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Millions of foreign and Indian tourists and pilgrims visit the thousands of shrines that testify to India's great cultural and religious heritage. For many of them the local priest or their own childhood reading of the Indrajal comics are the only aids to understand and interiorise the message of the 'stones'. For them and for others this book has been written as an introduction to the mythological and religious background of the gods worshipped in temples and carved in beautiful statues. It also gives a detailed description of the numerous episodes depicted on the walls and inside the shrines. A journey through south India is definitely an aesthetic experience. It becomes a religious experience if the visitor can enter into the mind of the sculptors and devotees who gave the best of their lives to construct and decorate the temples. Their efforts were inspired mainly by devotion, even if some of them belonged to travelling guilds who were responsible for the great similarity in the immense variety of sculptures. With this in mind, the visitor knows he walks on sacred ground, centuries old, when he enters a temple or climbs the Shravana Belgola hill to have darshan of Shree Gomateshvara. At the same time she or he may like to know why Ganeshji has the head of an elephant or why Snake-gods are so abundantly present on the walls of temples, along with erotic scenes and images of Shiva in so many different forms. And what stories of the mythological past are told to explain why Shiva is also worshipped in the form of a Lingam? Finally, God in ancient India was not only worshipped as a man, but also as a woman. All that appears' if one looks attentively at the living stones. A fascinating reading for all those interested in the history of and cultural tourism in India.
Discusses the general characteristics of the temples in north india tracing their origrn and evolution of the various temple styles in this region. Supplemented with photographs.
The Kakatiya kings had ruled the Telugu speaking regions from Warangal as their capital during the period from 1000AD to 1323 AD. During the rule of Ganapathi Deva (1199-1262 AD), Rudrama Devi (1262-1289) and Prathapa Rudra (1289-1323AD), theKakatiya Kingdom emerged as a powerful state and there was all-round development. The rulers and their subordinates had constructed several large irrigational tanks and promoted agriculture. The tanks are still existing in and around Warangal region and providing water to the people for drinking and also for agriculture. There was a brisk internal and foreign trade which led to economic development in the kingdom. The writings of the foreign travellers like Marco Polo (Venice, Italy) are testimony to the prosperity and glory of the Kakatiya Kingdom. The Kakatiya Rulers had patronised scholars and artists and promoted literature and fine arts like music, dance, sculpture art and architecture. Vidyanada, the court poet of PratapaRudra had written Prataparudrayeshobushanam in Sanskrit language. VinukondaVallbamatya had written Kreedabhiramamin Telugu, Palkuriki Somanadha had written Panditaradya Charitra, Kolanuganapathi Deva had written Shivayoga Saramu, Kakatiya Rudra Deva had written Neetisaramu, Baddena’s Neetisara Mukthavali , Jayapa Senani’s Nritya Ratnavali in Sanskrit are very popular writings. The Kakatiya Rulers had constructed several temples and forts etc. The Warangal fort is very famous for its strength, art and architecture during the medieval times. The Temples of Palampeta, Jakaram, Ramanujapuram, Pillalamarri, Nagulapadu, Kusumanchi and several other places are known for their beautiful art, architecture and sculpture. The Ramappa Temple, Thousand Pillar Temple, Swayambhu Temple, Ganapeswara Temple of Kusumanchi, Ghanapur group of Temples of Mulugu region are well known. The sculpture art and architecture of these temples reflect the life and culture, art, crafts, costumes, sports, music and dance forms of their times and are inspiring the present generation. There are several aspects of Bio-Diversity reflected on the temple walls. There are several figures of lions, elephants, wild boars, cow and calf, swans, lotus flowers, creepers, snakes, birds, human figures both male and female etc, on the walls and pillars of the temple complex. They reflect the Bio- Diversity of those times and also the relation of man with the nature. This book is based on my research work under the Ph.D programme. I have undertaken field work and visited all the temples built by the Kakatiyas in the Telangana region. As part of the study, I consulted several Archaeologists, Historians, Writers, who worked on the Kakatiya Temples and Culture. I have also interacted with the local people, who have been living in the surroundings of the temples. I have also collected necessary data from various libraries like Kakatiya University Library, Central Library in Warangal and also Osmania University Library, Abzal Gunz Library, City Library, Srikrishna Devaraya Andhra Bhasha Nilayam, Hyderabad. I would like to acknowledge my debt to my parents Smt. Prameela and Sri Sambaiah (late), who have brought me up to this stage with utmost care and love. I wish to express my gratitude to my Teacher and Research Supervisor Prof. Kokkonda Vijaya Babu, who guided and supported me in bringing out this book. I also thank Smt. Chandra Kala Vijaya Babu and their children, Srimukhi,Karthik and Sai Maduri, Raj Kumar for their encouragement during the course of my research. I am grateful to the Faculty Members of the Department of History, Kakatiya University, Prof. S. Srinath, Prof. T. Manohar, Dr. P. Sadanandam, Dr. T. Dayakar Rao and Dr. M. Brahmaiah for their support and encouragement. I would like to express my appreciation to my wife Palnati Mamatha, who has supported me during the research work. On this occasion, I would like to convey my blessings to my daughter, Adhvaitha who also supported me. I am thankful to my aunt and uncle Smt. Radha Rajashekar for their encouragement. I also thank my relatives, Dr. Naveen and Sushmita, Akkapelli Srinivas and Rama, Dr. G. Jaya Prakash Narayana and Kavitha, for their encouragement. I am thankful to my well-wishers and friends, who helped me in the field work and visited the temples along with me during the collection of data. They are Akula Sambaiah, Akula Ramakrishna, M. Purnender, Dr. K. Veeranna, Dr. V. Nagaraju, Dr. K. Kumaraswamy, Dr. Abhinesh, Mr. Alladi Yadagiri, Anilkumar Ettaboina and Naredla Narayana. I also thank Dr. G. Tirupati, Dr. A. Hari Babu, Dr. B. Sumalatha, B. Jyoti. Dr. Suryakiran for their support.
This book begins by giving a brief review of temple studies inIndiaand in Andhra Pradesh and in particular the significance of Srisailam prakara aswell as literacy importance are discussed in detail. The patronage byvarious dynastic rulers leading to the physical growth of Srisailam templecomplex, the prevalence of various Saivite sects are presented on the basis ofarchaeological and literary sources from Telugu and Sanskrit. The materialculture identified in the sculptures generally comprising architecture, costumes, ornaments, hair styles, head dresses, household objects, etc. are described in detail with linedrawings.
The place of Krishna in Indian Art has remained obscured for many years until a parallelism was made by J. Kennedy in the years 1913-17 in the Journal of the Royal Asiatic Society, in which the similarly of Krishna and Christ was suggested. However, this book explodes that theory and expounds the myth of the legendary Krishna and establishes the origin and development of the most important God of the Hindu Pantheon. Thus the iconography and stylistic development of Krishna explodes all the prevalent theories and categorically proves the importance of Krishna in Indian art. The subject of the book is explicity the representation of Krishna in Indian sculpture and painting. However, such an art-historical study has necessitated a good deal of discussion of the legend itself for the sake of understanding the iconography.