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Author: R Nagaswamy
Translator(s)/ Editors(s): R Nagaswamy
Publisher: Tamil Arts Academy
ISBN/UPC (if available): N/A
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.
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?
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