-
Parijata Haran...
Parijata Haran
Krishna Steals the Parijata by: Harsha V. DehejiaKrishna Steals the Parijata (Parijataharana) tells the story of Krishna forcibly taking away Parijata from Indra to make Satyabhama happy, which finds expression in the paintings of different kalams Chamba, Palam, Early Kangra, Mature Kangra, Bundi, Bikaner and Nepal from different sources.
₹450.00
ISBN: 9788124608043
Year Of Publication: 2015
Edition: 1st
Pages : 52p.
Language : English
Binding : Paperback
Publisher: D.K. Printworld Pvt. Ltd.
Size: 35
Weight: 420
Krishna Steals the Parijata (Parijataharana) is a collection of a few accounts, edited by Harsha V. Dehejia, on Krishna forcibly taking away Parijata from Indra, which finds expression through the paintings of different kalams. Christopher R. Austin relates this event to the citations and narrations in Mahabharata and Harivamsha, wherein the focus is on Krishnas effort to appease his perturbed wife Satyabhama, by fulfilling her desire to have Parijata from Indras abode. Mahendra Kumar Mishra approaches this incident from Sarala Mahabharata angle. Here the narrative and episode are little different though the centre theme and characters remain the same.
The third narrative is in Hindi by Narmada Prasad Upadyaya. He approaches this story from a different viewpoint that by forcibly taking away the Parijata tree from Indraloka, Krishna broke Indras Himalayan pride. The main characters in the episode are same here too: Krishna, Indra and Satyabhama. In the final article, Harsha V. Dehejia provides a visual narrative account of the event. The story looks almost similar to that of Austin with little more narration and a few additional characters. The sequentially given paintings tell the story faster than the literature.
In a nutshell the book is an exemplar attempt to visually covey a well-known, well-rooted story where Krishna is the central character.
-
Sale!ABIA ₹1,890.00
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.
-
Sale!A Child of Destiny ₹855.00
““This book is an autobiographical essay of a man who rose from a humble beginning in a remote village with one room elementary school to attend the University of Chicago, with its impressive Gothic structures ranked among the best in the world; and to become the Chancellor of a prestigious university in the country. Dr Rao attributes all this to destiny. Destiny in this view constitutes the circumstances in which one is situated; but it is the deftness with which one manoeuvres himself through the maze of circumstances that really matters in the final analysis.
The book is offered as a possible source to inspire the aspiring individual not only to set noble goals but also find possible ways of reaching them. Blessed is the one who moves his way upward without hurting himself or others in the process. This has been the guiding principle of Dr Rao.”
“ -
Sale!Elements of Indian Art ₹1,080.00
The book is a study of the fundamental principles of ancient Indian art and architecture, dealing with essentials of Hindu thinking and practice of art like the Hindu view of Godhead, iconography and iconometry, and symbols and symbolism in Hindu art. Referring to major classical Indian literary works shedding light on art and architecture, it undertakes a survey of Indian art and temple architecture from the 3rd century bc through the medieval period, highlighting the directional changes that marked the history of art, specifically sculpture and painting. It elaborately views the various terms and concepts associated with the field of art and iconography like mudras, asanas, pithas, explaining the nature of Buddhist and Jain deities as well as those of Hindu sects like Saivism, Vaisnavism and Saktism. Pointing out the importance of studying Hindu temple architecture in order to fully appreciate Hindu art which was meant for propagation of dharma, it analyses the basic features of the temple architecture and its regional variants. Tracing the differences in conception and delineation of a Hindu temple, a Muslim mosque and a Christian church, the research focuses particularly on the principles of visualisation of symbols and signs in Hinduism and Christianity. It also reveals how the West has viewed Indian literature and art, exposing the inner contradictions of some European thinkers who while praising literary works of Kalidasa and others condemned the Hindu images. The work contains more than 200 illustrations, half-tone and line drawings, that make the discussion easy to comprehend for a range of readers — scholars, students as well as laymen
-
Sale!Across the South of Asia ₹1,530.00
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. -
Sale!Art, Aesthetics and Philosophy ₹378.00
The savants of the twentieth century have excavated the past to discerningly reveal the present. Swami Vivekananda, Rabindranath Tagore, Sri Aurobindo, Mahatma Gandhi and Ananda Coomaraswamy, among others, interpreted Indian aesthetics, civilization, culture and philosophy unearthing the Indian wisdom against the wrong interpretations and teachings of the Western colonial scholars. This volume, a collection of papers presented at a national seminar on the Philosophy of Ananda Coomaraswamy held in February 2011 at the University of Hyderabad, approaches Coomaraswamys philosophy on Indian aesthetics, life and religion from different perspectives.
The volume brings forth different facets of Coomaraswamy: as a catalyst in spiritualizing Indian arts; his views on modernism and anti-modernism; his efforts in aestheticizing India; his polemics of decolonization through art criticism; his aesthetical philosophy; his perception and understanding on art, culture and Indianness; his metaphysics; and his philosophical approach to visuals and materials from the lens of an art historian. It sketches Coomaraswamys multifaceted persona, enunciating that the crux of modern Indian philosophy is one of vision, rather than building theories.
In a nutshell this book presents the varied reflections on Coomaraswamys personality as a philosopher, art historian, art curator and his strong positioning against the colonial teachings of Western art historians and philosophers on Indias art, civilization and culture, projecting an image of Indianness in every sphere.
