IN THE FOOTSTEPS OF ZUANZANG: TAN YUN-SHAN AND INDIAISBN : 81-212-0630-8Edited By :Tan Chung
Gurudeva Rabindranath Tagore has become a “multi-national” in the sense that he has authored the National Anthem of two separate sovereign countries — India and Bangla Desh,…Read Moreand is regarded as the common cultural savant of both the nations. When friends in Beijing started preparing for the Memorial Function-Cum-Seminar for Tan Yun-shan’s birth centenary (scheduled for October 27, 1998), they accepted my request not to designate him as an “Overseas Chinese”. Yes, Tan Yun-shan was a Chinese diaspora, but he is also owned by India and has become a “multi-national” — like his “Gurudeva” Rabindranath. It is quite interesting to note that after accepting Tagore’s invitation in 1927, and arriving at Santiniketan in 1928, Tan Yun-shan started following the footsteps of Gurudeva, and has gone so far with Tagore to become a common asset of two sovereign countries. This phenomenon has also registered the borderlessness between India and China in his being (during his life time), and in his symbol (after his demise).
On the surface, my taking initiative and also the troubled pleasure (or pleasant-trouble) in Tan Yun-shan’s centenary celebrations seems in accordance with the filial piety of a Confucian Chinese tradition. But, the enthusiastic support from my Indian friends, particularly Rashtrapati (President of India) Honourable Mr. K. R. Narayanan’s warm blessings for and gracious participation in this celebration has taken it beyond the narrow boundary of nation-state, let alone nationalism. Like Gurudeva, Tan Yun-shan was no nationalist from a narrow perspective. His loyalty alway belonged to two nations — India and China. China was his first motherland, India was his second; China was his cradle, India was his cremation ground. He lived for 85 years of which nearly half a century was spent in India. Among his seven children, India and China have claimed an equal share of their birth places: 3 born in China, 3 born in India, one born in Malaya), and only the first two enjoy Chinese as their mother-tongue — the rest five have been essentially Bengali and English speakers. When we asked our late-lamented sister, Tan Wen, to write about father more than a year ago, she felt it better that the memoir should be couched in Bengali — which was practically her first language and strongest forte, although she had emigrated to the USA for nearly ten Years because of her marriage with a US citizen of Bengali descent. All this speaks how national boundaries have become blur in the Tan family.
Volume eBook I e-Book
Indian Art and Connoisseurship : Essays in Honour of Douglas BarrettISBN : 81-85822-14-xEdited By :John Guy
(1995, 360pp., col. B&W ills.)
A collection of twenty-five essays by international scholars written to celebrate the contribution to the study of Indian art of Douglas Barrett, former keeper of Indian art at the British Museum. The essays are organized in five sections: Part 1: Early India;…Read MorePart 2: North Indian sculpture; Part 3: South Indian sculpture; Part 4: Indian painting; Part 5: Islamic art. All papers are richly illustrated, some in colour. A full bibliography of Douglas Barrett’s writings on lndian art is included.
The contributors include: T. K Biswas, Vidya Dehejia, Simon Digby, Klaus Fischer, Basil Gray, John Guy, J. C. Harle, Herbert Hartel,John Irwin, Karl Khandalavala, J. P. Losty, T. S. Maxwell, R. Nagaswamy, Pratapaditya Pal, R. Pinder-Wilson, H. K Swali, Robert Skelton, M. Taddei, Andrew Topsfield, S.C. Welch and Joanna Williams.
INDIAN NARRATOLOGYISBN : 81-207-2502-6Edited By :K. Ayyappa Paniker
(2003, v+200 pp., appen., bibl., index)
This book is an attempt to provide a bird’s eye-view of the efforts made by Indians in the past, to arrive at various strategies in the art of narration. Without going into elaborate details about each of these strategies, it tries to highlight the awareness with which Indian storytellers have established very clear demarcations…Read Morewithin the highly variegated panorama of the art and science of Indian narrative, which has often been ignored or neglected by comparative literature experts, both inside India and outside. It identifies ten major models of narration, with occasional comments on their possible impact on the Western narrators. These models are: the Vedic, the Purāṇic, the Itihāsa, the Śṛṅkhlā, the Anyapadeśa, the Mahākāvya, the Draviḍian, the Folk-tribal and the Miśra. The introductory chapter outlines the theory and practice of the narrative in India, while the concluding chapter discusses the relation between narrative and narratology. The Appendix briefly outlines the Asian narrative tradition.
Indian Temple Architectur: Form and TransformationISBN : 81-7017-312-4Edited By :Adam Hardy
(1995, xix+614pp. maps, line drawings, b & w plates, appends, bibl, gloss., index)
Transformation of forms of Indian temples takes place through a dual process – time as well as space. These two patterns of transformation, through time and (while representing time) in space, reflect one another closely. Both are processes of emergence, expansion and proliferation which simultaneously imply differentiation and fusion, growth from and dissolution into unity…Read More
One of the richest traditions of temple building that India has produced took shape in the seventh century CE, centred in what is now the state of Kamataka, and lasted until the thirteenth century CE. This was one of the two main branches of Drāviḍa or “southern” temples architecture, giving rise to such famous temples as the Virūpākṣa, Paṭṭaḍakal, the Kailāsa, Ellorā and the Hoysaḷeśvara and Halebiḍ. These temples are analysed, along with more than 250 other buildings, in this monumental study that, for the first time, explains the Karṇāta Drāviḍa tradition as one continuous, coherent development.
The present volume shows how to look at these great monuments and makes their complex architecture accessible. It is clearly shown how the formal structure of a temple makes concrete the idea of manifestation, of the transmutation of the eternal and infinite into the shifting multiplicity of existence, the reabsorption of all things into the limitless unity from which they have come.
INTEGRATION OF ENDOGENOUS CULTURAL DIMENSION INTO DEVELOPMENTISBN : 81-246-0089-9Edited By :BAIDYANATH SARASWATI
This volume takes the discourse on: from the complex issues of cultural identity to the worldwide human problems stemming from the development-planners unmindfulness of endogenous cultures. Carrying 17 presentations of a Unesco-sponsored workshop:Read More19-23 April 1995 at IGNCA, New Delhi, it questions the modern methods of development which, evolved from the experience of the industrialized world, have brought about neither peace nor harmony, neither alleviation of poverty nor socio-economic equality. Thus arguing why current development processes call for serious rethinking, the authors spell out not only the urgency of integrating endogenous cultural dimension into the paradigms of development, but also the relevance of linking development with the ethical basis of life and living. Also included in the volume are several case studies, with special reference to the Asian situation.[expand title=”View Book”]
The contributors to this volume are reputed scholars, planners and grassroots-level social workers from China, India, Indonesia, Japan, South Korea, Thailand and Vietnam.
Volume eBook I e-Book
INTERCULTURAL DIALOGUE AND THE HUMAN IMAGEISBN : 81-246-0044-9Edited By :S. C. MALIK and PAT BONI
This work incorporates Prof. Maurice Friedman’s lectures, discussions and exchanges which took place in the Intercultural Dialogue at many levels. The integral dialogical approach of Friedman within the framework of the human image, coincides with the holistic visions of the ongoing work at the IGNCA.
Book Review – Article Published in News Letter
INTERFACE OF CULTURAL IDENTITY DEVELOPMENTISBN : 81-246-0054-6Edited By :BAIDYANATH SARASWATI
It is the inaugural volume of the Culture and Development series, comprising 23 presentations of a Unesco-sponsored meeting of experts: 19-23 April 1993 at IGNCA, New Delhi. Highlightng the basic distinctions that exist between anthropocentric…Read Moreand cosmocentric approaches to the question of cultural identity and development, the authors reflect on what constitutes culture and development not per se, but as an integral holistic notion of culture and lifestyle, culture and development, culture and region, culture and linguistic/ecological identities, and how some of the viable alternative development paradigms could be evolved from the convergence of mystical ancient insights and modern science.[expand title=”View Book”]
Authored by eminent anthropologists, scientists and other area-specialists from Australia, Bangladesh, India, Indonesia, Iran, Mongolia, Nepal, Sri Lanka, Thailand and Turkey, the papers here not only consider diverse theoretical issues of cultural identity and development, but also set out case studies in different field situations.
Volume eBook I e-Book
ISLAMIC ART AND SPIRITUALITYISBN : 090-38803-53Edited By :Seyyed Hossein Nasr
(1990, x+213pp., col.& B&W illus. index)
This is the first book in English to deal with the spiritual significance of Islamic art including not only the plastic arts but also literature and music. Relying upon his extensive knowledge of the Islamic religion in both its exoteric and esoteric dimensions as well as the various Islamic sciences,… Read Morethe author relates Islamic revelation and the spirituality which have issued from it. The author brings out the spiritual significance of the Islamic arts ranging from architecture to music as seen, heard and experienced by one living within the universe of the Islamic tradition.
Through his treatment the forms of lslamic art become transparent and reveal their proper significance. This book, however, addresses itself to all those who are attracted to the study of art in its relation to spirituality as well as to those who seek to understand more fully the Islamic religion and the civilization it brought into being.
ISVARASAMHITAISBN : 978-81-208-3217-6Edited By :V. VARADACHARI
(2009, 371 pp.)
Vaiṣṇavism has given rise to two very important schools of ritual and philosophy – Vaikhanasa and Pāñcarātra.
Īśvarasaṁhitā is an important text of the Pāñcarātra school of Vaiṣṇavism…Read More
Whereas Vaikhanasa is relatively archaic in character and leans more upon the Vedic tradition for its repertoire of mantras used in religious rites and ceremonies, the Pāñcarātra is more liberal and open in its approach. It has a text tradition going back to some 2,000 years-which has also been the main source of the Viśiṣṭādvaita philosophy of Rāmānuja (eleventh-twelfth century). In most of the Vaiṣṇava temples in south India, especially in Tamil Nadu, worship is conducted in accordance with the prescription of one of the important Pāñcarātra Saṁhitās.
The Īśvarasaṁhitā is an important text of the Pāñcarātra school and is followed meticulously for the conduction of daily Pūjā ceremony and performances of various religious festivals in the Nārāyaṇasvāmī temple of Melkore. It can safely be dated to eighth-ninth century at least on the basis of its reference in the Āgama Prāmāṇya of Śrī Yāmunācārya. It is supposed to be a simpler and smaller version of the older Sāttvata-Saṁhitā of this school which is the earliest available work of Pāñcarātra and is considered as one of three ratnas Uewels), along with Pau kara and Jayā-Saṁhitās. In twenty-five long Adhyāyas the Īśvarasaṁhitā describes in great detail the rites, rituals and ceremonies taking place (or ought to take place) in a Vaiṣṇava temple.
Palm-leaf manuscripts of the Īśvarasaṁhitā were procured mainly from the Nārāyaṇasvāmī Temple of Melkore for the sake of authenticity. We have also appended to the text the gloss of Aḷasiṁha Bhaṭṭa (early nineteenth century) which shall be helpful in comprehending certain difficult or sectarian expressions. The English translation on the opposite (right) page has been provided for the facility of the modern scholars working on philosophy, ritual and iconography oVaiṣṇavavism.
A proper understanding of ritual is obviously indispensable for the study of art.
Volume ISBN 2009, 371 pp., abb., Intro. Vol I 978-81-208-3217-6 2009, 372-551 pp. Vol II 978-81-208-3218-3 2009, 552-1087 pp Vol III 978-81-208-3219-0 2009, 1098-1491pp. Vol IV 978-81-208-3220-6 2009, 1492-1887 pp Vol V 978-81-208-3221-3
KALIKAPURANE MURTIVINIRDESAHISBN : 81-208-1124-0Edited By :BISWANARAYANA SHASTRI
Most of the Purāṇas contain sections devoted to the arts. In some they provide context while in others, they are akin to the texts of form and technique, specially śilpa, citra, nāṭya and nṛtya. A free narrative style of the Purāṇas facilitates an understanding of the śilpa (i.e. measurement, proportion and iconography)…Read Moreand the Āgama aspect (i.e. ritual and the worship methodologies) together.Also, since the Purāṇas are texts which move freely in time and space, social strata, they are able to make connections between different levels of society as also in different periods of history.
The present volume Kālikāpuraṇe Mūrtivinirdeśaḥ, is a selection of 550 verses from the Kālikā Purāṇa roughly ascribed to the period between tenth and eleventh
centuries CE. It is an important landmark for understanding the iconography as also the ritual practices related to Śaiva images particularly the Devī in eastern India. The sculptured style of medieval eastern India is distinctive and cannot be mistaken for contemporary sculptural style prevalent in Bengal and Orissa. What is true of the sculptural style is also true of the iconographical details of images from Assam and specially some only recently excavated and housed in the Assam State Museum.
For understanding the iconography of these images, the Kālikā Purāṇa is an indispensable tool. The detailed descriptions enable one to comprehend the particularities of the iconographical details. The Purāṇa is specially concerned with Kāmākhyā, Kālī and Kāpālī-Bhairavi. The fusion of the legend and the iconographical details can, no doubt, help in further interpretative work on eastern India sculpture.
Equally significant are the sections relating to the methodogies of worship through rituals. Very fine and sensitive details are enumerated as to how to meditate upon and worship the Goddess specially Kāmeśvarī (Kāmākhyā).