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Reassessment of Teotihuacan cultural elements at Copan throughout its classic dynastic history indicates that after a period of contact and interaction, Maya rulers at Copan were consciously employing Teotihuacan traditions. The architectural sculpture of Temple 16 offers evidence confirming the Maya-Teotihuacan dual identity that the Copan elite employed. In addition, Temple 16 is identified as a fire ancestral shrine or witenaah, a sacred mountain or dwelling place of the revered ancestor K'inich Yax K'uk' Mo'. It evokes the political foundation of Copan and its link to Teotihuacan. Finally, Temple 16 was embedded with a cosmic meaning identified as the center of the world. Such royal endeavors were likely intended to maintain and perpetuate the ruler's power and authority.
Queen Lokamahadevi, the chief wife of the Early Chalukya king Vikramaditya II, began construction of the Virupaksha Temple in approximately 733 at the dynasty's royal consecration site of Pattakadal, in Karnataka, India. As one of the most powerful rulers of the Early Chalukya dynasty, Vikramaditya II controlled territories spread over a vast region of central and southern India. The Virupaksha Temple commemorated his crucial victory over the rival Pallava dynasty to the southeast. Dedicated to the Hindu god Shiva and richly adorned with carved images of Shiva, Vishnu, and other deities, the Virupaksha Temple is widely considered one of the most important of the freestanding structures erected during the Chalukya era, and it represents the zenith of temple construction of its period. Although this temple has been studied for more than a century and appears in virtually every textbook on Indian art, its iconographic program has never been fully explored. Decoding a Hindu Temple: Royalty and Religion in the Iconographic Program of the Virupaksha Temple, Pattadakal interprets the iconographic program of Virupaksha Temple. The work demonstrates that the iconography of the temple is expressive of royal aspirations-both material and spiritual-as well of past successes. Specific imagery that legitimizes the king through references to his genealogy and lineage, his royal marriage, and his conquests and defeats of other rival monarchs are identified, as well as his role in upholding the social order. The temple is understood as the formal "stage" for the king's ceremonial life, a testament to his wealth and authority, and the vehicle through which his reign was sacralized and reified. Overall, the book suggests that through its figurative imagery, the temple's iconography reiterates the world orders of both the physical realm and the cosmos at large. At the same time, the book looks at the issue of female patronage to show that the temple reflected the importance of the role of the queen to the functioning of the kingdom. The book suggests a function of the Hindu temple not previously identified, but likely applicable more generally to monuments throughout ancient India.
The Art of Urbanism explores how the royal courts of powerful Mesoamerican centers represented their kingdoms in architectural, iconographic, and cosmological terms. Through an investigation of the ecological contexts and environmental opportunities of urban centers, the contributors consider how ancient Mesoamerican cities defined themselves and reflected upon their physicalâe"and metaphysicalâe"place via their built environment. Themes in the volume include the ways in which a kingdomâe(tm)s public monuments were fashioned to reflect geographic space, patron gods, and mythology, and how the Olmec, Maya, Mexica, Zapotecs, and others sought to center their world through architectural monuments and public art. This collection of papers addresses how communities leveraged their environment and built upon their cultural and historical roots as well as the ways that the performance of calendrical rituals and other public events tied individuals and communities to both urban centers and hinterlands. Twenty-three scholars from archaeology, anthropology, art history, and religious studies contribute new data and new perspectives to the understanding of ancient Mesoamericansâe(tm) own view of their spectacular urban and ritual centers.
To scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India's centuries of splendor has been lacking. The Art of Ancient India is the result of the author's aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: –Not since Coomaraswamyês History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art _ from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all encompassing view of the art. An outstanding portrayal of ancient Indiaês highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.
Online ed. provides access to the entire 45,000-plus articles of Grove's Dictionary of art (1996, 34 vols.) with constant additions of new material and updates to the text, plus extensive image links.
This book analyzes the iconographic traditions of Jeremiah and of melancholy to show how Donne, Herbert, and Milton each fashions himself after the icons presented in Rembrandt's Jeremiah Lamenting the Destruction of Jerusalem , Sluter's sculpture of Jeremiah in the Well of Moses, and Michelangelo's fresco of Jeremiah in the Sistine Chapel.
The Work Studies Basic Principles Of Ancient Indian Art And Architecture. It Deals With Hindu Thinking And Practice Of Art Including The Hindu View Of Godhead, Iconography And Iconometry And Symbols And Symbolism In Hindu Art. It Surveys Indian Art And Temple Architecture From The Ancient Times And Makes Comparative Studies Of Religious Art In India.
"An examination of the combined subjects of ancient Greek art and religion, dealing with festivals, performance, rites of passage, and the archaeology of death, to name a few examples, to explore the visual, material, and textual dimensions of ancient Greek religion"--