{"product_id":"studies-in-indian-art-idg148","title":"STUDIES IN INDIAN ART","description":"\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Specification\u003c\/h2\u003e\u003ctable\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eItem Code:\u003c\/td\u003e \u003ctd\u003eIDG148\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eAuthor:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/ar\/book-author\/v%20s%20agrawal\" class=\"underlined\" title=\"V. S. AGRAWAL\"\u003eV. S. AGRAWAL\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePublisher:\u003c\/td\u003e \u003ctd\u003e\u003ca href=\"\/ar\/book-publisher\/vishwavidyalaya%20prakashan%20varanasi\" class=\"underlined\" title=\"Vishwavidyalaya Prakashan, Varanasi\"\u003eVishwavidyalaya Prakashan, Varanasi\u003c\/a\u003e\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eLanguage:\u003c\/td\u003e \u003ctd\u003eEnglish\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eEdition:\u003c\/td\u003e \u003ctd\u003e2003\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eISBN:\u003c\/td\u003e \u003ctd\u003e8171243355\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003ePages:\u003c\/td\u003e \u003ctd\u003e288 (B \u0026amp; W Illus: 165,)\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eCover:\u003c\/td\u003e \u003ctd\u003eHardcover\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eOther Details\u003c\/td\u003e \u003ctd rel=\"product-dimensions\"\u003e9.8\" X 7.5\"\u003c\/td\u003e \u003c\/tr\u003e \u003ctr\u003e \u003ctd class=\"product-details-specifications-label has-text-grey-dark\"\u003eWeight\u003c\/td\u003e \u003ctd rel=\"product-weight\"\u003e730 gm\u003c\/td\u003e \u003c\/tr\u003e \u003c\/table\u003e\u003cbr\u003e\u003ch2 class=\"title is-size-3-desktop is-size-5-touch has-text-centered product-details-description-title\"\u003eBook Description\u003c\/h2\u003e\u003cdiv class=\"product-details-description\" style=\"max-height: 63rem; overflow-y: auto;\"\u003e\n\u003cb\u003eAbout the Book:\u003c\/b\u003e\u003cp\u003eIndian art has a long history and is a subject of great importance as expressing the soul of Indian civilisation. Its value is equal to that of Indian religion, philosophy and literature, which are all to be tapped as perennial sources for the understanding of Indian art-forms.\u003c\/p\u003e\n\u003cp\u003e Indian art is to be studied at two different levels, viz. the external form and the inner meaning. Up to now it has been usual to approach Indian art from the external point of view, i.e. the objective description of images, statuary, architectural buildings and monuments. That is quite correct and essential as the primary basis of approach. But there is also the other side of the medal, viz. the esoteric side which consists in the study of meaning and purpose of art of which the roots lie hidden in Indian religion and philosophy. By looking at these two with equal insight one may be able to recover the true and full significance of the Indian mind as expressed in the creations of art.\u003c\/p\u003e\n\u003cp\u003e Indian artists were, no doubt, interested in beautiful forms and aesthetic problems. They handled a vast and varied repertoire of geometrical, floral, arboreal, animal and human forms but their greatest interest or appeal was to the divine figures, a rich pantheon of gods and goddesses who filled the centre of the picture and whose endless glory and great splendour was of real interest to human beings. Nothing affords greater pleasure to the Indian art critic than to feel divine presence of great gods like Rudra-\u003ca href=\"\/ar\/shiva.htm\"\u003eSiva\u003c\/a\u003e, and \u003ca href=\"\/ar\/article\/vishnu\"\u003eVishnu\u003c\/a\u003e, of goddesses like Sri-\u003ca href=\"\/ar\/article\/lakshmi\"\u003eLakshmi\u003c\/a\u003e and Parvati or such divine personages as Buddha and Tirthankara. This calls for a new approach both in the art connoisseur or the sculptor or painter. The papers collected here just make the first attempt to invoke this point of view.\u003c\/p\u003e\n\u003cp\u003e \u003cb\u003eAbout the Author: \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eBorn 7th August 1904, at village Kheda, district Meerut. Early education at Lucknow. B.A. 1927, Banaras Hindu University. M.A. in History 1929, Lucknow University. Ph.D. 1941 and D.Litt. 1946, Lucknow university [for his work \"Panini as a Source of Indian History\"]. Joined as Curator, Mathura Museum of Archaeology, 1931 to 1939; Curator, Provincial (now State) Archaeological Museum, Lucknow 1939-1946.\u003c\/p\u003e\n\u003cp\u003e Superintendent, Central Asian Antiquities Museum, Archaeological Survey of India, New Delhi from 1946 to 1951. [Set up the nucleus of the National Museum] Professor and Head, Department of Art \u0026amp; Architecture [History of Arts], Banaras Hindu University 1951 to 1966. Died 26th July, 1966.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e \u003ctr\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003eiii\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003eList of Half-tone plates\u003c\/td\u003e\n\u003ctd\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003eList of Text Illustrations\u003c\/td\u003e\n\u003ctd\u003eviii\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003eSources of Papers\u003c\/td\u003e\n\u003ctd\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e I. AN APPROACH\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e1-26\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 1. Alphabet of Indian Art Symbolism, 3-8; 2. Lalita Kala, 9-22;\u003cbr\u003e\u003cpre\u003e 3. Visvakarma, 23-26\u003c\/pre\u003e\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e II. INDUS VALLEY ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e27-38\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 4. Indus Valley Art, 29-38\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e III. SOME EARLY SYMBOLS\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e39-54\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 5. Symbolic Images and Paintings, 41-42; 6. Purna-Kumbha or the\u003cbr\u003e Full-Vase, 43-46; 7. Kalpavriksha, 47-52; 8. Cornucopia in\u003cbr\u003e Literature, 53-54\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e IV. MAURYAN ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e55-74\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 9. Mauryan Art, 57-74\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e V. SUNGA ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e75-108\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 10. The Great Stupa of Bharhut, 77-94; 11. Prakaravapra Kundala, 95-97;\u003cbr\u003e 12 Simsumara-Sirah, 98-101; 13. A new Yakshi image from Mehrauli, \u003cbr\u003e 102-103; 14. Vasudhara, 104-108\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e VI. MATHURA ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e109-196\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 15. Pre-Kushana Art of Mathura, 111-131; APPENDIX-Four new Yaksha\u003cbr\u003e Statues, 133-136; 16. Dhyani Buddhas and Bodhisattvas, 137-146;\u003cbr\u003e 17. A new Bodhisattva and a Bacchanalian group from Mathura\u003cbr\u003e 147-151; 18. A new inscribed image of Kasyapa Buddha from Mathura,\u003cbr\u003e 152-154; 19. Mathura Railing Pillars, 155-159; 20. A relief of Rishya\u003cbr\u003e Sringa, 160-161; 21. Nativity sculpture at Lumbini, 162-163; 22.\u003cbr\u003e Palace scenes on a Mathura Pillar, 164-167; 23. The Vine motif in\u003cbr\u003e Mathura Art, 168-171; 24. A Syrinx Player in Mathura Art, 172;\u003cbr\u003e 25. A Naga Image from Mathura, 173-174; 26. New Mathura heads\u003cbr\u003e and other acquisitions to the Mathura Museum, 175-177; 27. Mathura\u003cbr\u003e Ayagapattas, 178-180; 28. Brahmanical Images in Mathura Art,\u003cbr\u003e 181-188; 29. Early Brahmanical Relief from Mathura, 189-193; 30.\u003cbr\u003e India represented on a silver dish from Lampsacos, 194-196\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e VII. GUPTA ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e197-254\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 31. A Survey of Gupta Art, 199-208; 32. Art evidence in Kalidasa, 209-219;\u003cbr\u003e 33. The Gupta Temple at Devagarh, 220-225; 34. A new Gupta Temple\u003cbr\u003e at Darra in Malwa, 226-227; 35. Sculpture from Nachna Kuthara and\u003cbr\u003e Khoh, 228-232; 36. A note on Gupta Siva Linga at Mathura, 233-234;\u003cbr\u003e 37. Pancha-vaktra or Kirtimukha motif, 235-240; 38. Kirti,\u003cbr\u003e Kirtimukha and Kirtistambha, 241-244; 39. Sculpture: Gupta Period\u003cbr\u003e (300-600 A.D.), 245-254\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cb\u003e\u003cpre\u003e VIII. MEDIEVAL ART\u003c\/pre\u003e\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e255-288\u003c\/td\u003e\n\u003c\/tr\u003e \u003ctr\u003e\n\u003ctd\u003e\u003cpre\u003e 40. Early Medieval Period (8th-9th century), 257-260; 41. A note on\u003cbr\u003e Sculptures at Lakhamandal, 261-266; 42. Samudramanthana Sculpture\u003cbr\u003e from Hardwar, 267-268; 43. The Kardamesvara temple at Kandwa,\u003cbr\u003e Banaras, 269-270; 44. A note on Medieval Temple Architecture, 271-275;\u003cbr\u003e 45. Some Archaeological and Art Terms, 276-288\u003c\/pre\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e \u003c\/table\u003e\n\u003c\/div\u003e","brand":"Occultnthings","offers":[{"title":"Default Title","offer_id":44620536643885,"sku":"IDG148","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2094\/2117\/products\/studies_in_indian_art_idg148.jpg?v=1677770972","url":"https:\/\/occultnthings.com\/ar\/products\/studies-in-indian-art-idg148","provider":"Occult-N-Things","version":"1.0","type":"link"}