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"In trans illustrator Bishakh Som's debut work of fiction, questions of gender, the body, and existential conformity are explored over the course of eight speculative and graphic short stories"--
As a Deva readies to undergo her last ascension tribulation trial in this lifetime, she faces her obsession and the obstacles from an old and long-running love triangle standing in the way of her cultivation. Her former lover of many past lives is once more reincarnated as a helpless human, and her crush is a powerful, twisted Asura King who is bent on killing his love rival. As her affinity guides, she encounters two young Fairy and Apsara reincarnates in Singapore, and a Yaksha in China. Caught between the conflict between fully concentrating on her upcoming tribulation trial and thwarting the destructive ambitions of her Asura King crush and a ruthless Raksha, the Deva gets embroiled in another generation’s conflict and risks derailment and endangering her ascension in this ensemble of Eastern mythology characters.
Nataraja, the dancing Siva sculpture, is perhaps the most well-known among all Hindu sculptures, and rightly so. It has evoked highly advanced discussions among scientists, philosophers, performing artists, art critics, art collectors, historians, archaeologists and mythologists. The Nataraja sculpture also occupies a pride of a place at CERN, the European Centre for Research in Particle Physics in Geneva. Siva, according to Hindu Mythology, was the very first dancer in the world. All dramaturgy and dance traditions emerge from Siva’s cosmic dance. Tandu, Siva’s disciple narrated the description of Siva’s dance to Bharata Muni and he is believed to have compiled the Natyasastra, the world’s first treatise on dramaturgy, dance and other performing arts. Scholars believe that the Natyasastra was written over a long period of time between the 2nd century BCE and 2nd century CE with contributions from various sages, with its foundation having been laid by Bharata Muni. Convergence between Hindu mythology, Natyasastra and Silpasastra was the natural outcome. Karnataka, and its temple architecture tradition, played a pioneering role in giving an artistic form to this convergence in its temple sculptures. Though this trend may have started earlier during 2nd and 3rd century CE, it started to take the center stage from the times of the Badami Chalukyas. Passing through various refinements between 5th and 10th centuries, it reached its peak with the Hoysala art. This book traces the history of temple sculpture evolution and development through the centuries by referring to the existing sculptural forms and the canonical literature that developed over time.
Goddess Images Are Omnipresent Within The Cultural Fabric Of India, Yet Most Indians Are Unaware Of Uplifting Meanings These Images Convey. In The Book, Images Of Indian Goddesses,. Dr. Madhu Bazaz Wangu Explains The Emergence Of Indian Goddesses Within The Changing Social, Political And Cultural Environment From The Prehistoric To The Present Times And Explains Their Metaphysical Meanings. Why Are Hindu Goddesses Paradoxical In Nature? Why Are They Portrayed As Erotic And Maternal Simultaneously? Why Do They Have Multiple Arms? Why Do Some Of Them Have Their Own Vehicle (Vahana) And Some Do Not? Why Are Such Images Portrayed On The Popular Calendar- Posters? The Book Answers Such Questions And Helps The Reader Understand Their Meanings. The Goddesses Discussed Range From The Devoted Sita To The Sinister Kali; From The Warrior Durga To The Auspicious Shri Lakshmi; From The Erotic Radha To The Serene Sarasvati And Many Others. Dr. Wangu Firmly Feels That If Experienced Hindu Goddesses Have A Potential For Stimulating The Onlooker'S Innermost Self. Experiencing Goddess Imagery Uplifts This Worldly Life And Ponders The Nature Of The Other -Worldly Existence. Furthermore, The Book Argues That The Goddesses Are Stimulating And Empowering Models Not Only For Indian Women But For All. Images Of Indian Goddesses Helps A Common Person Understand And Appreciate The Bewildering Number Of Female Images Expressed In India'S Sacred Art. The Book Is Not Only Absorbing And Inspiring, It Also Offers A Visual Treasury Of Goddess Art Images. Its Text Is Food For The Mind And The Illustrations Are A Feast For The Eyes.
Poetry. Asian & Asian American. Women's Studies. "The apsara is the mythical deity that decorates most Khmer temples, and it represents the ideal woman in Cambodia. In fact, even the classical dancers are modeled after them. My APSARA IN NEW YORK image meant a meeting of my heritage/culture being dropped into the madness, urban temples (not necessarily religious, but sacred spaces personal and whatnot). I feel like my work and who I am embodies the jarring combination of old world Cambodian tradition and culture with the adjustment of US, the Bronx, NYC in general."--Sokunthary Svay
Travel & Holiday.
This monograph presents scholarly exposition of the Apsara myth and its evolutionthrough centuries. Mentioned for the first time in the Rig Veda Apsaras find mention inIndian scriptures, epics, Puranas, dramas, poetry and numerous literary works. As a creationof ancient water cosmology she is described as a exceedingly beautiful and charmingperson adept in dancing, singing as well as art of seduction and amorous sports. Themonograph speaks of her profound influence on Indian art which is particularly visibleon the magnifient medieval temples in the form of female sculptures of immense beautyfamous all over the world. Written in lucid style the book reveals the story of Indian waternymph, the Apsara, in its infinite variety.