2009, ISBN: 9789042921092

Gebundene Ausgabe

Minor rubbing. Rubberstamp to reverse of cover. VG. Textual illustrations. Danish Art History University of Copenhagen Copenhagen (1980) orig.wrappers 31x19cm, 118 pp., A small tear to sp… Mehr…

Minor rubbing. Rubberstamp to reverse of cover. VG. Textual illustrations. Danish Art History University of Copenhagen Copenhagen (1980) orig.wrappers 31x19cm, 118 pp., A small tear to spine. Contains 5 papers. Includes: The Labours of Adam & Eve: A Rare Motif in Early Christian Art; Le dictionnaire des peintures de Diderot; L'évolution de la perspective linéaire au XIXe siècle en France; Die Restaurierung der Kirche zu Venge: Der Sieg einer Gemeinde über die Behörden; Primitive Kunst als Insprationsquelle der 'Brücke':, University of Copenhagen, 3, People s Publishing House Pub. Date :2008-02-01. paperback. New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Paperback. Pages Number : 484 Language: Chinese. Publisher: People s Publishing House Pub. Date :2008-02-01. Brief History of Christianity (Amendment). concise and focused introduction to the Christian creation. evolution. the twists and turns made public. Book is divided into 10 chapters. describes the production of Christian. the original Christian; early Christianity and the Roman Empire. medieval Europe the Christian Church; Christianity and the Renaissance; religious reform; Christianity... Satisfaction guaranteed,or money back., People s Publishing House Pub. Date :2008-02-01, 6, Munshiram Manoharlal Publishers Pvt. Ltd., 2003. Reprint. Hardcover. New. 16 X 24. Dedication preface part i : by pt. B.n. Jha, vice-chancellor, gorakhpur university introductory i. The principal texts on the canons of painting-citra-sastra ii. Painting-its aim, origin and scope iii. Elements, constituents and types iv. The vartika and the background (the canvas) v. The andaka measurements and the proportionate measurements vi. Plasters and ointments vii. Colours and brushes; shades and other delineations viii. How to paint-convention in painting ix. Painting and aesthetics x. Styles of painting in relation to colours, patras and kantakas xi. Painting and painter xii. An outline history of indian painting section i. Archaeological evidence section ii. Literary evidence appendices : 1. Quotations from kavyas 2. Illustrations 3. Citralaksanam (ii) the 12 samyuta-hastas (iii) the 21 nrtta-hastas representation in art: abhaya, varada, dhyana-yoga, samadhi, jnana, gin, dharamacakra, katyavalambita or katisam-hasta, kataka or simha-karna, danda or gaja-hasta, suci, tarjani etc. And vismaya, kayotsarga and bhusparsa ii. Poses of the body-nine attitudes iii. Postures of the legs-vaisnavam, samapadam vaisakham, mandalam, alidham, pratyalidham along with abhanga, tribhanga and atibhanga iv. Mudras (continued) reoriented doctrine of mudras taking objects, seats, drapery, and decorations etc. Also as mudras i. Objects-weapons and implements a. (i) weapons-25 ayudhas tabulated; 36 ayudhas of the aparajita-praccha (ii) implements and other symbols-enumeration and association b. Musical instruments (as improvised weapons) ii. Seats (i) asana 143-44 & (ii) vahana iii. Abhusana-drapery and decorations a. Costumes-drapery b. Ornaments of various limbs sodasabhusanas of the aparajita-praccha c. Headgear i. E. Mauli (manasara) the ideology under-lying these mudras vii. Iconographical astheticism and the installation of the images-prasada and pratima a. Iconographical alstheticism b. Installation (i) ritualistic : its different varieties, punah-prati tha and jirnoddhara etc. (ii) architectural-sculptural and iconometrical appendix a part ii. Exposition of pratima-iaksanas : introductory appendix to page 24, pt. Ii, ch. Viii--d. Buddhas i. Trimurti etc. Brahma-pratima-laksana : 1. Trimurti 2. Panca-murti 3. Caturmurti 4. Dvimurtis 5. Brahma : i. Hiscorical resume-vedic etc. Ii. Iconographical accounts iii. Iconographical implications iv. Illustrations (a) independent images 185 (6) reliefs v. Brahma's shrine and parivara-devatas ii. Vaisnava-pratima-laksana : 1. Introduction history: 2. Vedic 3. Epic and puranic 4. Pancaratric 5. Pratima-laksanas-seven-fold icons 1. The ordinary visnu-images 2. Extraordinary forms of visnu : i. Anantasay ii. Vasudevas d. & m iii. Trailokya-mohana iv. Visvarups v. Vaikuntha vi. Ananta vii. Yogesvara viii. Laksminarayana 3. Dhruva beras : introduction i. Standing attitude : a. Yagasthanaka b. Bhogasthanaka' c. Virasthanaka d. Abhicarikasthanaka ii. Sitting attitude : e. Yogasana f. Bhogasana g. Virasana h. Abhicarikasana iii. Reclining attitude : a. Yogasayana b. Bhogasayana c. Virasayana d. Abhicarikasayana 4. Dasavataras-the ten incarnations : introduction & defferent lists of avataras : i. Matsya ii. Kurma iii. Varaha : a. Nrvaraha b. Yajna and c. Pralaya iv. Narasimha : a. Girija b. Sthanu c. Yanaka d. Laksmi-narasimha v. Vamana and trivikrama vi-viii. Three ramas : i. Parasurama ii. Raghava iii. Balarama ix. Krsna x. Buddha (see buddhist iconography) xi. Kalkim 5. Caturvimsati-murtayah : i. Introductory ii. The twenty four murtis tabulated and commented 6. Minor forms of visnu : i. Rao's classification and comment on it ii. Purua iii. Vyasa iv. Hayagriva v. Kapila vi. Dhanvantari vii. Dharma viii. Yajna-murti ix. Dattatreya x. Varadraja etc. Garuda-art-motif and iconographical description and illustrations thereof 7. Ayudhapurusas i. Introduction ii. Sculptural forms, the underlying theology of the ten iii. Ayudhas iv. Vaisnavi dvaravati v. Vaisnava-vividha-pratima-pujana-phalam vi. Vaisnava-lanchana-rahasyam vii. Visnu-shrine (the ayatana) viii. Visnu's eight pratitharas iii. Saiva-pratima-laksana : 1. Genral introduction 2. Saivism-its schools, the sects, etc. : i. Agamanta school ii. The pasupata and other schools iii. The aghora or the milder forms of saivism-the kasmir and the lingayata : a. History of siva b. Pre-vedic-siva-pasupati c. Vedic-rudra-siva d. Epic and pauranic 3. Linga-worship 4. Two broad divisions of saiva icons -lingas and rupas 5. Lingas 6. Its meaning 7. Its divisions and sub-divions-niskala, sakala and misra 8. Niskala-shavara and jangama 9. Cala-linga-six-fold classification according to substances, they are made of 10. Acala lingas the different varieties 11. The svayambhuva lingas 12. The daivika 13. The ganapa 14. Arsa : i. The manasara's classification of lingas ii. The samarangana's treatment of the lingas 15. The manusa lingas : i. Astottarasata-linga ii. Sahasra-linga iii. Dhara-linga iv. Mukha-linga 16. The different criteria of the classification of manusa-lingas : i. Sarvadesika ii. Sarvasama iii. Vardhamana iv. Saivadhika, etc 17. Bana-lingas 18. Linga-pithas and kinds of pithas and pithanala : i. Rupas-anthropomorphic forms 19. Introduction and the treatment of the samarangana 20. The different categories of saiva icons : i. Santa ii. Ugra & ii. Miscellaneous-the 18 forms 21. The 18 lingodbhava rupas i. Santas : 1. Sadharani murti 2. Asadharanis i. Sadasiva ii. Mahasadasiva iii. Dvadasakala-sampurna sadasiva iv. Pasupata and rudra-pasupata 3. Saumya and santa murtis i. Ardhanarisvara ii. Gangadhara iii. Kalyana-sundara iv. Vrsavahara v. Candrasekhara vi. Sukhasana, etc. 4. Anugraha murtis : i. Visnvanugraha ii. Nandisanugraha iii. Vighnesvaranugraha iv. Arjunanugraha v. Candesanugraha vi. Ravananugraha 5. Nrtta murtis : introduction to 108 modes of siva's dance and its significance in the words of dr. A.k. Coomaraswamy nine nrtta murties, description and illustrations other modes and their representations 6. Daksinamurtis : introduction i. Vyakhyana-daksinamurti ii. Jnana-daksina-murti iii. Yoga-dak inamurti iv. Vinadharadaksina-murti ii. Asanta or ugra murtis : 1. Kamantaka 2. Gajasurasamhara 3. Kalari-mnrti 4. Tripurantak and its 8 aspects 5. Sarabhesa 6. Brahma-siraschetr-murti 7. Bhairava, svacchanda bhairava and 64 bhairavas 8. Other aspects of samhara-virabhadra, jalandhara, mallari siva, aghora and mahakala etc. 9. Kankala and bhiksatana murtis iii. Miscellaneous aspects : 1. Ekadasa rudras 2. Vidyesvaras 3. Murtyastakam 4. Isanadayah panca-murtis 5. Mahesa or mahadeva : i. Sivaganas ii. Nandi iii. Candesa iv. Ksetrapala v. Arya etc. 6. Secrecy of the saiva-emblems 7. Sivayatanam 8. The asta-pratiharas v. Ganapatya-pratima-laksana : 1. Ganesa 2. History 3. Rise of the sect and its popularity 4. Iconography and icons (16 varieties) 5. Illustrations (early and early and late medievals) 6. Secret and sacred meaning of ganesa's attributes 7. Senapati kartikeya (skanda) 8. Introduction 9. Early evidence of skanda's evolutionary iconogra-phical, archaeological and literary traits 10. Iconographical accounts of the three main aspects and the associated meaning of other forms : i. Kartikeya a. Kumara and kartikeya b. Symbolic significance ii. Skanda iii. Subrahmanya-his other 10 aspects subrahmanya's shrine, his parivaradevatas and dvara-palakas vi. Devi-pratima-laksana (saktism) : introduction 1. Saktism-as yantricism, tantricism and advaitism 2. Its history-pre-historic and historical 3. Devi-cult : (i) vedic and (ii) post-vedic -epic, pauranic and philosophic 4. Devi-pratima-laksanam-the devi icons 5. The three main aspects 6. Sarasvati 7. Her tantric ritualistic association in the aparajita- prachha 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, Munshiram Manoharlal Publishers Pvt. Ltd., 2003, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003. Reprint. Hardcover. New. 16 X 24. Dedication preface part i : by pt. B.n. Jha, vice-chancellor, gorakhpur university introductory i. The principal texts on the canons of painting-citra-sastra ii. Painting-its aim, origin and scope iii. Elements, constituents and types iv. The vartika and the background (the canvas) v. The andaka measurements and the proportionate measurements vi. Plasters and ointments vii. Colours and brushes; shades and other delineations viii. How to paint-convention in painting ix. Painting and aesthetics x. Styles of painting in relation to colours, patras and kantakas xi. Painting and painter xii. An outline history of indian painting section i. Archaeological evidence section ii. Literary evidence appendices : 1. Quotations from kavyas 2. Illustrations 3. Citralaksanam (ii) the 12 samyuta-hastas (iii) the 21 nrtta-hastas representation in art: abhaya, varada, dhyana-yoga, samadhi, jnana, gin, dharamacakra, katyavalambita or katisam-hasta, kataka or simha-karna, danda or gaja-hasta, suci, tarjani etc. And vismaya, kayotsarga and bhusparsa ii. Poses of the body-nine attitudes iii. Postures of the legs-vaisnavam, samapadam vaisakham, mandalam, alidham, pratyalidham along with abhanga, tribhanga and atibhanga iv. Mudras (continued) reoriented doctrine of mudras taking objects, seats, drapery, and decorations etc. Also as mudras i. Objects-weapons and implements a. (i) weapons-25 ayudhas tabulated; 36 ayudhas of the aparajita-praccha (ii) implements and other symbols-enumeration and association b. Musical instruments (as improvised weapons) ii. Seats (i) asana 143-44 & (ii) vahana iii. Abhusana-drapery and decorations a. Costumes-drapery b. Ornaments of various limbs sodasabhusanas of the aparajita-praccha c. Headgear i. E. Mauli (manasara) the ideology under-lying these mudras vii. Iconographical astheticism and the installation of the images-prasada and pratima a. Iconographical alstheticism b. Installation (i) ritualistic : its different varieties, punah-prati tha and jirnoddhara etc. (ii) architectural-sculptural and iconometrical appendix a part ii. Exposition of pratima-iaksanas : introductory appendix to page 24, pt. Ii, ch. Viii--d. Buddhas i. Trimurti etc. Brahma-pratima-laksana : 1. Trimurti 2. Panca-murti 3. Caturmurti 4. Dvimurtis 5. Brahma : i. Hiscorical resume-vedic etc. Ii. Iconographical accounts iii. Iconographical implications iv. Illustrations (a) independent images 185 (6) reliefs v. Brahma's shrine and parivara-devatas ii. Vaisnava-pratima-laksana : 1. Introduction history: 2. Vedic 3. Epic and puranic 4. Pancaratric 5. Pratima-laksanas-seven-fold icons 1. The ordinary visnu-images 2. Extraordinary forms of visnu : i. Anantasay ii. Vasudevas d. & m iii. Trailokya-mohana iv. Visvarups v. Vaikuntha vi. Ananta vii. Yogesvara viii. Laksminarayana 3. Dhruva beras : introduction i. Standing attitude : a. Yagasthanaka b. Bhogasthanaka' c. Virasthanaka d. Abhicarikasthanaka ii. Sitting attitude : e. Yogasana f. Bhogasana g. Virasana h. Abhicarikasana iii. Reclining attitude : a. Yogasayana b. Bhogasayana c. Virasayana d. Abhicarikasayana 4. Dasavataras-the ten incarnations : introduction & defferent lists of avataras : i. Matsya ii. Kurma iii. Varaha : a. Nrvaraha b. Yajna and c. Pralaya iv. Narasimha : a. Girija b. Sthanu c. Yanaka d. Laksmi-narasimha v. Vamana and trivikrama vi-viii. Three ramas : i. Parasurama ii. Raghava iii. Balarama ix. Krsna x. Buddha (see buddhist iconography) xi. Kalkim 5. Caturvimsati-murtayah : i. Introductory ii. The twenty four murtis tabulated and commented 6. Minor forms of visnu : i. Rao's classification and comment on it ii. Purua iii. Vyasa iv. Hayagriva v. Kapila vi. Dhanvantari vii. Dharma viii. Yajna-murti ix. Dattatreya x. Varadraja etc. Garuda-art-motif and iconographical description and illustrations thereof 7. Ayudhapurusas i. Introduction ii. Sculptural forms, the underlying theology of the ten iii. Ayudhas iv. Vaisnavi dvaravati v. Vaisnava-vividha-pratima-pujana-phalam vi. Vaisnava-lanchana-rahasyam vii. Visnu-shrine (the ayatana) viii. Visnu's eight pratitharas iii. Saiva-pratima-laksana : 1. Genral introduction 2. Saivism-its schools, the sects, etc. : i. Agamanta school ii. The pasupata and other schools iii. The aghora or the milder forms of saivism-the kasmir and the lingayata : a. History of siva b. Pre-vedic-siva-pasupati c. Vedic-rudra-siva d. Epic and pauranic 3. Linga-worship 4. Two broad divisions of saiva icons -lingas and rupas 5. Lingas 6. Its meaning 7. Its divisions and sub-divions-niskala, sakala and misra 8. Niskala-shavara and jangama 9. Cala-linga-six-fold classification according to substances, they are made of 10. Acala lingas the different varieties 11. The svayambhuva lingas 12. The daivika 13. The ganapa 14. Arsa : i. The manasara's classification of lingas ii. The samarangana's treatment of the lingas 15. The manusa lingas : i. Astottarasata-linga ii. Sahasra-linga iii. Dhara-linga iv. Mukha-linga 16. The different criteria of the classification of manusa-lingas : i. Sarvadesika ii. Sarvasama iii. Vardhamana iv. Saivadhika, etc 17. Bana-lingas 18. Linga-pithas and kinds of pithas and pithanala : i. Rupas-anthropomorphic forms 19. Introduction and the treatment of the samarangana 20. The different categories of saiva icons : i. Santa ii. Ugra & ii. Miscellaneous-the 18 forms 21. The 18 lingodbhava rupas i. Santas : 1. Sadharani murti 2. Asadharanis i. Sadasiva ii. Mahasadasiva iii. Dvadasakala-sampurna sadasiva iv. Pasupata and rudra-pasupata 3. Saumya and santa murtis i. Ardhanarisvara ii. Gangadhara iii. Kalyana-sundara iv. Vrsavahara v. Candrasekhara vi. Sukhasana, etc. 4. Anugraha murtis : i. Visnvanugraha ii. Nandisanugraha iii. Vighnesvaranugraha iv. Arjunanugraha v. Candesanugraha vi. Ravananugraha 5. Nrtta murtis : introduction to 108 modes of siva's dance and its significance in the words of dr. A.k. Coomaraswamy nine nrtta murties, description and illustrations other modes and their representations 6. Daksinamurtis : introduction i. Vyakhyana-daksinamurti ii. Jnana-daksina-murti iii. Yoga-dak inamurti iv. Vinadharadaksina-murti ii. Asanta or ugra murtis : 1. Kamantaka 2. Gajasurasamhara 3. Kalari-mnrti 4. Tripurantak and its 8 aspects 5. Sarabhesa 6. Brahma-siraschetr-murti 7. Bhairava, svacchanda bhairava and 64 bhairavas 8. Other aspects of samhara-virabhadra, jalandhara, mallari siva, aghora and mahakala etc. 9. Kankala and bhiksatana murtis iii. Miscellaneous aspects : 1. Ekadasa rudras 2. Vidyesvaras 3. Murtyastakam 4. Isanadayah panca-murtis 5. Mahesa or mahadeva : i. Sivaganas ii. Nandi iii. Candesa iv. Ksetrapala v. Arya etc. 6. Secrecy of the saiva-emblems 7. Sivayatanam 8. The asta-pratiharas v. Ganapatya-pratima-laksana : 1. Ganesa 2. History 3. Rise of the sect and its popularity 4. Iconography and icons (16 varieties) 5. Illustrations (early and early and late medievals) 6. Secret and sacred meaning of ganesa's attributes 7. Senapati kartikeya (skanda) 8. Introduction 9. Early evidence of skanda's evolutionary iconogra-phical, archaeological and literary traits 10. Iconographical accounts of the three main aspects and the associated meaning of other forms : i. Kartikeya a. Kumara and kartikeya b. Symbolic significance ii. Skanda iii. Subrahmanya-his other 10 aspects subrahmanya's shrine, his parivaradevatas and dvara-palakas vi. Devi-pratima-laksana (saktism) : introduction 1. Saktism-as yantricism, tantricism and advaitism 2. Its history-pre-historic and historical 3. Devi-cult : (i) vedic and (ii) post-vedic -epic, pauranic and philosophic 4. Devi-pratima-laksanam-the devi icons 5. The three main aspects 6. Sarasvati 7. Her tantric ritualistic association in the aparajita- prachha 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, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003. Reprint. Hardcover. New. 16 X 24. Dedication preface part i : by pt. B.n. Jha, vice-chancellor, gorakhpur university introductory i. The principal texts on the canons of painting-citra-sastra ii. Painting-its aim, origin and scope iii. Elements, constituents and types iv. The vartika and the background (the canvas) v. The andaka measurements and the proportionate measurements vi. Plasters and ointments vii. Colours and brushes; shades and other delineations viii. How to paint-convention in painting ix. Painting and aesthetics x. Styles of painting in relation to colours, patras and kantakas xi. Painting and painter xii. An outline history of indian painting section i. Archaeological evidence section ii. Literary evidence appendices : 1. Quotations from kavyas 2. Illustrations 3. Citralaksanam (ii) the 12 samyuta-hastas (iii) the 21 nrtta-hastas representation in art: abhaya, varada, dhyana-yoga, samadhi, jnana, gin, dharamacakra, katyavalambita or katisam-hasta, kataka or simha-karna, danda or gaja-hasta, suci, tarjani etc. And vismaya, kayotsarga and bhusparsa ii. Poses of the body-nine attitudes iii. Postures of the legs-vaisnavam, samapadam vaisakham, mandalam, alidham, pratyalidham along with abhanga, tribhanga and atibhanga iv. Mudras (continued) reoriented doctrine of mudras taking objects, seats, drapery, and decorations etc. Also as mudras i. Objects-weapons and implements a. (i) weapons-25 ayudhas tabulated; 36 ayudhas of the aparajita-praccha (ii) implements and other symbols-enumeration and association b. Musical instruments (as improvised weapons) ii. Seats (i) asana 143-44 & (ii) vahana iii. Abhusana-drapery and decorations a. Costumes-drapery b. Ornaments of various limbs sodasabhusanas of the aparajita-praccha c. Headgear i. E. Mauli (manasara) the ideology under-lying these mudras vii. Iconographical astheticism and the installation of the images-prasada and pratima a. Iconographical alstheticism b. Installation (i) ritualistic : its different varieties, punah-prati tha and jirnoddhara etc. (ii) architectural-sculptural and iconometrical appendix a part ii. Exposition of pratima-iaksanas : introductory appendix to page 24, pt. Ii, ch. Viii--d. Buddhas i. Trimurti etc. Brahma-pratima-laksana : 1. Trimurti 2. Panca-murti 3. Caturmurti 4. Dvimurtis 5. Brahma : i. Hiscorical resume-vedic etc. Ii. Iconographical accounts iii. Iconographical implications iv. Illustrations (a) independent images 185 (6) reliefs v. Brahma's shrine and parivara-devatas ii. Vaisnava-pratima-laksana : 1. Introduction history: 2. Vedic 3. Epic and puranic 4. Pancaratric 5. Pratima-laksanas-seven-fold icons 1. The ordinary visnu-images 2. Extraordinary forms of visnu : i. Anantasay ii. Vasudevas d. & m iii. Trailokya-mohana iv. Visvarups v. Vaikuntha vi. Ananta vii. Yogesvara viii. Laksminarayana 3. Dhruva beras : introduction i. Standing attitude : a. Yagasthanaka b. Bhogasthanaka' c. Virasthanaka d. Abhicarikasthanaka ii. Sitting attitude : e. Yogasana f. Bhogasana g. Virasana h. Abhicarikasana iii. Reclining attitude : a. Yogasayana b. Bhogasayana c. Virasayana d. Abhicarikasayana 4. Dasavataras-the ten incarnations : introduction & defferent lists of avataras : i. Matsya ii. Kurma iii. Varaha : a. Nrvaraha b. Yajna and c. Pralaya iv. Narasimha : a. Girija b. Sthanu c. Yanaka d. Laksmi-narasimha v. Vamana and trivikrama vi-viii. Three ramas : i. Parasurama ii. Raghava iii. Balarama ix. Krsna x. Buddha (see buddhist iconography) xi. Kalkim 5. Caturvimsati-murtayah : i. Introductory ii. The twenty four murtis tabulated and commented 6. Minor forms of visnu : i. Rao's classification and comment on it ii. Purua iii. Vyasa iv. Hayagriva v. Kapila vi. Dhanvantari vii. Dharma viii. Yajna-murti ix. Dattatreya x. Varadraja etc. Garuda-art-motif and iconographical description and illustrations thereof 7. Ayudhapurusas i. Introduction ii. Sculptural forms, the underlying theology of the ten iii. Ayudhas iv. Vaisnavi dvaravati v. Vaisnava-vividha-pratima-pujana-phalam vi. Vaisnava-lanchana-rahasyam vii. Visnu-shrine (the ayatana) viii. Visnu's eight pratitharas iii. Saiva-pratima-laksana : 1. Genral introduction 2. Saivism-its schools, the sects, etc. : i. Agamanta school ii. The pasupata and other schools iii. The aghora or the milder forms of saivism-the kasmir and the lingayata : a. History of siva b. Pre-vedic-siva-pasupati c. Vedic-rudra-siva d. Epic and pauranic 3. Linga-worship 4. Two broad divisions of saiva icons -lingas and rupas 5. Lingas 6. Its meaning 7. Its divisions and sub-divions-niskala, sakala and misra 8. Niskala-shavara and jangama 9. Cala-linga-six-fold classification according to substances, they are made of 10. Acala lingas the different varieties 11. The svayambhuva lingas 12. The daivika 13. The ganapa 14. Arsa : i. The manasara's classification of lingas ii. The samarangana's treatment of the lingas 15. The manusa lingas : i. Astottarasata-linga ii. Sahasra-linga iii. Dhara-linga iv. Mukha-linga 16. The different criteria of the classification of manusa-lingas : i. Sarvadesika ii. Sarvasama iii. Vardhamana iv. Saivadhika, etc 17. Bana-lingas 18. Linga-pithas and kinds of pithas and pithanala : i. Rupas-anthropomorphic forms 19. Introduction and the treatment of the samarangana 20. The different categories of saiva icons : i. Santa ii. Ugra & ii. Miscellaneous-the 18 forms 21. The 18 lingodbhava rupas i. Santas : 1. Sadharani murti 2. Asadharanis i. Sadasiva ii. Mahasadasiva iii. Dvadasakala-sampurna sadasiva iv. Pasupata and rudra-pasupata 3. Saumya and santa murtis i. Ardhanarisvara ii. Gangadhara iii. Kalyana-sundara iv. Vrsavahara v. Candrasekhara vi. Sukhasana, etc. 4. Anugraha murtis : i. Visnvanugraha ii. Nandisanugraha iii. Vighnesvaranugraha iv. Arjunanugraha v. Candesanugraha vi. Ravananugraha 5. Nrtta murtis : introduction to 108 modes of siva's dance and its significance in the words of dr. A.k. Coomaraswamy nine nrtta murties, description and illustrations other modes and their representations 6. Daksinamurtis : introduction i. Vyakhyana-daksinamurti ii. Jnana-daksina-murti iii. Yoga-dak inamurti iv. Vinadharadaksina-murti ii. Asanta or ugra murtis : 1. Kamantaka 2. Gajasurasamhara 3. Kalari-mnrti 4. Tripurantak and its 8 aspects 5. Sarabhesa 6. Brahma-siraschetr-murti 7. Bhairava, svacchanda bhairava and 64 bhairavas 8. Other aspects of samhara-virabhadra, jalandhara, mallari siva, aghora and mahakala etc. 9. Kankala and bhiksatana murtis iii. Miscellaneous aspects : 1. Ekadasa rudras 2. Vidyesvaras 3. Murtyastakam 4. Isanadayah panca-murtis 5. Mahesa or mahadeva : i. Sivaganas ii. Nandi iii. Candesa iv. Ksetrapala v. Arya etc. 6. Secrecy of the saiva-emblems 7. Sivayatanam 8. The asta-pratiharas v. Ganapatya-pratima-laksana : 1. Ganesa 2. History 3. Rise of the sect and its popularity 4. Iconography and icons (16 varieties) 5. Illustrations (early and early and late medievals) 6. Secret and sacred meaning of ganesa's attributes 7. Senapati kartikeya (skanda) 8. Introduction 9. Early evidence of skanda's evolutionary iconogra-phical, archaeological and literary traits 10. Iconographical accounts of the three main aspects and the associated meaning of other forms : i. Kartikeya a. Kumara and kartikeya b. Symbolic significance ii. Skanda iii. Subrahmanya-his other 10 aspects subrahmanya's shrine, his parivaradevatas and dvara-palakas vi. Devi-pratima-laksana (saktism) : introduction 1. Saktism-as yantricism, tantricism and advaitism 2. Its history-pre-historic and historical 3. Devi-cult : (i) vedic and (ii) post-vedic -epic, pauranic and philosophic 4. Devi-pratima-laksanam-the devi icons 5. The three main aspects 6. Sarasvati 7. Her tantric ritualistic association in the aparajita- prachha 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, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003, 6, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003. Reprint. Hardcover. New. 16 X 24. Dedication preface part i : by pt. B.n. Jha, vice-chancellor, gorakhpur university introductory i. The principal texts on the canons of painting-citra-sastra ii. Painting-its aim, origin and scope iii. Elements, constituents and types iv. The vartika and the background (the canvas) v. The andaka measurements and the proportionate measurements vi. Plasters and ointments vii. Colours and brushes; shades and other delineations viii. How to paint-convention in painting ix. Painting and aesthetics x. Styles of painting in relation to colours, patras and kantakas xi. Painting and painter xii. An outline history of indian painting section i. Archaeological evidence section ii. Literary evidence appendices : 1. Quotations from kavyas 2. Illustrations 3. Citralaksanam (ii) the 12 samyuta-hastas (iii) the 21 nrtta-hastas representation in art: abhaya, varada, dhyana-yoga, samadhi, jnana, gin, dharamacakra, katyavalambita or katisam-hasta, kataka or simha-karna, danda or gaja-hasta, suci, tarjani etc. And vismaya, kayotsarga and bhusparsa ii. Poses of the body-nine attitudes iii. Postures of the legs-vaisnavam, samapadam vaisakham, mandalam, alidham, pratyalidham along with abhanga, tribhanga and atibhanga iv. Mudras (continued) reoriented doctrine of mudras taking objects, seats, drapery, and decorations etc. Also as mudras i. Objects-weapons and implements a. (i) weapons-25 ayudhas tabulated; 36 ayudhas of the aparajita-praccha (ii) implements and other symbols-enumeration and association b. Musical instruments (as improvised weapons) ii. Seats (i) asana 143-44 & (ii) vahana iii. Abhusana-drapery and decorations a. Costumes-drapery b. Ornaments of various limbs sodasabhusanas of the aparajita-praccha c. Headgear i. E. Mauli (manasara) the ideology under-lying these mudras vii. Iconographical astheticism and the installation of the images-prasada and pratima a. Iconographical alstheticism b. Installation (i) ritualistic : its different varieties, punah-prati tha and jirnoddhara etc. (ii) architectural-sculptural and iconometrical appendix a part ii. Exposition of pratima-iaksanas : introductory appendix to page 24, pt. Ii, ch. Viii--d. Buddhas i. Trimurti etc. Brahma-pratima-laksana : 1. Trimurti 2. Panca-murti 3. Caturmurti 4. Dvimurtis 5. Brahma : i. Hiscorical resume-vedic etc. Ii. Iconographical accounts iii. Iconographical implications iv. Illustrations (a) independent images 185 (6) reliefs v. Brahma's shrine and parivara-devatas ii. Vaisnava-pratima-laksana : 1. Introduction history: 2. Vedic 3. Epic and puranic 4. Pancaratric 5. Pratima-laksanas-seven-fold icons 1. The ordinary visnu-images 2. Extraordinary forms of visnu : i. Anantasay ii. Vasudevas d. & m iii. Trailokya-mohana iv. Visvarups v. Vaikuntha vi. Ananta vii. Yogesvara viii. Laksminarayana 3. Dhruva beras : introduction i. Standing attitude : a. Yagasthanaka b. Bhogasthanaka' c. Virasthanaka d. Abhicarikasthanaka ii. Sitting attitude : e. Yogasana f. Bhogasana g. Virasana h. Abhicarikasana iii. Reclining attitude : a. Yogasayana b. Bhogasayana c. Virasayana d. Abhicarikasayana 4. Dasavataras-the ten incarnations : introduction & defferent lists of avataras : i. Matsya ii. Kurma iii. Varaha : a. Nrvaraha b. Yajna and c. Pralaya iv. Narasimha : a. Girija b. Sthanu c. Yanaka d. Laksmi-narasimha v. Vamana and trivikrama vi-viii. Three ramas : i. Parasurama ii. Raghava iii. Balarama ix. Krsna x. Buddha (see buddhist iconography) xi. Kalkim 5. Caturvimsati-murtayah : i. Introductory ii. The twenty four murtis tabulated and commented 6. Minor forms of visnu : i. Rao's classification and comment on it ii. Purua iii. Vyasa iv. Hayagriva v. Kapila vi. Dhanvantari vii. Dharma viii. Yajna-murti ix. Dattatreya x. Varadraja etc. Garuda-art-motif and iconographical description and illustrations thereof 7. Ayudhapurusas i. Introduction ii. Sculptural forms, the underlying theology of the ten iii. Ayudhas iv. Vaisnavi dvaravati v. Vaisnava-vividha-pratima-pujana-phalam vi. Vaisnava-lanchana-rahasyam vii. Visnu-shrine (the ayatana) viii. Visnu's eight pratitharas iii. Saiva-pratima-laksana : 1. Genral introduction 2. Saivism-its schools, the sects, etc. : i. Agamanta school ii. The pasupata and other schools iii. The aghora or the milder forms of saivism-the kasmir and the lingayata : a. History of siva b. Pre-vedic-siva-pasupati c. Vedic-rudra-siva d. Epic and pauranic 3. Linga-worship 4. Two broad divisions of saiva icons -lingas and rupas 5. Lingas 6. Its meaning 7. Its divisions and sub-divions-niskala, sakala and misra 8. Niskala-shavara and jangama 9. Cala-linga-six-fold classification according to substances, they are made of 10. Acala lingas the different varieties 11. The svayambhuva lingas 12. The daivika 13. The ganapa 14. Arsa : i. The manasara's classification of lingas ii. The samarangana's treatment of the lingas 15. The manusa lingas : i. Astottarasata-linga ii. Sahasra-linga iii. Dhara-linga iv. Mukha-linga 16. The different criteria of the classification of manusa-lingas : i. Sarvadesika ii. Sarvasama iii. Vardhamana iv. Saivadhika, etc 17. Bana-lingas 18. Linga-pithas and kinds of pithas and pithanala : i. Rupas-anthropomorphic forms 19. Introduction and the treatment of the samarangana 20. The different categories of saiva icons : i. Santa ii. Ugra & ii. Miscellaneous-the 18 forms 21. The 18 lingodbhava rupas i. Santas : 1. Sadharani murti 2. Asadharanis i. Sadasiva ii. Mahasadasiva iii. Dvadasakala-sampurna sadasiva iv. Pasupata and rudra-pasupata 3. Saumya and santa murtis i. Ardhanarisvara ii. Gangadhara iii. Kalyana-sundara iv. Vrsavahara v. Candrasekhara vi. Sukhasana, etc. 4. Anugraha murtis : i. Visnvanugraha ii. Nandisanugraha iii. Vighnesvaranugraha iv. Arjunanugraha v. Candesanugraha vi. Ravananugraha 5. Nrtta murtis : introduction to 108 modes of siva's dance and its significance in the words of dr. A.k. Coomaraswamy nine nrtta murties, description and illustrations other modes and their representations 6. Daksinamurtis : introduction i. Vyakhyana-daksinamurti ii. Jnana-daksina-murti iii. Yoga-dak inamurti iv. Vinadharadaksina-murti ii. Asanta or ugra murtis : 1. Kamantaka 2. Gajasurasamhara 3. Kalari-mnrti 4. Tripurantak and its 8 aspects 5. Sarabhesa 6. Brahma-siraschetr-murti 7. Bhairava, svacchanda bhairava and 64 bhairavas 8. Other aspects of samhara-virabhadra, jalandhara, mallari siva, aghora and mahakala etc. 9. Kankala and bhiksatana murtis iii. Miscellaneous aspects : 1. Ekadasa rudras 2. Vidyesvaras 3. Murtyastakam 4. Isanadayah panca-murtis 5. Mahesa or mahadeva : i. Sivaganas ii. Nandi iii. Candesa iv. Ksetrapala v. Arya etc. 6. Secrecy of the saiva-emblems 7. Sivayatanam 8. The asta-pratiharas v. Ganapatya-pratima-laksana : 1. Ganesa 2. History 3. Rise of the sect and its popularity 4. Iconography and icons (16 varieties) 5. Illustrations (early and early and late medievals) 6. Secret and sacred meaning of ganesa's attributes 7. Senapati kartikeya (skanda) 8. Introduction 9. Early evidence of skanda's evolutionary iconogra-phical, archaeological and literary traits 10. Iconographical accounts of the three main aspects and the associated meaning of other forms : i. Kartikeya a. Kumara and kartikeya b. Symbolic significance ii. Skanda iii. Subrahmanya-his other 10 aspects subrahmanya's shrine, his parivaradevatas and dvara-palakas vi. Devi-pratima-laksana (saktism) : introduction 1. Saktism-as yantricism, tantricism and advaitism 2. Its history-pre-historic and historical 3. Devi-cult : (i) vedic and (ii) post-vedic -epic, pauranic and philosophic 4. Devi-pratima-laksanam-the devi icons 5. The three main aspects 6. Sarasvati 7. Her tantric ritualistic association in the aparajita- prachha 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, Munshiram Manoharlal Publishers Pvt. Ltd. , 2003, 6, Henry S. King, London, 1891-93. First Edition. Disbound. Very Good. A member of the Metaphysical Society : Louis Robinson, 1857–1928, was a 19th-century English physician, paediatrician and author. An ardent evolutionist, he helped pioneer modern child medicine during the later Victorian era, writing prolifically in journals on the emerging science of paediatrics. Active in scientific debate, Robinson was critiqued in some parts of the press for his outspoken evolutionary views in the wider debate between scientific theories of human origin and the religious view. Drawing on his extensive research, Robinson's interest in evolution was expressed in a series of articles. A keen practitioner as well as theorist, Robinson was one of the first doctors of his era to conduct experiments with young babies, testing over sixty subjects immediately after birth on their power of grip (Wikipedia). The Metaphysical Society existed between 1868 and 1880, and was the creation of James Knowles, the publisher of the Nineteenth Century journal. Many of the early contributors to The Nineteenth Century were members of the Metaphysical Society. The journal was intended to publish debate by leading intellectuals. In 1901, the title was changed to The Nineteenth Century and After. Its interests were the belief in science, immortality of the soul, morality, miracles, Christianity, etc. Explaining the demise of the Metaphysical Society, Tennyson remarked it was because after ten years of strenuous effort no one had succeeded in even defining metaphysics, whilst according to Dean Stanley, 'We all meant the same thing if we only knew it'. 35 Pages. Quantity Available: 1. Shipped Weight: Over 3 kilos. Category: Nineteenth Century Magazine; Collections; Metaphysical Society; New Arrivals; Inventory No: 304823. This item may require more postage than the rates shown for delivery outside the UK. If extra postage is required we will contact you before processing your order and you will be given the details and option to decline the extra cost.., Henry S. King, 1891-93, 3, Peeters Publishers, 2009. New. The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this study to trace the origins, the evolution and history of the Presanctified Liturgy in the Byzantine liturgical tradition. The method of comparative liturgy and structural analysis of liturgical units is followed. The book presents a thorough investigation of sources from the early Church that could point to the origins of Presanctified Liturgy, and examines the occurrence of the Presanctified Liturgy in the other Christian traditions. Heavily drawing upon the manuscript tradition it examines in depth the text of the Presanctified Liturgy itself, tracing the evolution of its structural components throughout history. The author argues that three dynamics have been behind the evolution and growth of the Presanctified Liturgy: imitation, conservatism, and differentiation. Printed Pages: XVI-355 p., Peeters Publishers, 2009, 6<

ISBN: 9789042921092

The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this stu… Mehr…

The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this study to trace the origins, the evolution and history of the Presanctified Liturgy in the Byzantine liturgical tradition. The method of comparative liturgy and structural analysis of liturgical units is followed. The book presents a thorough investigation of sources from the early Church that could point to the origins of Presanctified Liturgy, and examines the occurrence of the Presanctified Liturgy in the other Christian traditions. Heavily drawing upon the manuscript tradition it examines in depth the text of the Presanctified Liturgy itself, tracing the evolution of its structural components throughout history. The author argues that three dynamics have been behind the evolution and growth of the Presanctified Liturgy: imitation, conservatism, and differentiation. The Presanctified Liturgy in the Byzantine Rite: A Comparative Analysis of Its Origins, Evolution, and Structural Components Buch (fremdspr.) Bücher>Fremdsprachige Bücher>Englische Bücher, Peeters<

2009, ISBN: 9789042921092

Peeters Publishers, 2009. New. The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical traditio… Mehr…

Peeters Publishers, 2009. New. The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this study to trace the origins, the evolution and history of the Presanctified Liturgy in the Byzantine liturgical tradition. The method of comparative liturgy and structural analysis of liturgical units is followed. The book presents a thorough investigation of sources from the early Church that could point to the origins of Presanctified Liturgy, and examines the occurrence of the Presanctified Liturgy in the other Christian traditions. Heavily drawing upon the manuscript tradition it examines in depth the text of the Presanctified Liturgy itself, tracing the evolution of its structural components throughout history. The author argues that three dynamics have been behind the evolution and growth of the Presanctified Liturgy: imitation, conservatism, and differentiation. Printed Pages: XVI-355 p., Peeters Publishers, 2009, 6<

2009, ISBN: 9789042921092

Peeters Publishers, 2009. New. The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical traditio… Mehr…

Peeters Publishers, 2009. New. The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this study to trace the origins, the evolution and history of the Presanctified Liturgy in the Byzantine liturgical tradition. The method of comparative liturgy and structural analysis of liturgical units is followed. The book presents a thorough investigation of sources from the early Church that could point to the origins of Presanctified Liturgy, and examines the occurrence of the Presanctified Liturgy in the other Christian traditions. Heavily drawing upon the manuscript tradition it examines in depth the text of the Presanctified Liturgy itself, tracing the evolution of its structural components throughout history. The author argues that three dynamics have been behind the evolution and growth of the Presanctified Liturgy: imitation, conservatism, and differentiation. Printed Pages: XVI-355 p., Peeters Publishers, 2009, 6<

2009, ISBN: 9789042921092

The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this stu… Mehr…

The Presanctified Liturgy, a communion service attached to vespers, is an office peculiar to the period of Great Lent in the Byzantine liturgical tradition. It is the ambition of this study to trace the origins, the evolution and history of the Presanctified Liturgy in the Byzantine liturgical tradition. The method of comparative liturgy and structural analysis of liturgical units is followed. The book presents a thorough investigation of sources from the early Church that could point to the origins of Presanctified Liturgy, and examines the occurrence of the Presanctified Liturgy in the other Christian traditions. Heavily drawing upon the manuscript tradition it examines in depth the text of the Presanctified Liturgy itself, tracing the evolution of its structural components throughout history. The author argues that three dynamics have been behind the evolution and growth of the Presanctified Liturgy: imitation, conservatism, and differentiation. Buch (fremdspr.) S. Alexopoulos Taschenbuch, Peeters, 01.09.2009, Peeters, 2009<