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Sacred Matters explores the lives of material objects in South Asian religions. Spanning a range of traditions including Hinduism, Islam, Jainism, Buddhism, and Christianity, the book demonstrates how sacred items influence and enliven the worlds of religious participants across South Asia and into the diaspora. Contributors examine a variety of objects to describe the ways sacred materials derive and confer meaning and efficacy, emerging from and giving shape to religious and nonreligious realms alike. Material forms of deity and divine power are considered along with commonplace ritual items, including images, clay pots, and camphor. The work also attends to materiality's complex role within the "materially suspicious" contexts of Islam, Theravada Buddhism, and Roman Catholicism. This engaging collection presents new frameworks for contemplating the ways in which historical, social, and sacred processes intertwine and collectively shape human and divine activity.
One of the most remarkable artistic achievements of the Mughal Empire was the emergence in the early seventeenth century of portraits of identifiable individuals, unprecedented in both South Asia and the Islamic world. Appearing at a time of increasing contact between Europe and Asia, portraits from the reigns of the great Mughal emperor-patrons Akbar, Jahangir and Shah Jahan are among the best-known paintings produced in South Asia. In the following centuries portraiture became more widespread in the visual culture of South Asia, especially in the rich and varied traditions of painting, but also in sculpture and later prints and photography. This collection seeks to understand the intended purpose of a range of portrait traditions in South Asia and how their style, setting and representation may have advanced a range of aesthetic, social and political functions. The chapters range across a wide historical period, exploring ideals of portraiture in Sanskrit and Persian literature, the emergence and political symbolism of Mughal portraiture, through to the paintings of the Rajput courts, sculpture in Tamil temples and the transformation of portraiture in colonial north India and post-independence Pakistan. This specially commissioned collection of studies from a strong list of established scholars and rising stars makes a significant contribution to South Asian history, art and visual culture.
Includes entries for maps and atlases.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program for monographs. Visit www.luminosoa.org to learn more. How did the patronage activities of India’s Vijayanagara Empire (c. 1346–1565) influence Hindu sectarian identities? Although the empire has been commonly viewed as a Hindu bulwark against Islamic incursion from the north or as a religiously ecumenical state, Valerie Stoker argues that the Vijayanagara court was selective in its patronage of religious institutions. To understand the dynamic interaction between religious and royal institutions in this period, she focuses on the career of the Hindu intellectual and monastic leader Vyasatirtha. An agent of the state and a powerful religious authority, Vyasatirtha played an important role in expanding the empire’s economic and social networks. By examining his polemics against rival sects in the context of his work for the empire, Stoker provides a remarkably nuanced picture of the relationship between religious identity and sociopolitical reality under Vijayanagara rule.