Krishna Bandish Mala...
Krishna Bandish Mala
by: Harsha V. Dehejia , Vijay SharmaKrishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make bandish come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of the Ragamala paintings. It makes a sahridaya travel to the supreme realms of Krishna shringara, elating him to the experience of poetry, art and bhakti.
Original price was: ₹800.00.₹720.00Current price is: ₹720.00.
ISBN: 9788124608555
Year Of Publication: 2016
Edition: 1st Edition
Pages : 167p.
Language : English
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 23
Weight: 600
Krishna shringara is a perennial legacy from the dasham skandha of the Bhagavata Purana, where the romance of Krishna in terms of his lilas and kridas is presented, to the tracks of Jayadeva, Narsinh Mehta, Vallabhacharya, the ashtachhaap kavis of Haveli Sangeet, Chaitanya, Bengal Vaishnava tradition, and the glorious period of Ritikavya. All these poetic streams flow into the river of khayal tradition, which in turn has significantly influenced the growth of khayal bandishes.
Krishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make the bandishes come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of Ragamala paintings. Khayal bandish travelled orally across centuries from village to temple and palace to proscenium.
The paintings make a sahridaya travel to the supreme realms of Krishna shringara, which ends in shringara bhakti.
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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.
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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.
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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.
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These essays, originally presented at an international conference, are in the forefront of the modern response to an ancient work that has gained a new critical and social relevance in contemporary scholarship. Approaching the Ramayana from several angles in an attempt to understand its aesthetic and ideological meaning, they examine the epic through the perspectives of textual criticism, art, architecture and film. Thereby they address critical issues such as the seminal status of Valmiki, the underlying problem of canonicity itself, the importance of other — so-called derivative — Ramayanas, the implications of gender representation, and the cultural manipulation of social ideals relating to the position of women and the idealisation of love that achieves its highest value in marriage. Using the methods of rigorous textual and historical investigation, each essay seeks not only to uncover the layers of meaning in the complex structure of the epic in its varied forms but also to situate it critically in the cultures of South and Southeast Asia.
- Sale!Buddhist Art of Kausambi Original price was: ₹2,500.00.₹2,250.00Current price is: ₹2,250.00.
The Upanishads capture the quintessence of Indian spiritual wisdom unfolding deepest, highly perceptive reflections on human existence and how it is related to the mysterious cosmos. Authored by enlightened seers over the period of 1500-200 bc., the Upanishadic message is a magnificent vision that raises human consciousness to sublime heights. One of the major centres of Buddhist art in ancient times, Kausambi provides evidence of an uninterrupted art tradition spanning centuries. Pointing to the scant attention Kausambi has received from scholars in the past, this work attempts to highlight its art treasures through a study of its stone sculptures. Based on scrutiny of stone sculptures found at various sites in Kausambi and its vicinity and housed in different museums, it presents perhaps the first extensive documentation of the Buddhist art of the region from the Mauryan to post-Gupta period. It examines in detail over 300 stone sculptures, paying special attention to their iconographic features, types of stone, techniques of carving, grinding and polishing and their aesthetic appeal. All this comes with a background throwing light on the history of Kausambi and its association with Buddhism, the early archaeological explorations in the region, and the individuality and uniqueness of Kausambi art as compared to Mathura and Sarnath schools. The book presents over 225 black-and-white and over 50 coloured photographs of Buddhist sculptures which are neatly classified and systematically analysed. It would prove invaluable to scholars and students of Buddhist art.
