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The sheer wealth and dizzying diversity of Indian sculpture are celebrated in this second volume of the catalogue raisonne of the Los Angeles County Museum's collection. Nearly two hundred sculptures produced during eleven centuries are described. Of these, one-quarter of the pieces are part of the Nasli and Alice Heeramaneck Collection, while the remaining three-quarters have been acquired since 1970. This splendid collection, while not representing all the major styles of sculpture that flourished on the Indian subcontinent from 700-1900, is certainly one of the most comprehensive among American and European museums. Included are stone, metal, ivory, and wood sculptures from fourteen states and territories of India and from Pakistan and Afghanistan. Organized by regions--Central and Western, Eastern, and Southern India, and the Northwest--the catalogue contains detailed descriptions and illustrations of the 188 sculptures, many with details or multiple views, for a total of 259 illustrations--251 in duotone and halftone and 8 in color.
The relationship between medieval animal symbolism and the iconography of animals in the Renaissance has scarcely been studied. Filling a gap in this significant field of Renaissance culture, in general, and its art, in particular, this book demonstrates the continuity and tenacity of medieval animal interpretations and symbolism, disguised under the veil of genre, religious or mythological narrative and scientific naturalism. An extensive introduction, dealing with relevant medieval and early Renaissance sources, is followed by a series of case studies that illustrate ways in which Renaissance artists revived conventional animal imagery in unprecedented contexts, investing them with new meanings, on a social, political, ethical, religious or psychological level, often by applying exegetical methodology in creating multiple semantic and iconographic levels.Brill's Studies on Art, Art History, and Intellectual History, vol. 2
This Monograph, First Of Its Kind, Surveys The Female Sculptures Created By Indian Artists Through Centuries, From An Ancient Era Of Indus Valley Civilization To Medieval Times. Archaeological Data Is Interpretd In The Light Of Literary And Cultural Traditions Of India. Various Images The Sculptors Conceived Of Her As Mother Doddess, Yakshi, Devangana And Surasundari, Lover Par Excellemce, One As Fond Of Wine , Dance And Musaic, Shrinagara Nayika, Paragon Of Beauty And Inerllect And Also Embodiment Of Forces Of Death And Destruction, And Made Into Sculptures, Are Described Here In Very Lucid Language, To Give The Readers An Insight Into Indian Art.
Since antiquity, big mammals have inspired fear as well as fantasy among humans. Not only do megafauna pervade the domains of religion, art, literature, and folklore, it is also now widely acknowledged that they can serve as important, if not always adequate, indices of environmental quality. In this book, Shibani Bose looks into eras bygone in order to chronicle the journeys of three mega mammals, the rhinoceros, elephant, and tiger, across millennia in early north India. Carefully sifting through archaeological evidence and literary records in Sanskrit, Pali, Prakrit, and classical Western accounts, Bose documents the presence of these big mammals in diverse cultural contexts, from hunter-gatherer societies to the first urban civilization of India and beyond. This work aims to reconstruct human interactions with these mega species through time while trying to understand the larger ecology of ancient India. This book is especially well-timed as the conservation of our megafaunal heritage is a major concern for biologists, ecologists, and conservationists. It underlines the need to historicize human interactions with these mega mammals with the contention that awareness regarding their past is critical for their future.