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This book deals with the early development of Śaivism in ancient Dakṣiṇa Kosala, the region that roughly corresponds to the modern state of Chhattisgarh, plus the districts of Sambalpur, Balangir and Kalahandi of Odhisha (formerly Orissa). At the end of the sixth and the beginning of the seventh century, this region was under the control of the Pāṇḍava king Śivagupta alias ‘Bālārjuna’ hailing from Śrīpura (the modern village of Sirpur), who was a great patron of religion. Epigraphical evidence, supported by archaeological remains, has shown that by the time of Śivagupta’s reign, which lasted for at least fifty-seven years, Dakṣiṇa Kosala was already a rich center of early Śaivism. In the context of this setting the following research questions were formulated: what circumstances fostered the rise and development of Śaivism in this area, and did the Skandapurāṇa, an important and contemporaneous religious scripture, play any role in that development? An answer to these questions would not only shed light on the religious processes at work in Dakṣiṇa Kosala, but would also touch upon the interplay of political, social, economic and geographical factors.
Prof. Dr. Anand Krishna needs no introduction to the world ofIndian Art and Culture. With his experience of study, research andpublication in this field, on his father Rai Krishnadasa s richfoundation, his creativity goes back to 1944; his tradition continueseven to the next generation.This unique volume is a compilation of articles contributed byhis colleagues, friends and students all Indian art specialists fromthe whole world. Covering almost 2,000 years, this book embracesalmost every facet of the Indian arts, such as architecture, sculpture,textiles, decorative arts, folk and modern art, sociology and culture.Enriched with over 400 spectacular colour and b&w relevantillustrations, this unprecedented scholarly book will be a source ofinformation for the academics as well as of great interest to everyperson fascinated with Indian art.
This book interprets for the Western mind the key motifs of India`a legends myth, and folklore, taken directly from the sanskrit, and illustrated with seventy plates of Indian art. It is primarily an introduction to image thinking and picture reading in Indian art and thought and it seeks to make the profound Hindu and Buddhist intuitions of the riddles of life and death recongnizable not merely as Oriental but as universal elements.
In terms of elucidating inner meaning and symbolism, the study of medieval Islamic art has lagged almost a full century behind that of medieval Western art. This groundbreaking work suggests how it might at last prove possible to crack the allegorical code of medieval Islamic painting during its Golden Age between the fourteenth and seventeenth centuries. Barry focuses his study around the work of Bihzâd, a painter who flourished in the late fifteenth century in the kingdom of Herat, now in Afghanistan. Bihzâd became the undisputed master of the “Persian miniature” and an almost mythical personality throughout Asian Islam. By carefully deciphering the visual symbols in medieval Islamic figurative art, Barry’s study deliberately takes a bold approach in order to decode the lost iconographic conventions of a civilization. The glorious illustrations, scholarly text, and extracts from Persian poetry, many translated into English for the first time, combine to create an essential new work of reference and a visual delight.

Res

Editor of Res and Associate of Middle American Ethnology Francesco Pellizzi

Published: 2007-07-11

Total Pages: 257


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Res is a journal of anthropology and comparative aesthetics dedicated to the study of the object, in particular cult and belief objects and objects of art. The journal presents contributions by philosophers, art historians, archaeologists, critics, linguists, architects, artists, among others.
An extensive, illustrated bibliography for the Hindu god Śiva in the arts of South and Southeast Asia, offering detailed indices and easy access to resource repositories.
The 31 selected and revised articles in the volume Holy Ground: Where Art and Text Meet, written by Hans Bakker between 1986 and 2016, vary from theoretical subjects to historical essays on the classical culture of India. They combine two mainstreams: the Sanskrit textual tradition, including epigraphy, and the material culture as expressed in works of religious art and iconography. The study of text and art in close combination in the actual field where they meet provides a great potential for understanding. The history of holy places is therefore one of the leitmotivs that binds these studies together. One article, "The Ramtek Inscriptions II", was co-authored by Harunaga Isaacson, two articles, on "Moksadharma 187 and 239–241" and "The Quest for the Pasupata Weapon," by Peter C. Bisschop.
A landmark work that demystifies the rich tradition of Indian art, Myths and Symbols in Indian Art and Civilization analyzes key motifs found in legend, myth, and folklore taken directly from the Sanskrit. It provides a comprehensive introduction to visual thinking and picture reading in Indian art and thought. Ultimately, the book shows that profound Hindu and Buddhist intuitions on the riddles of life and death are universally recognizable.