Later Mural Traditions
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Ramson's Theory on Sexuality, Aggression
Ramson’s theory on Sexuality, Aggression, Religion and Personality. Dr. Variankaval Ramasamy Annadurai , MD; DPM; Consultant Psychiatrist, Mercy Hospital, Thillai nagar, Trichy, 620018, Tamilnadu, South India. 2 This book is dedicated to my father – Variankaval K. Ramasamy – Who infused me the idea of ‘thinking for the society’ into my personality sphere from early childhood. 3 S.No Contents 1. Sexulaity 1.1 Development of psycho social sexual identity 6 1.2 The ololuge 15 1.3 Deviation in the development of psychosexual identity 22 1.4 Sexual dysfunctions and aberration 26 1.5 Therapy 34 1.6 Incest 36 1.7 Initiation into sexual relationships. 41 1.8 Masturbation and castration. 43 1.9 The quest for the original father. 47 1.10 Human sacrifice / animal [ritual] sacrifice and symbolic sacrifice. 50 1.11 Oedipal anxiety of the father. 53 1.12 Anxiety 58 1.13 Origin of aggression 58 1.14 Castration as a playful activity. 60 1.15 Prescription symbol of doctors. 62 1.16 Acquisition and control of fire. 63 1.17 Personality and sexual behavior 67 1.18 Psychopathology. 70 1.19 The relationship between hysteria and epilepsy. 73 1.20 Relationship between culture and sexuality. 75 2 Origin of religion 2.1 Origin of religion 90 4 2.2 Fertility gods of ancient Tamil religion 94 2.3 Politics of castration – Part 1 97 2.4 Politics of castration – Part 2 104 2.5 Sacred fir pit. 106 2.6 Medical emblem and snake symbolism. 109 2.7 Moses. 117 2.8 Lord Iyappan. 118 2.9 Pilaiyaar 120 2.10 Murugan 122 2.11 Maha Baratham 125 2.12 Kaathuthu Karuppu 128 3. -
South-Indian Images of Gods and Goddesses
ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh. -
National Museum, New Delhi
TREASURES The National Culture Fund (NCF) was The Treasures series brings to you objects of great aesthetic quality and National Museum This volume highlights the treasures of established by the Ministry of Culture in historic significance from collections of major Indian museums. Each the National Museum—New Delhi. 1996 and is a Trust under the Charitable book has an introduction to the particular museum, set in broad thematic NEW DELHI The museum has over 2,10,000 works Endowments Act of 1890. It is governed sections. Several significant treasures have been selected and presented of art representing 5,000 years of Indian by a Council with the Hon’ble Minister with an introduction by the Director and staff of the museum. art and craftsmanship. The collection for Culture as its chairperson and includes sculptures in stone, bronze, managed by an Executive Committee This Treasures series is an initiative of the Ministry of Culture, terracotta and wood, miniature paintings chaired by the Secretary, Ministry of Government of India, in collaboration with major Indian museums, and manuscripts, coins, arms and armour, Culture, Government of India. and the National Culture Fund (NCF) has been entrusted with the Museum National jewellery and anthropological objects. Antiquities from Central Asia and pre- The primary mandate of the NCF responsibility for its production. Columbian artefacts form the two non- is to nurture Public Private Partnerships Indian collections in the museum. The (PPP), to mobilise resources from The aim of the Treasures series is to create a lasting interest in Indian museum is the custodian of this treasure the public and private sector for the art and inspire more visitors to enjoy the wonders of India’s great trove of our multilayered history and restoration, conservation, protection cultural legacy. -
Kamasundari Shrine ACSAA Slide
Ptg India 101 Sc India 111 Ptg India 121 Arc India 142 Chibadaram 17th C Gangaikondacholapuram Hampi-Vijayanagar Sc India 132 Madurai,C.12thC&Later Sri Nataraja Temple Brihadesvara Temple Virupaksha Temple Kumbakonam C.9th C Minakshi-Sundaresvara Nagesvaraswami Temple Ceiling Mandapa Siva- Sarasvati, C.1030 Mandapa Ceiling,15thC Temp--Pudu Mandapam Kamasundari Shrine Wall Lft Nth Entrance Shiva as Tripurantaka South Wall Of Sanctum Monolithic Pillar ACSAA Slide (c) AAAUM ACSAA Slide (c)AAAUM ACSAA Slide (c)AAAUM Female Fig <Apsaras?> 17th C. (c)AAAUM ACSAA Slide (c)AAAUM Ptg India 102 Arc India 112 Arc India 122 Sc India 143 Chibadaram 17th C Hampi-Vijayanagar Hampi-Vijayanagar Ptg India 133 Madurai,C.12thC&Later Sri Nataraja Temple Vitthala Temple 16thC Council Hall, 16thC Lepakshi 16th C Minakshi-Sundaresvara Virabhadraswami Temp. Shiva(Bhikashatana) & View Of Gopuram ACSAA Slide (c)AAAUM Temp--Pudu Mandapam Rishi's Wives ACSAA Slide (c)AAAUM Ceiling Rangamandapa Tirumalai Nayak&Wives Detail 101 (c) AAAUM Arc India 123 Maids Attend Parvati 17th C. (c)AAAUM Arc India 113 Hampi-Vijayanagar ACSAA Slide (c)AAAUM Ptg India 103 Hampi-Vijayanagar Elephant Stables Ptg India 144 Chibadaram 17th C Vitthala Temple 16thC Ptg India 134 Madurai,C.12thC&Later Sri Nataraja Temple 16th C Lepakshi 16th C Minakshi-Sundaresvara Mandapa ACSAA Slide (c)AAAUM Virabhadraswami Temp. Rishi's Wives ACSAA Slide (c)AAAUM Temp, Shiva Lilas Detail Of 101 Arc India 124 Maids Attend Parvati Painting On Wood ACSAA Slide (c) AAAUM Arc India 114 Kanchipuram C.725 Detail Of 133 19th C. (c)AAAUM Hampi-Vijayanagar Kailasanatha Temple ACSAA Slide (c)AAAUM Ptg India 104 Vitthala Temple 16thC Ptg India 145 Chibadaram 17th C View From SE Ptg India 135 Madurai,C.12thC&Later Sri Nataraja Temple Mandapa Pillars ACSAA Slide (c)AAAUM Lepakshi 16th C Minakshi-Sundaresvara ACSAA Slide (c)AAAUM Virabhadraswami Temp. -
Elements of Hindu Iconography
6 » 1 m ELEMENTS OF HINDU ICONOGRAPHY. ELEMENTS OF HINDU ICONOGRAPHY BY T. A. GOPINATHA RAO. M.A., SUPERINTENDENT OF ARCHiEOLOGY, TRAVANCORE STATE. Vol. II—Part II. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 Ail Rights Reserved. i'. f r / rC'-Co, HiSTor ir.iL medical PRINTED AT THE LAW PRINTING HOUSE MOUNT ROAD, MADRAS. MISCELLANEOUS ASPECTS OF SIVA Sadasivamurti and Mahasada- sivamurti, Panchabrahmas or Isanadayah, Mahesamurti, Eka- dasa Rudras, Vidyesvaras, Mur- tyashtaka and Local Legends and Images based upon Mahat- myas. : MISCELLANEOUS ASPECTS OF SIVA. (i) sadasTvamueti and mahasadasivamueti. he idea implied in the positing of the two T gods, the Sadasivamurti and the Maha- sadasivamurti contains within it the whole philo- sophy of the Suddha-Saiva school of Saivaism, with- out an adequate understanding of which it is not possible to appreciate why Sadasiva is held in the highest estimation by the Saivas. It is therefore unavoidable to give a very short summary of the philosophical aspect of these two deities as gathered from the Vatulasuddhagama. According to the Saiva-siddhantins there are three tatvas (realities) called Siva, Sadasiva and Mahesa and these are said to be respectively the nishJcald, the saJcald-nishJcald and the saJcaW^^ aspects of god the word kald is often used in philosophy to imply the idea of limbs, members or form ; we have to understand, for instance, the term nishkald to mean (1) Also iukshma, sthula-sukshma and sthula, and tatva, prabhdva and murti. 361 46 HINDU ICONOGEAPHY. has foroa that which do or Imbs ; in other words, an undifferentiated formless entity. -
Aspects of Ancient Indian Art and Architecture
ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE M.A. History Semester - I MAHIS - 101 SHRI VENKATESHWARA UNIVERSITY UTTAR PRADESH-244236 BOARD OF STUDIES Prof (Dr.) P.K.Bharti Vice Chancellor Dr. Rajesh Singh Director Directorate of Distance Education SUBJECT EXPERT Dr. S.K.Bhogal, Professor Dr. Yogeshwar Prasad Sharma, Professor Dr. Uma Mishra, Asst. Professor COURSE CO-ORDINATOR Mr. Shakeel Kausar Dy. Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301 -
Gangadhara: One of the Most Diversified Style in Shiva Statue Le Zhang School of Art, Northwest University, Shannxi, 710127, China
2019 International Conference on Art, Design and Cultural Studies (ADCS 2019) Gangadhara: One of the Most Diversified Style in Shiva Statue Le Zhang School of Art, Northwest University, Shannxi, 710127, China Abstract. This paper discusses the statue of Gangadhara and its background. First, interprets the myth on Gangadhara, then analyzes the statue focusing on the following three main points: The selection and performance of the story, the settings on creating and representing Shiva, and the debates on the two main goddesses in the myth. Through those investigating, atypical and diversified factors on the Shiva statue were found and it help us to understand the statue of India more flexible. Keywords: Shiva; Gangadhara; statue. 1. Introduction In Chinese, Shiva translated into “shīpÓ”. In here, “pÓ” means female, so, lots of Chinese think Shiva is a female god. Actually, “Shiva” means “Auspicious, blissful, gracious and peaceful”[1] in Sanskrit, and he is one of the three major Hindu gods. The stlye of Shiva statue is complicated and diversified. On the face of it, Shiva is acting as countless priesthood which correspondent to abundant of myth. More deeperly, this is based on complicacy of India’s Cast, religion, social and cultural, Also based on the complexity of Hindu itself, like Nehru pointed out: being a religion, the Hindu is vague, unformed, omnifarious, so everyone can understand it from his own point of view[2]. As one style of the varied statue on Shiva, Gangadhara is not wildly known, but the differentiation in settings and variation in details are very diversified and interesting. 2. -
ELEMENTS of HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All Books Are Subject to Recall After Two Weeks Olin/Kroch Library DATE DUE Cornell University Library
' ^'•' .'': mMMMMMM^M^-.:^':^' ;'''}',l.;0^l!v."';'.V:'i.\~':;' ' ASIA LIBRARY ANNEX 2 ELEMENTS OF HINDU ICONOGRAPHY CORNELL UNIVERSITY LIBRARY All books are subject to recall after two weeks Olin/Kroch Library DATE DUE Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924071128841 ELEMENTS OF HINDU ICONOGRAPHY. CORNELL UNIVERSITY LIBRARY 3 1924 071 28 841 ELEMENTS OF HINDU ICONOGRAPHY BY T. A.^GOPINATHA RAO. M.A. SUPERINTENDENT OF ARCHEOLOGY, TRAVANCORE STATE. Vol. II—Part I. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 All Rights Reserved. KC- /\t^iS33 PRINTED AT THE LAW PRINTING HOUSE, MOUNT ROAD, MADRAS. DEDICATED WITH KIND PERMISSION To HIS HIGHNESS SIR RAMAVARMA. Sri Padmanabhadasa, Vanchipala, Kulasekhara Kiritapati, Manney Sultan Maharaja Raja Ramaraja Bahadur, Shatnsher Jang, G.C.S.I., G.C.I. E., MAHARAJA OF TRAVANCORE, Member of the Royal Asiatic Society, London, Fellow of the Geographical Society, London, Fellow of the Madras University, Officer de L' Instruction Publique. By HIS HIGHNESSS HUMBLE SERVANT THE AUTHOR. PEEFACE. In bringing out the Second Volume of the Elements of Hindu Iconography, the author earnestly trusts that it will meet with the same favourable reception that was uniformly accorded to the first volume both by savants and the Press, for which he begs to take this opportunity of ten- dering his heart-felt thanks. No pains have of course been spared to make the present publication as informing and interesting as is possible in the case of the abstruse subject of Iconography. -
Utsava+Libro.Pdf
UTSAVA Festividades hindúes: tradición, significado, y cómo celebrarlas. Por Hari Dasa Página 1 de 216 © KrishnaKali Yoga Ashram. Este libro puede ser compartido o difundido gratuitamente, citando su fuente, pero nunca vendido. Página 2 de 216 Índice: Dedicatoria (Samarpanam) 5 Sivananda Upadesham 6 Introducción 7 Parte I: Calendario Hindú y astrología 10 El tiempo en el Hinduismo 11 Meses y estaciones 17 Parte II: Festividades 19 Varsha Pratipada-Ugadi-Gudhi Padwa 20 Vasanta Navaratri 23 Sri Rama Navami 27 Hanuman Jayanti 33 Akshaya Tritiya 37 Ganga Saptami 40 Sita Navami 42 Narasimha Chaturdashi 44 Vaisakhi 48 Shani Jayanti 51 Ganga Dasahara 53 Ratha Yatra 55 Sri Guru Purnima 59 Varalakshmi Vratam 63 Gayatri Jayanti-Yajur Upakarma 66 Raksha Bandhan 69 Sri Krishna Janmashtami 73 Sri Ganesha Chaturthi 79 Radhastami 85 Vamana Dvadashi 87 Pitru Paksha 90 Vishvakarma Puja 94 Sharada Navaratri 96 Vijaya Dashami 101 Diwali 103 Página 3 de 216 Kartika Purnima 109 Tulasi Vivaha 111 Kala Bhairava Ashtami 114 Vivaha Panchami 116 Srimad Bhagavad Gita Jayanti 118 Dattatreya Jayanti 122 Makara Sankranti-Pongal 124 Vasanta Panchami-Saraswati Puja 126 Maha Shivaratri 129 Holi 137 Aniversarios de Acharyas 141 Ekadashi y Pradosha 143 Parte III: Kirtans y rituales 145 Kirtan 146 Kirtans para el Señor Ganesha 148 Kirtans para el Señor Vishnu, Rama y Krishna 149 Kirtan Para Sri Hanuman 152 Otros Kirtans de Sri Hanuman 157 Kirtans para el Señor Shiva y Karttikeya 158 Kirtan para la Devi 163 Oraciones universales 165 Cómo hacer una Puja 166 Cómo hacer un -
Sources of Ancient Indian Iconography: - Vedas Are the Primary Sources of All Ideology of the Indian Culture
Sources of Ancient Indian Iconography: - Vedas are the primary sources of all ideology of the Indian culture. Various forms of various deities have been praised in the Vedas, icons or idols have mentioned in the various eulogies of Vedas. Many deities were conceived in Indian religions. Different sect of Brahmin religion such as Shaivite, Vaishnavism, Shakt, and solar belong to Siva, Vishnu, Shakti and Sun deities respectively. Similarly, Jain and Buddhism are related to Tirthankaras and Buddha respectively. The Brahmin literature: - The early literature of various religions gives a description of the imagination, origin and development of various deities. Various stories, events and different themes related to the deities are found in the early religious literatures such as Vedic texts, Puranas and later Vedic literature. In the Rigveda, Yajurveda, Atharvaveda, Taittariya Samhita, Shatapatha Brahmana, Aitreya Brahmana, Ramayan, Mahabharat, Vayu Purana, Vishnu Purana, Shiva Purana, Markandeya Purana, Matsya Purana, Linga Purana, Harivansh Purana, Padma Purana, Brahma Purana, Devi Bhagavata Purana and Garuna Purana has described the character and nature of Gods and Goddesses, their stories, Armaments, hobbies and interrelations etc. In all the Puranas, the ten chapters of the ancient Matsya Purana described the shape and size of the idols. In this Purana, the details related to the Shivalinga and the human idols of Shiva are presented prominently. The sixteen chapter of Agni Purana describe iconography. In addition to the Saiva and Vaishnav idols in this Purana Devi (Goddess) and sun idols have been discussed. The Vishnu Dharmottar Purana is particularly notable in this context, it has a more detailed description than others Purana. -
Some Notes on Indian Artistic Anatomy
FINE NC 76(1 .T12 1914a SOME NOTES ON INDIAN ARTISTIC ANATOMY by Abanindranath Tagor \ \ \J The following notes were prepared by Mr. A. N. Tagore and illustrated by his pitpils -Mr. Naiida Lai Bose & Mr. Yenkatappa for the purpose of ariswering certain criticisms against the many unreal forms and conventions which have been adopted by Indian masters in sculpture and painting and which now constitute the basis of Indian artistic anatom3\ Much that is offered in these notes are tentative and scrappy and await confirmation by actual texts of the Silpa Shastras the interpretation of which still remains difficult a task. For various reasons Indian sculpture demands a treat- ment of the figure more direct^ removed from nature than ancient Greek sculpture. The conscious aim of Indian art has been the suggestion and pourtrayal of the Divine and the Transcendental. In its greatest manifestations, Indian Art carries withit a sense of "Being bej^ond appearances, "of a super- sensuous world of mystr3' and exaltation. Such a world could hardly be represented in terms of a physicallj'- perfect health^' human body. It could only be symbolised in ideal types and by forms not strictly in accordance v/ith known ph\-sioicgical laws but by forms which transcend&^the limits of the ordinary' human body. The Indian Artist was thus called upon to devise certain' artistic conventions and a special system of anatomj- suggestive of a higher and superior ethnical type for the pur- pose of intimating something beyond the foru! of things. It was by means of these departures and variations from "natural poses" that the non-human form could possibly be rendered in ." terms of the human shape. -
A Buddhist Image from Karitunan Site, Calatagan, Batangas Province
A BUDDHJST IMAGE FROM KARITUNAN SITE, BATANGAS PROVINCE by JUAN R. FRANCISCO (With Four Plates) A RECENT VERY SIGNIFICANT DISCOVERY IN PHILIPPINE ARCHAEOLOGY is a clay medallion with an image in bas relief. It was excavated from a test square in a habitation area of Karitunan site, municipality of Cala tagan, Batangas. The test excavation ran to a depth of 60 centimeters through midden material. The discovery was made in Summer, 1961. The site had been dated, together with at least 20 sites dotting the shore line of Calatagan, in the late 14th and early 15th centuries A.D. Associated with this medallion are an appreciable number of native earthenwares and trade porcelains. The porcelain (and stoneware) are a mixture of Chinese (early Ming and some older heirloom pieces), Siamese (Sawankhalok) and Annamese provenance. The medallion is semi-oblong in form, measuring 2.6 inches in height, and 1.9 inches in width. Compared with the native pottery excavated in the same site, Karitunan, the clay used in the manufacture of the me dallion appears to show characteristics of the clay used in this native pot tery. While a comparison has also been made with the broken Sawan khalok and Annamese pottery, the clay of the medallion showed less or no affinity with that of the Siamese and Annamese ware material. It may be postulated that the medallion is of local manufacture. Judging from the unfinished appearance of the reverse side of the object, it may have been fired before the image was given its finishing touches, if its appearance, per se, were considered as a criterion.