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Volume Three in the Ajanta series focuses on what the site tells us about what happened in the months following the death of emperor Harisena (478 A.D.). In that year the great “Vakataka” patrons had to flee from Ajanta as a result of the Asmakas’ takeover of the site. When soon the Asmakas themselves also had to leave because of the needs of war, the great phase of patronage ended at Ajanta. But now a host of pious intruders, mostly monks and devotees still living in the region, could make their own offerings, generally violating the original patrons' programs. In this systematic cave to cave treatment, it is shown through careful interpretation of the physical evidence, that remarkably these new and “uninvited” paintings and sculptures appear only on and/or in caves which had already been dedicated by the earlier patrons. By contrast, excavations where the Buddha image had not been completed, were never utilized for such votive donations.
Annotation. Volume Two begins with the contentious, yet challenging, views of Hans Bakker and Richard Cohen, both of whom are involved with an overview of Ajanta's development. This is explored further in shorter essays by Karl Khandalavala, Arvind Jamkhedkar, and Brahmanand Deshpande. At the same time, the author presents a detailed analysis of the form and development of Cave 26, as a model upon which his other arguments are built.
Walter Spink’s intense concern with the development of the Ajanta caves and their architectural, sculptural and painted features finds its most insistent reflection in his present richly illustrated study. In part 1, Spink explains the many connections between the Bagh caves and its “sister site”, Ajanta. He particularly emphasizes the leading role that Bagh plays in establishing the “short chronology” and in the crucial matter of Buddhist shrine development from the aniconic to iconic forms of worship. In part 2, along with his colleague Professor Naomichi Yaguchi, who also provided the photographs and the newly informative plans, the authors show how, over the course of a mere decade, better and better ways were discovered to fit the doors in the cells where the monks lived. Such an analysis reveals the vigor of the conceptual and technical changes that characterize Ajanta’s evolution from its start in the early 460s to its traumatic collapse in about 470. Moving from Ajanta’s beginning to its ending, the evolution of door fittings parallels the precise and dramatic development of Indian history in the remarkable course of the emperor Harisena’s reign.
This volume in Brill’s renowned Ajanta series discusses contentious views on Ajanta’s development, the often-dramatic changes in patronage, and the intriguing problem of why Ajanta’s original (Hinayana) caves were not refurbished by the Vakataka. A comprehensive appendix on Ajanta inscriptions is also included.
Greater Magadha, roughly the eastern part of the Gangetic plain of northern India, has so far been looked upon as deeply indebted to Brahmanical culture. Religions such as Buddhism and Jainism are thought of as derived, in one way or another, from Vedic religion. This belief is defective in various respects. This book argues for the importance and independence of Greater Magadha as a cultural area until a date close to the beginning of the Common Era. In order to correct the incorrect notions, two types of questions are dealt with: questions pertaining to cultural and religious dependencies, and questions relating to chronology. As a result a modified picture arises that also has a bearing on the further development of Indian culture.
This book considers Gandhāran art in relation to its religious contexts and meanings within ancient Buddhism. Addressing the responses of patrons and worshippers at the monasteries and shrines of Gandhāra, papers seek to understand more about why Gandhāran art was made and what its iconographical repertoire meant to ancient viewers.
This volume in Brill's renowned Ajanta series discusses contentious views on Ajanta's development, the often-dramatic changes in patronage, and the intriguing problem of why Ajanta's original (Hinayana) caves were not refurbished by the Vakataka. A comprehensive appendix on Ajanta inscriptions is also included.
This book traces the archaeological trajectory of the expansion of Buddhism and its regional variations in South Asia. Focusing on the multireligious context of the subcontinent in the first millennium BCE, the volume breaks from conventional studies that pose Buddhism as a counter to the Vedic tradition to understanding the religion more integrally in terms of dhamma (teachings of the Buddha), dāna (practice of cultivating generosity) and the engagement with the written word. The work underlines that relic and image worship were important features in the spread of Buddhism in the region and were instrumental in bringing the monastics and the laity together. Further, the author examines the significance of the histories of monastic complexes (viharas, stupas, caityas) and also religious travel and pilgrimage that provided connections across the subcontinent and the seas. An interdisciplinary study, this book will be of great interest to students and scholars in South Asian studies, religion, especially Buddhist studies, history and archaeology.
Inside Wat Si Chum are 86 inscribed stone reliefs depicting jatakas, former lives of Gotama Buddha. This book presents the latest evidence and porposes new interpretations. It offers the first-ever English translation of the inscriptions, photographs of the reliefs supplemented by 19th century jataka paintings from Wat Khrua Wan, Bangkok, essys on all aspects of the temple and a discussion of the significance of jataks in international Buddhist literature, art and ideology.--Back cover.