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Illustrations: 148 b/w illustrations Description: S. Settar was Chairman of the Indian Council of Historical Research (1996-9), served as Professor, Department of History and Archaeology (1971-96) and as the Director, Institute of Indian Art History (1978-95), Karnatak University, Dharwad. Among his well-known publications are The Hosyala Temples (2 vols.), Inviting Death, Pursuing Death, Sravana Belgola, Hampi: a Medieval Metropolis, Hoysala Sculptures in the National Museum, Copenhagen. He has edited several volumes of which those relating to the fields of archaeology are: Archaeological Survey of Mysore:P Annual Reports: A Study (3 vols.) and Memorial Stones: A Study of Their Origin, Significance and Variety (in collaboration with G.-D. Sontheimer). Since 1995 he has been collaborating with a team of scholars on the ABIA South and Southeast Asian Art and Archaeology Index project as the chief of Indian section and as the editor for South Asia.
This contextual study of narrative reliefs depicting Hindu epics and puranas on specific South Indian Hoysal a temples provides a detailed exposition of narrative episodes paired with photographs, illustrating and reviewing the stories and exploring techniques of Indian visual narrative.
This volume is a detailed exposition of the visual retellings from the Rāmāyaṇa, Mahābhārata and Bhāgavata Purāṇa on specific South Indian Hoysaḷa temples. The first part of the book deals with the Amṛteśvara temple, particularly its narrative panels depicting the Rāmāyaṇa, Mahābhārata and Bhāgavata Purāṇa. The text is a résumé of episodes paired with photographs which illustrate and review the visual retellings and explore Indian techniques of visual narrative. Corollary material from other Hoysaḷa temples with narrative reliefs, including new sites, is presented in the second part. There are very few published contextual studies of Indian narrative sculptures, and so the book is a contribution to the documentation of Indian medieval art, examining visual narratives within the context of the Hindu temple. The book is illustrated with 150 photographs.
The early Buddhist architectural vocabulary, being the first of its kind, maintained its monopoly for about half a millennium, beginning from the third century BCE. To begin with, it was oral, not written. The Jain, Hindu, and other Indian sectarian builders later developed their vocabulary on this foundation, though not identically. An attempt is made here to understand this vocabulary and the artisans who first made use of it.
Thirty years' research and first-hand knowledge of the area have enabled the author to trace the cultural contacts which have contributed to the rich mosaic of sculpture, temples, mosques, and painting that have gone towards the creation of one of the great civilizations of the world.