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Records about twenty five monuments and temples in Tamil Nadu, India.
Illustrations: Numerous B/w Illustrations Description: P.K. Acharya's An Encyclopaedia of Hindu Architecture is a comprehensive work on the technical terminology, now obsolete but then in vogue, of the creators of such epics in stone as those of Sanchi and Konark during the ancient and medieval periods of Indian history. It contains about three thousand terms culled, with indefatigable industry spread over a long span of years, from ancient architectural treatises--Manasara, and Vastu-Sastras : Agamas, Puranas, Brahmanas, Sutras, epics, literary works, epigraphical records and manuscripts in obscure scripts. The terms are arranged in the order of Sanskrit alphabet. A brief rendering in English followed by extensive quotations from various sources and supplemented by line drawings and photographs elucidate every aspect of the term, leaving no room for ambiguity. Two appendices, one giving a sketch of Sanskrit treatises on architecture and the other furnishing a list of historical architects with short notes on their works, are added. This monumental work has remained a standard treatise of reference since its publication in 1946 for all connected with architecture.
The roots between the Hindu religion and the wider culture are deep and uniquely complex. No study of either ancient or contemporary Indian culture can be undertaken without a clear understanding of Hindu visual arts and their sources in religious belief and practice. Defining what is meant by religion - no such term exists in Sanskrit - and what is understood by Hindu ideals of beauty, Heather Elgood provides the best synthesis and critical study of recent scholarship on the topic. In addition, this book offers critical background information for anyone interested in the social and anthropological roots of artistic creativity, as well as the rites, practices and beliefs of the hundreds of millions of Hindus in the world today.
The study of technical treatises in Indian art has increasingly attracted much interest. This work puts forward a critical re-examination of the key Indian concepts of painting described in the Sanskrit treatises, called citrasutras. In an in-depth and systematic analysis of the texts on the theory of Indian painting, it critically examines the different ways in which the texts have been interpreted and used in the study of Indian painting, and suggests a new approach to reading and understanding their concepts. Contrary to previous publications on the subject, it is argued that the intended use of such texts as a standard of critique largely failed due to a fundamental misconceptualization of the significance of ‘text’ for Indian painters. Isabella Nardi offers an original approach to research in this field by drawing on the experiences of painters, who are considered as a valid source of knowledge for our understanding of the citrasutras, and provides a new conceptual framework for understanding the interlinkages between textual sources and the practice of Indian painting. Filling a significant gap in Indian scholarship, Nardi's study will appeal to those studying Indian painting and Indian art in general.