SELECTED ESSAYS OF G. SANKARA PILLAIISBN : 81-244-1081-2Edited By :N. RADHAKRISHNAN
(1997, xi+176pp., index)
The collection of essays in this volume, grouped in three sections under the headings: General Perspectives, Traditions of Theatre, and Modern Idiom in Theatre, reveal the author’s complete mastery on the various aspects of Indian culture, particularly the theatre arts…Read MoreThe essays reverberate with an intensity of feeling for the ritual or folk theatre of Kerala: more through Sankara Pillai’s eye and pen the vision of Earth as Mother and Mother as Earth in her diverse forms is revealed. Equally powerful are the essays devoted to contemporary literature and theatre. The author incisively analyses the theatre scene in India in its aspects of both national phenomena as also international with European movements.
STYLISTICS OF BUDDHIST ART IN INDIAISBN : 81-7305-243-3Edited By :Mireele Benisti
(2003, xiv+346pp., 2 vols. (text & plates), 288 illus.)
This book contains many landmarks in the history of Buddhist doctrine and art, presented on the basis of in-depth analysis of the styles and icons of stūpas…Read MoreIt emphasizes the study of minor votive stūpas and those figured in reliefs, which, undamaged and represented with complete ornamentation, are testimonies about the conception and use of this object of worship.
Another emphasis of this work is on stylistics, i.e. the study of styles systematically conducted with a precise and elaborate method, constituting a full fledged discipline, which, along with iconography, provides a solid foundation for scientific history of art.
Buddhist texts relevant to the conception, building and worship of stūpas, such as Kriyāsaṁgraha, are referred to, with edition and translation.
A BIBLIOGRAPHY OF ANANDA KENTISH COOMARASWAMYISBN : 81-7304-428-7Edited By :James S. Crouch
The volume documents the remarkably productive career of one of the great minds of the twentieth century. This comprehensive and accurate bibliography is the result of more than twenty years of devoted research and scholarship. Its publication is an event of the first importance for all scholars of Indian art and religion…Read MoreMoreover, it is an equally invaluable reference work for anyone concerned with the study of comparative religion, mythology, traditional metaphysics, iconography and symbolism, in general. It describes in detail American, English and Indian first editions of ninety-five books and pamphlets by Coomaraswamy, with descriptions of ninety-six books containing contributions by him to periodicals and newspapers (as well as translations of his writings). It also lists 420 reviews of Coomaraswamy’s books and 216 other items about him and his works. All entries are fully annotated and a complete index is provided.
AESTHETICS AND MOTIVATIONS IN ARTS AND SCIENCEISBN : 81-224-0746-3Edited By :KIRAN C. GUPTA
This volume is a collection of twelve papers invited for a National Seminar based on the seminal work, “Truth and Beauty; Aesthetics and Motivations in Science” by the Nobel Laureate S. Chandrasekhar. The contributions are by experts in arts, fine arts and science,…Read More
Baroque India : The Neo-Roman religious architecture of South Asia: A Global Stylistic SurveyISBN : 81-7305-161-5Edited By :Stylistic Survey, Jose Pereira
(2000, xix+497pp, line-drawings, b&w plates, bibl., index)
Baroque India is the fruit of over forty years of research and is the work of one professionally trained in the history of Indian art (Hindu, Buddhist and Jain). In addition, he is the author of a survey of Islamic architecture worldwide, which includes, of course, the Indo-Islamic traditions…Read MoreIt is his belief that Indian Baroque-or, more correctly, Indian Neo Roman -cannot be properly appreciated without an understanding of the architectural styles that preceded it on the subcontinent, and which exercised a significant impact on it.
In so doing, the author has tried to outline a consistent aesthetic theory of Neo Roman, to portray its five major modes – Renaissance, Mannerism, Baroque, Rococo and Neoclassicism – as expressions of the Neo-Roman essence, immanently developing, in the indicated sequence, one from the other, and pullulating a rich variety of spatial themes that both display a marked originality and manifest a capacity for assimilating the spatial nuances of the other architectural styles.
BRHADISVARA TEMPLE: FORM AND MEANINGISBN : 978081-7305-388-7Edited By :R. Nagaswamy
(2010, xxvi+280pp.+xxvi, halftone illus. 284, bibl., figs. & maps 13, index)
The great temple at Tañjāvur is a visual representation of cosmic power on earth that remains, according to the pious wish of the builder, so long as the sun and moon lasts. The God who inhabits this abode is said to be seated with his consort on the summit of the metaphysical…Read Moremountain surrounded by a circle of peaks in which the divine power descends in diminishing potency as it comes down gradually and takes his abode at the peak of the circle, appropriate to his direction and also the relative importance in the hierarchy. So each peak is a virtual temple. This metaphysical mountain is called the great meru-Mahameru, which forms the basic concept of the Bṛhadīśvara Temple of Tanjore.
The Bṛhadīśvara Temple locates for the first time in Indian history, the 108forms of nṛtta karaṇas on the upper storey around the sanctum wall in sculptural form and reflects the concept of cosmic space in which Śiva’s dance takes place. The available karaṇas are discussed in this volume for the first time in the light of Abhinavagupta’s commentary and also the views of modem scholars.
Every structure in the temple is dated with the help of inscriptions. The story is taken through the centuries and its change in meaning and ritual are brought out in this volume which points out what a Hindu temple mean when in full form and through the centuries. The personality of the builder, the role of rājaguru in planning and guidance and also the names of architects who designed and carved the sculptures and executed the lovely paintings are also furnished in this volume which makes it an invaluable work on the temple.
DEER IN ROCK ART OF INDIA AND EUROPEISBN :Edited By :GIACAMO CAMURI, ANGELO FOSSATI AND YASHODHAR MATHPAL
(1993, xvi+150pp. tables, line - drawings., col. and b & w illus.)
ENCYCLOPAEDIA OF INDIAN TEMPLE ARCHITECTUREISBN : 81-86526-00.5Edited By :M A Dhaky
(1996, text & plates, xxix+596pp., line drawings, gloss., index, 1,674 b&w plates, ISBN 81-86526-00.5)
Vol. I, Part 3: This part in two binds covers the full range of Indian temple architecture, surveys medieval temples and associated buildings in Upper Drāviḍadēśa,…Read Moreparticularly those in the territories of the Cāḷukyas of Kalyāṇa, Hoysaḷas of Dorassamudra, as well as in those of other dynasties such as the Kadambas, Raṭṭas, Guttas, Senas and Śāntaras in Karnataka and those in the domain of the Kākatīyas of Waraṅgal together with those of the Cāḷukyas of Vemulavāḍa; Telugu Coḍas, Reḍḍis, and Malyālas, all in theTeliṅgāṇa area of Andhra Pradesh, and finally the Ālupas of Tuḷunāḍu. Arranged by region and dynasty, the chapters also focus, wherever evidence is clear, on the nature of local idioms and origins of the regional styles. These are copiously illustrated with drawings and photographs.
Vol. II, Part 3: This part also in two binds surveys the tenth century temples (and associated structures) in different provinces of the north Indian megaterritory, built under the political aegis of the then ruling various provincial-principal and subordinate-dynasties. Among these, the more notable were the Cāhamānas of Śākambharī and of Naḍḍula, and Solaṅkīs of Aṇahillapāṭaka in westem India; also, the Kaḷacūris of Cedideśa olim Ḍāhaladeśa, Candellas of Jejākabhukti, and Kacchapaghāṭas of Gopagiri in central India and the Somavaṁśīs of Kaliṅgadeśa in eastem India. The text, running in twenty-one chapters, has copiously illustrated with drawings (ground plan and baseelevations) and adequate number of photographs.
Volume ISBN Vol I, 1996, text & plates, xxix+596pp., line drawings, gloss., index, 1,674 b&w plates 81-86526-00.5 Vol II, 1998, text & plates, xxviii+426pp., line drawings, gloss., index, 913 b&w plates 81-7304-226-8
ESSAYS OF JAINA ARTISBN : 81-7304-534-8Edited By :RICHARD J. COHEN
This volume deals with Coomaraswamy’s contribution to the study of Jaina art.
His writings on Jaina art span the entire period of his active working life as an art historian. He published his first article on the subject in 1914 and ended with a book review in 1943, four years before his death…Read MoreJaina art and its symbolic inventory held a special place in Coomaraswamy’s formulation of the history of Indian painting, indeed Indian civilization itself. He was the first to recognize its chronological place in the succession of style. The Jaina paintings are not only important for the student of Jaina iconography and archaeology which are illustrative of costumes, manners and customs, but are of greater interest because they are the oldest Indian paintings on paper, representing an almost unknown school of lndian art.
Holding the view that in order to make these paintings fully comprehensible, a short account of Jainism and of the legends of Mahāvīra and Kālakācārya, which are the main subject of the paintings is given in this volume. The chapters that follow deal with the explanation of various terms; Jaina cosmology; aesthetics and relationships of Jaina painting; the illustrated Jaina manuscripts; description of the figures; followed by a large number of illustrations.
Richard J. Cohen, an eminent American Indologist, has edited the book painstakingly, consulting not only the author’s authentic corrections, but also all the material available in the Boston Museum of Fine Arts and the Library of the University of Pennsylvania. It is hoped that Coomaraswamy’s seminal and profound contribution to the study of Indian painting will benefit not only art historians, but also artists.
ESSAYS ON MUSICISBN : 81-7304-611-5Edited By :PREM LATA SHARMA
(2010, 153, Preface, Introduction)
These essays were published in a few books, journals, etc., mostly in the early years of the twentieth century. Coomaraswamy held that music in countless ways had been bound up with the Indian national culture, for it was the most universal expression of emotion-religious, amorous or martial… Read MoreMusic belonged to every part of life. The flute of Kṛṣṇa, the vīṇā of Sarasvatī, the dance of Śiva, the Gāyatrī as cosmic chant or music of the spheres; the hymns of passionate adoration of the southern Śaivite, all these belong to the association of music and religion.
In addition to the art of music, Coomarasway lays great emphasis on the folk songs of agriculture and crafts. This music is serving to lighten heavy labour, such as the songs of husbandmen, carters and boatmen. Music remained too intimately associated with religion, with drama and with life, whether courtly or popular and was faithfully guarded by tradition.
Coomaraswamy was much against the harmonium and gramophone, when compared to stringed instruments; even the piano, he held, was an inferior instrument. Every time these mechanical instruments were used in place of man, the Indian musician was degraded, his living was taken from him and the group soul of Indian life injured. Among musical instruments, he gave pride of place to the vīṇā.
He firmly believed that the importance of music in education can hardly be overestimated. He bemoaned that foreign (English) education had paralysed the living impulses of lndians, and driven India to a state of social disintegration. He advocated that the restoration of Indian folk and art music to its proper place in Indian education would result in the understanding of the self-expression of India in her music.