the physical and emotional interaction of Shiva and Parvati as man and wife. An entire volume is devoted to reproduction of the rich representative sculpture studied through more than 570 black and white photographs and over 160 colour plates. The volumes will prove useful for scholars of Indological art and art connoisseurs as well as general readers.
This book describes the social and economic condition of India as shown in the Company paintings during the British rule. It also sheds light on the techniques adopted by the artists in depicting the various themes in paintings.
The paintings of the eighteenth and nineteenth centuries are recognised as a valuable source for the study of social and economic life during the colonial period. A deep study of the Company paintings of the time is significant because the paintings have carefully observed and recorded the Indian scene in all its aspects, particularly its history and society.
The book discusses the evolution of the Company School of Art, as a result of interactions between traditional Indian paintings and European paintings, and its spread to most of the art centres in India. In a thorough attempt, it deals with its thematic preoccupations and the common features of the paintings: their favourite subjects, especially their depiction of the professions, and the variety of common people they carefully depict. It examines the techniques adopted by the artists: their choice of mediums and colours and their style of depicting the themes. It also takes up the social status of the artists at the time.
The book will fascinate lovers of Indian art and will prove useful to scholars and students especially involved in study of evolution of Indian art and modern art.
The book presents various stages of development of Mathura art from its earliest times and, in the process, gives a valuable account of the archaeological explorations and expeditions in the region since 1836.
It is a treasure document enlightening the various stages of development of Mathura art from its earliest times. Introducing the socio-cultural background from the pre-historic times it furnishes a valuable account of the archaeological explorations and expeditions in the region since the first antiquity saw the light of the day in 1836. Indigenous by birth, the Mathura School of Art flourished on the banks of Yamuna, reached its pinnacle under the Kushana patronage, continued in the Gupta age followed by Medieval times, thus dominating the entire Northern India for more than five centuries leaving behind imprints to be followed by the succeeding art styles. The type of stone and style changed with time and it did get influenced by its contemporary School of Gandhara once, but its exclusiveness remained down the ages. Beside the analytical assessment of the folk art tradition of early terracottas and yaksha cult, Dr. Sharma brings to light for the first time the salient features of the evolution and development of Mathura sculptures on various themes including Jaina, Buddhist and Brahmanical. The book is an uptodate document of new researches, fresh arrivals and latest reorganisation of the Museums galleries. The coloured and black & white illustrations in this book speak of the display of rich Mathura art in the Museum. The Index to the Exhibits will facilitate in spotting the description of a specific object quickly. Important sites have been located on the City and District maps and situation of galleries and ancillary units of the Museum can be found on the Gallery Plan. While the visitors will find the book a very remunerative companion during the Museum round the scholars will equally be benefitted through the prolific research material it reveals.
Srirangam is the foremost of the eight self-manifested shrines (Swayam Vyatka Kshetras) of Lord Vishnu. It is also considered the first and most important of the 108 Divya Desams or sacred places praised in the Tamil hymns of the Azhvars (great devotees of Vishnu). It is the only Vishnu temple to have received the encomiums of the maximum number of Azhvars since eleven of the total number of twelve Azhvars has sung the glory of Ranganathaswami.
The traditional story (Sthala-Purana) of this temple records the origin of this shrine. When Vibhishana carried the Ranga Vimanam given to him by Sri Rama all the way from Ayodhya enrooted to Lanka, he wanted to rest on the banks of River Cauvery in Srirangam. When he started to resume his journey, he found that the Ranga Vimanam had become fixed to the ground as Ranganatha wanted to make Srirangam his home. For the sake of Vibhishana, the Lord faces the southern direction towards Lanka.
The huge temple-complex, covering 156 acres, constructed over many hundreds of years, is an exquisite storehouse of architecture and iconography. The present temple premises has been modified and reconstructed over the centuries of its existence. With twenty-one gopurams, seven prakarams, more than sixty shrines and numerous mandapams, it is the largest living Hindu temple in the world. Many emperors, kings, queens, other members of royalty, officials, army-commanders, religious leaders and people from all walks of life have contributed to this temple. Over the centuries, the Srirangam temple has maintained its pre-eminent position amongst the Vishnu temples of the Tamil country. In fact, for the Tamil Vaishnavites, the Tamil word for temple, 7covir denotes only the Srirangam Ranganathaswami temple. This temple has a unique record of chronicles written in Tamil. It has withstood the onslaughts by invaders during the 14th century The processional image (Utsava-Murti) of this temple worshipped as Azhagiya Manavalan was taken out of the temple for forty-eight long years during this turbulent period when He travelled to various places in South India, including Thirumala, the abode of Sri Venkateshwara.
Surasundaris on the walls of Rani-ki-Vav remind us that sensuality is the doorway to spirituality, that growth and fertility are as important as piety and devotion. The stepwell in Patan is perhaps the most admired structure of its kind and is a testament to the imagination and skill of the sthapati.
Surasundaris on the walls of Rani-ki-Vav remind us that sensuality is the doorway to spirituality, that growth and fertility are as important as piety and devotion, that even before we undertake dhyana of the deity in the sanctum or in different parts of the vav we must saturate our mind with the beautiful so that we can attain the state of serenity and purnatva.
Sensually evocative, beautiful from tresses to the toes, with eyes downcast, surasundaris are an expression of unsurpassed grace. They are a reminder that a woman is the most adorned expression of prakriti, that to indulge in it is to affirm our senses and enrich our mind, but the aesthetic journey does not stop there. The contemplative viewer will see the surasundari as a poem and a song, where every limb and every gesture are the lyrics, the texture of the stone is the rhythm, where metaphor is the key that will unlock the many meanings and suggestions.
The stepwell in Patan is perhaps the most admired structure of its kind and is a testament to the imagination and skill of the sthapati and as we walk through its many-tiered pavilion we almost hear the hushed voices of the queen and her retinue that stayed there away from menacing eyes and sweltering heat. Come, tread softly, as you are entering a hallowed space of beauty.
| There are no products |
