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This Work Analyses The Vaisnava Iconography Of Orissa. Vaisnava Iconography Proper Including Hari-Hara And Other Composite Images And Those Of Visnu S Female Consorts; Images Of Visnu In His Avataras; Depiction Of Balarama, Krsna And Jagannatha; And Iconography Of The Secondary Figures Like Garuda And Hanumana.
The Present Book On The Iconography Of The Buddhist Sculpture Of Orissa Utilizes The Author'S Expertise Of Orissan Brahmanical Art To Develop A Similar Consistent And Reliable Iconographic And Stylistic Evolution For The Buddhist Arts Of Orissa And Its Adherence To, Or Deviation From, Surviving Textual Icono-Graphic Peculiarities. There Is Little Doubt That Orissa Played A Major Role In The Creation, Development And Dissemination Of Buddhist Doctrines And Concepts Throughout India And The Buddhist World, Particularly In Respect To Vajrayana Buddhism And The Iconography Of Sculptural Mandalas. Particular Emphasis In This Book Is Placed On The Reciprocal Influence Between Brahmanical And Buddhist Art In Orissa, Both Religions Expanding At The Same Time In Regard To The Proliferation Of Deities And Their Variant Forms, And Each Apparently Competing With The Other For Patronage And Converts.
The author presents a rich and variegated picture of the sakta/ tantra art of Orissa, highlighting the evolving iconography of individual images. He focuses on different forms and depictions of the goddess as Sakti, painstakingly analyzing the architecture of a number of temples and their images.
Contributed articles on the cultural history of the districts of Orissa.
This book examines the practice of poetry in the devotional Vaiṣṇava tradition inspired by Śrī Kṛṣṇa Caitanya (1486-1533), through a detailed study of the Sanskrit poetic works of Kavikarṇapūra, one of the most significant sixteenth-century Caitanya Vaiṣṇava poets and theologians. It places his ideas in the context both of Sanskrit literary theory (by exploring his use of earlier works of Sanskrit criticism) and of Vaiṣṇava theology (by tracing the origins of his theological ideas to earlier Vaiṣṇava teachers, especially his guru Śrīnātha). Both Kavikarṇapūra's poetics as well as the style of his poetry is in many ways at odds with those of his time, particularly with respect to the place of phonetic ornamentation and rasa. Like later early modern theorists, Kavikarṇapūra reaches back to the earliest Sanskrit poeticians whom he attempts to harmonise with the theories current in his time, to develop a new poetics that values both literary ornamentation and the suggestion of emotion through rasa. This book argues that the reasons of and purposes for Kavikarṇapūra's literary innovations are firmly rooted in his unique Vaiṣṇava theology, and exemplifies this through a careful reading of select passages from the Ānanda-vṛndāvana, his poetic retelling of Kṛṣṇa's play in Vṛndāvana.