ISBN 9788121506120,Vastu-Sastra (Vol. II), Hindu Canons Of Iconography And Painting: (With An Anthology Of Pratima-Laksana And Citra-Laksana As Well As An Outline History Of Indian Painting, Archaeological And Literary)

Vastu-Sastra (Vol. II), Hindu Canons Of Iconography And Painting: (With An Anthology Of Pratima-Laksana And Citra-Laksana As Well As An Outline History Of Indian Painting, Archaeological And Literary)

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ISBN 9788121506120
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ISBN 9788121506120

Munshiram Manoharlal Publishers Pvt Ltd

Publication Year 2003

ISBN 9788121506120

ISBN-10 8121506123

Hard Back

Number of Pages 824 Pages
Language (English)

The Arts

a 8. Her early accounts-vedic, etc. 9. Her iconography and illustrations 10. Laksmi 11. Introduction to her different aspects 12. Numerousness of archaeological (numismatic and glyptic) data providing for her historical evolution 13. Literary data-vedic and post-vedic, and coordination between representations and literary descriptions 14. Iconographical accounts and illustrations thereof of (i) mahalaksmi, (ii) laksmi, and (iii) sri or gaja- laksmi 15. Bhudevi and other vaisnavi devis durga 16. Introduction to her main aspects : i. Mahakali ii. Kali and bhadrakali iii. Durga iv. Nava-durgas 17. (agamic, pauranic and aparajitic tabulation & nava- durga iconology and its iconographical representations) 18. Mahisasura-mardini and katyayani-- iconography & illustrations 19. Kausiki-samarangana's contribution 20. Candika and her aspects and her asta-pratiharas 21. Gauri-manifold aspects : i. Dvadasa-murtis ii. Panca-laliya-murtis 22. Gauri-shrine and her asta-dvarapalikas 23. Other saivi aspects of devi-a commentary 24. Matrkas-sapta or asta 25. Jyestha 26. Saivi devis (tabulated) vi. Saura-pratima-laksana-surya, adityas, navagrahas, dikpalas and asvins : 1. Surya and adityas-introductory 2. History-vedic 3. Saurism of the post-vedic age 4. Foreign influence on the sun-worship in india 5. Dvadasadityas 6. Navagrahas 7. Surya-pratima-lakfana : i. Northern tradition ii. Southern tradition 8. Illustrations (general) 9. 5 types (earlier, early and medieveal, southern and northern types compared 10. Dvadasadityas illustrated 11. Revanta 12. Naragraha-illustrations 13. Iconogy behind the sun and navagraha images (surya and visnu compared) 14. Saura-ayatana-the sun-shrine 15. Saura-pratiharas 16. Dikpalas-introductory 17. History-vedic, buddhist and jain 18. Dikpalas tabulated 19. Indra 20. Agni 21. Yama 22. Nirrti 23. Varuna 24. Vayu 25. Kubera 26. The asvins vii. Other miscellaneous images-yaksa-vidyadhara- vasu-marudgana-pitrgana-munigana (rais) and bhaktas etc : 1. The demi-gods and demons-tabulation and the s. S.'s contribution 2. Yaksas 3. Vidyadharas, gandharvas and apsarasas 4. Gandharvas and kinnaras re-interpreted-vide the manasara text 5. Nagas (i) history (ii) iconography 6. Vasus-the eight vasus 7. Asuras 8. Pisacas, vetalas and bhutas : i. Marudganas ii. Sadhyas iii. Pitrs iv. Rsis and munis v. Bhaktas 9. Some observations on the concretised concepts, like artha, kama, disas, jvara, vedas, sastras, dharma, jnana, valragya, vyoman and aiduka n, b.-the paging of the viii chapter is afresh as it was a later addition, n.b. Sections i & b. May be taken as b. & c. Viii. Jain and buddhist iconography : 1. Section b. Jain images 2. Foundation of jain iconography 3. Antiquity of image-worship among the jainas 4. The area of the jains 5. The arcyas of the jains-the gods and goddesses, two classifications 6. Origin of jain images 7. Places of jain pilgrimage 1. Tirthankaras : i. Characteristics of jain images ii. Jina-iconography iii. 24 tirthankaras with their lanchanas etc. (tabulation) iv. Evolution of the jina-icons v. Jain quadruple 2. Yaksas and yaksinis (tabulated with vahanas) 3. The 16 sruta-devis or vidya-devis 4. Dikpalas 5. Other miscellaneous images : i. Harinegmesa ii. Ksetrapala iii. Ganesa, laksmi, santidevi and 64 yoginis illustrations section c. Buddhist iconography : religious and philosophical background buddhist pantheon-rise and development buddha images in general-introduction pauranic accounts iconographical vajrayana buddhist images 14 categories 1. A (i) dhyani (divine) buddhas (ii) divine buddha-saktis (iii) divine bodhi-sattvas b. Mortal buddhas c. Maitreya, the future buddha 2. Manjusri and his 14 forms 3. Avalokitesvara and 15 principal forms 4. Emanations of amitabha 5. Emanations of aksobhya 6. Emanations of vairocana 7. Emanations amoghasiddhi 8. Emanations of ratnasambhava 9. Emanations of the five dhyani buddhas 10. Emanations of the four d. Buddhas 11. Emanations vajrasattva 12. Pancaraksa-mandala 13. Tar as 14. Independent deites (i) gods and (ii) goddesses : i. Secret iconology-vajrayana-view of the vajrayana - buddhist images ii. A peep into the buddhist art iii. Stupas iv. Trisaranas v. Gandhara art vi. The mathura school of sculpture vii. Famous monasteries-odantapuri, nalanda & vikra- ma-sila viii. Cave temples, ajanta, ellora etc. Ix. Bengal school of sculpture x. Nepal and tibet xi. Illustration-centre-wise appendix : a-pt. I p. 86 & 92-continued part iii. Canons of painting : with in outline history of indian painting, archaeological and literary n.b. "contents" on page 361 maybe deemed redundant-they apply to the first edition of the 3rd part separately published under "hindu canons of painting") introductory i. The principal texts on the canons of painting-the citrasastra the five principal and four subsidiary texts besides other references 1. Visnudharmottara 2. Samarangana-sutradhara 3. Aparajita-praccha 4. Abhilagitratha-cintamani or manasollasa 5. Silpa-ratna ii. Painting, its aim, origin and scope : 1. General introduction 2. Its aim 3. Origin 4. Scope iii. Elements, constituents and types 1. Elements 2. Constituents 3. Types : various classifications :- (i) satya(i) viddha (i) rasacitra (ii) vainika (ii) aviddha (ii) dhulicitra (iii) nagara (iii) bhava (iii) citra (iv) misra (iv) rasa (v) dhuli„ dr. Raghavan's observations iv. The vartika and the canvas vartika : different backgrounds.- kudya-bhumibandhana, patta-bhumibandhana and pata-bhumibandhana 1. The mural backgrounds 2. The board canvas 3. The cloth canvas abb. C.'s technique on the topic v. The andaka-measurements and' proportionate mea surements : introduction 1. The s.s.'s prescriptions a. Andaka-pramana b. Kaya-pramana c. Different forms i. E. Rupas 2. The v.d.'s prescriptions 3. The manasollasa's pictorial iconometry vi. Plasters and ointments : introduction 1. The brick plaster and clay plaster 2. Ointment -mrttikabandhana & sudhabandhana vii. Colours and brushes, shades and other delineations colours 1. Primary colours 2. Secondary colours 3. Colour substances : (i) sudha (ii) sindura, (iii) hingula (iv)_nila (v) haritala 4. Use of gold and other metals (patra-vinyasa and rasakriya) brushes 5. The five types 6. Vartana, the delineations viii. How to paint-conventions in painting : n.b. See the chapter for details-they are too numerous ix. Painting and aesthetics : 1. Introductory : a. Eleven rasas b. Eighteen rasadrstis 2. Commentary 3. The art of painting is based on the art of natya-the v.d. 4. Aspects of poetry in terms of pictures-dr. Raghavan 5. The application of rasa-theory to citra (ibid) 6. The application of dhvani theory to citra (ibid) x. Styles of painting in relation to colours, patras and kantakas : 1. Patras 2. Kantakas 3. Styles xi. Painting & painter : 1. Characteristics of indian painting with a critical and comparative estimation with the western canons 2. Painter-his qualifications 3. Painters of india 4. (here end the canons, we now go to their representation in the monuments) xii. An outline history of indian painting : introductory section a. Archaeological evidence of early records of painting in india a. Pre-christian (i) prehistoric (ii) historic b. Post-christian-introduction to buddhist, hindu, and mohammedan the buddhist period-ajanta, sigiriya, & bagh paintings ajanta (i) situation cave ix (ii) groups and pds. Cave x (iii) themes cave xi cave l cave xvi cave ii cave xvii cave vi cave xxi cave vii cave xxii (iv) patronage (v) materials & technique adherance to the art canons and a general estimation sigiriya bagh hindu period introduction rajput paintings character & characteristics of rajput paintings mughal paintings introductory mughal miniatures portraiture under the mughals modern schools section b. Literary evidence of early indian painting : (i) vedic literature (ii) pali buddhist canonical literature (iii) epics (iv) puranas and (v) silpasastras kavyas : kalidasa : (i) citra-salas; (ii) citracaryas (iii) portrait pictures (iv) backgrounds (v) process (vi) materials (vii) colours (viii) bodily poses and postures of legs bana-bhatta : introductory types of pictures backgrounds materials methods of painting on various surfaces colours-primary and their varieties varieties of mixed colours sriharsa : letter-painting types of pictures process and colours anatomy-face, nose, chin, ear, eyes, neck, hair nitamba, gulfa, heel, fingers, etc., etc. Other poets-bhavabhuti, harsadeva, dandi, magha, rajasekhara, dhanapala, somesvarasuri etc. Book illustrations appendix : a quotations from kavyas part iv. Pratima laksana & citra-laksana : 1. Pratima-vijnane 2. Pratima-laksane 3. Citra-laksane