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Foundations of Indian Art

by R Nagaswamy

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Product ID:29489

Language

English

Publisher

Tamil Arts Academy

ISBN

N/A - Year: 2002 - Pages: 272

Binding

Hardcover

R Nagaswamy
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Author: R Nagaswamy
Several Contributors/
Translator(s)/ Editors(s): R Nagaswamy
Publisher: Tamil Arts Academy
Year: 2002
Language: English
Pages: 272
ISBN/UPC (if available): N/A

Description

This volume is a collection of papers presented at the International Conference on Art and Religion organized by Tamil Arts Academy. Besides participants from different parts of India, the Conference was attended by eminent scholars from Germany, France, UK, USA, Singapore, Austria and Australia. Emient scholars, from all parts of the world, explored the fascinating topic of Indian art reaching its aesthetic perfection during this conference.

All the participants took great care to present substantial academic and valuable papers that would remain writings of permanent reference value to Art historians.


From Editor's Preface

Religious Art springs forth from religious poetry. Spiritual inspiration, visualization and experience culminate in immortal poetry given verbal form by Poet-Priests, like Vedic Rishis and authors of Purnaic myths. The artists transform these verbal forms into pleasing and aesthetic visual forms, called the gross body - sthula bimba -. The artist's function ceases once this art form is created. But the Poet-Priest, who guided the artist during the making of the art form, continues to recreate the poetic imagery again by invoking the subtle form - the sukshjma bimba - through mental image-mantra murti and constantly brings before the devotee, the content of the form through rituals. An understanding of the creative poetic imagery, emerging art form, the subtle imagery and rituals, gives a totality of aesthetic or spiritual joy. This is best illustrated in the image of Nataraja, the Cosmic Dancer of Chidambaram. While the form of Nataraja itself is charming, it is the spiritual content as illustrated by Ananda Coomaraswami, which is the summum bonum of the great piece. The level of appreciation could at any point, but the total vision enables us to understand the intention of the maker. These are well defined in scriptures called Agama Sutras.

Contents

Preface

Foundations of Indian Art:
Ardhanarisvara, Harihara, and Nataraja

From Stone to God

From Tapovana to Tirtha

Adavallan of Tamilnadu and Nartesvara of Bengal

The Nritta Sabha at Chidambaran

Nartesvara in Bengal

The Bhagavata Purana and South Indain Art

Depiction of Cosmology on Varaha at Khajuraho

Vaishnava Cult in Art and Thought of Kashmir

Beauty personified: The GoddessLalitha Tripurasundari

The Philosophical symbolism and Sonic
Theology of the Sri Cakra

Mahishasamardini: A Vaishnava Goddess?

Ashtadikpala
Ceilings in the Deccan: Some new observations

Religious and Ritual Symbolism in Indian Dance

On the Origin of South Indian Images from the Spirit of Dance

Bharata Natyam: Salient Features

The interface of Verbal and Musical Rhythm in Tyagaraja's Kirtanam

Vina Nada: Vibrant vicissitues of the Primordial string

Not Meant to last: The works of the Veklar

Temple Art and Kingly Power: Siva Worship and the Chola State

The Art of Formless Form Ennobling the Life of Man

Pderiyapuranam Through the Eyes of an Allopathic Doctor

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