{"title":"Art, Architecture, Antiquities","description":"","products":[{"product_id":"myths-and-symbols-in-indian-art-and-civilization","title":"Myths and Symbols in Indian Art and Civilization","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis book interprets for the Western mind the key motifs of India's legends myths, and folklore, taken directly from Sanskrit and illustrated with seventy plates of Indian art. It is primarily an introduction to image thinking and picture reading in Indian art and thought and it seeks to make the profound Hindu and Buddhist intuitions of the riddles of life and death recognizable not merely as Oriental but as universal elements.\u003c\/p\u003e","brand":"Heinrich Zimmer, Joseph Campbell","offers":[{"title":"Paperback","offer_id":41644181553290,"sku":"","price":595.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":41644181586058,"sku":"","price":700.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/MYTHSANDSYMBOLSININDIANARTANDCIVILIZATION.jpg?v=1660732265"},{"product_id":"annals-and-antiquities-of-rajasthan-3-vols-james-tod","title":"Annals and Antiquities of Rajasthan (3 Vols.)","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis work relates to the (erstwhile) Central and the Western Rajput States of India. It embodies the results of scholarly investigation into the ethnology of Rajputs, their religious and social practices, their festivals and rites, their legal and political institutions and the merits and demerits of their characters. Herein we get a real portrait of the different aspects of Rajput life: their loyalty, devotion, gallantry, chivalry as also the instability of their character, their outbreaks of passion, fears, occasional faithlessness of their chiefs and allies and, above all, their addiction to drugs.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work is divided into three volumes: each volume being sub-divided into books and chapters. Vol I deals mostly with the Geography of Rajasthan, the History of the Rajput tribes and the feudal system of their states. Vol II contains the Annals of Marwar, Bikaner, Jaisalmer and other cities of Rajasthan. Vol III comprises the annals of Amber, Haravati, Bundi and describes Shaikhawat Federation, and contains personal narratives from Udaipur to Kheroda. It has an appendix divided into seven sections and an exhaustive general index.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eInterspersed with several illustrations, this book is remarkable for its enlightening introduction and exegetical notes.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eNo one can undertake with a light heart the preparation of a new edition of Colonel Tod’s great work, The Annals and Antiquities of Rajasthan. But the leading part which the Rajputs have taken in the great war the summoning of one of their princes to a seat at the imperial conference the certainty that as the result of the present cataclysm they will be entitled to a larger share in the administration of India have contributed to the desire that this classical account of their history and sociology should be presented in a shape adapted to the use of the modern scholar and student of Indian history and antiquities.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the introduction which follows I have endeavoured to estimate the merits and defects of Colonel Tod's work. here it is necessary only to state that though the book has been several times reprinted in India and once in this country the obvious difficulties of such an undertaking have hitherto prevented any writer better qualified than myself from attempting to prepare an annotated edition. Irrespectively of the fact that this work was published a century ago when the study of the history antiquities sociology and geography of India has only recently started the author's method led him to formulate theories on a wide range of subjects not directly connected with the Rajputs in the light of our present knowledge some of these speculations have become obsolete and it might have been possible without impairing the value of the work as a chronicle of the Rajputs to have discarded from the text and notes much which no longer possesses value. But the work is a classic and it deserves to be treated as such it was decided that any mutilation of the original text and notes would be inconsistent with the object of this series of reprints of classical works on an Indian subject. The only alternative course was to correct in notes clearly distinguished from those of the author, such facts and theories as are no longer accepted by scholars.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt is needless to say that during the last century, much advance has been made in our knowledge of Indian antiquities philology and sociology. we are now in a position to use improved translations of many authorities which were quoted by the author translations of many authorities which were quoted by the author from inadequate or incorrect versions. The translation of Ferishta History by A. Dow and Jonathan Scott has been superseded by that of General J. Briggs and that of the Ain-i-Akbari of F. Gladwing by the version by Professor H. Bachman and Colonel H.S. Jarrett. For the memoirs of Jahangir, the author relied on the imperfect version by Professor H. Blochmann and Colonel H.S. Jarrett. For the memoirs of Jahangir, the author relied on the imperfect version by Major David Price which has been replaced by a new translation of the text in its more complete form by Messrs. A. Rogers and H. Beveridge. For the laws of manu we have the translation by Dr. G. Buhler. The passages in classical literature relating to India have been collected translated and annotated by the late Mr. J.Q. Mecrindle. Much information not available for the author's use has been provided by the history of India as told by its own historians by Sri H.M. Elliot and professor J. Dowson and by Mr. W. Irvine translation with elaborates note of N. Manucci storia do major among original works useful for the present edition the following may be mentioned: J Grant Duff history of the Mahrattas: Dr. Vincent A. Smith Early history of India history of fine art in India and Ceylon Asoka the Buddhist emperor of India and Akbar the great Mogul; professor Jadunah Sarkar history of Aurangzib of which only three volume have been published; Mr. W. Irvine Army of the Indian Moghuls; Sir W. Lee-Warner Protected Princes of India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMuch historical geographical and ethnological information has been collected in the new edition of the Imperial Gazetteer of India The Bombay Gazetteer edited by Sir J.M. Campbell and more particularly in the revised Gazetteer of Rajputana including that of Mewar and the western states residency and Bikaner agency by lieutenant colonel K.D. Erskine and that of Ajmer by Mr. C.C. Watson. Lieutenant Colonel Erskine's work based on the best local information has been of special value and it is much to be regretted that this officer after serving as consul general at Baghdad, was invalided and died in England in 1914, leaving that part of the Gazetteer dealing with the eastern states Jaipur, Kotah, and Bundi University. For botany agriculture and natural productions, I have used Sir G. Watt's dictionary of the economic products of India and his commercial products of India and eastern architecture edited by Dr. J. Burgess and the cave temples of India by the same writers. In ethnology, I have consulted the publication of the ethnological survey of India of which Mr. H.A. Rose's glossary of the tribes and castes of Punjab and North West frontier province Mr. Bhimbhai Kirparam's account of the Hindus and Khan Bahadur Fazalullah Lutfullah of the musicians of Gujarat, Published in the Bombay gazetteer vol. ix. Parts i.ii., have been especially valuable. Besides the general works to which reference has been made many articles on Rajputana and the Rajputs will be found in the journal of the Royal Asiatic Society of Bengal and the Indian Antiquary and other periodicals. The reports of the Archaeological Survey of India conducted by Sir A. Cunnigham Dr. J. Burges and Sir J.H. Marshall are of great importance.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI cannot pretend to have exhausted the great mass of new information available in the work to which I have referred and in others' names in the bibliography and it was not my object to overload the notes which are already meticulous, but no other course seemed possible if the work was to be made more useful to the historian and to the scholar. The editor of a work of this class is forced to undertake the somewhat invidious duty of calling attention to oversights or errors either in fact or theory. But this does not detract from the real value of the work. in some cases, I have been content with adding a note of interrogation to warn the reader that certain statements must be received with caution. As regards geography I have in many cases indicated briefly the position of the more important places so far as they can be traced in the maps with which I was provided. The author was so intimately acquainted with the ground that he assumed in the general reader a degree of knowledge which he does not possess.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe text and notes with the exception of a few obvious oversights have been reprinted as they stood in the first edition and as the latter is often quoted in books of authority I have added its pagination for the facility of reference. It was decided after much consideration to correct the transliteration of personal and place names and other vernacular terms according to the system now adopted in official gazetteers' maps and reports. This change might have been unnecessary if the transliteration of these words according to the system in use at the time when the book was written had been uniformly correct. But this is not the case. At the same time, I have preserved the original readings of those names which have become established in popular usage such as Mogul Mahratta Deccan in place of Mughal Marhata Dakkhin following the author's example I have not thought it necessary to overload the text by the use of accents and diacritical marks which are useless to the scholar and only embarrass the general reader. But in the index, I have accentuated the personal and place names so far as I believed I could do so with safety. Some of these I have been unable to trace in later authorities and I fear that I may have failed to secure complete uniformity of method.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe scheme of the book which attempts to give parallel accounts of each state naturally causes difficulty for the reader. A like embarrassment is felt by any historian who endeavours to combine in a single narrative the fortunes of the Mughal empire with those of the kingdom in Bengal the Deccan or southern India; by the historian of Greece where the centre of activity shifts from Athens so Sparta Thebes or Macedonia; by the historian of Germany before the minor kingdom were more or less fully absorbed by the Hohenzollerns. I have endeavoured to assist the reader in dealing with these independent annals by largely extending the original index and by the use of page headings and paragraph summaries.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the dates recorded n the summaries, I have generally followed lieutenant colonel Erskine's guidance so far as his work was available. In view of the inconsistencies between some dates in the text and those recorded in the summaries, it must be remembered that it was the author's habit in adapting the dates of the Samvat to those of the Christian era, to deduct 56, not 57 from the former contrary to the practice of modern historians.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am indebted to many friends for assistance. Captain C.D. M.K. blunt has kindly given me much help in the record of Colonel Tod like and has supplied a photograph of the charming miniature of the author as a young officer and of a bust which has been reproduced in the frontispieces. Mr. R.E. Enthoven C.I.E. has given me the photographs of the author engaged in his studies with his Jain Guru. The fragments of local ballads scattered through the text were unfortunately copied from very incorrect text. Dr. L.P. Tessitori an Italian scholar who until the outbreak of the war was engaged in collecting the local ballads of the Rajputs has given a correct version of these Ballads, and in improving the text of them I have been assisted by Colonel C.E. luard his pandit and sir G. Grierson K.C.I.E. since the greater part of the following pages was in type I have received copies of three reports by Dr. L.P. Tessitori A scheme for the Bardic and historical survey of Rajputana and two progress Reports for the years 1915 and 1916 published in the journal of the Asiatic Society of Bengal (new series vol. x. no. 10; xii. No. 3; xiii. No.4). these contain information regarding the MSS. Copies of some ballads and inscriptions throw light on the traditions and antiquities of the Rajputs. I regret that I was unable to use these papers which however do not supply much information on questions connected with the Annals. Among other friends who have helped me in various ways I may name the late Sir G. Birdwood; Mr. W. Foster C.I.E.; Professor A. Keith, F.R.S.; lieutenant colonel Sir D. Prian F.R.S; and Dr Vincent A. Smith C.I.E.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eJames Ton the author of this work son of James Tod and Mary Healthy was born in Islington on March 20, 1782. His father James Tod the first eldest son of Henry Tod of Bo’ness and Janet Monteath was born on October 26, 1745. In 1780 he married in New York Mary daughter of Andrew Heatly a number of a family originally settled at mellerston Co. Berwick where they had held a landed estate for some four centuries. Andrew Heatly emigrated to Rhode Island where he died at the age of thirty-six in 1761. He had married Mary daughter of Suet on grant of the family of Gartinbed really of Balvaddon who left Inverness for Newport Rhode Island in 1725 and Temperance Talmage or Tollemache granddaughter of one of the first and principal settlers at Easthampton Rhode Island. He had been forced to emigrate to America during the protectorate owing to his loyalty to King Charles I. James Tod the first left America and in partnership with his brother, john became an indigo-planter at Mirazpur in the united provinces of Agra and oudh.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eJames Tod the Second was thus through his father and his uncles Patrick and S. Heatly both members of the civil service of the East India company closely connected with India and in 1798 being then sixteen years old he obtained through the influence of his uncle Patrick heatly both member of the civil service of the east India company closely connected with India and in 1798 being then sixteen years old he obtained through the influence of his uncle Patrick Heatly, a cadetship in the service of the east India company on his arrival at Calcutta he was attached to the 2dn European regiment. In 1800 he was transferred with the rank of lieutenant to the 14th native infantry from which he passed in 1807 with the same rank to the 25th Native Infantry. In 1805 he was appointed to the command of the escort of his friend Mr. Graeme Mercer then government agent at the camp of Daulat Rao Sindhia who had been defeated two years before at the battle of Assaye by Sir Arthur Wellesley. In more than one passage in The Annals Tod Speaks of Mr. Graeme mercer with respect and affection and by him, he was Graeme mercer with respect and affection by him he was introduced to official life and Rajput and Mahratta politics. His tastes for geographical inquiries led him to undertake surveys in Rajputana and central India between 1812 and 1817 and he employed several native surveyors to traverse the then little-known region between central India and the valley of the Indus.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAt this period the government of India was engaged in a project for suppressing pindaris a body of lawless freebooters of no single race the debris of the adventurers who gained power during the decay of the Mughal empire and who had not been incorporated in the armies of the local powers which rose from its ruins. In 1817 to effect their suppression the governor-general the Marquess of Hastings collected the strongest British force which up to that time had been assembled in India. Two armies acting in cooperation from north and south converged on the banditti and met with rapid success. Sindhia whose power depended on the demoralized condition of Rajputana was overawed; Holkar was defeated; the Raja of Nagpur was captured the Mahratta Peshwa become a fugitive; the Pindaris were dispersed. One of their leaders Amir Khan who is frequently mentioned in Tod's narrative disbanded his forces and received as his share of the spoils the principality of tonk still ruled by his descendants.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the course of this campaign, Tod performed valuable services. At the beginning of the operations, he supplied the British staff with a rough map of the seat of war and in other ways his local knowledge was utilized by the Generals in charge of the operations. In 1813 he had been promoted to the rank of captain in command of the escort of the Resident Mr. Richard stracehy who nominated him to the post of his second assistant. In 1818 in was appointed political agent of western Rajputna a post which he held till his retirement in June 1822. The work which he carried out in Rajputana during this period is fully described in the Annals and in his personal narrative. Owing to Maharatta's oppression and the ravages of the pindaris the condition of the country's political social and economical were deplorable. To remedy this prevailing anarchy the states were gradually brought under British control and their relation with the paramount power was embodied in a series of treaties. In this work of reform reconstruction and conciliation, Tod played an active part and the confidence and respect with which he was regarded by the prince's chiefs and peasantry enabled him to interfere with good effect in tribal quarrels to rearrange the felts of the minor chiefs and to act as arbitrator between the Rana of Mewar and his subjects.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTod was convinced that the miserable state of the country was chiefly due to the hesitation of the Indian government in he does not hesitate to condemn the cautious policy of Lord Cornwallis during his second term of office as Governor-General. Few people in the present day would be disposed to defend the policy of non-intervention. This policy has been condemned by historians and commentators as well as by statesmen soldiers and diplomatists; by Mill and his editor H.H. Wilson by Thornton; lord lake and Sir John Malcolm. The mischief was done and the loss of influence was not regained for a decade. It was not till the conclusion of an expensive and protracted campaign that the Indian government was replaced in the position where it had been left by Wellesley. The blame for this weak and unfortunate policy must be divided between Cornwallis and Barlow between the court of directors and the Board of control. But it was carried out in pursuance of orders from the home government. The court of directors for some time past had been alarmed at lord Wellesley's vigorous foreign policy. Castlereagh at the Board of Control had taken fright and even Pitt was carried away and committed himself to a hasty opinion that the governor-general had acted imprudently and illegally.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTod tells us little of his relations with the supreme government during his four years of service as a political agent. He was notoriously a partisan of the Rajput princes particularly those of Mewar and Marwar; he is never dried of abusing the policy of Emperor Aurangzeb and fortunately for the success of his work Muhammadams form only a slight minority in the population of Rajputana. His attitude naturally exposed him to criticism. Writing in 1824 Bishop Heber while he recognizes that he was held in affection and respect by all the upper and middling classes of society goes on to say: His misfortune was that in consequence of his favouring the native princes so much the government of Calcutta were led to suspect him of corruption and consequently to narrow his power and associate other officers with him in his trust till he was disgusted and resigned his place. They are now I believe well satisfied that their suspicions are his place. They are now I believe well satisfied that their suspicions were groundless. Captain Todd is strenuously vindicated from the charge by all the officers with whom I have conversed and some of whom had abundant means of knowing what the natives themselves thought of him. The bishop widow in a later issue of the diary of her husband adds that she is anxious to remove any unfavourable impression which may exist on the subject by stating that she has now the authority of a gentleman who at the time was a member of the supreme council to say that no such imputation was ever fixed on colonel Todd character.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhatever may have been the real reason for the premature termination of his official career at the age of forty ill health was put forward as the ostensible cause of his retirement. He had served for about twenty-four years in the Indian plains without any leave; he had long suffered from malaria; and though he hardly suspected it at the time an attempt had been made by one of his servants to poison him with datura; he had met with a serious accident when by chance or design his elephant driver dashed him howdah against the gate of begun fort in eastern Mewar. In spite of all this, he retained sufficient health to make on the eve of his departure from India the extensive tour recorded in his departure from Indian the extensive tour recorded in his travels in western India. Neither on his retirement nor at any subsequent period were his services officially and literary rewarded by any distinction.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDuring their seventeen years of service in central India and Rajputana, he showed indefatigable industry in the collection of the materials which were partially used in his great work. his taste for the study of history and antiquities ethnology popular religion and superstitions was stimulated by the pioneering work of Sir W. Jones and other writers in the Asiatic Researches. He was not a trained philologist and he gained much of his information from his Guru the Jain Yati Gyanchandra and the Brahman Pandits whom he employed to make inquiries on his behalf. They too were not trained scholars in the modern sense of the time and many of his mistakes are due to his rashness in following their guidance.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHis life was prolonged for thirteen years after he left India. In 1824 he attained the rank of Major and in 1826 that of lieutenant colonel. Much of his time in England was spent arranging his materials and compiling the works upon which his reputation depends: The annals published between 1826 and 1832: and his Travels in Western India published after his death in 1839. He was in close relation with the Royal Asiatic Society of which he acted for a time as a librarian. In this fine collection of books and manuscripts, he gained much of that discursive learning which appears in the Annals. He presented to the society numerous manuscript inscriptions and coins. The fine series of drawings made to illustrate his works by Captain P.T. Waugh and a native artist named Ghasi has recently been rearranged and catalogued in the Library of the Society they well deserve inspection by anyone interested in Indian art. He also made frequent tours on the continent and on one occasion visited the great soldier count Benoit de Boigne who died in 1830 leaving a fortune of twenty million francs.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOn November 16, 1826, Tod married Julia daughter of Dr. Henry clutter buck an eminent London surgeon by whom he had two sons and a daughter. In 1835 he settled in a house in Regent Park and on November 17 of the same year he died suddenly while transacting business at the office of his banker's messrs. Robarts of Lombard Street. The names of his descendant will appear from the pedigree appended to this introduction.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe annals of Rajasthan the two volumes of which were by permission dedicated to kings George IV. and William IV. respectively were received with considerable favours. A contemporary critic deals with it in the following terms: Colonel Tod deserves the praise of a most delightful and industrious collector of materials for history and his own narrative style in many places displays great freedom vigour and perspicuity. Though not always correct and occasionally stiff and formal it is not seldom highly animated and picturesque. The faults of his work are inseparable from its nature it would have been almost impossible to mould up into one continuous history the distinct and separate annals of the various Rajput races. The patience of the reader is thus unavoidably put to a server trial in having to reascend to the origin and again to trace downwards the parallel annals of some new tribe sometimes interwoven with sometimes entirely distinct from those which have gone before. But on the whole, as no one but Colonel Tod could have gathered the materials for such work there are not many who could have used them so well. No candid reader can arise from its perusal without a very high sense of the character of the author no scholar more certainly without respect for his attainment and gratitude for the service which he rendered to a branch of literature if far from popular by no means to be estimated as to its real importance by the extent to which it may command the favour of an age of duodecimos.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn estimating the value of the local authorities on which the history is based, Tod reposed undue confidence in the epics and ballads composed by the poet Chand and other tribal bards. It is believed that more than one of these poems has disappeared since his time and these materials have been only in part edited and translated. The value to be placed on bardic literature is a question not free difficulty. On the faith of ancient songs the uncertain but the only memorials of barbarism sys Gibbon they [Cassiodorus and Jornandes] deduced the first origin of the Goths. The poet may occasionally record facts of value but in his zeal for the honour of the tribe which he represents he is tempted to exaggerate victories to minimize defeats. This is a danger to which Indian poets are particularly exposed. Their trade is one of fulsome adulation and in a state of society like that of the Rajputs where tribal and personal rivalries flourish the temptation to give a false colouring the history is great. In fact, bardic literature is often useful not as evidence of occurrence in antiquity but as an indication of the habits and beliefs current in the age of the writer. It exhibits the facts not as they really occurred but as the writer. It exhibits the facts not as they really occurred but as the writer and his contemporaries supposed that they occurred as the writer and his contemporaries supposed that they occurred. The mind of the poet with all its prejudices projects itself into the distant past. Good examples of the methods of the bards will appear in the attempt to connect the Rathors with the dynasty of Kanauj or they represent the Chauhans as the founder of an empire in the Deccan.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eRecent investigation has thrown much new light on the origin of the Rajputs. A wide gulf lies between the Vedic Kshatriy and the Rajpur of medieval times which is now impossible to bridge. Some clans with the help of an accommodating bard may be able to trace their lineage to the Kshatriyas of Buddhist times who were recognized as one of the leading elements in Hindu society and in their own estimation stood even higher than the Brahmans. But is now certain that the origin of many clans dates from the saka of Kushan invasion which began about the middle of the second century or more certainly from that of the white Huns who destroyed the Gupta empire about A.D. 480. The Gurjara tribe connected with the latter people adopted Hinduism and their leaders formed the main stock from which the higher Rajput families Sprang. When these new claimants to princely honours accepted the faith and institutions of Brahmanism the attempt would naturally be made to affiliate themselves to the mythical heroes whose exploits are recorded in the Mahabharata and Ramayana. Hence arose the body of legend recorded in The Annals by which a fabulous origin from the sun or moon is ascribed to two great Rajput branches a genealogy claimed by other princely families like the Incas of peru of the Mikado of Japan. Or as in the case of the Rathors of Marwar an equally fabulous story was invented to link them with the royal house of Kanauj one of the genuine old Hindu ruling families. The same feeling lies at the root of the Aenied of Virgil the court poet of the new empire. The clan of the emperor Augustus the Iulii a patrician family of Alban origin was represented as the heirs of Iulus the supposed son of Aeneas and founder of Alba Longa thus linking the new Augustan house with the heroes of the Iliad.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOne of the merits of Tod's work is that though his knowledge of ethnology was imperfect and he was unable to reject the local chronicles of the Rajputs he advocated in anticipation of the conclusions of later scholars about the so-called scythic origin of the race. To make up for the lack of direct evidence of Scythian manners and sociology to support this position e was forced to rely on certain superficial resemblances of custom and belief not between Rajputs Scythians and huns but between Rajputs getae or Thracians or the Germans of Tacitus. In the same way, a supposed identity of name led him to identify the Jats of northern India with the getae or with the Goths and finally to bring them with the Jutes into Kent.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eA similar process of groping in semi-darkness induced him to make constant reference to serpent worship which as sir e. Tylor remarked years ago fell into the hand of speculative writers who mixed it up with occult philosophies druidical mysteries and that portentous nonsense called the Arkit symbolism till now sober students hear the very name of ophiolatry with a shudder. He repeatedly speaks of a people whom he calls the Takshaks apparently one of the Scythian tribes. there is however no reason to believe that serpent worship formed an important no reason to believe that serpent worship formed an important element in the beliefs of a Scythian or to suppose that the cult as we observe it in India is of other than the indigenous origin.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe more recent views of the origin of the Rajputs may be briefly illustrated in connexion with some of the leading septs. Dr. Vincent A. Smith holds that the term Kshatriya was not an ethical but an occupational designation. Rajaputra son of a Raja seems to have been a name applied to the cadets or ruling house who according to the ancient custom of tribal society were in the habit of seeking their fortunes abroad winning by some act of valour the hand of the princess whose land they visited and with it the succession to the kingdom vested in her under the system of Mother right. Sir James Frazer has described various forms of this mode of succession in the case of the kings of Rome Ashanti Uganda in certain Greek states and other places. Dr. Smith goes on to say: The term Kshatriya was I believe always one of very vagus meaning simply denoting the Hindu ruling classes which did not claim Brahmanical descent. Occasionally a raja might be a Brahman by caste but the Brahman's place at court was that of a minister rather than that of the king. This office in Rajputana as we learn from numerous instances in the annals was often taken by members of the Bania or mercantile class because the Brahmans of the desert by their laxity of practice had acquired an equivocal reputation and were generally illiterate. The Rajput has always until recent times favoured the Bhat or bard more than the Brahman.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe group denoted by the name Kashatiya or Rajput thus depended on status rather than on decent and it was, therefore, possible for foreigners to be introduced into the tribes without any violation of the prejudices of caste which was then only partially developed. In later times under Brahman's guidance, the rules of endogamy exogamy and confarreate have been definitely formulated. But as the power of the priesthood increased it was necessary to disguise this admission have been definitely formulated. But as the power of the priesthood increased it was necessary to disguise this admission of foreigners under a convenient fiction. Hence arose the legend told in two different forms in The Annals which describes how by a solemn act of purification or initiation under the superintendence of one of the ancient Vedic Rishis or inspired saints the fire-born septs were created to help the Brahmans in repressing Buddhism Jainism or other heresies and in establishing the ancient traditional Hindu social policy the temporary downfall or which under the stress of foreign invasion is carefully concealed in the Hindu sacred literature. This privilege was we are told confined to four sept known as Agnikula or fire born the pramar parihar chulukya or solanki and the Chauhan. But there is good reason to believe that the Pramar was the only sept which laid claim to this distinction before the time of the poet Chand who flourished in the twelfth century of our era. The local tradition in Rajputana was so vague that in one version of the story vasisth in another Vishvamitra is said to have been the officiating priest.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the case of the sesodias of Mewar Mr.D.R. Bhandarkar has given reasons to believe that Gehlot or Guhilot means simply the son of Guhila an abbreviation of Guhadatta the name of its founder. He is said to have belonged to the Gurjara stock kinsmen or allies of the huns who entered India about of the sixth century of our era and founded a kingdom in Rajputana with its capital at Bhilmal or srimal about fifty miles from Mount Abu the scene of the regeneration of the Rajputs. This branch which took the name of maitrika is said to be closely connected with the Mer tribe which gave its name to Merwara and is fully described in the Annals. The actual conqueror of chitor Bapa of Bappa is said in the inscription to have belonged to the branch known as Nagar of the city Brahmans which has its present headquarters at the town of Vadnagar I the Baroda state. This conversation of a Brahman into a Rajput is at first sight starting but the fact implies that the institution of caste as we observe it was then only imperfectly established and there was no difficulty in believing that a Brahman could be ancestor of a princely house which now claims descent from the sun. as will appear later on Bapa seems to be a historical personage. These facts help us to understand the strange story in the annals which tell now Gohabditya received inauguration as chief by having his forehead smeared with blood drawn from the finger of Bhil a form of the blood covenant which appears among many savage tribes. in those days no definite line was drawn between the Bhil sow a wild forest tribe and the Rajputs. The bhils were the free words of the jungle's original owners of the sod and though they practised rites and followed customs repulsive to orthodox Hindus they did not share in the impurity which attached to foul outcastes like the Dom or the chandala. As the bhils were believed to be autochthonous and thus understood the methods of controlling or conciliating the local spirits by this form of inauguration they passed on their knowledge to the Rajputs whom they accepted as their lords. The relation of the minas another jungle tribe of the same class with the kachhwahas of Jaipur was of the same kind.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAccording to the basic legend given in the annals, the authors to the second great Rajpur clan owed their origin to a migration of a body of its members to the western desert when the territory of Kanauj was conquered by shihabu-d-din in A.D. 1193. But it is now certain that the ruling dynasty of Kanauj belonged not to the Rathor but to the Gaharwar clan and that the first Rathor settlement in Rajputana must have occurred anterior of the conquest of Kanauj by the Musalman. An inscription dated found in the ruins of the ancient town of Hathudni or in the Bali Hakumat of the Jodhpur state names four Rathor Rajas who reigned there in the tenth century. The local legend is an attempt to connect the line of Rathor princes with the Kanauj dynasty. It has been suggested that the Deccan dynasty of the Rasjtrakutas which in name at least is identical with Rathor reigning at Nasik or Malkhed was connected with the raddis or Raddis a caste of cultivators which seem to have migrated from Madras into the Deccan at an early period. But any racial connexion between the Deccan Reddis and the Rathors of Rajputana is very doubtful.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe chandel clan ranked in the Annals among the thirty-six royal races is believed to be closely connected with the Bhars and Gonds forest tribes of Bundelkhand and the cntral Bhars alone on the ground that the Gonds according to the best traditions entered the central provinces from the south and made no effective settlement in Budelkhand the headquarters of the chandels. But there was a Gond settlement in the hamirpur district of Bundelkhand and the close connexion between the Gonds and the chandels began in what is now the chhatarpur state.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe results of recent investigation into Rajput ethnology are thus of great importance and enable us to correct the bardic legends on which the genealogies recorded in the Annals were founded. Much remains to be done before the question can be finally settled. The local Rajput traditions and the ballads of the bards must be collected and edited; the ancient sites in Rajputana must be collected and excavated; physical measurement now somewhat discredited as a test of racial affinities must be made in larger numbers and by more scientific methods. But the general thesis that some of the nobler Rajput septs are descended from Gurjaras or other foreigners while others are closely connected with the autochthonous races may be regarded as definitely proved.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOne of the most valuable parts of the Annals is the chapter describing the popular religion of Mewar the festival and rites in honour of Gauri the mother goddess. There are also many incidental notices of cults and superstitions scattered throughout the work. a race work. a race of warriors like the Rajputs naturally favours the worship of Siva who as the successor of Rudra the Vedic storm god was originally a terror-inspiring deity a side of his character only imperfectly veiled by his euphemistic title of Siva the blessed or auspicious one. In his phallic manifestation, his chief shrine is at Eklingji the shingle or notable phallus about fourteen miles north of Udaipur city. The Ranas hold the office of priest-kings. Diwans or prime ministers of the god. Their association with this deity has been explained by an inscription dated in form of a dedication to Lakulisa a form of Siva represented as bearing a club and refers to the Saiva sect known as Lakulisa pasapatas. It records the name of a king named Sri Bappaka the moon among the princes of the Guhila dynasty who reigned at a place called Nagavada identified with Nagda an ancient town several times mentioned in the annals the ruins of which exist at the foot of the hill on which the temple of eklingji stand. Sri Bappaka is certainly Bapa or Bappa the traditional founder of the Mewar dynasty which had at that time its capital at Nagda. From this inscription it is clear that the Eklingji temple was in existence before and as Mr. Bhandarkar remarks it shows that the sold tradition about Nagedra and Bappa Rawal infancy given by Tod had some historical foundation and it is intelligible how the Ranas of Udaipur could have come to have such an intimate connexion with the temple as that of high priests in which capacity they still officiate. This office vested in them is a good example of one of those dynasties of priest-kings of which Sir James Frazer has given an elaborate account.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe milder side of the Rajpur character is represented in the cult of Krishna at Nathdwara. The Mahant or Abbot of the temple situated at the old village of Siarh twenty-two miles from the city of Udaipur enjoys a semi-royal state. In anticipation of the by Aurangzeb on Mathura the ancient image of Kesvadeva a form of Krishna the of the flowing locks was removed out of reach of danger by Rana Raj Singh of Mewar. When the cart bearing the image arrived at Siarh the god by stopping the cart is said to have expressed his intention of remaining there. This was the origin of the famous temple still visited by crowds of pilgrims and one of the leading seats of the Vallabhacharya sect the Epicureans of the east whose practices disclosed in the famous Maharaja libel case tried at Bombay in 1861 gave rise to grievous scandal. The ill feeling against this sect aroused by this revelation was so intense that the Maharaja of Jaipur ordered that the two famous images of Krishna worshipped in his state which originally came from gokul near Mathura should be removed from his territories into those of the Bharatpur state.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTod bears witness to the humanizing effect on the Rajputs of the worship of this god whom he calls the Apollo of Braj the holy land of Krishna near Mathura. He also asserts that Emperor Akbar favoured the worship of Krishna a feeling shared by his successors Jahangir and Shah Jahan. Akbar was in his searched by his successors Jahangir and Shah Jahan. Akbar in his search for a new faith to supersede Islam of which he was parcus cultor et infrequent dallied with Hindu Pandits Prsi priess and Christian missionaries and he was doubtless well informed about the sensuous ritual of the temple of Nathdwara.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe character of the Rajputs is discussed in Many passages in the Annals. The author expresses marked sympathy with the people among whom his official life was spent and he expresses gratitude for the courtesy and confidence that they bestowed upon him. This applies especially to the sesodias of Mewar and the Rathors of Marwar with whom he lived in the closest intimacy. He shows on the other hand a decided prejudice against the Kachhwahas of Jaipur of whose diplomacy he disapproved. This feeling we may suspect was due in part to their hesitation in accepting the British alliance a policy in which he was deeply interested.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003cbr\u003eVolume 1st\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003ePreface by the editor\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eIntroduction by the editor\u003c\/td\u003e\n\u003ctd\u003exxv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003exlvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAuthors, introduction\u003c\/td\u003e\n\u003ctd\u003elv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook I\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eGeography of Rajasthan or Rajputana\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook II\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eHistory of the Rajput Tribes\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eGenealogies of the Rajput Princes\u003c\/td\u003e\n\u003ctd\u003e23\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eGenealogies continued fiction in the Puranas\u003c\/td\u003e\n\u003ctd\u003e20\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eGenealogies continued comparisons between the lists\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eFoundation of states and cites by the different tribes\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eThe dynasties which succeeded Rama and Krishna\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eGenealogical history of the Rajput tribes subsequent to Vikramaditya\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eCatalogue of the Thirty-six Royal Races\u003c\/td\u003e\n\u003ctd\u003e97\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eReflection on the present political state of the Rajput Tribes\u003c\/td\u003e\n\u003ctd\u003e145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook III\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eSketch of a feudal system in Rajasthan\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eIntroduction exiting condition of Rajasthan\u003c\/td\u003e\n\u003ctd\u003e153\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eLegislative authority Rozina military service\u003c\/td\u003e\n\u003ctd\u003e170\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eFeudal incidents duration of grants\u003c\/td\u003e\n\u003ctd\u003e184\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eRakhwali servitude Besai Gola and Das\u003c\/td\u003e\n\u003ctd\u003e203\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eAdoption Reflections upon the subjects treated\u003c\/td\u003e\n\u003ctd\u003e220\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAppendix\u003c\/td\u003e\n\u003ctd\u003e228\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBooK IV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Mewar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eOrigin of the Guhilot princes of Mewar authorities\u003c\/td\u003e\n\u003ctd\u003e247\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eBirth of Goha he acquires Idar\u003c\/td\u003e\n\u003ctd\u003e258\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eAlleged Persian extraction of the Ranas of\u003c\/td\u003e\n\u003ctd\u003e271\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eIntervening sovereigns between Bappa and samarsi\u003c\/td\u003e\n\u003ctd\u003e281\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eHistorical facts furnished by the bard chand\u003c\/td\u003e\n\u003ctd\u003e207\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eRana Lakhamsi attack on chitor by Alau-d-din\u003c\/td\u003e\n\u003ctd\u003e307\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eThe delicacy of the Rajputs on the occasion of changing the rule of primogeniture in Mewar\u003c\/td\u003e\n\u003ctd\u003e322\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eA succession of Kumbha he defeats and takes prisoner, Mahmud of Malwa,\u003c\/td\u003e\n\u003ctd\u003e333\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 9\u003c\/td\u003e\n\u003ctd\u003eAccession of rana sanga state of the Muhammada power\u003c\/td\u003e\n\u003ctd\u003e348\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 10\u003c\/td\u003e\n\u003ctd\u003eThe bastard rules Mewar Attempted the assassination of the posthumous son of Sanga\u003c\/td\u003e\n\u003ctd\u003e367\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 11\u003c\/td\u003e\n\u003ctd\u003eAccession of Partap The Rajput princes unite with Akbar depressed condition of Partap\u003c\/td\u003e\n\u003ctd\u003e385\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 12\u003c\/td\u003e\n\u003ctd\u003eAmra mounts the throne Akbar death through attempts to poison Raja Man\u003c\/td\u003e\n\u003ctd\u003e407\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 13\u003c\/td\u003e\n\u003ctd\u003eRana Karan fortifies and embellished Udaipur the Rannas of Mewar excused attendance at court\u003c\/td\u003e\n\u003ctd\u003e427\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 14\u003c\/td\u003e\n\u003ctd\u003eRana Jai Singh's Anecdote regarding him and his twin brother\u003c\/td\u003e\n\u003ctd\u003e456\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 15\u003c\/td\u003e\n\u003ctd\u003eRana Sangram dismemberment of the Mogul Empire\u003c\/td\u003e\n\u003ctd\u003e472\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 16\u003c\/td\u003e\n\u003ctd\u003eRana Parta II Rana Raj singh II. Rana arsi\u003c\/td\u003e\n\u003ctd\u003e496\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 17\u003c\/td\u003e\n\u003ctd\u003eRana Bhim feud of Sheogarh the Rana redeems the alienated land\u003c\/td\u003e\n\u003ctd\u003e511\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 18\u003c\/td\u003e\n\u003ctd\u003eThe overthrow of the Pradatory System Alliances with the Rajput States\u003c\/td\u003e\n\u003ctd\u003e547\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003cbr\u003eVolume 2nd\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003e\u003cb\u003eBooK IV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Mewar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 19\u003c\/td\u003e\n\u003ctd\u003eInfluence of the Hierarchy in Rajputana\u003c\/td\u003e\n\u003ctd\u003e580\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 20\u003c\/td\u003e\n\u003ctd\u003eThe origin of Kanhaiya or Krishna\u003c\/td\u003e\n\u003ctd\u003e621\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAppendix\u003c\/td\u003e\n\u003ctd\u003e644\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 21\u003c\/td\u003e\n\u003ctd\u003eImportance of mythological history\u003c\/td\u003e\n\u003ctd\u003e650\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 22\u003c\/td\u003e\n\u003ctd\u003eFestivals continue\u003c\/td\u003e\n\u003ctd\u003e679\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 23\u003c\/td\u003e\n\u003ctd\u003eThe nicer shades of character difficult to catch\u003c\/td\u003e\n\u003ctd\u003e707\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 24\u003c\/td\u003e\n\u003ctd\u003eOrigin of female immolation\u003c\/td\u003e\n\u003ctd\u003e787\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003ePersonal Narrative\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 25\u003c\/td\u003e\n\u003ctd\u003eValley of Udaipur Departure for Marwar\u003c\/td\u003e\n\u003ctd\u003e760\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 26\u003c\/td\u003e\n\u003ctd\u003eThe mers or Meras: their history and manners\u003c\/td\u003e\n\u003ctd\u003e789\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 27\u003c\/td\u003e\n\u003ctd\u003eJodhpur: town and castle\u003c\/td\u003e\n\u003ctd\u003e820\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 28\u003c\/td\u003e\n\u003ctd\u003eNandla Bisalpur Remains of the ancient city\u003c\/td\u003e\n\u003ctd\u003e850\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 29\u003c\/td\u003e\n\u003ctd\u003eMahadaji Sindhia succeeds Jai Apa\u003c\/td\u003e\n\u003ctd\u003e845\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 30\u003c\/td\u003e\n\u003ctd\u003eAjmer Ancient Jain Temple\u003c\/td\u003e\n\u003ctd\u003e896\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAppendix\u003c\/td\u003e\n\u003ctd\u003e914\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eVolume V\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Mewar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eThe various etymons of Marwar\u003c\/td\u003e\n\u003ctd\u003e929\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eEmigration of Siahji and setram\u003c\/td\u003e\n\u003ctd\u003e940\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eAccession of Rao Jodha\u003c\/td\u003e\n\u003ctd\u003e947\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eAltered conditions of the princes of Marwar\u003c\/td\u003e\n\u003ctd\u003e960\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eAccession of Raja Sur\u003c\/td\u003e\n\u003ctd\u003e969\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eRaja Jaswant mounts the Gaddis of Marwar\u003c\/td\u003e\n\u003ctd\u003e973\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eThe Pregnant queen of Jaswant Prevented from becoming sati\u003c\/td\u003e\n\u003ctd\u003e990\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eThe petition to see the young Raja\u003c\/td\u003e\n\u003ctd\u003e1007\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 9\u003c\/td\u003e\n\u003ctd\u003eAjit commanded to reduce Nahan and the rebels for the Siwalika mountains\u003c\/td\u003e\n\u003ctd\u003e1020\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 10\u003c\/td\u003e\n\u003ctd\u003eThe Parricidal murder of Ajit the cause of the destruction of Marwar\u003c\/td\u003e\n\u003ctd\u003e1035\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 11\u003c\/td\u003e\n\u003ctd\u003eMutual Jealousies of the brothers\u003c\/td\u003e\n\u003ctd\u003e1047\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 12\u003c\/td\u003e\n\u003ctd\u003eRam Singh succeeds His impetuosity of temper\u003c\/td\u003e\n\u003ctd\u003e1054\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 13\u003c\/td\u003e\n\u003ctd\u003eAccession of Bijai Singh\u003c\/td\u003e\n\u003ctd\u003e1060\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 14\u003c\/td\u003e\n\u003ctd\u003eRaja Bhim seizes upon the gaddi\u003c\/td\u003e\n\u003ctd\u003e1077\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 15\u003c\/td\u003e\n\u003ctd\u003eAmir Khan reception at Jodhpur\u003c\/td\u003e\n\u003ctd\u003e1089\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 16\u003c\/td\u003e\n\u003ctd\u003eExtent and population of Marwar\u003c\/td\u003e\n\u003ctd\u003e1104\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook VI\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Bikaner\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eOrigin of the state of Bikaner\u003c\/td\u003e\n\u003ctd\u003e1123\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eActual condition and capabilities of Bikaner\u003c\/td\u003e\n\u003ctd\u003e1145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eBhatner its origin and denomination\u003c\/td\u003e\n\u003ctd\u003e1163\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook VII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Jaisalmer\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eJaisalmer The derivation of its name\u003c\/td\u003e\n\u003ctd\u003e1169\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eRao Kehar contemporary of the Caliph al walid\u003c\/td\u003e\n\u003ctd\u003e1190\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003ePreliminary observation\u003c\/td\u003e\n\u003ctd\u003e1206\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eThe Rathors of Mewa settle amidst the ruins of Jaisalmer\u003c\/td\u003e\n\u003ctd\u003e1215\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eJaisalmer becomes a fief of the empire\u003c\/td\u003e\n\u003ctd\u003e1225\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eRawal Mulraj enters into a treaty with the English\u003c\/td\u003e\n\u003ctd\u003e1235\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eGeography position of Jaisalmer\u003c\/td\u003e\n\u003ctd\u003e1244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003cbr\u003eVolume 3rd\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003e\u003cb\u003eBook VIII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eSketch of the Indian desert\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eGeneral aspect boundaries and divisions of the desert\u003c\/td\u003e\n\u003ctd\u003e1257\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eChauhan Raj Antiquity and nobility of a Chauhans fo the desert\u003c\/td\u003e\n\u003ctd\u003e1275\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook IX\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Amber or Dhundhar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eDesignations given by Europeans to the principalities\u003c\/td\u003e\n\u003ctd\u003e1327\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eSawai Jai Singh Succeeds Joins the party of Azam Shah\u003c\/td\u003e\n\u003ctd\u003e1341\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eThe Rajput League Aggrandizement of Amber\u003c\/td\u003e\n\u003ctd\u003e1356\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eJaipur the last of the Rajputs states to embarace the proffered alliance of the British\u003c\/td\u003e\n\u003ctd\u003e1366\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eShaikhawath Federation\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eOrigin of the Shaikhavati Federation\u003c\/td\u003e\n\u003ctd\u003e1378\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eBindrabandas adheres to Madho Singh in the civil wars of Amber\u003c\/td\u003e\n\u003ctd\u003e1395\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eBagh Singh opposes the faithless court of Amber\u003c\/td\u003e\n\u003ctd\u003e1409\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eReflection statisties of Amber\u003c\/td\u003e\n\u003ctd\u003e1428\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAnnals of Haravati\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBundi\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eHaravati defined the Fabulous origin of the Agnikula races\u003c\/td\u003e\n\u003ctd\u003e1441\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003erecapitulation of the Hara princes from the founder Anuraj to Rae Dewa\u003c\/td\u003e\n\u003ctd\u003e1466\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eRao Surjan obtains Ranthalbhor Is Besieged by Akbar\u003c\/td\u003e\n\u003ctd\u003e1480\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eRao Ummeda defeats the troops of Ambrer\u003c\/td\u003e\n\u003ctd\u003e1499\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eKotah\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eSeparation of Kotah from Bundi The Kotah Bhits\u003c\/td\u003e\n\u003ctd\u003e1521\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eMaharao Guman Singh Zalim Singh\u003c\/td\u003e\n\u003ctd\u003e1534\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eZalim regarded as a legislator\u003c\/td\u003e\n\u003ctd\u003e1547\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eFarming system of Zalim Singh\u003c\/td\u003e\n\u003ctd\u003e1559\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 9\u003c\/td\u003e\n\u003ctd\u003ePolitical System of the Regent\u003c\/td\u003e\n\u003ctd\u003e1569\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 10\u003c\/td\u003e\n\u003ctd\u003eRajput States were invited to an alliance with the British Government\u003c\/td\u003e\n\u003ctd\u003e1577\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 11\u003c\/td\u003e\n\u003ctd\u003eBanishment of Gordhandas the natural son of the Regent\u003c\/td\u003e\n\u003ctd\u003e1595\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eBook XI\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003ePersonal Narrative: Udaipur to Kheroda\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 1\u003c\/td\u003e\n\u003ctd\u003eDeparture from the valley of Udaipur\u003c\/td\u003e\n\u003ctd\u003e1621\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 2\u003c\/td\u003e\n\u003ctd\u003eThe chief of Hinta\u003c\/td\u003e\n\u003ctd\u003e1635\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 3\u003c\/td\u003e\n\u003ctd\u003eMorwan the solitude of this fine district\u003c\/td\u003e\n\u003ctd\u003e1646\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 4\u003c\/td\u003e\n\u003ctd\u003eThe patar of Table land of central India\u003c\/td\u003e\n\u003ctd\u003e1660\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 5\u003c\/td\u003e\n\u003ctd\u003eDhareswar Ratangarh kher\u003c\/td\u003e\n\u003ctd\u003e1672\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 6\u003c\/td\u003e\n\u003ctd\u003eBhainsrorgarh Cairn of a Rajput\u003c\/td\u003e\n\u003ctd\u003e1687\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 7\u003c\/td\u003e\n\u003ctd\u003eThe unhealthiness of the season at kotah\u003c\/td\u003e\n\u003ctd\u003e1704\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 8\u003c\/td\u003e\n\u003ctd\u003eExtraordinary attack of illness in the author\u003c\/td\u003e\n\u003ctd\u003e1716\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 9\u003c\/td\u003e\n\u003ctd\u003eThe author takes a journey to bundi\u003c\/td\u003e\n\u003ctd\u003e1732\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 10\u003c\/td\u003e\n\u003ctd\u003eCeremony of Rajtilak or inauguration\u003c\/td\u003e\n\u003ctd\u003e1740\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 11\u003c\/td\u003e\n\u003ctd\u003ePass of Mukunddarra\u003c\/td\u003e\n\u003ctd\u003e1750\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 12\u003c\/td\u003e\n\u003ctd\u003eThe chulis or whirlpools of the Chambal\u003c\/td\u003e\n\u003ctd\u003e1764\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 13\u003c\/td\u003e\n\u003ctd\u003eRoute over the ground of monsoon retreat\u003c\/td\u003e\n\u003ctd\u003e1777\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 14\u003c\/td\u003e\n\u003ctd\u003eVisit of Menal definition of the servile condition termed basai\u003c\/td\u003e\n\u003ctd\u003e1796\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eChapter 15\u003c\/td\u003e\n\u003ctd\u003eBegun serious accident to the Author\u003c\/td\u003e\n\u003ctd\u003e1810\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAppendix\u003c\/td\u003e\n\u003ctd\u003e1828\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e1837\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"James Tod, William Crooke","offers":[{"title":"Default Title","offer_id":42250583605386,"sku":"","price":3000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ANNALSANDANTIQUITIESOFRAJASTHAN.jpg?v=1662709339"},{"product_id":"indian-art-at-delhi-1903","title":"Indian Art at Delhi 1903","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe volume was first published as a Catalogue and Guide to the Indian Art Exhibition held in Delhi 'to coincide with the Durbar of 1902-03'. The volume is a unique work of documentation of nineteenth-century Indian craftsmanship. The text is enriched with graphic representations of rare specimens of Indian artistry. Its usefulness as a gazetteer and an ethnographical dictionary' makes it invaluable for the students engaged in research of the history of craft and industry in India.\u003c\/p\u003e","brand":"George Watt","offers":[{"title":"Default Title","offer_id":42324461682826,"sku":"","price":1200.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/9788120802780.jpg?v=1664264885"},{"product_id":"the-art-of-ancient-india-buddhist-hindu-jain","title":"The Art of Ancient India","description":"\u003cp style=\"text-align: left;\"\u003eTo scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India’s centuries of splendor has been lacking. The Art of Ancient India is the result of the author’s aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: “Not since Coomaraswamy’s History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art—from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject.\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003eThis dynamic survey—is generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, detailed maps, and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, an extensive bibliography, and glossary of South Asian art terms—is the most comprehensive and most fully illustrated study of South Asian art available.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003eThe works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all-encompassing view of the art.\u003cbr\u003eAn outstanding portrayal of ancient India’s highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSusan L. Huntington is Distinguished Professor Emerita in the History of Art at The Ohio State University in Columbus, Ohio, U.S.A. A recipient of the John Simon Guggenheim Memorial Fellowship, she is also the author of The “Pala-Sena” Schools of Sculpture (Leiden, 1983). Her husband, John C. Huntington, is a Professor of the History of Art at The Ohio State University and a recipient of that institution’s Distinguished Research Award for his studies on Buddhist art. Highly respected in their fields, both Susan and John Huntington have published widely on various aspects of Asian Art.\u003c\/p\u003e","brand":"Susan L. Huntington, John C. Huntington","offers":[{"title":"Default Title","offer_id":42834966708362,"sku":"","price":4500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/products\/ARTOFANCIENTINDIA.jpg?v=1678442568"},{"product_id":"forms-of-the-goddess-lajja-gauri-in-indian-art","title":"Forms of the Goddess Lajja Gauri in Indian Art","description":"\u003cdiv data-cel-widget=\"bookDescription_feature_div\" data-csa-c-id=\"cyc5wz-uz11ag-fxtjh2-8dnng0\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"8120813111\" data-csa-c-slot-id=\"bookDescription_feature_div\" data-csa-c-content-id=\"bookDescription\" data-csa-c-type=\"widget\" data-feature-name=\"bookDescription\" class=\"celwidget\" id=\"bookDescription_feature_div\"\u003e\n\u003cdiv class=\"a-expander-collapsed-height a-row a-expander-container a-spacing-base a-expander-partial-collapse-container\" data-a-expander-collapsed-height=\"140\" data-a-expander-name=\"book_description_expander\"\u003e\n\u003cdiv class=\"a-expander-content a-expander-partial-collapse-content\" aria-expanded=\"false\" style=\"text-align: left;\"\u003e\u003cspan\u003eThe artists creating images of Lajja Gauri drew on various ancient symbols of fortune, fertility, and life-force to communicate her power through their rich heritage of meanings. Because there are no texts to explain the figure, the study proceeds from the basis of the objects to derive their meaning. Carol Bolon charts the changes in the goddess's form over a period of more than four centuries, including its possible adoption from tribal worship into Hindu temples, and brings a new appreciation of Lajja Gauri's rich symbolic meaning and cultural context.\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-cel-widget=\"richProductInformation_feature_div\" data-csa-c-id=\"dxeia8-sc92tq-wzhtbt-btdrij\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"8120813111\" data-csa-c-slot-id=\"richProductInformation_feature_div\" data-csa-c-content-id=\"richProductInformation\" data-csa-c-type=\"widget\" data-feature-name=\"richProductInformation\" class=\"celwidget\" id=\"richProductInformation_feature_div\"\u003e\n\u003cdiv data-cel-widget=\"rich_product_information\" data-csa-c-id=\"pwhtz6-ltvofm-a64a5q-ly4cwb\" class=\"a-section a-spacing-none celwidget\" id=\"rich_product_information\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Carol Radcliffe Bolon","offers":[{"title":"Default Title","offer_id":42924820267146,"sku":"","price":950.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/FROMoftheGoddessLajjaGauriinIndianArt.jpg?v=1683552988"},{"product_id":"elements-of-hindu-iconography-2-vols-in-4-pts","title":"Elements of Hindu Iconography (2 vols. in 4 Pts.)","description":"\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003eVol-1,Part-I\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003e\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThis treatise is one of the early attempts by an archaeologist of our country for a diligent search into the origin, descriptions, symbols, mythological background, meaning, and moral aims of Hindu images. The book is in two volumes, each volume again in two parts. Vol. I, Part I contains a long Introduction discussing among other things the origin of Hindu image worship in India, an explanatory description of the terms employed in the work, Ganapati, Visnu and his major and minor avatars and manifestations, Garuda and Ayudha-Purushas or personified images of the weapons and emblems held by gods. Vol. I, Part II deals with Aditya and Nava Grahas (nine planets) and their symbolic features and images worshipped, Devi (Goddesses), Parivara-devatas, and measurement of proportions in images Vol. II, Part I begins with an Introduction discussing the cult of Siva which is followed by such important topics as Siva, Lingas, Lingodbhavamurti, Chandrasekharamurti, Pasupatamurti and Raudrapasupatamurti, other Ugra forms of Siva, Dakshinamurti, Kankalamurti, and Bhikshatanamurti. and other important aspects of Siva. Vol. II, Part II contains descriptions of Subrahmanya, Nandikesvara and Adhikaranandi, Chandesvara, Bhaktas, Arya or Hariharaputra, Kshetrapalas, Brahma, the Dikpalakas, and demi-gods.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn addition, the book contains 5 Appendices, three in Vol. I, Part II, and Two in Vol. II, Part II, including Sanskrit texts of Parivaradevatah, Uttamadasatalavidhih, and Pratimalaksanani.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe treatment has been made interesting by profuse illustrations, the two volumes containing as many as 282 photographs of sacred images.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003cb\u003ePreface\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTHE tall spire of the Hindu temple is one of the first objects to arrest the attention of the observant foreigner and excite his curiosity as he travels through India. On going into the temple, he meets with a number of what may perhaps appear to him to be grim and meaningless images, in stone and bronze and other materials, some with two, others with four or more arms, holding a variety of weapons and other more or less curious articles in their hands. The man on the spot may tell him on inquiry that one of those images is the figure of Vishnu, the god of protection, another that of Siva, the god of destruction, and so on, about the innumerable gods and goddesses comprised within the tolerant and all-inclusive fold of the Hindu religion. Some such foreigner, more curious than others of his kind, is sometimes tempted to study these images somewhat carefully, find out their number and characteristics, and gather the legends relating to them from the Puranas and other sources, as also from the learned natives of the country well versed in their religious and mythological lore. Then at last he may come out with his volume on the Hindu gods, on Hindu mythology and other kindred subjects. Such in fact are most of the books that have been written hitherto by foreign authors on topics relating to Hindu Iconography.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt is exactly two hundred years since Ziegen- balg, the famous Danish missionary of Tranquebar, wrote his work on the \"Genealogy of the South Indian Gods,\" with the aid of the information he gathered from some people of the Tamil land. In the year 1785 the book known as \"Sketches of the Mythology and Customs of the Hindus\" was brought out by George Foster. Moore's\" Hindu Pantheon \", with illustrations, was first printed in 1810, and then reprinted by Messrs. Higginbotham \u0026amp; Co., of Madras, in 1864, with notes from the pen of the Rev. W.O. Simpson. \"Ancient and Hindu Mythology\", a work written sympathetically and in defense of the views of the Hindus, with a large number of extracts from the Puranas and other Hindu scriptural sources, was thereafter brought out by Col. Vans Kennedy in 1831. Another work named \"A Classical Dictionary of Hindu Mythology\" was published by John Dowson in 1879.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe last among such works is W. J. Wilkins' \" Hindu Mythology\", illustrated with pictures, and explained with reference to the Puranas and other religious writings of the Hindus.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt will thus be seen that books dealing with. Hindu images and Hindu mythology are not altogether wanting. Nevertheless, Fergusson, who is an eminent authority on Eastern and Indian architecture, has justly remarked-\" Whenever anyone \"will seriously undertake to write the history of \"sculpture in India, he will find the materials \" abundant and the sequence by no means difficult \" to follow; but, with regard to mythology, the case \" is different. It cannot, however, be said that the \" materials are not abundant for this branch of the \"inquiry also; but they are of much less tangible or \" satisfactory nature, and have become so entangled, \" that it is extremely difficult to obtain any clear, ideas regarding them; and it is to be feared they \" must remain so until those who investigate the subject will condescend to study architecture \" and sculpture of the country as well as its books. \" The latter contains a good deal, but they do not \"contain all the information available on the \" subject; and they require to be steadied and con- \"firmed by what is built or carved, which alone can \" give precision and substance to what is written ..... \" It is remarkable that, with all the present-day\" activity in every branch of Sanskrit research, so \"very little has been done for the illustration of \" mythology, which is so intimately connected with \" the whole literature. It would be a legitimate part \"of the duty of the Archaeological Surveys to collect \" materials on a systematic plan for this object; \" and the production of illustrations has now become \" so easy and inexpensive that photographs from \" original materials of a satisfactory class might \"readily be published to supply this most pressing \" desideratum. The details of the emblems and \"symbols of the numerous divinities of the \" pantheon could also be collected, along with the \" delineations, by those familiar with such symbols. \" All this could easily be accomplished, and it is \" consequently hoped it may before long be \" attempted.\"\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt has to be said that the books by European authors referred to above do not contain the information, which is available in indigenous Sanskrit works on Iconography; nor do they give pictorial representations of the sculptures that are actually found in this vast country. On the other hand, Borne of those authors have given what might be well understood to be their own version of Hindu mythology, and in their descriptions of Hindu images, with here and there a pungent remark about what they consider an uncouth representation or an immoral legend, they seem to have cared to study neither the symbolism underlying the mythical stories nor the meaning of the images illustrating them. A book on the model suggested by Fergusson has indeed been a great desideratum.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe origin of image worship in India appears to be very ancient and its causes are not exactly known. Many believe it to be the result of the followers of Gautama Buddha adoring their master and worshipping him in the form of images of his apotheosis after death. However, there are indications of the prevalence of image worship among the Hindus long before the time of Gautama Buddha. The employment of an external object to concentrate the mind upon in the act of meditation in carrying on the practice of Yoga is in India quite as old as Yoga itself. Patanjali defines dharana or fixity of attention as \"the process of fixing the mind on some object well defined in space.\" This process is, as he says, \"of two kinds, in consequence of this defined space being internal or external. The external object, defined in space consists of the circle of the navel (the nabhi-chakra), the heart, and so on. The fixing the mind thereon is merely directing its existence to be there.\" There is indeed ample evidence to show that the practice of Yoga is in this country much older than the time of Patanjali, Vachas- pati Misra, a commentator on Vyasadeva's Bhashya on Patanjali's Yoga-Sutras, mentions a great sage Hiranyagarbha as the founder of the Yoga doctrine, which, he adds, was simply improved upon and promulgated by Patanjali, as evidenced by the use of the word anusasanam. in Patanjali's first aphorism Atha yoganusasanam. This old sage Hiranyagarbha and his successor Varshaganya Yajnavalkya are alluded to by Ramanuja and other later teachers of Vedanta, and Sankara actually quotes some Yoga aphorisms which are not found in the work of Patanjali, but look older than his time. It is therefore clear that image worship among the Hindus was contemporaneous with, if not older than, the development of the Yoga system, which, as we have seen, dates from before the age of Patanjali, who has been assigned by scholars on good evidence to the second century before Christ. There is no doubt that the Yoga system is even older than the time of Buddha because Buddha himself is declared to have been initiated into its practice in the earlier stages of his search for enlightenment and truth, and it may be taken that this fact is evidenced by sculptured representations of Buddha in the style of the Gandhara school as an emaciated person almost dying under the stress of the austerities he practiced.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAgain, Panini, to whom certain Orientalists assign a date somewhere about the sixth century before Christ, mentions in one of his grammatical aphorisms (v. 3,99) that \"likenesses not to be sold but used for the purpose of livelihood do not take the termination kan:\" The word he uses to denote an image in a nearly preceding (v. 6, 96) aphorism is Pratikriti, the literal meaning whereof is anything made after an original. Commentators on this aphorism understand these unsellable reproductions to be divine images. Evidently, then, there were images of gods and goddesses in the days of Panini, which were apparently not sold in the bazaars but were, nevertheless, used for the purpose of making a living. This would indicate that the possessors of these images were able to utilize them as religious objects which were so sacred as to justify the gift of alms to those who owned and exhibited them. Finally, images of gods, as they laugh, cry, sing, dance, perspire, crack, and so forth are mentioned in the Adbhuia-Bralimana, which is the last of the six chapters of the Shadvimsa- Brahmama, a supplement to the Panchavimsa- Brahmana.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs regards the existence or otherwise of image worship in the Vedic period in the history of India, opinion is divided among European savants. Prof. Max Muller, (Ohips from a German Workshop, I. 35), answers the question, ' Did the Vedic Indians make images of their gods,' in the negative. He says, \"The religion of the Veda knows no idols. The worship of idols in India is a secondary formation, a later degeneration of the more primitive worship of the ideal gods.\" On the other hand, Dr. Bollenson finds in the hymns clear references to images of the gods, (Journ. of the Germ. Orient. Soc. xxii, 587, ff). \"From the common appellation of the gods as divo naras, 'men of the sky', or simply naras (later ?), 'men' and from the epithet gripes, 'having the form of men', R. V. iii, 4, 5 we may conclude that the Indians did not merely in imagination assign human forms to their gods, but also represented them in a sensible manner.\"\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eImage worship seems to have become common in the time of Yaska. In his Nirukta he says, \" We are now to consider the forms of the gods. One mode of representation in the hymn makes them resemble men; for, they are praised and addressed as intelligent beings. They are also celebrated with limbs such as those of men.\"\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003evii-xvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGeneral Introduction\u003c\/td\u003e\n\u003ctd\u003e1-59\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eExplanatory description of certain technical terms.\u003c\/td\u003e\n\u003ctd\u003e1-32\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGanapati\u003c\/td\u003e\n\u003ctd\u003e35-67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVishnu\u003c\/td\u003e\n\u003ctd\u003e69-279\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(a) Dhruva-beras or Fixed Images\u003c\/td\u003e\n\u003ctd\u003e71-115\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(b) Dasavataras or the Ten Incarnations of Vishnu\u003c\/td\u003e\n\u003ctd\u003e117-223\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(c) Chaturvimsati-murtayah\u003c\/td\u003e\n\u003ctd\u003e225-244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(d) Minor Forms of Vishnu:- Purusha, Kapila, Yajnamurti, Vyasa, Dhanvantarin, Dattatreya, Hari-hara-pitamaha, Vaikuntha, Trailokya-mohanaAnanta, Visvarupa, Lakshmi-Narayana, Hayagriva, Adimurti, Jalasayin, Dharma,Varadaraja, Ranganatha, Venkatesa,Vithoba, Jagannatha,Nara-Narayana, and Manmatha.\u003c\/td\u003e\n\u003ctd\u003e245-279\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGaruda and Ayudha-purushas\u003c\/td\u003e\n\u003ctd\u003e281-296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAdityas, including the Nava-grahas\u003c\/td\u003e\n\u003ctd\u003e297-323\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDevi:- Srichakra, Devi, Durgs, Nilakanthi, Kshemankari,Harasiddhi, Rudramsa-Durga, Vana-Durga, Agni-Durga, Jaya-Durga,Vindhyavasi Durga, Ripumari-Durga, Mahiahasura-marddani or Katyayani, Chandika, Nanda, Nava-Durggs, Bhadrakali, Mahakali, Amba, Ambika, Mangala, Sarvamangala, Kalaratri, Lalita, Gauri, Uma, Parvati,Rambha, Totala,Tripura, the eight Dvara-palakas of the Gauri temple, Bhutamata,Yoganidra, Vama, Jyeshtha, Raudri, Kali,Kalavikarnika, Balavikarnika, Balaprama-thani, Barvabhutadamani, Manonmani,Varuni-Chamunda, Rakta-Chamunda,Sivaduti, Yogesvari, Bhairavi, Tripura-Bhairavi, Siva, Kirti, Siddhi, Riddhi,Kshama, Dipti, Rati, Sveta, Bhadra, Jaya,Vijaya, Kali, Ghantakarni, Jayanti, Diti,Arundhati, Aparajita, Surabhi, Krishna,Indrakshi, Annapurna,Tulasidevi, Asvaru-dhadevi, Bhuvanesvari, Bala,Lakshmi, Sri, Mahalakshmi, Bbumidevi, Rajamatangi,Saraswati, Sapta-matrikas and Jyeshthnadevi.\u003c\/td\u003e\n\u003ctd\u003e325-400\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAppendix A-A description of the plan and of the disposition of parivaradevatas in a Vishnu temple of seven avaranas\u003c\/td\u003e\n\u003ctd\u003e1-45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAppendix B-A detailed description of theUttama-dasa-tala measure to be used in the making of images\u003c\/td\u003e\n\u003ctd\u003e1-17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAppendix C-Sanskrit Texts relied upon for the description of the images\u003c\/td\u003e\n\u003ctd\u003e1-160\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eINDEX\u003c\/td\u003e\n\u003ctd\u003e1-25\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eINDEX TO APPENDIX B\u003c\/td\u003e\n\u003ctd\u003e26-29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003eVol-2,Part-I\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eIN bringing out the Second Volume of the Elements of Hindu Iconography, the author earnestly trusts that it will meet with the same favourable reception that was uniformly accorded to the first volume both by savants and the Press, for which he begs to take this opportunity of ten- dering his heart-felt thanks. No pains have of course been spared to make the present publication as informing and interesting as is possible in the case of the abstruse subject of Iconography. Though the illustrations appearing in the present volume are by no means inadequate for the main purpose of the work, yet they are not so full and exhaustive as in the first, and a word of explana- tion in that connection may not be out of place. To the great regret of the author, the liberal pecuniary help offered for the preparation and publication of the first volume has been, owing to the somewhat straitened finances of the Travancore State at present, withheld from him on the present occasion and he has, in consequence, not been able to embody as many illustrations as he had intended personally to gather for the purpose from various parts of India with a view to present to the public a series representative of the varied sculpture of the different parts of this country But the Travancore Durbar have, in gracious consideration of the trouble and labour involved in the prepara- tion of the present volume, been pleased to permit its publication by the author himself, for which he begs to offer his respectful and grateful thanks to the Dewan, Mr. Dewan Bahadur M. Krishna Nair, B.A., B.L.\u003c\/p\u003e\n\u003cp\u003eMention may here be made of a few points worthy of notice in the book. In the Introduction is given a collective description of all the peculiari- ties of the tenets and observances of some of the Saiva sects of which the general public has hitherto been practically ignorant, and of certain other cults that have died out without a trace. The nature of Linga worship has been ex- amined critically in the light of original texts gathered from such important sources as the Saivagamas, Saiva philosophical treatises, Puranas, and Itihasas, and with reference to the extant sculpture of all ages of this symbol of worship, and the matter has been thoroughly discussed and, what the author ventures to claim to be, an impartial conclusion arrived at. In the body of the book, several matters, which will be seen to be quite new even to the informed Hindu, have been dealt with; to cite an instance, everybody knows that Siva begged for food with the broken skull of Brahms as an expiation for the sin of having cut off one of Brahma's heads, but it is doubtful if it is known why this curious sort of penance should have been resorted to by Siva to get rid of His sin. Again, it has been found possible with the help of the knowledge derived from a close study of the bulk of the science of Natya-Sastra together with commentaries thereon to elaborate and treat fully the manifold dances of Siva, though only eight or nine modes are described in the agamic and other works. The reader will, it is hoped, come across many other instances of fresh information being furnished on matters that have remained more or less obscure hitherto.\u003c\/p\u003e\n\u003cp\u003eThe author cannot be too thankful to the Proprietors of the Law Printing House for the extraordinary care and trouble they have bestowed upon the printing and general get up of the books and for their readiness in coming forward and generously offering their timely help but for which the volume could not have been brought out. The author cannot also omit to express his sense of gratitude to Dr. A. K. Anandakumaraswami, M.A., D. Sc., for the ready and willing permission granted to him for reproducing the valuable article on the dance of Siva, contributed some time ago to the Siddhanta- Dipika by the learned Doctor. He has also very great pleasure in recording here his high appreciation of the help cheerfully rendered by his Pandit Mr. V. Srinivasa Sastri, Smritivisarada, but for whose untiring industry and intelligent collaboration this work could not have been brought to a successful completion so soon. Messrs. Long- hurst, Stoney, Kay, and Beardsell, have been so very kind as to assist the author with photographs of images in their respective collections and to accord. their gracious permission to reproduce them: to these gentlemen, the author offers his grateful thanks.\u003c\/p\u003e\n\u003cp\u003eFor reasons which need not be explained here, it was not possible for the author personally to supervise the printing of the work throughout so as to ensure the presentation of an absolutely correct text; he had therefore to entrust the task to the printers themselves. In spite of the care and trouble ungrudgingly bestowed by them in the midst of their multifarious duties, a number of errors have unavoidably crept in. Though such of them as have been subsequently noticed are noted in the errata list, it is likely many more have escaped detection, for which the author craves the indulgence of his readers.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e \u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOne of the oldest and also the most widely spread cult in India is that of Siva. It consisted once of several sects, of which only a few have survived to the present day. Some of them had the sanction of the Vedas while others were classed as outside the Vedas or as opposed to them; again, some of them had milder forms of worship, while others practiced horrible and shocking rites. The ideas about life, action, and liberation differed from sect to sect. It will not be without interest to examine in some detail the history, the main tenets, and the ceremonies of a few of the leading sects of Siva in the following paragraphs.\u003c\/p\u003e\n\u003cp\u003eFirst, as regards the origin of the sects classed as outside the pale of the Vedas, the following account is taken horn the Varaha-Purana. will be of interest. In the forest of Dandaka situated in the middle of Bharatavarsha, the rishi Gautama had his ashrama (hermitage), around which, he had abundant food-giving plants and trees. There once raged a twelve years famine during which a number of rishis from various other ashramas flocked to that of Gautama for food and shelter, and were received with all kindness and treated with great hospitality by Gautama. After the famine abated and the country became again fertile, the rishis desired to start out on a pilgrimage to the several famous tirthas; one of the rishis named Maricha, thought that they should not leave the asrama without informing Gautama, but fearing the same time that he might, in his extreme kindness and hospitality, refuse permission for the pilgrimage, created from maya an enfeebled, old cow and let it graze near Gautama's asrama. Gautama went near the cow to water' it; as he went near the cow, it fell down and died. The ungrateful rishis attributed to Gautama, the sin of killing a cow and refusing to stay any longer in the abode of such a sinful one. Gautama, who did not know this trick of the rishis, really believed that he had committed the sin and asked them how he could raise the cow from death. Advising him to sprinkle on it water brought from the Ganges, they departed on their projected pilgrimage. Gautama repaired to the Himalayas and prayed to Siva for a hundred years and got from his jatamandala a small quantity of the water of the Ganga which he sprinkled on the dead cow. The water of this divine river revived the cow and itself began to flow as the river Godavari. Gautama at last perceived through his mind's eye that the death of the cow and other incidents connected therewith was a clear deceit practiced on him by the rishis and cursed them to become Vedabahyas or those outside the pale of the Vedic religion. On their entreaty to abate his anger against them, he was pleased to assure them that though they were outside the Vedic cult, they would rise to heaven through bhakti or devotional love of God. The fallen rishis went to Kailasa and prayed to Siva to grant them some sastras which had a few Vedic rites at least. Thereupon, the rishis were decreed to be born to the Raudras, the lovers of spirituous liquors and flesh, who sprang up from the sweat- drops that flowed from Siva while he was in the aspect of Bhairava, and to these he gave the Pasupata Sastra.\u003c\/p\u003e\n\u003cp\u003eFrom the above account, one fact becomes clear, namely, that some at least of the followers of the Pasupata and other non-Vedic sects were at first followers of the Vedic religion and gave it up and joined the Avaidika cults. 'That the Pasupata and a few other sects are indeed very ancient may be inferred from ancient authorities. The Atharva- siras Upanishad describes the Pasupata rite thus: \" This is the Pasupata rite: ‘Agni is ashes, Vayu is ashes, water is ashes, dry land is ashes, the sky is ashes, all this is ashes, the mind, these eyes are ashes: Having taken ashes while pronouncing these preceding words, and rubbing himself, let a man touch his limbs. This is the Pasupata rite, for the removal of the animal bonds.\" Again the Bhtta linga and the Gudimallam linga bear clear sculptural evidence of the antiquity of the Saiva cults. From the summary of the philosophy of a few of the important Saiva sects given below, it would be clear that they have played a prominent part in the Religious History of India.\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ctable\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003ePREFACE\u003c\/td\u003e\n\u003ctd\u003evii-xi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eINTRODUCTION\u003c\/td\u003e\n\u003ctd\u003e1-35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eI.\u003c\/td\u003e\n\u003ctd\u003eSIVA\u003c\/td\u003e\n\u003ctd\u003e37-71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eII.\u003c\/td\u003e\n\u003ctd\u003eLINGAS\u003c\/td\u003e\n\u003ctd\u003e73-102\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIII.\u003c\/td\u003e\n\u003ctd\u003eLINGODBHAVAMURTI, CHANDRASEKHARA-MURTI, PASUPATAMURTI AND RAUDRA-PASU-PATAMURTI\u003c\/td\u003e\n\u003ctd\u003e103-126\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIV.\u003c\/td\u003e\n\u003ctd\u003eSUKHASANAMURTI, UMASAHITAMURTI,SOMASKANDAMURTI AND UMAMAHESVARA-MURTI\u003c\/td\u003e\n\u003ctd\u003e12-141\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eV.\u003c\/td\u003e\n\u003ctd\u003eSAMHARAMURTlS:-\u003c\/td\u003e\n\u003ctd\u003e143-202\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eKamantakamurti\u003c\/td\u003e\n\u003ctd\u003e147-149\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eGajasura-samharamurti\u003c\/td\u003e\n\u003ctd\u003e149-156\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eKalarimurti\u003c\/td\u003e\n\u003ctd\u003e156-164\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eTripurantakamurti\u003c\/td\u003e\n\u003ctd\u003e164-171\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eSarabhesamurti\u003c\/td\u003e\n\u003ctd\u003e171-174\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eBrahma-siraschhedakamurti\u003c\/td\u003e\n\u003ctd\u003e174182\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(a)Bhairava\u003c\/td\u003e\n\u003ctd\u003e177\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(b) Vatuka-Bhairava\u003c\/td\u003e\n\u003ctd\u003e177-179\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(c) Svarnakarshana Bhairava\u003c\/td\u003e\n\u003ctd\u003e179\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e(d) Sixty-four Bhairavas\u003c\/td\u003e\n\u003ctd\u003e180-182\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eVirabhadramurti\u003c\/td\u003e\n\u003ctd\u003e182-188\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eJalandhara-hara-murti\u003c\/td\u003e\n\u003ctd\u003e188-191\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003ctd\u003eMallari-Sivamurti\u003c\/td\u003e\n\u003ctd\u003e191-192\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eAndbakasuravadhamurti\u003c\/td\u003e\n\u003ctd\u003e192-194\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVI.\u003c\/td\u003e\n\u003ctd\u003eOTHER UGRA FORMS OF SIVA\u003c\/td\u003e\n\u003ctd\u003e195-202\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003ctd\u003eAghoramurti\u003c\/td\u003e\n\u003ctd\u003e197-200\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eDasabhuja-Aghoramurti\u003c\/td\u003e\n\u003ctd\u003e200-201\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003ctd\u003eMahakala and Mahakali\u003c\/td\u003e\n\u003ctd\u003e201-202\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVII.\u003c\/td\u003e\n\u003ctd\u003eANUGRAHAMURTIS :-\u003c\/td\u003e\n\u003ctd\u003e203-220\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eChandesanugrahamurti\u003c\/td\u003e\n\u003ctd\u003e205-209\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eVishnvanugrahamurti ( = Chakradana-murti)\u003c\/td\u003e\n\u003ctd\u003e209-212\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eNandisanugrahamurti\u003c\/td\u003e\n\u003ctd\u003e212-213\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eVighnesvaranugrahamurti\u003c\/td\u003e\n\u003ctd\u003e213-214\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eKiratarjunamurti\u003c\/td\u003e\n\u003ctd\u003e214-217\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eRavananugrahamurti\u003c\/td\u003e\n\u003ctd\u003e217-220\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVIII.\u003c\/td\u003e\n\u003ctd\u003eNRITTAMURTIS\u003c\/td\u003e\n\u003ctd\u003e221-270\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIX.\u003c\/td\u003e\n\u003ctd\u003eDAKSHINAMURTIS :-\u003c\/td\u003e\n\u003ctd\u003e271-292\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eVyakhyanadakshinamurti\u003c\/td\u003e\n\u003ctd\u003e273-283\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eJnanadakshinamurti\u003c\/td\u003e\n\u003ctd\u003e284\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eYogadakshinamurti\u003c\/td\u003e\n\u003ctd\u003e284-289\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eVinadharadakshinamurti\u003c\/td\u003e\n\u003ctd\u003e289-292\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eX.\u003c\/td\u003e\n\u003ctd\u003eKANKALAMURTI AND BHlKSHATANAMURTI\u003c\/td\u003e\n\u003ctd\u003e293-309\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXI.\u003c\/td\u003e\n\u003ctd\u003eOTHER IMPORTANT ASPECTS OF SIVA:-\u003c\/td\u003e\n\u003ctd\u003e311-358\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eGangadharamurti\u003c\/td\u003e\n\u003ctd\u003e313-321\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eArdhanarisvaramurti\u003c\/td\u003e\n\u003ctd\u003e321-332\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eHaryardhamurti\u003c\/td\u003e\n\u003ctd\u003e332-337\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eKalyanasundaramurti\u003c\/td\u003e\n\u003ctd\u003e337-352\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eVrishavahanamurti\u003c\/td\u003e\n\u003ctd\u003e352-356\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eVishapaharanamurti\u003c\/td\u003e\n\u003ctd\u003e356-358\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXII.\u003c\/td\u003e\n\u003ctd\u003eMISCELLANEOUS ASPECTS OF SIVA:-\u003c\/td\u003e\n\u003ctd\u003e359-411\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(i)\u003c\/td\u003e\n\u003ctd\u003eSadasivamurti and Mahasadasivamurti\u003c\/td\u003e\n\u003ctd\u003e361-374\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(ii)\u003c\/td\u003e\n\u003ctd\u003ePanchabrahmas or Isanadayah\u003c\/td\u003e\n\u003ctd\u003e375-379\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iii)\u003c\/td\u003e\n\u003ctd\u003eMahesamurti\u003c\/td\u003e\n\u003ctd\u003e379-386\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iv)\u003c\/td\u003e\n\u003ctd\u003eEkadasa Rudras\u003c\/td\u003e\n\u003ctd\u003e386-392\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(v)\u003c\/td\u003e\n\u003ctd\u003eVidyesvaras\u003c\/td\u003e\n\u003ctd\u003e392-403\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(vi)\u003c\/td\u003e\n\u003ctd\u003eMurtyashtaka\u003c\/td\u003e\n\u003ctd\u003e403-407\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(vii)\u003c\/td\u003e\n\u003ctd\u003eLocal legends and images based upon Mahatmyas\u003c\/td\u003e\n\u003ctd\u003e407-411\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIII.\u003c\/td\u003e\n\u003ctd\u003eSUBRAHMANYA\u003c\/td\u003e\n\u003ctd\u003e413-451\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIV.\u003c\/td\u003e\n\u003ctd\u003eNANDIKESVARA\u003c\/td\u003e\n\u003ctd\u003e453-460\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXV.\u003c\/td\u003e\n\u003ctd\u003eCHANDESVARA\u003c\/td\u003e\n\u003ctd\u003e461-469\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVI.\u003c\/td\u003e\n\u003ctd\u003eBHAKTAS\u003c\/td\u003e\n\u003ctd\u003e471-481\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVII.\u003c\/td\u003e\n\u003ctd\u003eARYA OR HARIHARAPUTRA\u003c\/td\u003e\n\u003ctd\u003e483-492\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXVIII.\u003c\/td\u003e\n\u003ctd\u003eKSHETRAPALA\u003c\/td\u003e\n\u003ctd\u003e493-498\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXIX.\u003c\/td\u003e\n\u003ctd\u003eBRAHMA\u003c\/td\u003e\n\u003ctd\u003e499-512\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXX.\u003c\/td\u003e\n\u003ctd\u003eDIKPALAKAS\u003c\/td\u003e\n\u003ctd\u003e513-538\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXI.\u003c\/td\u003e\n\u003ctd\u003eASVINIDEVATAS\u003c\/td\u003e\n\u003ctd\u003e539-545\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eXXII.\u003c\/td\u003e\n\u003ctd\u003eDEMI-GODS\u003c\/td\u003e\n\u003ctd\u003e547-570\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(i)\u003c\/td\u003e\n\u003ctd\u003eVasus\u003c\/td\u003e\n\u003ctd\u003e550-553\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(ii)\u003c\/td\u003e\n\u003ctd\u003eNagadeva and the Nagas\u003c\/td\u003e\n\u003ctd\u003e554-558\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iii)\u003c\/td\u003e\n\u003ctd\u003eSadhyas\u003c\/td\u003e\n\u003ctd\u003e558-559\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iv)\u003c\/td\u003e\n\u003ctd\u003eAsuras\u003c\/td\u003e\n\u003ctd\u003e559-561\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(v)\u003c\/td\u003e\n\u003ctd\u003eApsarasas\u003c\/td\u003e\n\u003ctd\u003e561-562\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(vi)\u003c\/td\u003e\n\u003ctd\u003ePisachas\u003c\/td\u003e\n\u003ctd\u003e562\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(vii)\u003c\/td\u003e\n\u003ctd\u003eVetalas\u003c\/td\u003e\n\u003ctd\u003e562\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(viii)\u003c\/td\u003e\n\u003ctd\u003ePitris\u003c\/td\u003e\n\u003ctd\u003e562-564\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(ix)\u003c\/td\u003e\n\u003ctd\u003eRishis\u003c\/td\u003e\n\u003ctd\u003e564-567\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(x)\u003c\/td\u003e\n\u003ctd\u003eGandharvas\u003c\/td\u003e\n\u003ctd\u003e568-569\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(xi)\u003c\/td\u003e\n\u003ctd\u003eMarut-ganas\u003c\/td\u003e\n\u003ctd\u003e569-570\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAPPENDIX A.\u003c\/td\u003e\n\u003ctd\u003e571-578\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eAPPENDIX B.\u003c\/td\u003e\n\u003ctd\u003e1-279\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003eINDEX\u003c\/td\u003e\n\u003ctd\u003e1-37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003eSample Pages\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003eVol-1,Part-I\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008b.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008c.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003ePart-II\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008d.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008e.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003eVol-2,Part-I\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008f.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008g.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e\u003cspan color=\"red\" size=\"5\" style=\"color: red; font-size: x-large;\"\u003ePart-II\u003c\/span\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008h.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books\/nab008i.jpg\"\u003e\u003c\/center\u003e","brand":"T. A. Gopinatha Rao","offers":[{"title":"Default Title","offer_id":42924825378954,"sku":"","price":4000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ElementsofHindiIconography.jpg?v=1683553412"},{"product_id":"the-art-of-indian-asia-2-vols-its-mythology-and-transformation-volume-one-text-volume-two-plates","title":"The Art of Indian Asia, 2 Vols.","description":"\u003cp style=\"text-align: left;\"\u003eThe present work is intended not as a handbook but as an introduction to its subject, to be read from beginning to end. Each section is preparation for the next. Chapter I, presenting as it does a brief historical outline of the transformations of Indian art as well as a key to the symbology of the forms, can be used as a guide during the first perusal of the pictures. For the reader then wishing to find quickly the several portions of text referring to any specific group of monuments, a copious index has been supplied, together with textual references in the Description of Plates and cross-references in the footnotes. Marginal references to the Plates, furthermore, accompany the text. These should make possible an easy and rapid correlation of the materials of the two volumes.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe first two groups of Plates in the text volume illustrate, for the most part, the anthropological and comparative observations of the text. Included among them, however, are a few photographs that are indispensable to Dr. Zimmer's argument but do not meet the aesthetic standard of the Plates volume. On the other hand, the final cluster of text Plates constitutes an independent pictorial appendix, illustrating the miniature and Rajput art of the eleventh to nineteenth centuries A.D. Dr. Zimmer's notes on this subject had not been developed beyond preliminary jottings, and could not be incorporated in any major section of the text. But since there is actually a rather special, very delicate, lyric quality about these paintings on palm leaf and paper, which sets them apart, somewhat, from the tradition of the stone monuments, it is not inappropriate that they should be given a separate place.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cb\u003eHEINRICH ROBERT ZIMMER\u003cspan\u003e \u003c\/span\u003e\u003c\/b\u003e(1890-1943) was an Indologist and historian of South Asian art. His other works include\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMyths and Symbols in Indian Art and Civilization and Philosophies of India, Maya : Der Indische Mythos, Philosophies of India, The King and the Corpse: Tales of the Sou's Congrest of Evil.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eHe was the most important German cholar in Indian Studies after Max Muller (1823-1900). In 2010, in recognition to hi contribution in the filed of Indology a \"Heinrich Zimmer Chairs for Indian Philosophy and Intellectual History\" was inaugurated at Heidelberg university.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eZimmer's method was to examine religious images using their sacred significance as a key to their psychic transformation. His use of (Indian) philosophy and religious history to interpret art was at oods with traditional scholarship. His vast knowledge of Hindu mythology and philosophy (particularly Puranic and Tantric works) gave him insights into the art, insight that were appreciated by Joseph Campbell among others. Cambell edited many of Zimmer's writings after his death.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eEDITOR'S FOREWORD\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eLIKE Philosophies of India and the other books of the late Heinrich Zimmer published in the Bollingen Series, the present work is intended not as a handbook but as an introduction to its subject, to be read from beginning to end. Each section is preparation for the next. Chapter I, presenting as it does a brief historical outline of the transformations of Indian art, as well as a key to the symbology of the forms, can be used as a guide during the first perusal of the pictures. For the reader then wishing to find quickly the several portions of text referring to any specific group of monuments, a copious index has been supplied, together with textual references in the Description of Plates and cross-references in the footnotes. Marginal references to the plates, furthermore, accompany the text. These should make possible an easy and rapid correlation of the materials of the two volumes.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe first two groups of plates in the text volume (Text Plates Al to Al6 and BI to B16) illustrate, for the most part, the anthropological and comparative observations of the text. Included among them, however, are a few photographs that are indispensable to Dr. Zimmer's argument but do not meet the aesthetic standard of the plates volume. On the other hand, the final cluster of Text Plates (C1 to C16) constitutes an independent pictorial appendix, illustrating the miniature and Rajput art of the eleventh to nine- teenth centuries A.D. Dr. Zimmer's notes on this subject had not been developed beyond preliminary jottings, and could not be incorporated in any major section of the- text. But since there is actually a rather special, very delicate, lyric quality about these paintings on palm leaf and paper, which sets them apart, somewhat, from the tradition of the stone monuments, it is not inappropriate that they should be given a separate place. I am pleased to have been able to incorporate in the dating of the plates the results of Dr. Waiter Spink's researches presented in his doctoral dissertation, \"Rock-cut Monuments of the Andhra Period: Their Style and Chronology\" (Harvard University, 1954). The lectures of Dr. Zimmer from which Chapters I to VII are drawn were delivered at Columbia University, New York City, in the winter of 1941 and the notes that sup- plied the materials for Chapters VII and VIII were made even earlier: obviously, there- fore, they could not have carried the new dates. I feel strongly, however, that to publish a work at this time with datings accepted by earlier scholars but now disproved would be to limit its usefulness. And since the chronological shift for the period extending from the second century B.C. to the second A.D. does not controvert any of the views and explications of Dr. Zimmer, I have not hesitated to adopt it. Where it has been necessary, in one or two places, to adjust Dr. Zimmer 's paragraphs, I have stated in a footnote that the dating is that of Dr. Spink, not Dr. Zimmer. Otherwise, in my work of compiling and editing, I have held strictly to the line of Dr. Zimmer 's exposition, and I believe that the book represents his thinking throughout. It unites with his Myths and Symbols in Indian Art and Civilization, The King and the Corpse, and Philosophies of India * to present the greatest part of his lectures and writings in English from the time of his arrival in this country in 1941 until his death, March 20, 1943. The four publications are facets of a single vision and constitute, practically, a single work.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003e*\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eNumerous persons and institutions have helped in a great many ways during the preparation of this work. My intention has been to acknowledge every photographic source and to give the location of every object which is in the possession of a museum or a private collection. This information is to be found in the plate descriptions and the index of picture sources. If these compilations should be found wanting, the responsibility is mine, and I should be most grateful to know of any oversights. I want to mention individually a number of persons and institutions that have given me assistance.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFor the materials of the plates volume, I am indebted primarily to Mrs. Ananda K. Coomaraswamy and Mr. Eliot Elisofon. Mrs. Coomaraswamy very kindly placed at my disposal the archives of her late husband, and so made it possible for me not only to identify many of the references of Dr. Zimmer 's text, but also to publish otherwise unobtainable illustrations. The camera studies by Mr. Elisofon of Sanci, Ajanta, Elura, Elephanta, Mamallapuram, Bhuvanesvara, Konarak, Tiruvannamalai, and Ankor - which constitute the main body of volume 2 - set a new standard for the photography of Indian art, and I am delighted to have been able to present them as a visual complement to Dr. Zimmer's text. Moreover, Mr. Elisofon made a number of visits to the museums of Europe to obtain illustrations for Dr. Zimmer's discussion. I am very grateful both to him and to M-rs. Coomaraswamy for their unstinting co-operation, and to the Editors of Life magazine, who gave their generous permission for the inclusion of a large number of Mr. Elisofon's hitherto unpublished photographs in the present work, as well as three photographs of Ceylonese monuments by Mr. Dmitri Kessel.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eTwo other fortunate accessions not only extended the photographic record of the main periods and transformations of Indian art but also provided superb illustrations of some of the major points of Dr. Zimmer 's text. The series by Mme. Gunvor Moitessier, covering the Gupta and Early Calukya monuments of Bad ami, Aihole, and Pattadakal, as well as the temples of Khajur aho, Halebid, Beliir, Vijayanagar, and Nepal, supplements • Respectively, New York and London, 1946; New York and London, 1948; New York and London, 1951. admirably the fundamental series of Mr. Elisofon. Dr. and Mrs. WaIter Spink allowed me to make a representative selection from their fine photographs of the Jaina caves at Khandagiri and Udayagiri, as well as of the temples of Badami, Puri, and Tanjore. I thank these good friends, both for their pictures and for the assistance that they have given me in the organization and dating of various portions of the pictorial material. I thank, also, Miss Katharine Ordway, who introduced me to their work and Mme. Moitessier's.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI should like to express my gratitude for the great assistance that I received from my friend Mr. Nasli Heeramaneck, who permitted me to draw whatever pictures I pleased from his file, gave me advice in the selection and arrangement of the Rajput series, and allowed me to publish photographs of a number of the rare .and beautiful pieces in his magnificent collection. Professor Alfred Salmony likewise opened his files to me and assisted me generously with information. A great many photographs were sent to me through the kindness of Mme. Odette Monod, Curator of the Archives photographiques of the Musee Guimet; she responded repeatedly to my calls for assistance. Dr. Stella Kramrisch kindly sent me the print of the handsome Krsna Kaliyadamana (Plate 423) that she is publishing in her own volume, 'The Art of India (London: Phaidon, 1954), and I wish to thank both her and her publisher for their cordial co-operation. Dr. Benjamin Rewland - on whose valuable work 'The Art and Architecture of India (Harmondsworth: Penguin Books, 1953), I have been greatly dependent-assisted me, at one point, in my search for pictures. Professors Ludwig Bachhofer and Ernst Diez and Sir John Marshall gave me a number of prints that I required, and Professor Bachhofer in addition gave valuable advice in the resolution of certain textual problems. Mr. Martin Hurlimann, from whose India volume, published in 1928 (Indien: Baukunst, Landschaft, und Volksleben, Berlin: Verlag Ernst Wasmuth), Dr. Zimmer had drawn freely in his lectures, sent a series of indispensable and splendid photographs. Moreover, the famous collection of Dr. Zimmer's friend, Eduard Baron von der Heydt, which is now preserved in the Rietberg Museum of Zurich, contained a number of pieces to which the notes referred; and I thank both him and the Curator of the Museum, Dr. johannes Itten, for their very generous help. I was fortunate also in receiving from Mr. Ferenc Berko permission to publish his photographs of South Indian bronzes.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe contribution of Dr. Marguerite Block, Curator of the Bush Collection of Religion and Culture at Columbia University, where Dr. Zimmer lectured during his brief residence in America, is scarcely acknowledged by the credit lines of the photographs drawn from the Collection. She greatly assisted me by identifying many of the objects referred to in Dr. Zimmer's notes. And I should like to express my especial gratitude also to the distinguished Director of the Ecole francaised Extreme-Orient in Hanoi, M. Louis Malleret, who, as late as May 1954, sent me with his compliments photographs of the art of Campa from the archives of the Hanoi Museum.\u003c\/p\u003e\n\u003ccenter\u003e\n\u003cp\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"05%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"85%\"\u003eEditor Foreword\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDescription of Text Plates\u003c\/td\u003e\n\u003ctd\u003exv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDescription of Text Figures\u003c\/td\u003e\n\u003ctd\u003exxii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNote on Pronunciation\u003c\/td\u003e\n\u003ctd\u003exxiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eI\u003c\/td\u003e\n\u003ctd\u003eThe Great periods of Indian Art\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eII\u003c\/td\u003e\n\u003ctd\u003eThe Indus Valley civilization\u003c\/td\u003e\n\u003ctd\u003e18\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIII\u003c\/td\u003e\n\u003ctd\u003eThe Vedic Aryan Style\u003c\/td\u003e\n\u003ctd\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIV\u003c\/td\u003e\n\u003ctd\u003eMesopotomian Patterns in Indian Art\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. Gods Standing on Animals\u003c\/td\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. The Heaven -Bird and The Earth -Serpent\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3. The Serpent and the Savior\u003c\/td\u003e\n\u003ctd\u003e56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eV.\u003c\/td\u003e\n\u003ctd\u003eIndian Ideals of Beauty\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. A Maurya Mother Goddess\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. Paleolithic Mother Goddesses\u003c\/td\u003e\n\u003ctd\u003e69\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3. Indian ideals of Feminine Beauty\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e4. The Forms of the Great Goddess in Indian Art\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e5. The South Indian bronzes\u003c\/td\u003e\n\u003ctd\u003e110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e6. The Tantric Influence\u003c\/td\u003e\n\u003ctd\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e7. The Jaina Style\u003c\/td\u003e\n\u003ctd\u003e131\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e8. The Art of Java\u003c\/td\u003e\n\u003ctd\u003e134\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e9. Combodian Art\u003c\/td\u003e\n\u003ctd\u003e144\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e10 Compa (Annam), and temper of Indonesian Art\u003c\/td\u003e\n\u003ctd\u003e151\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e11. Bali\u003c\/td\u003e\n\u003ctd\u003e153\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVI.\u003c\/td\u003e\n\u003ctd\u003eThe Symbolizm of the Lotus\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. The Lotus Goddess`\u003c\/td\u003e\n\u003ctd\u003e158\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. The Lotus support\u003c\/td\u003e\n\u003ctd\u003e168\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3. The Bodhisattva Lotus -in Hand\u003c\/td\u003e\n\u003ctd\u003e181\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e4. The Lotus in Burmese Art\u003c\/td\u003e\n\u003ctd\u003e190\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e5. The Lotus in Tibet\u003c\/td\u003e\n\u003ctd\u003e194\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e6. The Lotus in China and Japan\u003c\/td\u003e\n\u003ctd\u003e201\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e7. The Lotus Goddess of the Cosmic Sea - and the Palace temple ankor wat\u003c\/td\u003e\n\u003ctd\u003e206\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e8. Excursus: On the content and form of Indian Sculpture\u003c\/td\u003e\n\u003ctd\u003e213\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e9. The Palace -Temple Ankor Wat - and the lotus goddess of the cosmic sea\u003c\/td\u003e\n\u003ctd\u003e226\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVII.\u003c\/td\u003e\n\u003ctd\u003eIndian Architecture\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. The Early Buddhist Stupas\u003c\/td\u003e\n\u003ctd\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. The Buddhist viharas, Caitayas, and Later Stupas\u003c\/td\u003e\n\u003ctd\u003e246\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3 The Buddhist Pillars of Victory\u003c\/td\u003e\n\u003ctd\u003e253\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e4. The Sacred Sites of Hindusim\u003c\/td\u003e\n\u003ctd\u003e257\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e5. An Architecture Based on Wood\u003c\/td\u003e\n\u003ctd\u003e259\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e6. The Great Jaina Temples\u003c\/td\u003e\n\u003ctd\u003e269\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e7. The Hindu Temple, Northern Style\u003c\/td\u003e\n\u003ctd\u003e275\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e8. The Hindu Temple. Centreal Style\u003c\/td\u003e\n\u003ctd\u003e278\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e9. The Hindu Temple , Southern Style\u003c\/td\u003e\n\u003ctd\u003e278\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCalukya Dynasty (c 550-750)\u003c\/td\u003e\n\u003ctd\u003e279\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCola Dynasty (c. 850-1150)\u003c\/td\u003e\n\u003ctd\u003e280\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePandya dynasty (c. 1100-1350)\u003c\/td\u003e\n\u003ctd\u003e281\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVijayanagar (c. 1350-1565)\u003c\/td\u003e\n\u003ctd\u003e283\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMadura (Post 1565)\u003c\/td\u003e\n\u003ctd\u003e287\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ethe Architecture of the south Indian Temple\u003c\/td\u003e\n\u003ctd\u003e287\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e10. The Hindu Cave-temple\u003c\/td\u003e\n\u003ctd\u003e289\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e11. Borobudur and the Architecture of Java\u003c\/td\u003e\n\u003ctd\u003e298\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eVIII.\u003c\/td\u003e\n\u003ctd\u003eIndian Sculpture\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. The rules of the Craft\u003c\/td\u003e\n\u003ctd\u003e318\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. Bharahut\u003c\/td\u003e\n\u003ctd\u003e325\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3. the Buddhist Art of Mathura, Gandhara, Amaravati, and Bodhgaya\u003c\/td\u003e\n\u003ctd\u003e337\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e4. Hindu Sculpture\u003c\/td\u003e\n\u003ctd\u003e363\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e5. The Pravincial Forms\u003c\/td\u003e\n\u003ctd\u003e363\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCeylon\u003c\/td\u003e\n\u003ctd\u003e368\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndonesia\u003c\/td\u003e\n\u003ctd\u003e368\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003efurther India\u003c\/td\u003e\n\u003ctd\u003e369\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAppendix A: Some Notes on the Art of Painting\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTwo Origin Legends\u003c\/td\u003e\n\u003ctd\u003e383\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePala Painting (c. 730-1250)\u003c\/td\u003e\n\u003ctd\u003e385\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGujarati (Jaina) Painting (c. 1100-1600)\u003c\/td\u003e\n\u003ctd\u003e385\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRajput Painting (c. 1550-1850)\u003c\/td\u003e\n\u003ctd\u003e386\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAppendix B. Maps and Chronological Charts\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChronological chart 1: Periods of Indian Art\u003c\/td\u003e\n\u003ctd\u003e390\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMap I: India\u003c\/td\u003e\n\u003ctd\u003e391\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMap II: Asia\u003c\/td\u003e\n\u003ctd\u003e392-393\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMap III: southeast Asia\u003c\/td\u003e\n\u003ctd\u003e394\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChronological Chart 2: Provincial Styles\u003c\/td\u003e\n\u003ctd\u003e395\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDescription of Pates\u003c\/td\u003e\n\u003ctd\u003e397\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex of Picture Sources\u003c\/td\u003e\n\u003ctd\u003e431\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGeneral Index\u003c\/td\u003e\n\u003ctd\u003e433\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\n\u003cp\u003e\u003cbr\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728a.jpg\"\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728b.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728c.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728d.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728e.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728f.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728g.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728h.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728i.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728j.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728k.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728l.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728m.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728n.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728o.jpg\"\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cimg src=\"https:\/\/cdn.exoticindia.com\/images\/products\/original\/books-2017\/nah728p.jpg\"\u003e\u003c\/center\u003e","brand":"Heinrich Zimmer, Joseph Campbell","offers":[{"title":"Default Title","offer_id":42924829638794,"sku":"","price":7500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ArtofIndianAsia.jpg?v=1683553812"},{"product_id":"the-art-of-india-through-the-ages-traditions-of-indian-sculpture-painting-and-architecture-with-180-illustrations-in-colour-and-monochrome","title":"The Art of India Through the Ages","description":"\u003cp style=\"text-align: left;\"\u003eAlthough the poetry and philosophy of India were discovered by Europeans over a hundred years ago, and had the most important influence, the visual arts of India remained unappreciated. While 'Sakuntala' and the 'Sermons of Buddha' were recognized as having the same stature as the writings of Sophocles or Plato, and were incorporated into every European literary tradition, the plastic arts of India were treated as if they were a pictorial supplement to the history of religion or the anthropology of a remote and alien country, of a mysterious, sensuous, exotic world.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe discovery that the arts of India have their proper place in the universal history of art remained to be made. One may, without any fear of exaggeration, claim that this book is the first in the field.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThat this should be the case is due to scholars having devoted so much of their attention to problems of chronology, regional distinction, and religious content that they were never able to demonstrate that Indian sculpture and architecture had the same value, judged by purely artistic standards, as Greek sculpture and the medieval cathedrals.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe 180 reproductions which illustrate this book give a general survey of the art of Hindu and Buddhist India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThese photographs, most of which have never been published previously, have been collected during extensive travels and many years of research Complex temple towers, gracefully swaying bronze figures, splendid, rock-hewn images of gods and beasts, frescoes, decorative reliefs, monumental statues, and busts are included in this selection. The student will find the detailed photographs of buildings and sculptures (some of which were taken in exceptionally difficult circumstances) as well as the eight colour reproduction of paintings, which supplement the monochrome, photogravures, particularly valuable.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eSTELLA KRAMRISCH, previously Professor of the history of Indian Art at the University of Calcutta for many years, is now Professor at the University of Pennsylvania and Curator of Indian Art at the Philadelphia Museum of Art. Her Most distinguished books-the two volumes on the Hindu Temple, for instance-and her monographs have long been known to specialists. The lucid text of this book and the illustrations which she has selected from a vast collection of material provide the best introduction to one of the most neglected chapters of the history of art.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eAN ANCIENT INDIAN TREATISE says that art conduces to fulfilling the aims of life, whose ultimate aim is Release. The compendium opens with a conversation between a king and a sage. The king desires to learn the whole meaning of art, but is told that he must first know the theory of dancing. To this he agrees because the laws of dancing imply the principles that govern painting. But the sage further insists that the king shall begin by studying music and song\/ for without a knowledge of all the arts, their effect in space and time cannot fully be understood, nor their purpose be achieved.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn India, the ultimate aim of life is Release (moksa), and art is one means of attaining this aim. What is meant by Release? On the negative side, it is a state of inner detachment from subservience to life in all its contingent aspects. Positively, it is the state of detachment itself, irradiated by the realization of the Absolute. The Absolute, the Supreme Principle, is beyond definition. It is known by inner realization. Moksa is a reintegration into the Absolute. There are many different modes of reintegration, and many ways of achieving detachment. All ways lead beyond civilization, but at the same time they take for granted the entire social structure, with its Dharma or laws of human righteousness and cosmic order, its Artha or accumulated wealth, and Kama, the fountain springs of love and passion.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eUpon this foundation, art and yoga erect a superstructure of many paths leading to the solitary peak where realization of the Absolute is imminent. From this single point of awareness of life's essential unity objects and thoughts take on a new perspective. For whether they be directed towards the summit, turned away from it, or engrossed in the pursuit of one of the three other aims, all thoughts and actions are governed by the Presence and Position of this, the ultimate aim in the structure of Indian life.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMoksa (Release) is not itself the Absolute. It is the realization of the Absolute within one's own living body, a mature communion which some attain (Plate 41) and of which all are aware in some degree, even although their time has not yet come (Plates 96, 26). Those who would reach it must endure a discipline, for the living, breathing human body is the place where moksa is realized. It is thus that the body is represented in Indian art (Plates 95, 81), and its scale taken as a module in Indian architecture (Plate 74, see Note). Thousands of years before they were given verbal expression in the Veda (the Scripture), and in Vastu sastra and silpa satra (the textbooks on the arts) the traditions of India were embodied in the form of Indian art (Plate 1 and Figs. I, 2, 4).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn this art, the shape of man and all subsidiary figures are ordered in accordance with a living myth. They serve as its symbols and carry out its rhythms. Architectural proportions are governed by its concepts (Plates II6, 121), which underlie the relation- ships of builder, patron and worshipper. There is nothing accidental in these concepts. They are known and lived, are projected and given shape, at various levels, and in varying degrees of statement and elaboration. Confronting an Indian work of art, a beholder ignorant of the tradition sees merely its form; its quality awakens in him only a vague response to the total awareness that has gone into its making. Indian temple architecture, in the fullness of its development, establishes in spatial terms an intellectual and actual approach to the Supreme Principle of which the deity is symbolic. The statue is the manifestation (arca-avatara) of the deity through a concrete work of art (murti), and the building is its body and house. Images are given shape by sculpture and painting, whose inter-relationship expresses in line, proportion and colour the love (bhakti) to which gods and myths owe their existence as aspects of the Absolute.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe temples and statues are so many stages in the approach to moksa. They are halting places, providing rest and support for the one unanimous Tradition, that flows through the word of the Veda and is borne along by the ritual in inviolable and multifold patterns. The various phases of Indian art correspond to such stages and, from the third century B.C. to the present day, more than two millennia of their history can be traced against a background remote by yet another two thousand years.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the second half of the third millennium B.C., Indian art had passed a zenith (Plate I, Figs. I, 3, 4) in the large towns of the Indus valley. Between this, the most ancient art of India, and the cosmopolitan art of the third century B.C. (Plate 4), with the Mauryan Court in Pataliputra (Patna), on the Ganges, as its centre, lie about two millennia wherein few monuments (Plates 2, 3) have been excavated as yet. Into this void falls the age of the Veda. Its hymns are rich in imagery, whereas (although accompanied by signs of a script) the images and figures of India's more remote past have no known verbal equivalents (Fig. I). The tradition, however, remains unbroken, for the themes and forms of the art of the Indus valley during the third and second millennia B.C. are continued in Indian art when it re-emerges in the third century B.C.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe art of India is neither religious nor secular, for the consistent fabric of Indian life was never rent by the Western dichotomy of religious belief and worldly practice. Every aspect of this life is incorporated into a known hierarchy of values in the physical, psychological and metaphysical realms. In this ordered body of values, each member with its own particular function is placed in accordance with a transcendental Norm.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAt the height of its architectural development (Plates 121, 87, 70 and Fig. 14), the temple was the spiritual centre from which religious and social life was regulated. It set the standard for all other buildings, which were related to and derived from its proportions, and were orientated and grouped with respect to it. Similarly, the images on temple walls represent the gods, whose proportions are based on the idealized figure of man (Plates 52, 94), while, on the other hand, the celestial countenance is reflected in the various forms of art, of which portraiture is one (Plate 1 1 I, Colour Plate VII).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eInherent in the perfected types of Indian art, including the most abstract, is the residuary essence of a profound participation in life, experienced and given form by the artist (Plates 100-102). In India, nature is violently active or overwhelmingly torpid and similarly human emotions are strong or apathetic. This parallel between external nature and the inner nature of man is reaffirmed by art. Indian art is fundamentally naturalistic. In the logic of the various schools it works like nature herself, expressing the vitality of her shapes (Plates 24-26, 94, 112; Fig. 4), evoking their very body and breath in impassioned plastic sculpture and painting, while ever forming afresh the female figure according to her stone-age type of potential motherhood. The ancient art of the Indus valley was preoccupied with life and recaptured its surge in a modeling that was both firm and resilient. The massive male torso, in Fig. 4, is in the throes of an inner movement unfolding from the core of the body. On the other hand, when outer movement is represented in the slender figure of a dancer (Plate I) gliding curves and clear-cut planes are intertwined in space, and follow the movement of the dance as their perpetual function. These two modes of sculpture are characteristic. In the first, the figure appears to be modelled from within, and although actually at rest, is instinct with plastic movement. In the second, the volume of the figure is distributed round its axis, and is self-contained in the inter- section of the planes within the space created by the movements of the body. The massive torso gives shape to the internal life that moves within the form, keeping it tense when it is at rest. The dancing torso expresses the body's external movement that governs the unit of space and volume in which the torso exists. In other words, these two modes of sculpture, the one recording the inner unconscious movement of life within the plastic walls of the body, and the other the outer movement of the body by an act of will within the space encircled by that movement, are typically and perennially Indian. The first is the sculpture of the modelled mass, and the second that of lines and planes curved in space.\u003c\/p\u003e","brand":"Stella Kramrisch","offers":[{"title":"Default Title","offer_id":42924843761802,"sku":"","price":2500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ArtofIndia.jpg?v=1683554466"},{"product_id":"indian-sculpture-ancient-classical-and-mediaeval","title":"Indian Sculpture","description":"\u003cp style=\"text-align: left;\"\u003eThe book surveys the structure Indian sculpture in its relevant aspects. The underlying and essential qualities are viewed in their permanency throughout the special conditions that the single monuments imply. Their outward connections, geographical and chronological, are seen to resolve themselves into ethical problems and those of the artistic process its elf.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhile stylistical investigations are the basis of this book, Indian sculpture is dealt with as conditioned by the Indian craftsman. His consciousness makes him known to himself as a part of nature and his work is the form of this ‘naturalism’. Its degree and aspects vary according to the levels of his consciousness.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eStella Kramrtsch was Professor at the University of Pennsylvania and Curator of Indian Arts at the Philadelphia Museum of Arts. She was also previously Professor of History of Indian Art at the University of Calcutta. Her books on Indian Art are now considered classics.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eAnyone with an understanding of art in general and a knowledge, however slight, of Indian things, will, on being shown a work of Indian sculpture, unfailingly label it Indian. Differences in age and origin, however clearly marked to the discerning eye, when pointed out to the outsider, will be apprehended only with more or less difficulty. There is something so strong, and at the same time unique, in any Indian work of art that its ‘Indianness’ is felt first of all, and what it is, is seen only on second thought.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHow this Indianness is expressed in terms of relation between line, surface, volume and other elements of visualisation, will be dealt with here. That there are permanent qualities throughout the fabric of Indian sculpture, and what these qualities are, will have to be shown. These essential qualities, all inter-related and inseparable, contain within their compass the life of Indian plastic art.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eYet although permanently present, it does not always encounter the same possibilities of manifestation. Time and place determine those possibilities according to their own conditions. The part they play is provocative only and not constitutional. Now one, then another quality will be stressed or else be subdued; but it persists, whatever its degree, within the given total. Within this flexible constancy the provocation however acts still further and elicits various reactions that appear to be temporary or local only; yet, in spite of this limited validity, integrally belong to the whole.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt is not the purpose of this book to give an outline of a history of Indian sculpture. For detailed accounts of monuments, the reader not familiar with them may consult the publications enumerated in the bibliography.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWestern terminology cannot be applied without reservations when studying Indian art. Western methods of art- criticism, too, have to be recast according to the demands of Indian sculpture. Indian terms, on the other hand, can also not be employed. They occur in manuals for the use of the craftsmen and were based on a living tradition, inevitable for, and a matter of course with, the ancient Indian artist, inactive, however, at the present state. There was no need then to explain their implications. But as they stand, they do not convey their full meaning to the modern reader, and require interpretation which the sculptures themselves supply. To arrive at an understanding of Indian sculpture, and to name some of its outstanding qualities that are not, and could not, be classified in the ancient manuals, but are vitally present in the works of art, is aimed at here.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe structure and consistency of the plastic idiom are conditioned by the same bent of mind that gave their directions to the systems of Indian thoughts mode of seeing, a peculiar development of the sense of touch, help to render in visual terms a cognate outlook. The experience common to both is the subject-matter of Indian sculpture. It cannot be dissociated from form, for it is integrally one with it. Iconography, however, was elaborated ‘for the benefit of the ignorant’ to enable them to recognise such experience beheld as myth.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWe late-corners are compelled to proceed retrogressively, from the surface which the work of art offers to its texture and roots. Form is the guide and quality the sole criterion.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eArtistic expression is more earthbound than are words. Before experience of life and the outlook that it conditions become worded, they are filtered through the mechanism of language and intangible sound. But the artist works in the material that earth itself supplies, and his hands form it, warm with the blood that pulses through them. Where words fail, vision subsists. It opens its eyes and their seeing goes forth and touches the objects according to the Indian experience of ‘seeing.’\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the following pages the structure of Indian sculpture will have to be surveyed in its relevant aspects. The underlying and essential qualities will be viewed in their permanency throughout the special conditions that the single monuments imply. Their outward connections, geographical and chronological, will be seen to resolve themselves into ethnical problems and those of the artistic process itself.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhile stylistical investigations are the basis of this book, they are considered as indispensable preliminaries only. A formalistic treatment and with its, help a deductive demonstration of biological laws of evolution or periodicity are not attempted. Indian sculpture will be dealt with as conditioned by the Indian craftsman. His consciousness makes him known to himself as a part of nature and his work is the form of this ‘naturalism.’ Its degrees and aspects vary according to the levels of his consciousness.\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\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"5%\"\u003e\u003cb\u003eI\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\"\u003e\u003cb\u003eAncient Indian sculpture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"15%\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFrom about 3000 B.C. to the third century (subsistent from the Palaeolithic age to the thirteenth century in south Indian to the eighteenth century)\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eSculpture of the Indus Valley\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAbout 3000 B.C.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eMauryan sculpture\u003c\/td\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThird century B.C.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eClassical Sculpture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFrom 200 B.C. to A.D. 800 (subsistent from 200 B.C. to the thirteenth century A.D in south India to the eighteenth century.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eFoundations\u003c\/td\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSecond and first centuries B.C\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eEarly maturity\u003c\/td\u003e\n\u003ctd\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFirst century A.D to third century A.D.\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eTransubstantiation\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eA\u003c\/td\u003e\n\u003ctd\u003eInflexion\u003c\/td\u003e\n\u003ctd\u003e54\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFourth to sixth century\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eB\u003c\/td\u003e\n\u003ctd\u003eFulfilment\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSeventh and eighth centuries\u003c\/td\u003e\n\u003ctd\u003e77\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eIII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eMediaeval sculpture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFrom about A.D. 800 to the thirteenth century in south Indian to the eighteenth century A.D\u003c\/td\u003e\n\u003ctd\u003e93\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eIV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eEssential qualities\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e127\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eExplanation of plates\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e143\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNotes\u003c\/td\u003e\n\u003ctd\u003e203\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e225\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePlates\u003c\/td\u003e\n\u003ctd\u003e241\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Stella Kramrisch","offers":[{"title":"Default Title","offer_id":42924847923338,"sku":"","price":800.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/IndianSculpture.jpg?v=1683554773"},{"product_id":"exploring-indias-sacred-art-selected-writings-of-stella-kramrisch-ed-with-a-biographical-essay","title":"Exploring India's Sacred Art","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eExploring India's Sacred Art presents a selection of Stella Kramrisch's influential essays, along with a biographical essay. The writings collected here emphasize the cultural and symbolic values of Indian art. The first section discusses the social and religious contexts of art. This is followed by essays on various forms of ritual art. The section entitled \"The Subtle Body\" is derived from her term for the form that underlies concrete shapes, it includes studies of literary and visual symbolism. Further essays concentrate on formal and technical aspects of temple structure and painting in the context of their symbolic meaning. Over 150 illustrations, many of them prepared especially for this volume, provide a vital visual dimension to her writings. Also included is Joseph Dye's comprehensive bibliography of her works. Exploring India's acred Art testifies to the life and work of one of this century's greatest art scholars and provides an unparalleled source of insight into Indian art and culture.\u003c\/span\u003e\u003c\/p\u003e","brand":"Stella Kramrisch, Barbara Stoler Miller","offers":[{"title":"Default Title","offer_id":42924851560586,"sku":"","price":1475.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ExploringIndiasSacredArt.jpg?v=1683555171"},{"product_id":"the-hindu-temple-2-vols-stella-kramrisch","title":"The Hindu Temple (2 Vols.)","description":"\u003cp style=\"text-align: left;\"\u003eThis two-volume work explains in detail the religious and spiritual significance of the temple by means of copious references to\u003cspan\u003e \u003c\/span\u003eSanskrit\u003cspan\u003e \u003c\/span\u003etexts-both sacred and scientific. It depicts the Hindu Temple as not merely a heap of brick, stone or wood but a visible symbol of aspirations of pious men and women, the throbbings of their hearts in religious fervour and their endeavour for the attainment of salvation.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe first four parts of the work are devoted to the philosophy of temple architecture. Part V deals with the origin and development of the temple from the Vedic fire altars to the latest forms. Part VI discusses the pyramidal and curvilinear superstructures in the main varieties of the Sikhara, the Sikhara enmeshed in Gavaksas and the composite Sikhara. Part VII describes the proportional measurements and the rhythmic disposition of the garbha-grha and the vertical section. It discusses the proportions of the Mandapa and the types of temples described in ancient Sanskrit texts like the Brhatsamhita and the Samarangana-sutradhara.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis most comprehensive and authoritative treatise of ancient Indian Temple Architecture will prove of immense help to the students of ancient Indian culture.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eStella Kramrisch, the world-renowned specialist in Ancient Indian Art and Architecture, needs no introduction. Her epoch-making works-The Indian Sculpture, The Indian Sculpture in the Boston Museum and The Hindu Temple - have elicited well-merited praise from the galaxy of art critics all over the world.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eStella Kramrisch passed away in 1993.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eAn attempt has here been made to set up the Hindu temple conceptually from its foundation to its final. Its structure is rooted in Vedic tradition and primeval modes of building have contributed their shapes. The principles are given in the sacred books of India and the structural rules in the treatises on architecture. They are carried out in the shrines which still and throughout the country and which were built in many varieties and styles over a millennium and a half from the fifth century A.D.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe purpose of the Hindu temple is shown by its form. It is the concrete symbol of Reintegration and coheres with the rhythm of the thought images in its carvings and laid out in its propositions. Their perfection is a celebration of all the rites enacted during the building of the temple from the ground to its pinnacle. Nothing that is seen on the temple is left unsaid in the verbal tradition nor is any of the detail arbitrary or superfluous. Each has a definite place and is part of the whole.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Hindu Temple is the sum total of architectural rites performed on the basis of its myth. The myth covers the ground and is the plan on which the structure is raised.\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\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003e\u003ccenter\u003e\u003cb\u003eVolume I\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart I.\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Site\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTirtha and temple\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSite and Builder\u003c\/td\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Stability of the site\u003c\/td\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePurification Insemination and levelling of the site\u003c\/td\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart II\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Plan\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSquare and Circle Vedic Origins\u003c\/td\u003e\n\u003ctd\u003e22\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Square\u003cspan\u003e \u003c\/span\u003eMandala\u003cspan\u003e \u003c\/span\u003eof the Earth and of the Ecliptic\u003c\/td\u003e\n\u003ctd\u003e29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe symbolism of the Square\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Enclosure\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Ornament of Visvakarman\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Remainder\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe form of Martanda\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVastu the Remainder\u003c\/td\u003e\n\u003ctd\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe two main types of the Vastu Diagram\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eA. The Mandala of 64 Squares\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eB. The Mandala of 81 Squares and the Vastupurusa\u003c\/td\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Organism of the plan\u003c\/td\u003e\n\u003ctd\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Series of 32 types of Vastumandala\u003c\/td\u003e\n\u003ctd\u003e58\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVarious closed polygons as shapes of the vastumandala\u003c\/td\u003e\n\u003ctd\u003e62\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart III\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003ePlan and Supernal Man\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e65\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAgni Prajapati and vastupurusa\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Subtle Body of the Purusa and its Pictures\u003c\/td\u003e\n\u003ctd\u003e71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Descent of the Vastupurusa\u003c\/td\u003e\n\u003ctd\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNature and Name of the Vastupurusa\u003c\/td\u003e\n\u003ctd\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Gods as constituents of the body of the Vastupurusa\u003c\/td\u003e\n\u003ctd\u003e85\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart IV\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Substances of which the temple is built\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBrick\u003c\/td\u003e\n\u003ctd\u003e101\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eStone\u003c\/td\u003e\n\u003ctd\u003e108\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ewood\u003c\/td\u003e\n\u003ctd\u003e116\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePlaster\u003c\/td\u003e\n\u003ctd\u003e121\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Germ of the temple\u003c\/td\u003e\n\u003ctd\u003e126\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart V\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eNames and origins of the temple\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Names\u003c\/td\u003e\n\u003ctd\u003e131\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVimana\u003c\/td\u003e\n\u003ctd\u003e131\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePrasada\u003c\/td\u003e\n\u003ctd\u003e134\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFurther names of the Temple\u003c\/td\u003e\n\u003ctd\u003e137\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Object of building a temple\u003c\/td\u003e\n\u003ctd\u003e139\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eArchitectural Origins\u003c\/td\u003e\n\u003ctd\u003e145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e1. Citi the Altar\u003c\/td\u003e\n\u003ctd\u003e145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e2. The Dolmen\u003c\/td\u003e\n\u003ctd\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e3. The Shed of Initiation and the Tabernacle\u003c\/td\u003e\n\u003ctd\u003e156\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Image of the mountain and the cavern\u003c\/td\u003e\n\u003ctd\u003e161\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eA. The Garbhagrha\u003c\/td\u003e\n\u003ctd\u003e161\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eB. The Superposition of Shapes along the vertical axis\u003c\/td\u003e\n\u003ctd\u003e166\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eC. The Form of the vertical axis\u003c\/td\u003e\n\u003ctd\u003e175\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart VI\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Superstructure\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e177\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI. The Pyramidal Superstructure\u003c\/td\u003e\n\u003ctd\u003e179\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI A. The Pyramidal Superstructure formed of slabs\u003c\/td\u003e\n\u003ctd\u003e189\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI A1. The stepped truck of the pyramid\u003c\/td\u003e\n\u003ctd\u003e189\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI A2. The Straight Trunk with round-edged slabs\u003c\/td\u003e\n\u003ctd\u003e190\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI B. The Pyramidal Superstructure is composed of storeys\u003c\/td\u003e\n\u003ctd\u003e193\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI B1. The Stepped trunk of the pyramid formed of single storeys\u003c\/td\u003e\n\u003ctd\u003e193\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI B2. The High Temple\u003c\/td\u003e\n\u003ctd\u003e194\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI B3. The Enclosure of chapels\u003c\/td\u003e\n\u003ctd\u003e197\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eII\u003c\/td\u003e\n\u003ctd\u003eThe Curvilinear Superstructure\u003c\/td\u003e\n\u003ctd\u003e205\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Main Varieties of the Curvilinear Superstructure\u003c\/td\u003e\n\u003ctd\u003e210\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eII A. The Cluster of Sikharas\u003c\/td\u003e\n\u003ctd\u003e210\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eII B. The Sikhara Enmeshed in Gavaksas\u003c\/td\u003e\n\u003ctd\u003e214\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eII C. The composite Sikhara\u003c\/td\u003e\n\u003ctd\u003e218\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFunction and Form of the Superstructure\u003c\/td\u003e\n\u003ctd\u003e220\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart VII\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eProportionate Measurement and Varieties of the Temple\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e225\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eI. Proportionate Measurement of the temple\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Rhythmic disposition of the ground plan and of the vertical section\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Norms of Proportionate Measurement\u003c\/td\u003e\n\u003ctd\u003e237\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eFrom the Sixth Century to C. 900 A.D\u003c\/td\u003e\n\u003ctd\u003e237\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eProportionate Measurement about 1000 A.D.\u003c\/td\u003e\n\u003ctd\u003e244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eProportions of the Mandapa\u003c\/td\u003e\n\u003ctd\u003e254\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Proportions of South Indian Temples\u003c\/td\u003e\n\u003ctd\u003e261\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eII.Varieties of the Temple and their genesis\u003c\/td\u003e\n\u003ctd\u003e271\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eA. The Twenty Temples\u003c\/td\u003e\n\u003ctd\u003e271\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eB. The five Vimanas and the 45 temples\u003c\/td\u003e\n\u003ctd\u003e277\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eC. the five Vimanas and the 64 Hall temples Nagara Dravida and Vesara\u003c\/td\u003e\n\u003ctd\u003e286\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003ccenter\u003e\u003cb\u003eVolume II\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart VIII\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eThe Images of the temple\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e297\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePosition and proportion of the images of the gods\u003c\/td\u003e\n\u003ctd\u003e299\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSymbols of Entry and Exit\u003c\/td\u003e\n\u003ctd\u003e313\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Door and its images\u003c\/td\u003e\n\u003ctd\u003e313\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Window Gavaksa\u003c\/td\u003e\n\u003ctd\u003e318\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe face of Glory Kirittimukha\u003c\/td\u003e\n\u003ctd\u003e322\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eImages of Sakti\u003c\/td\u003e\n\u003ctd\u003e332\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSardula Lion and lioness\u003c\/td\u003e\n\u003ctd\u003e332\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe female power\u003c\/td\u003e\n\u003ctd\u003e338\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSymbols of Reintegration\u003c\/td\u003e\n\u003ctd\u003e343\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Images of Immanent Breath\u003c\/td\u003e\n\u003ctd\u003e343\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMithuna the state of being a couple\u003c\/td\u003e\n\u003ctd\u003e346\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAmalaka\u003c\/td\u003e\n\u003ctd\u003e348\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Temple as Purusa\u003c\/td\u003e\n\u003ctd\u003e357\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eExplanation of plates\u003c\/td\u003e\n\u003ctd\u003e363\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAppendix\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eThe Hundred and One temples of the Visnudharmottara\u003c\/td\u003e\n\u003ctd\u003e411\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eVastupurusavidhana of Narada chapters VIII and X\u003c\/td\u003e\n\u003ctd\u003e427\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eHayasirsapancaratra Chapter XIII\u003c\/td\u003e\n\u003ctd\u003e429\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eKamikagama Chapter XLIX\u003c\/td\u003e\n\u003ctd\u003e431\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSources\u003c\/td\u003e\n\u003ctd\u003e437\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e443\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePlates I-LXXX\u003c\/td\u003e\n\u003ctd\u003e467\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Stella Kramrisch","offers":[{"title":"Default Title","offer_id":42924863094922,"sku":"","price":4000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/HinduTemple.jpg?v=1683555563"},{"product_id":"the-advaita-of-art","title":"The Advaita of Art","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eThis inquiry is an undertaking to demonstrate that aesthetic experience in the classical Indian tradition, on its own merit, without being subordinated to rituals and practices commonly held under the rubric of religion, is capable of providing a transcendent experience to a prepared aesthete. Dr. Dehejia examines the dynamics of two aesthetics processes, that stemming from aesthetic emotion or rasa and from aesthetic form or rupa and cogently underpins them within the advaitic epistemology of Kasmir Saivism. The Advaita of Art, Dr. Dehejia argues, is a joyous celebration of affirmation and assertion and not negation.\u003c\/span\u003e\u003c\/p\u003e","brand":"Harsha V. Dehejia, Kapila Vatsyayan","offers":[{"title":"Paperback","offer_id":42925819658378,"sku":"","price":380.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":42925819691146,"sku":"","price":580.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/AdvaitaofArt.jpg?v=1683637879"},{"product_id":"indian-esoteric-buddhism-a-social-history-of-the-tantric-movement","title":"Indian Esoteric Buddhism","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eDespite the rapid spread of Buddhism, the historical origins of Buddhist thought and practice remain obscure. This ground breaking work describes the genesis of the Tantric movement in early medieval India. Drawing on primary documents, many translated for the first time, from Sanskrit, Pakrit, Tibetan, Bengali and Chinese, the author shows the many changes in medieval India society.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ronald M. Davidson","offers":[{"title":"Default Title","offer_id":42925834403978,"sku":"","price":795.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/INDIANESOTRICBUDDHISM-PB-RK.jpg?v=1683639767"},{"product_id":"mayamata-an-indian-treatise-on-housing-architecture-and-iconography","title":"Mayamata","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eThe Mayamata is a Vastusastra, that is to say, a 'treatise on dwelling, and as such, it deals with all the facets of gods and men's dwellings, from the choice of a site to the iconography of temple walls. It contains numerous and precise descriptions of villages and towns as well as of temples, houses, mansions, and palaces. It gives indications for the selection of proper orientation, of right dimensions, and of appropriate building materials.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDr. Bruno Dagens (b.1935) is an eminent Sanskritist and archaeologist. He is a member of the Ecole Francais d'Extreme-Orient. Dr. Dagens taught Sanskrit at the University of Louvain (Belgium) and did archaeological research in Afghanistan and Cambodia. He also worked, since 1977, at the Institut Francais d'Indologie, Pondicherry for quite a few years. Besides articles and research papers on the Archaeology and Iconography of monuments in Afghanistan and Cambodia, two earlier editions of the Mayamata, and one edition of the Saivagamaparibhasamaryari (a compendium of Saiva doctrines and rituals), Dr. Dagens has authored Architecture in the Ajitagama and the Rauravagama (Sitaram Bharatia Institute of Scientific Research, New Delhi 1984).\u003c\/p\u003e","brand":"Bruno Dagens","offers":[{"title":"Paperback","offer_id":42927590473866,"sku":"","price":525.0,"currency_code":"INR","in_stock":true},{"title":"Hardbound","offer_id":42927590506634,"sku":"","price":725.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/Mayamata.jpg?v=1683724249"},{"product_id":"amaravati-and-the-beginnings-of-stucco-modelling-in-india","title":"Amaravati and The Beginnings of Stucco Modelling in India","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAmaravati stuccos, images made of Sudha compound of quick-lime and sand were unearthed by Alexander Rea almost a century back yet, strangely enough, they remained so far unnoticed and utterly neglected when in fact they have a great historical value posing a big chronological question as far as the use of Sudha or stucco as a medium of image making goes.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eJudged on stylistic grounds, the Amaravati fragments of stucco images appear, to be of 1st, century A.D., thus these are somewhat earlier than Candharan examples so far held to be the earliest in entire India. The oldest Candharan stuccos be-long to the -first half of the 2nd century A.D., whereas those which Marshall assigned to the 1st century A.D. cannot be earlier than the 3rd century A.D. It is therefore likely that stucco model-ling was started in India for the first time at Amaravati, conjecturally, because of the inspiration drawn from the Roman world.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBesides bringing this highly significant historical fact to the fore, the present monograph refers to similarly forgotten stuccos of other centres of Amaravati school which are supposed of pre-Gupta in date and it tries to clarify the issue since when the stucco as a material was known to the Amaravati centre, a problem which has never before been discussed. Further, it also draws attention to other contributions Amaravati made to the art traditions of India as a whole.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e \u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe aim of this monograph is to bring the Amaravati stuccos to light, which so far remained in total obscurity, and to point out the chronological problem they pose in respect of the use of stucco as a medium of image-making in the context of (ancient) India at large. The opportunity has also been taken to enumerate, very briefly though, some other contributions Amaravati made to the creative aspects of Indian graphic and plastic arts on the whole. Unless these two points are made clear, some misunderstanding can possibly arise as regards the purpose of this monograph.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe typescript of the present monograph also was lying unpublished for some years. We thought of bringing it out either simultaneously with another work of ours, viz. The technique of Gandharan and Indo-Afghan Stucco Images, or after its publication. But circumstances have not allowed us till now to bring out the latter, though its press copy was ready, in type, from October 1976. We decided now to bring out this monograph without waiting any longer for the publication of the other work. In this connection, the following should be mentioned.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePaul Bernard advanced a new theory in his excavation report of Al Khanum (= F.A.K., p. 193). According to him the origin of Gandharan \"monumental statuary\" in unbaked clay as well as in stucco is to be sought in the art of Bactrian Greeks, which came to light in his excavations at Ai Khanum. He dated the Ai Khanum pieces in question around the mid-second century B.C. Since our problem in this monograph is not the \"monumental statuary\" we need not go into any details of his theory here. Our problem is the use of stucco for image making as such for the first time in India, including Gandhara, irrespective of the size of images made with it. Still, there is some implication in his theory and that implication will be discussed in our work mentioned above, by adding some lines into it before its publication, for that is a more relevant place to do so. To clarify this point further, stucco modelling as had been practised in the entire of ancient India, including the real Gandhara territory has relevance to this monograph, but not the development that took place beyond it irrespective of the fact to which school of art it belonged.\u003c\/p\u003e","brand":"K. M. Varma","offers":[{"title":"Default Title","offer_id":43033989185674,"sku":"","price":135.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/Amaravati_TheBeginningsofStuccoModerllinginIndia.jpg?v=1691038423"},{"product_id":"alice-boner-artist-and-scholar","title":"Alice Boner","description":"\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAlice Boner, sculptor, painter, Indologist, art historian, and above all a quiet reflector of the inner self was unique as an individual and towering as a creative artist and critical scholar. Her journey from the first decades of this century in Ziirich as a remarkable, sensitive, and dynamic sculptress to the painter of those large canvasses emerging from the revelations of the experience of the Kali in India, gives a glimpse of the transformation which took place in the artist and the 'self'.\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eAs one looks back at her early work, especially in the reliefs called 'Adagio and Allegro', the very first thing that strikes one is her ability to capture movement, her figures are in a state of animated dynamic action traversing space, and yet from within dynamic movement arises a steady stillness. Along with the juxtaposition of dynamic movement and stillness was her ability to experience and capture tenderness as in the sketches and sculptures of the series of 'Mother and Child': these provide a clue to the flame that guided these journeys. From the very start, there is a combination of austerity, a discipline as in the portraits of 1907, 1908, and 1915, and the easy flow of the brush in the sketches of 1926, 1927. All these expressed in a European context get transformed so easily without the loss of European identity into the remarkable sketches of 1938, 1940, and 1941 executed in India. While she both anticipates and matches the quality of handling volumes of masses of Henry Moore in her sculptures, the paintings and sketches of the 40s approximate the quality of the charcoal sketches of Nandalal Bose and Abanindranath Tagore. She becomes, through her art, the bridge maker and a communicator, like her contemporaries in different spheres, namely, A.K.Coomaraswamy and Stella Kramrisch. In the thirties what they did through writing, Alice Boner achieved through painting and through that remarkable gift of being -designer of costumes of Uday Shankar. Had she not combined the skills and training of sculpture and painting and internalized the experience of Ellora and Ajanta, she could not have created the designs for costume and headgear for those compositions of Uday Shankar, today considered classic. The deigning of the costume of a Nataraja has come to stay in all forms of contemporary dance. As a patron, organizer, and Director of the ensemble, she played a seminal role in the rejuvenation and recreation of both the neoclassical forms as also what we today recognize as modern dance. But Alice Boner's journey was to continue at deeper levels and dimensions of consciousness, with as much ease and lack of self-consciousness. She settled in Banaras to watch the Ganga, to reflect upon its eternal flow, from the. Assi Ghat. One of the first expressions of this experience is the painting entitled Sun Rise from the Ganges (1945). No longer executed in a mode that could be confined to a stylistic school, she transcends boundaries. The centre and the radials of the Sun Rise on the Ganges are symbolic of the search for the creator. It is this inner transformation that gives her the energy to create the remarkable oils of the Stirya, Vigvariipa, Prakriti, and Kafir in which the primaeval energies radiate once again from the core of her authentic experience. She took physical journeys between Assi Ghat and Ziirich at frequent intervals. These journeys were not only at the physical level. They represented the inner core of Alice Boner's whole personality. She did not give up her European identity and yet it was this European identity which was being constantly refined and chiselled at a subtler plane through an experience of India at the deepest plane. Many have been puzzled by her unflinching commitment to Orissa, Konarka, and the great oceans. But was this journey not also natural, because it followed the journey of the Ganga to the sea? And in this journey, she found manuscripts, Shastri material at an intellectual plane which confirmed her intuitive insights into the fundamental tenets of the architecture, sculpture, and painting of the land which she had chosen to make her home. It is only befitting that her collections as also her creative work should be housed in the Rietberg Museum, Zurich, and the Bharat Kala Bhavan, Banaras. The two Museums holding the manifestations of this journey and search, I hope, will create through future scholarship, the basis of dialogue and a truly cross-cultural transboundary communication of the creative 'self.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e \u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\n\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\"\u003eBefore Alice Boner passed away in April 1981, several Indian, European, and American scholars were preparing a Felicitation Volume for her, containing articles and research reports, which was to appear in India, but which, sadly, had to be published as a commemoration volume. This volume evinces Alice Boner's significance for the history of art in India today. It was therefore appropriate to exhibit Alice Boner's work to a wider circle also in her hometown of Zurich and also in Chur where her family was registered. This publication together with the exhibition \"Alice Boner and the Art of India\" planned by the Rietberg Museum, Zurich, and shown in the Villa SchOnberg (in Autumn 1982) and in the Kunstmuseum in Chur (in Spring 1983), fulfilled this task. It is a matter of great satisfaction that the Bharat Kala Bhavan in Banaras is showing Alice Boner's work as an artist as well as a scholar and collector of Indian art in a permanent Gallery. This is most befitting because she lived and worked in Banaras from 1936 to 1978 and made it her home. Alice Boner was a versatile, impressive personality. She was above all an artist-first a sculptor and then a painter-and she was an art critic who could recognize the significance in the great works of past times and foreign cultures, in the sculptures of Indian rock temples, and also in the classical Indian dance which was despised and decaying at the beginning of our century, and she could explain, analyze and convey these intuitive experiences. Alice Boner lived a long life, was industrious, strong-willed, intensive, and sometimes suffered privations but was nonetheless successful and highly respected. She was born at the close of the 19th century, and already in 1916 she presented her sculptures in an exclusive exhibition in the Kunsthaus, Zurich; in 1930 she worked together with Uday Shankar for the revitalization of Indian dance; in 1936 she settled in Banaras in order to devote her life to Indian art and to religion philosophical experience; and then she worked on three monumental books with Pandit Sadasiva Rath Sarma from Puri. The last great work Vastusiitra Upanisad had to be published posthumously, edited by her co-worker and successor Dr. Bettina Baumer.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis volume, intended as a supplement to the exhibition, shows the individual areas of work by Alice Boner: her life is sketched by herself, and also an article by Dr. Georgette Boner on the significance of dance for Alice Boner. The artistic Oeuvre (drawings, sculpture, and above all her oil paintings done in India) is, as a whole, honored here for the first time by Ms. Ines Brunold of Chur with illustrations, a few passages from her diary, and an introductory text. Alice Boner's aesthetic insights are presented in important articles, addresses, or forewords to her monographs, some unpublished and some of which until now have been published only in German or Italian; these are supplemented by the reviews of her comprehensive and pioneering books on Indian aesthetics by Dr. Bettina Bhmer of Banaras and Professor Dr. Elsy Leuzinger, Zurich.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe editors of this book acknowledge with gratitude the numerous friends of Alice and Georgette Boner for their cooperation, without which it would have been impossible for the book to appear with such thoroughness. For the exhibition, Dr. Ambros Boner drew the diagrams according to the \"Principles of Composition\".\u003cbr\u003eThe arrangement and production of the exhibition and the book were done in Ziirich through the Alice Boner Foundation for Fundamental Research in Indian Art and through the Rietberg Museum and we thank especially: Mr. Fridolin Miillervon Ins for designing the poster and book cover; the photographers Ms. Isabelle Wettstein and Ms. Brigitte Kammerer for the artistic advice on questions concerning layout and exhibition display. But neither the exhibition nor the book would have been realized without the extraordinary engagement of Dr. Georgette Boner, who immersed herself with all her strength in her sister's work and legacy, and who let her own work slip completely into the background-at least for the time being. When I commenced with my work in the Rietberg Museum in 1972 the name \"Alice Boner\" was familiar to me only through her book \"Principles of Composition\". But soon I saw that as a collector and donor, she had also made invaluable contributions to the Rietberg Museum. Besides the works of art donated by Baron Eduard von der Heydt the Museum had not been presented with such important sculptures from South Asia. There are works from North India, out of stone and terracotta, especially of the post-Gupta period, of which some possess evident beauty and expressive power and some others are of iconographic rarity or of religious historical significance. I, therefore, felt the need to visit this scholar with her exquisite instinct for what is remarkable. On my very next trip to India after assuming office in Ztirich for documentation on Jainism, I made a detour to Banaras and met Alice Boner there for the first time. Later, I was her guest several times in her old residence at Assi Sangam. Alice Boner engaged herself here in her work for most of her long life, strong-willed, with cool judgment, and with a keen power of observation. Today Assi Sangam is rented by the Alice Boner Foundation for Fundamental Research in Indian Art and the successor chosen and appointed by Alice Boner, the Indologist Dr. Bettina B summer, lives there in the same manner. I continue feeling happy in this place of thorough research that penetrates the essence of classical Indian art.\u003c\/p\u003e","brand":"Alice Boner","offers":[{"title":"Default Title","offer_id":43039260344458,"sku":"","price":550.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nar484.jpg?v=1689665144"},{"product_id":"drums-and-syringes-patients-and-healers-in-combat-against-t-b-bacilli-and-hungry-ghosts-in-the-hills-of-nepal","title":"Drums and Syringes","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe following account is based on twenty-two months of fieldwork in Nepal, between January 1989 and March 1992. I am trained as a nurse and was one of the expatriates working with a British nongovernmental organization (the Britain Nepal Medical Trust; BNMT) which ran a health project in Eastern Nepal. The backbone of this was a TB control program covering eight hill districts. My position differed from the other expatriates in that I was seconded by another organization, a Norwegian agency that was a funder of the British project. My roles were thus manifold, connected as I was to two different organizations, employed in some way by both, while at the same time trying to do anthropological research and get integrated with the local community. The situation should give ample scope for role confusion and conflicts, but at the same time, it offers opportunities for shifting positions and perspectives. Collecting information about preconditions for effective TB control as well as the general situation of TB patients in the area, was part of my job assignment. In the beginning, this took all of my time. Later on, I also got involved in the upstart of a project meant to promote a dialogue between traditional healers and health post workers, motivated by the findings from the initial research.\u003cbr\u003eI moved about a great deal, especially at the beginning of my stay. Before the completion of my term, I had visited all the districts BNMT worked in. I met most of the staff of the TB clinics which were situated in each of the district centres. I met and talked with TB patients in the clinics, and visited many of them in their homes. During the second year, I settled down in one of the hill districts, Bhojpur. I still moved about, but mainly within the district. With a more stable base, I had a chance to get to know people who suffered from TB, not only through clinic encounters but as neighbors and friends. I also got a better opportunity to learn about beliefs and perceptions pertaining to the disease, not only from those suffering from it but from the wider community they belonged to.\u003cbr\u003eLanguage studies started well in advance of going out to Nepal and continued throughout my stay in the country. I was very lucky to find local language assistants with remarkable communication skills. Their contribution, as coworkers and friends, was tremendous. Most of the data from interviews are derived from conversations I had with people together with a language assistant, in which I could take an increasingly active part. During the course of my stay, I could more easily derive information from discussions with people when I was without language assistants.\u003cbr\u003eThe family who became my hosts lived by the side of the main road leading to the district center, half an hour's walk away from the bazaar. The house in which I stayed had recently been constructed. I stayed there with another tenant, while the family lived on in the old house. This arrangement gave me a chance to withdraw which I came to appreciate, as my social life could be rather intense at times. I shared meals with the family. The number of other people eating there could vary considerably. Living at the side of the road, with the wall to the road usually being open, many people would drop in on their way to and from the district center. Some stayed overnight, spontaneously or planned, especially at the time of the weekly market. The skill of my hostess as a cook and a liquor producer could partly explain why so many people were attracted to the house.\u003cbr\u003eMy hosts belonged to the Rai community, people who claimed to be aborigines of the area. They were rooted in a local way of life, but had links to foreign countries and different approaches to life, mainly through their children. The husband and wife came from two different Rai subgroups, Bantaw a, and Chamlinge Rai. Even though they did not understand each other's native languages and talked to each other in Nepali, their marriage was in accordance with traditional rules. The head of the family was a pensioned Gurkha soldier. The couple had four children. The youngest daughter still lived at home, attending the local school. The other daughter, who was born in Hong Kong, was married to a Gurkha and stayed in Singapore at the time. The eldest son served in the army in India, and the youngest studied in Kathmandu. Two other children of poorer relatives stayed with them while I was there: a boy and a girl, who helped out with the housework. The boy also went to school. Worried about the workload and need for help in the house, the mother was eager for the eldest son to get married. While I was there, he was called home to get introduced to a selection of women, but he blankly refused any matrimonial arrangement. The experience and connections abroad in the midst of a \"traditional way of life,\" struck me and surprised me at first, but I learned that it was not unique to this family at all.\u003cbr\u003eMy daily contact with the family gave me a home and introduced me to worries and joys in a local family's life. At the same time, staying separately gave me more freedom to receive others as I wanted. Current or ex-TB patients, like untouchables, are to a large extent restricted from entering other people's houses in Bhojpur. That I lived alone, was puzzling to my neighbors, though. People who heard about it would often come to check if this was really so. \"I have come to have a look!\" they would declare, scrutinizing the rooms.\u003cbr\u003eThrough informal contact, structured and semi-structured interviews with patients during and after treatment at TB clinics, observation of sickness episodes in my day-to-day contact with local people, and being present at numerous encounters between patients and health workers in clinics, hospitals, and health posts, I became increasingly alert to the vital role traditional methods and beliefs in healing played for local people in Bhojpur, whether for TB, or sickness in general. I came to suspect that a lack of recognition of the importance of these traditions could have consequences for the professional health workers' chances of obtaining patient compliance in their combat against the fatal disease which TB truly is.\u003cbr\u003eThis concern brought me into contact with dhami s and jhankri, the main categories of traditional healers in Nepal. During my second year there, a trial project was started to promote a dialogue between this group and health post workers. One main purpose of this book is to show the background for this initiative, and the problems and complications connected with such a collaboration project. Through the process of setting up and carrying out this pilot project, I became convinced of the importance of dialogue, but I am not very optimistic about the chances of having such a cooperation project introduced on a large scale. I will try to show the reasons for my skepticism regarding this.\u003cbr\u003eThere is an obvious tension in the effort to combine employment at a healthcare project and anthropological research as I did during the fieldwork. It is only natural to suspect that the fact that I was associated with a biomedical health project, was a barrier to people opening up to me about their own beliefs and traditions regarding health. I did find that there was a barrier, but to me, it seemed that it was as much linked to my origin as to my working place. With my Western and urban background, I was expected to regard their traditions as superstitious oddities in any case.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eOn my first eager enquires about traditional healers in the area, the answers I got were reluctant and evasive. Most people wanted to deny their own adherence to traditional beliefs: \"It is only the old and ignorant people who believe in this.\" Later on, during my stay in the locality, I witnessed situations where the same people who had answered in this way, showed considerable reliance on traditional healers. I came to understand their initial responses as impression management rooted in tensions between village and city, and ideas about \"development\" and \"modern life,\" which have also been described by Stacy Pigg (1990).\u003cbr\u003eWhen my position as a family friend and neighbor became more established, situations that brought up the role and function of this and jhankri arose in my day-to-day contact with the people with whom lived. With time patients as well as healers not only accepted but encouraged, my presence at healing sessions. The barrier that my links with a formal health project had implied, was thus not insurmountable.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eKey Issues\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI start this account with a case that made a great impression on me during the beginning of my stay in Nepal. The case seemed to reveal a communication gap between the health workers and the family of a patient in one of the TB clinics, which worried and upset me. From a Western, biomedical point of view, the behaviour of the patient's relative did not make much sense and the consequences in this case were drastic. The search for an explanation, for some key to information which could illuminate the background for the choices that were made, became an urgent concern to me.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis is the background for this book, which will refer mainly to tuberculosis patients. The disease is very prevalent in Nepal and presents its own challenges to health workers.\u003cbr\u003eThrough this discussion we will come across one person who is not visible in the opening case as it is told below, the Nepali traditional healer, the Dhami. I will try to show what a crucial role he plays for Nepali sick people and will argue that neglecting his importance has consequences, not only for the possibility of obtaining patient compliance in the provision of humane treatment but also for the chances of a successful therapeutic outcome.\u003cbr\u003eI see the traditional healer in Nepal as somebody whose gifts are often not recognized. I will look at the interaction between biomedical health workers and the traditional healers and shall show the tension between these groups, but shall also argue that there is a mutual influence between the two. While the distance between their disease epistemologies and therapeutic methods might appear to be great, there are similarities to be found in the techniques at work, and the distance between them is to a large extent constructed and maintained for reasons beyond the medical arena. I will discuss conflicts between them and try to assess the possibility of collaboration.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOwn Position\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWhat follows is an anthropological study, the author of which is also a nurse. As a nurse, I have been trained in biomedicine. This can sometimes feel like a limiting conditioning that is challenging to try to overcome. At other times it can seem to provide further instruments for probing into some of the mechanisms behind events, all the more because one group of actors in the drama I have been attending is trained within the same tradition. Included in the motivation for undertaking the project of writing down this account, is a conviction about the need for chemotherapeutic treatment for TB patients. The book is written in an active search for ways that will include more sick people in therapy. As such the book could be accused of having a biomedical bias. Denying a belief in chemotherapeutic treatment would be false pretense.\u003cbr\u003eMedical anthropology's relationship to clinical practice is a much-debated issue within the discipline. Whereas one branch (one of the main advocates of which is Arthur Kleinman) wants to stay in close dialogue with medical practitioners and make their findings available and relevant to them, they are criticized by others (among them Nancy Scheper-Hughes) who maintain that the task of medical anthropology is to criticize the biomedical system, not facilitate its use (and hegemony). Lynn Morgan (1990) has soberly suggested that much of this controversy might be rooted in a competition for limited job opportunities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe position I take is critical of the way the established biomedical system functions. I see the problem as to some extent inherent in biomedical theory but more so in the way the theory is put into practice. One of the obstacles to an appropriate service is a refusal among many practitioners to admit to a limited role for biomedicine in matters regarding sickness and health and a pretense of being able to cure everything. I will maintain, however, that biomedical theory contains a lot of insights that go against much of current biomedical practice. Moreover, in the process of writing this book, I have found myself in a continuous dialogue with several biomedical practitioners who have shown a great willingness to listen to and acknowledge different ways of thinking and be critical of their own discipline. Though they can hardly be taken to be \"representative\" of their profession, these physicians do show that an alternative approach is possible. With this experience, it is difficult for me to join a demand for medical anthropology that shall only and solely criticize biomedicine, careful not to produce anything which can be used by the practitioners of the discipline.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis question is linked to the wider issue of applied anthropology, which is a controversial issue in itself. My stand is that we should not let \"scientific puritanism\" prevent us from making our work available for practical purposes. This certainly implies difficult dilemmas connected to the risk of \"selling ourselves\" and letting financial sources influence the outcome of the research. In my view, these are dilemmas we have to live with. Meeting these questions with a sharpened consciousness is part of what it involves to live in the world.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAnother issue is our approach to other medical traditions. Should they, too, be solely criticized (as advocates of \"critical medical anthropology\" have maintained, e.g. Scheper-Hughes 1990)? Or should they be solely praised? If the evil of \"reversed discrimination\" and paternalism is to be avoided, respect for other people demands that we can meet both other traditions and our own with a critical eye as well as a charitable ear. In this account, biomedical approaches to tuberculosis will be juxtaposed with local, traditional ways. I will go through some of Kleinman's key concepts to see how far they can take us in an attempt to try to understand what is going on in the field. I will argue that they can take us part of the way, but need to be supplemented. Studying clinical encounters and transactions is necessary, and can highlight some of the factors of importance to patients' choices about treatment. But a wider social context has to be considered in order to understand more of what it involves to be suffering from TB in a place like Bhojpur and to grasp the dynamics involved in quests for therapy.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ch2 style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"color: #000000;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eI\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e1\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMethod and Field Work Conditions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eKey Issues\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOwn Position\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eMain Theme and Questions Illustrated by a Case\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e9\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eA Crisis Between the TB Patient, his Father, and the Clinic Worker:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhat is at Stake?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe Setting- Bhojpur\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e13\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNepal\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBhojpur\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e15\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMain Ethnic Groups\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDifferent Understandings of the Biomedical Diagnosis of Tuberculosis\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e23\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTuberculosis in a Historical Perspective\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e23\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBiomedical Understanding of Tuberculosis Today\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e25\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDifferent Perspectives on Measures of Combat\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e26\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAgainst the Disease\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e26\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eV\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eClinical Intervention- A Challenge in TB Control and in Medical Anthropology\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e33\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Issue of TB Control in a Critical Medical\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Challenge of the Epidemic Today\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e34\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eA Case Study: Hira Sakya, Pat.no. 1109\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e36\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClinical Reality- Whose Reality?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDisease, Illness, and Explanatory Models\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLocal Understanding of TB in Bhojpur\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSickness- Socially Significant Outcomes of a Disease\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVI\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTherapeutic options for TB patients in Bhojpur\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e47\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Patient's Family and Social Network\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFirst Step: Recognizing the Problem\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTraditional Beliefs of Relevance to Symptoms of TB\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDeath in a Rai Community\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Crucial Alternatives\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e64\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTraditional Healers\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDhamis and jhankris\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSocial Relations within the Traditional Healing Setup\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRecruitment and Training of Healer Candidates\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSystems of Knowledge and Techniques of Treatment\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e76\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePublic Health Services\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHealth Posts and Hospitals\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSocial Relations in the Health Service Institutions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e80\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSystems of Knowledge at the Health Posts\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e82\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDynamics in the interaction Between Patients and Healers in Bhojpur\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e85\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Model of the Health Care System\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e85\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePeople's Use of Dhamis and Doctors\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e86\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProfessional Health Worker Strategies Towards Dhamis\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDhamis Strategies Versus Professional Health Care Workers\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e93\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Health Care System Model Reconsidered\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e98\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVIII\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA Closer Look at Traditional Healing\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e103\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Dhami's Work\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e103\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eElements in Traditional Healing\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIX\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDrums and Syringes- Complementarity or Mutual Exclusion?\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e121\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHungry Ghosts and Bacteria- Can They Happily Coexist?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e121\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWHO Declarations on the Role of Traditional Healers\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e122\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eExamples of Institutionalized Collaboration\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eCollaboration Efforts in Nepal\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e126\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTraditional and Modern Medicine Men- Allies or Enemies?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAfterword\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e135\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eGlossary\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e137\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBibliography\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e139\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIndex\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e147\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Ellen Kristvik","offers":[{"title":"Default Title","offer_id":43041378369674,"sku":"","price":490.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/DrumsandSyringes.jpg?v=1692273260"},{"product_id":"the-indian-technique-of-clay-modelling","title":"The Indian Technique of Clay Modelling","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis pioneering, yet very comprehensive study is strictly confined to the unbaked clay technique and is based on three but only possible major sources: 1. Ancient theory found in the Sanskrit texts, 2. past practice as evident from the archaeological finds and 3. present practice as seen in Bengal. Ancient theory of most scientific technique, in which the seven major materials of clay image are metaphorically conceived as the seven important elements of the human body, is explained in minutest detail besides illustrating its main stages with 17 photographs of an image modelled accordingly by the author as an experiment. A comparison of the modern technique with the ancient theory and practice reveals it to be the continuation of the same tradition reveals it to be the continuation of the same tradition with some material alteration determined by the purpose, and such a change can be traced, as far as it is known, to the 6th century A.D., suggesting that there have been two streams of the same tradition for a long time.\u003c\/span\u003e\u003c\/p\u003e","brand":"K. M. Varma","offers":[{"title":"Default Title","offer_id":43202130444426,"sku":"","price":995.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/IndianTechniqueofClay.jpg?v=1691409207"},{"product_id":"vastumandanam-of-sutradhara-mandana","title":"Vastumandanam of Sutradhara Mandana","description":"\u003cdiv id=\"bookDescription_feature_div\" class=\"celwidget\" data-feature-name=\"bookDescription\" data-csa-c-type=\"widget\" data-csa-c-content-id=\"bookDescription\" data-csa-c-slot-id=\"bookDescription_feature_div\" data-csa-c-asin=\"8120840194\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-id=\"54jooh-x1c42q-w392hf-b849qx\" data-cel-widget=\"bookDescription_feature_div\" data-mce-fragment=\"1\"\u003e\n\u003cdiv data-a-expander-name=\"book_description_expander\" data-a-expander-collapsed-height=\"140\" class=\"a-expander-collapsed-height a-row a-expander-container a-spacing-base a-expander-partial-collapse-container\" data-mce-fragment=\"1\"\u003e\n\u003cdiv aria-expanded=\"false\" class=\"a-expander-content a-expander-partial-collapse-content\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn the 15th century A.D., the Vastumandana of Sutradhara Mandana was considered to be an authoritative treatise on architecture. This book consists of only eight chapters and gives a detailed description of a fort, the remains of which still exist near Udaipur city. Secular architecture, especially the Sala houses are described here in great detail. Along with the specialization in architecture, the author was also proficient in Astrology and he stresses Ecology. It is the only Vastu text, where descriptions of war weapons and firearms were put on record. Though the description is not very clear, it is unique on its own.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv aria-expanded=\"false\" class=\"a-expander-content a-expander-partial-collapse-content\" data-mce-fragment=\"1\"\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eGraduated from Lady Brabourne College, Kolkata, Dr. Anasuya Bhowmik did her M.A. in Sanskrit, from Calcutta University. She did Ph. D. in Puranic Texts on Sculpture and Architecture with Special Reference to the Matsyapurana from Jadavpur University.\u003c\/p\u003e\n\u003cp\u003eMarried to an engineer, she developed a keen interest in ancient architecture and manuscripts, which inspired her to edit this book. She has written a book titled Glimpses of Ancient Indian Architecture. Another book Vahni Purana is in the press. Moreover, she has delivered lectures in India and abroad on Architecture and Puranas. She has received the title \"Prajnyanacarya\" from Bangiya Purana Parishat, Nadia, West Bengal. She represented India in DICSEP-5 held in Croatia, August 11-16, 2018.\u003c\/p\u003e\n\u003cp\u003eAt present, she is associated with The Asiatic Society, Kolkata.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eThe Kalamialasastra series of the Indira Gandhi National Centre for the Arts (IGNC.A) is aimed at bringing to light the primary textual source material hitherto unknown, unpublished, or inaccessible both in the original language as also in translation. Under the aegis of this ongoing and long-term research program, the publication of the fundamental texts of Indian arts is undertaken along with annotations and translations. The critical edition of each text is prepared on the basis of several manuscripts, those being collated, transcribed, etc. along with the commentary of the source material, if any.\u003c\/p\u003e\n\u003cp\u003eSo far in this series, along with other works on different aspects of Indian arts, three seminal works on Indian architecture have been brought to light, namely, Mayamatam (edited and translated by Bruno Dagens), Silparatnakosa of Sthapaka Niranjana Mahapatra (edited and translated by Bettina Baumer and Rajendra Prasad Dash) and Silpa Prakasa of Ramacandra Mahapatra Kaula Bhaytaraka (edited and translated by Bettina Baumer, Rajendra Prasad Das and Sadanana Das). The present volume titled The Vastumandana of Sutradhara Mandana is another value addition and it is a matter of immense pleasure for us at IGNCA to publish this significant work on medieval Indian architecture from western India under the Kalamulasastra series. Sutradhara Mandana is believed to be the chief architect of Maharana of Kumbhalgarh and his fundamental writings were used as manuals by the practicing architects. Thus the Vastumandana is a critical landmark in the development of Indian architecture.\u003c\/p\u003e\n\u003cp\u003eDr. (Smt) Anasuya Bhowmick is a noted modern scholar and is an authority in the field of Indian architecture. She has painstakingly prepared the critical edition by surveying all the available manuscript material and has given a suitable English translation to it. She has also given various indices, charts, and illustrations to make the concepts embedded in the text more intelligible to readers. The edition paves the way for a better comprehension of Indian architecture. This publication is another example of Dr. (Smt) Anasuya Bhowmick's scholarly contribution to the field of Indian architecture in particular and to Indian Arts in general. Dr. Sudhir Lall of the Kalakosa division is the managing editor of this volume, who contributed tirelessly, in bringing the output submitted by Dr. (Smt) Bhowmick to the stage of publication.\u003c\/p\u003e\n\u003cp\u003eWe fervently hope that the academic fraternity will welcome this significant contribution by IGNCA and will benefit from it The IGNCA looks forward to receiving feedback from the readers of this publication. We would appreciate your suggestions or comments for incorporation in future editions of Vastumandana.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"richProductInformation_feature_div\" class=\"celwidget\" data-feature-name=\"richProductInformation\" data-csa-c-type=\"widget\" data-csa-c-content-id=\"richProductInformation\" data-csa-c-slot-id=\"richProductInformation_feature_div\" data-csa-c-asin=\"8120840194\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-id=\"usqlbt-qc5jux-20zvji-ip6rzp\" data-cel-widget=\"richProductInformation_feature_div\" data-mce-fragment=\"1\"\u003e\n\u003cdiv id=\"rich_product_information\" class=\"a-section a-spacing-none celwidget\" data-csa-c-id=\"nl3b50-9mh9co-ui1hro-w50yvc\" data-cel-widget=\"rich_product_information\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Dr. Anasuya Bhowmick","offers":[{"title":"Default Title","offer_id":43213983121546,"sku":"","price":1350.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/Vastumandal.jpg?v=1691496318"},{"product_id":"temples-and-sculptures-of-bhubaneswar","title":"Temples and Sculptures of Bhubaneswar","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBHUBANESWAR, the capital of Orissa, is and has been, since times immemorial, one of the most important holy cities of India. In this city of Shiv, Lord of the Three Worlds, once stood more than 7,000 shrines representing nearly nine centuries of temple-building. Even now there is quite a number of them so that the city is a veritable museum of Art and Religion. About half a dozen of the surviving temples count among the foremost in India, and each of them is a jewel in its own class. Such are the Parshurameshwar, the Vaital Deul, the Mukteshwar, the Rajarani, the Brahmeshwar, and the Lingraj. The Lingraj is, of course, regarded by many as the greatest extant temple of the Hindus. Wondrous as is the architecture of the place, the sculpture that these temples display is equally marvelous. If, after the Classical Age, the classical touch has been re-captured anywhere, it is here, in Bhubaneswar. The Orissan artist has shown a restraint that is as amazing as the abandon with which the carving has been done. Since, at one stage of development of the Orissan temple, architecture became but sculpture on a gigantic scale, Bhubaneswar offers monuments that are carved so profusely that not an inch of the surface is without embellishment. Most skilfully executed, the lavish ornamentation has an astonishingly wide variety of motifs, ranging over all that the universe contains-floral and vegetal, animal and human, demoniac and divine. The themes include a fetching array of fragrant females as well as finely sculpted mithuns.\u003c\/span\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book has been in the making for a long while, for nearly a decade, ever since I first saw Bhubaneswar and its great temples in connection with the work of my Holy Cities of India. Not the germ, no nascent notion that was to grow later, but a definite resolve to do a study of the amazingly rich monuments of this temple-city of the Hindus was formed then. That the book should have taken ten years to see the light of the day, proves nothing. After all, the temples there took centuries to be; and there are so many of them, and some of them such gems and jewels—and giants! and they constitute a most valuable chapter of the history of the temple art, especially, of the Nagara variety of temples. The philosophic concepts, the canons of architecture, the exuberant sculpture, the million and one details that make up the total tale—how can one do justice to all this? No, an appraisal of Bhubaneswar’s temples and sculptures is not an easy task. Indeed, the wonder is that one should have been able to complete any study thereof.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eConsidering their chronology, a study of Bhubaneswar should have appeared before and not after my books on Khajuraho and Konark. In a way, it did, for the Holy Cities of India dealt with Bhubaneswar also and examined its temples—rather cursorily, no doubt. As I stated above, it was then that an intense interest in Bhubaneswar’s temples grew in me. For the many-splendoured and truly magnificent Lingraj, that perfect monument, in particular, I felt a love at first sight which has lasted without abatement.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eCompared to many other Indian places and towns, Bhubaneswar is hoary with age. Of course, in the total story of man, it's a few thousand years hardly count. But measuring the period of its existence against the length of human civilization, it is an ancient city, certainly. Its roots are long and deep. Because of its holy associations as Ekamra tirtha or kanan, one-mango grove, it has received the zeal and devotion of the king and commoner for tens of centuries. Countless temples were raised in the past to Shiv, the City’s presiding Deity, many of which have withstood the onslaught of Time, and the installations are, in many a case, intact. In the meanwhile, Man has apparently discarded the old gods and adopted new ones. Thanks to scientific and technological progress, he has made it to the Moon and with his nuclear weapons, alas ! to the edge of Doom also. Torn and tortured, he seeks peace and finds it not. He needs strength to bear whatever may come; instead, his hands tremble, and his heart sinks with fright at the prospect, for true faith is lacking.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn his celebrated account of the region, published nearly 150 years ago, Andrew Stirling wrote about Bhubaneswar as follows:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\"If we are to judge of its extent and populousness, during the period that it formed the seat of government of the Rajas of the Kesari Vansa, from the almost countless multitude of temples which are crowded within the sacred limits of the Panj Kosi, we might pronounce it to have been, in the days of its splendor, one of the greatest cities which India ever saw. Standing near the Chief Pagoda, one cannot turn the eye, in any direction, without taking into the view upwards of forty or fifty of these stone towers. The natives say that there were originally more than seven thousand places of worship consecrated to Mahadeo, within and around the city of Bhobane ser containing no less than a crore of lingams, and the vestiges that remain, fully warrant a belief, that the place may have comprised some hundreds of buildings of this description, when in its most flourishing state.\"\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThough time has played havoc with these symbols of the Eternal, enough still remains to justify serious inquiry whether old values are really as old and out-moded as we think. To millions, they still offer the solace that passeth the understanding of scientific minds. In any case, the advantage that Bhubaneswar. enjoys is that it is both Religion and Att. And the latter, Art, can happily serve, as it should, as a bridge between Religion and Reason. That is why the temples and sculptures of Bhubaneswar are worth seeing, worth studying, worth talking and writing about, are worth all this, any time.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eA word about the pictures. There are about a hundred of these and yet a thousand would not cover the theme adequately. What is offered is, therefore, a mere sampling, an introduction to the wealth there, that should point out the salient features of architecture and sculptural decoration. Nonetheless, an attempt has been made to present, within the limitations and scope of this volume, a fairly representative visual idea of what the reader may expect to see there. Indeed, a number of seemingly unimportant items have been put in, for fuller documentation and to help those, who may not visit the place, get at a true picture of the origin, development, culmination, and decay of the temple art of Bhubaneswar.\u003c\/p\u003e","brand":"Kanwar Lal","offers":[{"title":"Default Title","offer_id":43214271479946,"sku":"","price":995.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/TemplesandSculptures.jpg?v=1691498829"},{"product_id":"hindu-temples-what-happened-to-them-set-of-2-volumes-sita-ram-goel","title":"Hindu Temples (Set of 2 Volumes)","description":"\u003cdiv data-mce-fragment=\"1\" data-cel-widget=\"bookDescription_feature_div\" data-csa-c-id=\"6q3roe-w3pqf3-7xsze4-b2ryvo\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"818599093X\" data-csa-c-slot-id=\"bookDescription_feature_div\" data-csa-c-content-id=\"bookDescription\" data-csa-c-type=\"widget\" data-feature-name=\"bookDescription\" class=\"celwidget\" id=\"bookDescription_feature_div\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"a-expander-collapsed-height a-row a-expander-container a-spacing-base a-expander-partial-collapse-container\" data-a-expander-collapsed-height=\"140\" data-a-expander-name=\"book_description_expander\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"a-expander-content a-expander-partial-collapse-content\" aria-expanded=\"false\" style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe book restricts itself mainly to the study of Hindu temples destroyed and desecrated and converted into mosques and khanqahs without overlooking Muslim’s ideology of iconoclasm; here and there, it also mentions other theological props and concomitants of the iconoclastic ideology. In the book, Ayodhya retains its importance, but it does not occupy the centre of discussion. In dealing with its subject, it exercises complete fidelity to truth; unlike secularist and Marxist writers, it does not believe in re-writing and fabricating history.\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"a-expander-content a-expander-partial-collapse-content\" aria-expanded=\"false\" style=\"text-align: left;\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"a-expander-content a-expander-partial-collapse-content\" aria-expanded=\"false\" style=\"text-align: left;\"\u003e\n\u003ccenter\u003e\n\u003cp\u003e\u003cb\u003eVolume I (A Preliminary Survey)\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eI take this opportunity to record the story of how the first edition of this book came to be compiled and published in April 1990.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Vishva Hindu Parishad (VHP), founded in 1964, had been discussing the question of claiming on behalf of Hindus the Ramajamabhumi site at Ayodhya since its first public session in 1966. The issue was placed before the country by the VHP in a largely attended public meeting held in Delhi in 1978. In April 1978, the VHP sponsored Dharma Samsad comprising Sadhus and Mahatmas from all over the country and launched a movement to liberate the site. In June 1984, the Ramajanmabhumi Mukti Yajna was formed which, in turn, held a public demonstration in October 1984, in order to mobilize public opinion in support of its resolve. On 6 October 1984, the VHP called upon Hindus to vote only for those candidates in the forthcoming Lok Sabha elections who were prepared to champion Hindu demands, one of the demands being that a glorious Rama Temple be built at Ayodhya in replacement of the Babri Masjid which had stood at the sacred site 1528 AD-A Rama Janaki Rathayatra was taken out by the VHP in 1985, showing the deities behind bars since 1949. And when the locks of the Babri Masjid were opened in February 1986 by an order of the Faizabad District judge, Hindus felt an upsurge of triumph that the liberation of the sacred site was in sight at last.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs the All India Babri Masjid Action Committee (AIBMAC) was threatening throughout 1987-88 to organise a march on Ayodhya for doing a congregational namaz in and around the Babri Masjid, the VHP announced a Sri Rarna Mahayajna to be held at Ayodhya, starting on 11 October 1988. The Yajna continued for five days, till 15 October and more than a lakh of Hindus participated in it. In February 1989, a Maha Sant Sammelan was held at Prayag during the Kumbha Mela proclaiming that a Rarna Temple would be constructed at the sacred site after liberating it soon. Finally, on 11 June 1989, the Bharatiya Janata Party (BJP) passed a resolution in its National Executive Committee meeting at Palampur (Himachal Pradesh) that the Party would support the VHP demand in its campaign during the forthcoming Lok Sabha election.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBut there was a basic ideological weakness in the presentation of the case by the VHP\/BJP combine. Firstly, they were asking people, including Muslims, to choose between Babar, the foreign invader, on the one hand, and Sri Rama, the national hero, on the other. Thus the Islamic inspiration which had made Babar do what he did, was not mentioned. At the same time, Sri Rama was being downgraded from the status of an Avatar of Vishnu to that of a mere national hero. What was worse, the combine was proclaiming from the housetops that Islam did not permit the destruction of other people's place of worship that namaz offered at a disputed site was not acceptable to Allah, and that Muslims themselves should remove the structure or allow the combine to remove it respectfully to some other spot. Thus they were reinforcing, loud and clear, the modern lambic apologetics that Islam was a religion of peace and tolerance, without caring to consult or ignoring willfully the tenets of the Sharia comprising the Quran (revelation), the Sunnah (Practices of the Prophet), Ijma (consensus of the Ulama), and Qiyas (analogy). They were also overlooking the record of Islamic iconoclasm all over Bharatvarsa since its advent in the capital of Sakasthan (Seistan) in 653 AD.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMeanwhile, the Stalinist \"historians\" led by Romila Thapar and S. Goapl (son of the late President of India, Dr. Radhakrishanan) had jumped into the fray. A letter written by this gang had been published in The Times of India, New Delhi, on 2 October 1986 accusing the daily of \"giving a communal twist to news items and even editorial comments\". The \"provocation\" for their outburst had been provided by two photos which had been front-paged by the newspapers in August and September, 1986. The first photo was of two stones from the Kutub Minar at Delhi depicting defaced carvings of Hindu deities. The editorial comment had said that the stones were found with their faces turned inwards during repairs of a wall of the Minar. The second photo was that of Aurangzeb's Idgah on the Katra Mound at Mathura standing on the site and built with the rubble of a pre-existing Kesavadeva Temple. The editorial comment was that a Committee had been formed at Mathura for the liberation of Srikrishnajanmabhumi. I was told that the photos had been displayed by Arun Shoruie who had joined The Times of India a few months earlier to take over as Chief Editor from Girilal lain who had decided to retire soon. His appointment had been -approved by Girilal lain as lain himself told me.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Stalinists had proclaimed that the Kesavadeva Temple which had been destroyed by Aurangzeb for rich booty as well as for being a centre of Hindu rebellions, was built at first during the reign of Jahangir and occupied the site of a Buddhist monastery destroyed by Hindus. They had questioned the historicity of Sri Krishna and Sri Rama and contended that, according to a Persian text, the Babri Masjid did not occupy the site of a pre-existing Rama Temple. At the same time, they had accused Hindus of having destroyed Buddhist and lain monuments and pre-Hindu animist shrines. The letter was in keeping with the concocted history that the Stalinists had been selling for quite some time through the Indian History Congress, the Indian Council of Historical Research, and the National Council of Educational.Research and Training, all of which they had come to control progressively during the period of dominance by the Soviet stooge, Pandit Jawaharlal Nehru, and his daughter Indira Gandhi. Pandit Nehru had gone further and rewritten the history of medieval India in both his Glimpses of World History and The Discovery of India. Several Hindu scholars, including myself, wrote letters to The Times of India refuting the Stalinist canards, A to Z. But Girilal lain refused to publish them, and thus let the Stalinist accusation stand that The Times of India had become a mouthpiece of 'Hindu communalism'. I visited Arun Shourie in his office at the newspaper to find out why our letters had been held up. He told me that he had been sidelined and no work was being sent to his desk any longer. A few days later it was announced in the newspaper that Dilip Padgaonkar, a Hindu baiter to boot, had been promoted to the Executive Editor of The Times of India. The rumour went around that Padgaonkar and not Arun Shourie was going to succeed Girilal lain. The rest is history. Fortunately for Hindus, Arun Shourie had meanwhile received an offer to take over as Editor-in-chief of the Indian Express and joined it after resigning from The Times of India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAround this time, I had come to share Ram Swarups view that the temple issue raised by the VHP provided an excellent opportunity to educate the Hindu intelligentsia not only about the iconoclastic record of Islamic invaders and rulers but about the exclusivist, totalitarian, terrorist and imperialist character of Islam as expounded in the Sharia. If the aggressive theology of Islam remained intact, he said, the temple at Ayodhya will get destroyed again, assuming that the VHP succeeded in restoring it. He asked me as a student of history to put the record straight in its proper context. Neither the VHP nor the BJP, he regretted, had published anything worthwhile about Islamic Iconoclasm in India, not even in Ayodhya.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs a student of history in school and college, I had been taught the history of medieval India in a conventional way, presenting Islam as a great religion and the Islamic invaders and rulers as indigenous Indian princes. Later on, Mahatma Gandhi's mindless slogan of sarva-dharma- sarnabbaua prevented me from studying the history and theology of Islam from primary sources. But Ram Swarup's magnum opus, The Word As Revelation: Names of Gods and his subsequent study, Understanding Islam Through Hadis. Faith or Fanaticism made me aware of Islam's real character. I could now see that there was more to the history of medieval India than the reigns of Muslim dynasties, their rise and fall, the wars they waged, the harems they collected, the monuments they built, etc. It was by now several years since I had been reading the primary sources in English and Urdu-the Quran, the orthodox Hadis collection, the Hidayab, the numerous histories written by medieval Muslim chroniclers, and Reports of the Archaeological Survey of India about the genesis of many Muslim monuments which dotted the land. I had become fully aware of the holocaust caused by Islam in India for centuries on end through its victims and slaves-the Arabs, the Turks, the Afghans, the Iranians, and the native Hindu converts. I was in a position to compile the record of Islamic iconoclasm and place it in the context of Islamic theology.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBut my hands were full with several other books. So we decided to commission some competent historians to collect the relevant references from the libraries of the Archaeological Survey of India and the National Museum in New Delhi. Ram Swarup suggested the name of Dr. Ganeshi Lal Varma who had been writing some good pieces in the weekly Organiser. I called upon Dr Varma and placed the proposition before him. He was hesitant, He said he had specialized in the history of modern India and knew neither Persian nor Urdu. I told him that he had only to consult reports which were all in English and that once the material was collected we could sit together, sort it out, and put it in the proper context. He accepted the assignment. I took him immediately to the National Museum and the Archaeological Survey of India and introduced him to several friends I had known personally, particularly Dr. S.P. Gupta who was one of the Keepers in the National Museum at that time.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBut the next thing we saw from Dr. Varma after a few weeks was an article in the Organiser mentioning the names of a few Muslim monuments which stood at the site of Hindu temples or had been built with temple materials. He cited a report from the Archaeological Survey of India and preceded the list with a long introduction regarding who had built those temples and when. Another article in a similar vein followed next week. Ram Swarup was annoyed. The articles, he said, hardly conveyed the message we wanted to convey, namely, that Hindu temples had been destroyed by such and such Muslim ruler inspired by the theology of Islam. He asked me to tell Dr Varma that either he kept the agreement about collecting material and leaving it to us to put it into shape or his assignment was over. I took it up with Dr Varma. But he was adamant. He insisted that he had the right to use the material the way he liked and that we could use it later on the way we preferred. I had to decommission him.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDr. Varma went on collecting more material and writing articles in the Organiser. The List of Muslim monuments he provided in 18 articles came to nearly 350 or more. But as the theology of Islam was not even mentioned, nor the monuments placed in a chronological context, the list made practically no impact on public opinion. The General Secretary of the VHP, Ashok Singhal, was not even aware that such an authentic list had appeared in the mouthpiece of the Sangh Parivar till I mentioned it to him after the series had been completed. Failure to publicise Dr. Varrnas list was a grave failure on the part of the VHP\/BJP combine which on its own had produced no literature at all on the subject of Islamic iconoclasm and which was trying to coax the Muslims out of their cherished mosque by flattering Islam. This failure was to bear fruit later on, and force the combine to drop the Ayodhya card and go on the defensive.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI was busy putting together the material when I saw the Indian Express of 5 February 1989 carrying an article by Arun Shourie-'Hideaway Communalism'. It told the story of how a book written in Arabic and Urdu by a rector of the Manawatu-Ulama at Lucknow mentioned several historical mosques which had replaced pre-existing Hindu temples, and how the references to this replacement had been omitted in the English translation of the same book published by the rector's son, Ali Mian, the present rector and Chairman of the Muslim Personal Law Board. Arun Shourie's article in a major newspaper was the first of its kind after a long time. It had violated a taboo placed by the mass media and academia on any unfavourable narration of the history of Islam since the days when Mahatma Gandhi took command of the Indian National Congress and launched his first no-cooperation movement in support of the Turkish Khilafat. The correct thing since that time had been to praise Islam and its heroes, and not to ask any inconvenient questions about its belief system or its deeds or its goals. In fact, Islam had imposed an Emergency on India and enforced it by means of terror, verbal as well as physical. Hindus were free to praise Islam but if they asked any inconvenient questions, they invited not only swear- words from all respectable quarters but also the assassin's dagger.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI approached Arun Shourie to tell him that I had studied the subject of Hindu temples turned into mosques in depth and detail, and to ask him if I could write an article for his newspaper. He welcomed the idea and invited me to do justice to the subject even if it meant more than one article. Eventually, I wrote three articles which were published in the Indian Express on 19 February, 16 April and 21 May 1989. Another article by Ram Swarup about the character of revealed religions, particularly Islam, appeared in the Indian Express on 18 June 1989. He had developed it as a commentary on my first two articles. He also wrote an article showing that 'secularists' were writing the history of India on the model set by the Muslim and British historians and that Marx had seen India as a country always ruled by conquerors. This article was published in the Indian Express on 15 January 1989.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBy now the VHP IBJP campaign had become focused wholly on Ayodhya. It was claimed by the combine that Babri Masjid had been built on the ruins of a pre-existing Rama Temple. But they had not published anything to support their claim and were citing only a tradition of prolonged Hindu efforts to recover the sacred site. On the other hand, Muslims as well as the Stalinists had dismissed the' claim as bogus and based entirely on the testimony of British Gazetteers which, they said, had mentioned the destruction of Hindu temples by Muslims in pursuit of their policy of divide-and-rule. Syed Shahabuddin went to the extent of proclaiming publicly that if the pre-existence of a Hindu temple could be proved from pre-British sources, he would himself pull down the Babri Masjid and hand over the site to Hindus. His challenge was accepted by Dr. Harsh Narain whose article was published in the Indian Express on 26 February 1990. He had quoted three authentic Muslim records which admitted in so many words that the Babri Masjid had indeed replaced a Rama Temple. On 27 March 1990, the Indian Express published another article, this time by an IAS officer, A.K. Chatterjee. He had cited to the same effect the testimony of Joseph Tiffenthaler, an Austrian Jesuit, who had toured the Awadh region between 1766 and 1771.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eShahabuddin went on shifting his ground and indulging in a lot of casuistry in a series of letters published in the Indian Express in response to the evidence provided by Dr. Harsh arain and A.K. Chatterjee. Now he asked for evidence from Babar's own time. Hindu scholars, I could see, had walked into a trap-Muslims and Stalinists demanding more and more evidence about a pre-existing Rama Temple and even about the historicity of Sri Rama, and Hindus coming forward with it. It was clear that no amount of evidence could ever satisfy the likes of Shahabuddin and the Stalinist gang. They were playing a well-calculated game of keeping Hindus on the defensive, reserving for themselves the right to ask any number of fraudulent questions and making it obligatory for Hindus to go on providing the answers. I, therefore, decided to shift the focus from Ayodhya and revert to what I had done earlier in my articles-marshalling evidence of large-scale Islamic iconoclasm inspired by a belief system. I put together whatever evidence I had collected about Muslim monuments standing on the site and or built with the materials of Hindu temples, all over India. From my point of view, it was a very small list-only the tip of the iceberg. But it proved formidable for the Shahabuddins and the Stalinists. None of them has even mentioned the list during the last seven years, not to speak of challenging any part of it. I had just completed this article when A. Ghosh (Houston, Texas, USA) sent me a list of Hindu temples and monasteries destroyed or desecrated by Muslim mobs in Bangladesh in October-November 1989 as a reaction to the Hila Puja Yatra and Shilanyasa ceremony from September 30 to November 1989 performed by the VHP. Hindus were molested, even killed and their properties were destroyed on some scale all over Bangladesh.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMeanwhile, the Stalinist gang had come out with a pompous pamphlet-'The Political Abuse of History Babri Masjid-Ramjanmabhumi Dispute'. The pamphlet was examined by Professor A. R. Khan of the Himachal Pradesh University, Shimla, in an article published in the Indian Express on 25 February 1990. He showed effectively that Stalinism were making issues out of non-issues and raising controversies where none existed. He also pointed out big holes in the arguments advanced by the Stalinists in so far they were citing as evidence what they had dismissed earlier as myth and hearsay. A chapter from Alexander cunnigham's The Ancient Geography of India showed that Ayodhya and Saket referred to the same city and were not two different places as was being argued by the Stalinsts. The chapter served very well as a supplementary to Dr. Khan's article.\u003c\/p\u003e\n\u003ccenter\u003e\n\u003cp\u003e\u003cb\u003eVolume II (The Islamic Evidence)\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eA court order in 1986 threw open for Hindu worship the gates of the temple-turned-mosque at the Ramajanmabhumi at Ayodhya. Hindus were overjoyed and started looking forward to the coming up o a grand Rama Mandir at the sacred site. But they were counting without the stalwarts of Secularism in the Nehruvian establishment. It was not long before a hysterical cry was heard-\"Secularism in danger!\"\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Marxist-Muslim combine launched a two-pronged campaign. On the one hand, they proclaimed that Muslims had destroyed no Hindu temples except those few which stinking with hoarded wealth or had become centres of local rebellions and that Islam as a religion was never involved in iconoclasm. On the other hand, they accused the Hindus of destroying any number of Buddhist, Jain and Animist shrines in the pre-Islami days.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs a student of India's history, ancient as well as medieval, I could see quite clearly that they were playing the Goebbelsian game of the Big Lie. But could not be countered because they had come to dominate the academia and control the mass media during the heyday of the Nehru dynasty. Most of the prestigious press was owned by Hindu moneybags.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe most unkindest cut of all, however, came from the Vishva Hindu Parishad and the Bharatiya Janata Party. They doing nothing towards debunking Secularist lies about Hinduism vis-a-vis Buddhism and Jainism. But they were trumpeting from the house-tops that Islam did not permit the destruction of other people's places of worship and that namaz offered in a mosque built on the site of a temple was not acceptable to Allah! They were laying the blame for the destruction of the Ram Mandir not on Islam as an ideology of terror but on Babur as a foreign invader!\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe only ray of light in this encircling gloom was Arun Shourie, the veteran journalist and the chief editor of the Indian Express at that time. On February 5, 1989, he front-paged an article, Hideaway Communalism, showing that while the Urdu version of a book by Maulana Hakim Sayid Abdul Hai of the Nadwatul-Ulama at Lucknow had admitted that seven famous mosques had built on the sites of Hindu temples, the English translation published by Maulana's son, Abul Hasan All Nadwi (Ali Mian) had eschewed the \"controversial evidence\". He also published in the Indian Express three articles written by me on the subject of Islamic iconoclasm. This was a very courageous defiance of the ban imposed by Islam and administered by Secularism, namely, that crimes committed by Islam cannot even be whispered in private, not to speak of being proclaimed in public.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFinally, Voice Of India published in April 1991 Volume I of a projected series-Hindu Temples: What Happened to Them. It was a collection of relevant articles by Arun Shourie, Harsh Narain, Jay Dubashi, Ram Swarup, and myself. An important part of the volume was a list of 2000 Muslim monuments built on the sites and\/or with the materials of Hindu temples. This list became famous all over the country as soon as it came out.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMeanwhile, the evidence I had collected regarding Islamic iconoclasm could already cover several, and much bigger volumes. Voice Of India published in May 1991 Volume II of the series. It was devoted exclusively to Islamic evidence, historical as well theological. It was received very well, particularly by the world of scholarship. Only the prestigious newspapers and periodicals in this country ignored it completely; they did not even acknowledge it in their \"Books Received\" column. But an extensive review written by the Belgian scholar, Koenraad Elst, was published by Voice Of India in 1992 under the title Negationism in India: Concealing the Record of Islam.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis second edition of Volume II is a thoroughly revised and somewhat enlarged version of the first edition. Its main merit is that the lengthy chapters in the earlier edition have been divided into smaller ones, and placed under several well-defined sections. A new Appendix on the meaning of the word \"Hindu\" has been added. And the Appendix which carries the Questionnaire For the Marxist Professors, has been considerably expanded by the inclusion of correspondence between myself and Professor Romila Thapar, the doyen of Marxist historians.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI take this opportunity to point out that the subject of this volume is not so much the destruction of Hindu temples as the character of Islam- an imperialist ideology of terrorism and genocide masquerading as a religion, in fact, as the only true religion. It is high time for Hindus to see Islam not with their own eyes but from the viewpoint of the great spiritual vision which is their inheritance.\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\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"20%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"70%\"\u003e\u003ccenter\u003e\u003cb\u003eVolume - I\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSecond Preface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003evii\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFirst Preface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003exx\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection I.\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eIslamic Iconoclasm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eHideaway Communalism\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eThe Tip of an Iceberg\u003c\/td\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eSome Historical Questions\u003c\/td\u003e\n\u003ctd\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eIn the Name of Religion\u003c\/td\u003e\n\u003ctd\u003e28\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eA Need to Face the Truth\u003c\/td\u003e\n\u003ctd\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eLet the Mute Witnesses Speak\u003c\/td\u003e\n\u003ctd\u003e41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eDestruction of Temple in Bangladesh\u003c\/td\u003e\n\u003ctd\u003e155\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection II.\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eRamajanmabhumi Evidence\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eRama-Janmabhumi Temple: Muslim Testimony\u003c\/td\u003e\n\u003ctd\u003e169\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003ctd\u003eRam Janmabhoomi: Some More Evidence\u003c\/td\u003e\n\u003ctd\u003e176\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eThe Ayodhya Debate\u003c\/td\u003e\n\u003ctd\u003e212\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003ctd\u003eSummary of the Ram Janmabhoomi\u003c\/td\u003e\n\u003ctd\u003e220\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eTakeover from the Experts\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd height=\"22\"\u003e13\u003c\/td\u003e\n\u003ctd\u003eNot Impartial\u003c\/td\u003e\n\u003ctd\u003e236\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection III.\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eHistory Versus Casuistry\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003ctd\u003eIn the Name of \"History\"\u003c\/td\u003e\n\u003ctd\u003e243\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003ctd\u003eVisakha, Saketa, or Ajudhya\u003c\/td\u003e\n\u003ctd\u003e264\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16\u003c\/td\u003e\n\u003ctd\u003eParty-Line History-writing\u003c\/td\u003e\n\u003ctd\u003e269\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003ctd\u003eHistorians Versus History\u003c\/td\u003e\n\u003ctd\u003e277\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e18\u003c\/td\u003e\n\u003ctd\u003eHistory of India: Putting the Record Straight\u003c\/td\u003e\n\u003ctd\u003e287\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003ctd\u003eWhat the Invaders Really Did\u003c\/td\u003e\n\u003ctd\u003e292\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003ccenter\u003e\u003cb\u003eVolume - II\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003ePreface\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003ev\u003c\/strong\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection I\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eThe Tip Of An Iceberg\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eThe Dispute at Sidhupur\u003c\/td\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eThe Story of Rudramahalaya\u003c\/td\u003e\n\u003ctd\u003e24\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eMuslim Response to Hindu Protection\u003c\/td\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection II\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eSuppressio Veri Suggestio Falsi\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eThe Marxist Historians\u003c\/td\u003e\n\u003ctd\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eSpreading the Big Lie\u003c\/td\u003e\n\u003ctd\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection III\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eFrom The Horse's Mouth\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eThe Epigraphic Evidence\u003c\/td\u003e\n\u003ctd\u003e71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eThe Literary Evidence\u003c\/td\u003e\n\u003ctd\u003e95\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eSumming up\u003c\/td\u003e\n\u003ctd\u003e244\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection IV\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eIslamic Theology Of Iconoclasm\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003ctd\u003eTheology of Monotheism\u003c\/td\u003e\n\u003ctd\u003e255\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003ctd\u003eThe Pre-Islamic Arabia\u003c\/td\u003e\n\u003ctd\u003e264\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e11\u003c\/td\u003e\n\u003ctd\u003eThe Religion of Pagan Arabia\u003c\/td\u003e\n\u003ctd\u003e273\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e12\u003c\/td\u003e\n\u003ctd\u003eMonotheism Spreads to Arabia\u003c\/td\u003e\n\u003ctd\u003e297\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e13\u003c\/td\u003e\n\u003ctd\u003eMeaning of Monotheism\u003c\/td\u003e\n\u003ctd\u003e305\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003ctd\u003eThe Bible Appears in Arabic\u003c\/td\u003e\n\u003ctd\u003e314\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003ctd\u003eMuhammad and the Meccans\u003c\/td\u003e\n\u003ctd\u003e327\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e16\u003c\/td\u003e\n\u003ctd\u003eThe Prophet Destroys Pagan Temples\u003c\/td\u003e\n\u003ctd\u003e345\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cstrong\u003eSection V\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e\u003cstrong\u003eAppendices\u003c\/strong\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eMuslim Dynasties in India's History\u003c\/td\u003e\n\u003ctd\u003e377\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003ewas the Ka 'ba a Siva Temple?\u003c\/td\u003e\n\u003ctd\u003e388\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eMeaning of the Word \"Hindu\"\u003c\/td\u003e\n\u003ctd\u003e394\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003equestionnaire for the Marxist Professor\u003c\/td\u003e\n\u003ctd\u003e408\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e423\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e430\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" data-cel-widget=\"globalStoreInfoBullets_feature_div\" data-csa-c-id=\"j4fsyn-b5di3j-tfh0ay-kfwfn2\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"818599093X\" data-csa-c-slot-id=\"globalStoreInfoBullets_feature_div\" data-csa-c-content-id=\"globalStoreInfoBullets\" data-csa-c-type=\"widget\" data-feature-name=\"globalStoreInfoBullets\" class=\"celwidget\" id=\"globalStoreInfoBullets_feature_div\"\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\" data-cel-widget=\"tellAmazon_feature_div\" data-csa-c-id=\"j5phji-9pcr3g-7ah96j-7fxwlk\" data-csa-c-is-in-initial-active-row=\"false\" data-csa-c-asin=\"818599093X\" data-csa-c-slot-id=\"tellAmazon_feature_div\" data-csa-c-content-id=\"tellAmazon\" data-csa-c-type=\"widget\" data-feature-name=\"tellAmazon\" class=\"celwidget\" id=\"tellAmazon_feature_div\"\u003e\n\u003cdiv data-mce-fragment=\"1\" data-cel-widget=\"tell-amazon-desktop_DetailPage_2\" data-csa-c-id=\"55cafa-t99391-wxsr9-hqiqut\" data-csa-c-painter=\"tell-amazon-desktop-cards\" data-csa-c-type=\"widget\" data-csa-c-slot-id=\"DsUnknown-3\" data-csa-c-content-id=\"DsUnknown\" data-csa-op-log-render=\"\" class=\"celwidget c-f\"\u003e\n\u003cdiv data-mce-fragment=\"1\" data-mix-claimed=\"true\" data-acp-tracking=\"{}\" data-card-metrics-id=\"tell-amazon-desktop_DetailPage_2\" id=\"CardInstanceDMEb-qpx12x2HUO__u11FQ\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Sita Ram Goel","offers":[{"title":"Default Title","offer_id":43312171745418,"sku":"","price":1200.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nam490.jpg?v=1692173689"},{"product_id":"vastu-vidya-the-indian-art-of-placement","title":"Vastu Vidya","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn the mesmerizing literary masterpiece, \"Vastu Vidya: The Indian Art of Placement,\" the renowned author Juliet Pegrum unveils the profound and intricate world of Vastu Vidya, a time-honored architectural philosophy originating from the heart of ancient India. Pegrum's meticulously crafted exploration guides readers on an enlightening journey through the essence of Vastu Vidya, where the harmony between humans, architecture, and the natural world converges into a seamless symphony of balance and well-being.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWith a discerning blend of meticulous research and eloquent prose, Pegrum delves into the fundamental principles of Vastu Vidya, decoding its holistic approach to spatial arrangement, design, and energy flow. The book unveils the deep-rooted significance of precise orientations, spatial proportions, and auspicious placements, presenting them as crucial elements in fostering harmony within living and working spaces. Pegrum's exploration unravels how the interplay of cosmic forces, architectural geometry, and ancient wisdom come together to cultivate environments that enhance physical, mental, and spiritual well-being.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThroughout the pages of \"Vastu Vidya: The Indian Art of Placement,\" Pegrum's narrative voice exudes a blend of scholarly insight and a heartfelt appreciation for the art form. The author weaves vivid descriptions of historical Vastu principles, as well as contemporary applications that resonate in the modern world. Her words paint a vivid tapestry of temples, palaces, and homes designed in harmony with the earth's energies, offering readers a vicarious experience of the breathtaking architectural marvels that have stood the test of time.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePegrum's exploration transcends the boundaries of architecture, delving into the intimate connection between Vastu Vidya and the human psyche. She illustrates how thoughtful placement and alignment of elements can promote emotional well-being, creative inspiration, and overall prosperity. The book not only serves as a scholarly exposition but also as a practical guide, offering readers insights into incorporating Vastu principles into their own spaces, fostering a harmonious and uplifting environment.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis literary odyssey is enhanced by the author's adept utilization of high-value keywords such as \"ancient wisdom,\" \"cosmic harmony,\" \"architectural geometry,\" \"spiritual equilibrium,\" and \"holistic well-being.\" These keywords reflect the depth of research, expertise, and reverence that Juliet Pegrum brings to her work. \"Vastu Vidya: The Indian Art of Placement\" emerges as an invaluable resource, not only for architecture enthusiasts and scholars but also for anyone seeking to deepen their understanding of the profound connection between the spaces we inhabit and the lives we lead. In this timeless work, Pegrum beckons readers to embark on a transformative exploration of Vastu Vidya, where architecture becomes a conduit for spiritual transformation and alignment with the rhythms of the universe.\u003c\/p\u003e","brand":"Juliet Pegrum","offers":[{"title":"Default Title","offer_id":43400294858890,"sku":"","price":1500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/6934_470x_d56618c7-4d1d-470b-beba-bb384e42edfa.png?v=1692786104"},{"product_id":"mysore-royal-dasara","title":"Mysore Royal Dasara","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIndia is perhaps the only country where goddesses are still widely worshipped. The origin and nature of many of these present day Goddesses and their cults go back to primordial times. But the centre of all mother goddess worship is the desire to propitiate and praise the powers of nature for promoting growth and fertility. The nine day autumnal festival of Navaratri is an expanded and systematized form of such a fertility and thanksgiving festival.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eDuring the medieval period, kings and rulers, as representatives of the people, took over the worship of the Mother goddess and added a spectacular tenth day material festival called Vijaya-dashami, popularly known as 'Dasara'. This was intended to placate the goddess to grant victory in battles. The Mysore celebration of Navaratri and Dasara is an integral part of this great martial tradition of Mother goddess worship.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis work traces the origin and background of this festival from early times. It then describes the various traditional rituals as prescribed in the Dharmashastra (moral and religious law) texts. Eyewitness accounts of the celebrations of this grand festival during medieval times, particularly in the famous South Indian Kingdom of Vijayanagara, are added in the third chapter. This forms a background to the last chapter that gives a graphic and comprehensive account of the ten day festival as celebrated today in the Mysore place by H.H. Srikanthadatta Narasimharaja Wadiyar, heir to the cultural and religious traditions of Vijayanagara.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe dazzling and intimate photographs by Gajendra Singh Auwa, brother in law of the Maharaja, add a personal dimension to the book that is both unique and rare.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\n\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eSivapriyananda was born into the royal family of a princely state in South Gujarat. He studied Sanskrit and Pali at graduate and post-graduate levels at Poona University. He also studied for the traditional 'Kavya-tirtha' of the Bengal Sanskrit Association, Calcutta. After this, he went to England to study Archaeology at the London University.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eHe took sannyasa in 1974 in Rishikesh, and since then has visited many ashrams, saints and centres of traditional learning in search of forgotten and neglected aspects of Indian religion and culture. At present, he is finishing a book on Mysore Traditional Paintings. His other publications include Devotional Songs of Narsi Mehta (Motilal Banarsidass), Secret Power of Tantrik Breathing and Astrology and Religion in Indian Art (both by Abhinav Publications).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eGajendra Singh Auwa\u003c\/b\u003e is a freelance nature and architectural photographer who also has his own wildlife Resort in the South Indian sanctuary of Bandipur near Mysore.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eHis architectural coverage includes forts, palaces and temples of India. His nature photography includes wildlife, wilderness, landscapes etc.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eHaving married into the Mysore Royal family, he has had ample opportunity to cover comprehensively the private Dasara functions at the Mysore palace.\u003c\/p\u003e\n\u003cdiv style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv data-mce-fragment=\"1\"\u003e\n\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis Book on Dasara written by Shri Sivapriyananda, Maharajakumar of Dharampur along with photographs by My Brother-in-law, Bauwar Sahah Sri Gajendrasingh of Auwa is very interesting as it gives a factual account of the manner in which Dasara is celebrated all over the country. This book is divided into four parts. The First part deals with the origin of Dasara and the manner in which it is celebrated all over India year. This makes available a first-hand account of the significance of Dasara as practised in India to keen students on the subject.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe Second part deals with ritual aspects of Dasara as enunciated in ancient texts such as Markandeya Purana, Kalikoktha Purana Devi Mahatmye and Sapthasathi. The basic concept of all these texts is the triumph of 'Good over Evil'. This has been brought out by explaining the significance of various Religious symbols and esoteric values of sacrifice, worship, and sacred rituals that are practised and followed during Dasara.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe third part deals with Dasara as practised in the ancient Vijayanagar Kingdom and consists of a visual factual account of various historians and travellers who visited Vijayanagar. This is highly narrative and gives a graphic description of eyewitness accounts of events as seen by visiting foreign writers, Historians, to the Royal Court in general.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe last part of the book deals with Dasara as practised in Mysore almost four centuries ago and during the lifetime of my Grand uncle His Highness the Maharaja Sri Krishnaraja Wadiyar IV and by my Father late His Highness the Maharaja Sri Jayachamaraja Wadiyar and is still being practised and performed by me even to this day. A series of photographs have been included in this book to give a visual account of Dasara Durbars, Ganapathi Pooja, Saraswathi Pooja, Kalarathri Pooja, rituals connected with Ayudha Pooja, Shammi Pooja and also gives a detailed account of spiritual, esoteric worship and rituals that were practised by my predecessors and also followed by me now about which very few people are aware of the real significance of private worship and rituals but the real essence of Dasara celebration is rituals and worship that takes place for from the view of the public in general. This book definitely is trying to visualize the Religious rituals and aspects to the general public who are often unaware of the real significance of the Dasara. As I have already stated above, Dasara is a festival where there is a triumph of 'Good over Evil' and everybody who worships the various Gods and Goddesses during Dasara signifies that justice lies in truth and nothing but the truth and, that from truth alone that nectar of justice flows and prosperous.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe author's notes and accounts reflect his vast interest in studying not only historical aspects but also the traditional, classical, and Tantric texts and scriptures and has given personal accounts of Dasara as seen by him in comparison to how Dasara was practised earlier. Those who read this book will surely have a very rewarding and satisfying experience in detail about the mystic myth of Dasara as practised, as seen and as prescribed in various Religious texts mentioned above and as now practised in Mysore including its esoteric values.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface \u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIndia is perhaps the only country where goddesses are still widely worshipped. The origins of many of these go back to primordial times when Mother Goddesses and fertility cults were the predominant forms of religious expression of mankind throughout the world. Though over the centuries, many new and different religious beliefs and cults have influenced the form and worship of goddesses, faith in the power of divine femininity still plays a very significant role.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eA vast majority of people in India still live in villages and follow an agricultural lifestyle. Their life is therefore governed by the seasons and the fertility of the soil-aspects of nature which, even in the present age of science, are precarious and uncertain, to say the least. Traditions handed down from remote antiquity stress the central role played by Mother Goddesses in promoting growth and fertility. It is natural that when faced with an uncertain future, people call upon the ancient goddesses for help in bringing rain and fertilizing fields. Every village in India has a presiding Mother Goddess (Grama Devata) or Amma, who lives under a tree, or on the edge of a like, or in a large stone, or in a shrine, and who is entrusted with the prosperity and well being of the entire village.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eDuring a good year, when there have been adequate rains and a fair harvest, the village goddess is thanked for her nourishing help and worshipped in a thanksgiving rite. The Navaratri festival is an expanded and systematized form of such a thanksgiving ceremony.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn later years, kings and rulers, as representatives of the people, took over the worship of the Mother Goddess and added many grand and spectacular ceremonies. In many cases, the Mother Goddess cults were turned into royal and military rituals intended to bring victory in battles. In time, even these became a part of a rich and complex tradition. But at the root of all the grandeur and show was the very human desire to placate the powers of nature and understand the mysterious source of life.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe Mysore royal celebrations of Navaratri and Dasara are an integral part of this great tradition of Mother worship. Though the times have changed, and the old pomp and glory have given way to mediocre lifestyles, no change can take away the cultural memory of a glorious, rich and meaningful tradition. This book, with its unique photographs, is an attempt to capture a glimpse of this great tradition.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/p\u003e\n\u003c\/center\u003e\n\u003ctable border=\"0\" cellspacing=\"15\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"15%\" data-mce-fragment=\"1\"\u003ePreface\u003c\/td\u003e\n\u003ctd width=\"88%\" data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter 1.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNavaratri and Dasara: Origin and Background\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter 2.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNavaratri and Dasara: Traditional Rituals\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter 3.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNavaratri and Dasara in Medieval Vijayanagara\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter 4.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNavaratri and Dasara: Mysore Royal Dasara\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e157\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e160\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Swami Sivapriyananda","offers":[{"title":"Default Title","offer_id":43529749168266,"sku":"","price":2250.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/51RTvFDGFEL._AC_UF1000_1000_QL80.jpg?v=1693644284"},{"product_id":"a-catalogue-of-indian-folk-tribal-art-in-the-collection-of-home-of-folk-art","title":"A Catalogue of Indian Folk \u0026 Tribal Art in the Collection of Home of Folk Art","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"group w-full text-token-text-primary border-b border-black\/10 dark:border-gray-900\/50 bg-gray-50 dark:bg-[#444654]\" data-testid=\"conversation-turn-9\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"p-4 justify-center text-base md:gap-6 md:py-6 m-auto\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"flex flex-1 gap-4 text-base mx-auto md:gap-6 md:max-w-2xl lg:max-w-[38rem] xl:max-w-3xl }\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"relative flex w-[calc(100%-50px)] flex-col gap-1 md:gap-3 lg:w-[calc(100%-115px)]\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"flex flex-grow flex-col gap-3 max-w-full\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"min-h-[20px] flex flex-col items-start gap-3 overflow-x-auto whitespace-pre-wrap break-words\" data-mce-fragment=\"1\"\u003e\n\u003cdiv class=\"markdown prose w-full break-words dark:prose-invert light\" data-mce-fragment=\"1\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eDr. S. Aryan's \"Indian Folk \u0026amp; Tribal Art Catalog\" offers an immersive exploration of India's diverse folk and tribal art heritage. This comprehensive volume showcases an array of indigenous masterpieces, from the intricate Warli paintings of Maharashtra to the exquisite Dokra metalwork of Chhattisgarh, and from the colorful Madhubani art of Bihar to the captivating Pattachitra of Odisha. Dr. S. Aryan, a renowned scholar and devoted art connoisseur, provides valuable insights into the cultural significance and historical context of each artwork, enriching the reader's understanding of these remarkable traditions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eWith meticulous research and profound appreciation for India's artistic diversity, Dr. S. Aryan's catalog serves as a valuable resource for art enthusiasts, collectors, and scholars alike. His dedication to preserving and promoting these unique art forms is evident in every page, making this catalog not just a visual feast but also a tribute to the enduring creativity and cultural richness of India's folk and tribal communities. Explore the captivating world of Indian folk and tribal artistry through the lens of Dr. S. Aryan's expertise and passion, and gain a deeper appreciation for the stories, myths, and traditions that inspire these exceptional creations.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Dr. S. Aryan","offers":[{"title":"Default Title","offer_id":43530307174538,"sku":"","price":350.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/1872.jpg?v=1693647897"},{"product_id":"art-and-culture-painting-and-perspective","title":"Art and Culture","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe present volume of the Annual Series of Art and Culture carrying the sub-title ‘Painting and Perspective’ relates to the following themes: (a) Cultural setup and Values; (b) Sculpture and Painting and (c) Science and Technology. The articles of the volume are not restricted to any particular period or geographical area. Moreover, the purpose is to encourage scholars to think and write in terms of social mores and values as far as possible.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe names of the contributors along with their contributions are given below:\u003cbr data-mce-fragment=\"1\"\u003eA. Jan Qaisar and Som Prakash Verma, ‘The Miftahul Fuzala: A Study of an Illustrations; Som Prakash Verma, ‘Symbols and Motifs in the Mughal School of Art’; Som Prakash Verma, ‘Similar Themes, Different treatment; The Mughal Experience’; A. Jan Qaisar, ‘Similar themes, different treatment; The European experience’; Sreeramula Rajeswara Sarma, ‘Scientific Instruments: Evidence from Mughal Paintings’; Som Prakash Verma, ‘Ordinary Life in Mughal India’; A survey of Mughal painting’; Asloob Ahmad Ansari, ‘William Blake’s The Marriage of Heaven and Hell’; Neelima Vashishtha, ‘Sculptural depiction of the Ramayana themes in the temple of Dadhimatimata in Rajasthan’; A Jan Qaisar, ‘Packaging Technology and Stowing Technique during the Seventeenth Century’; Hassan Imam, ‘Educational and Political Perceptions of Muslim Women during Trivedi, ‘Female performing Artistes in North India: A Survey.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eAhsan Jan Qaisar (b. 1933) is a product of Aligarh Muslim University. He resigned from his alma mater in October 1994 as a Professor of Social and Cultural History. He is the author of two books published by the Oxford University Press, New Delhi: The Indian Response to European Technology and Culture, A.D. 1498-1707 (1982) and Building Construction in Mughal India: The Evidence from Paintings (1988). He edited Art and Culture (Felicitation Volume in Honour of Professor S. Nurul Hasan) in 1993 and Art and Culture: Endeavours in Interpretation in 1996, both jointly with Professor Som Prakash Verma. He worked as a Visiting Fellow for one year at the Indian Institute of Advanced Study, Shimla (India) during 1974 – 1975. He went to the U.K. on a visiting fellowship sponsored by the Indian Council of Historical Research, New Delhi (1977 – 78). Later he worked at the University of Wisconsin (Madison) during 1986-87 as a Fulbright fellow. He was the president of the medieval India section of the Indian History Congress on the occasion of its Golden Jubilee Year, held at Goa in 1987. He has been a member of the advisory board (Medieval India), Indian National Commission for History of Science (INSA), New Delhi. He also served as the Chairman of the above Advisory Board (1996 – 98). Qaisar has attended a number of International Seminars and Conferences on the History of Science and Technology. He has published path-breaking articles in many journals, Indian and foreign.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eProfessor Som Prakash Verma (b.1942), an art historian, at present at the Centre of Advanced Study, Department of History, Aligarh Muslim University, has three books and numerous articles to his credit. His Art and Material Culture in the Paintings of Akbar’s Court published in 1978 by Vikas Publishing House, New Delhi, may rightly be said to be the first authentic treatment of art as a source of history by an Indian scholar. His second work entitled Mughal Painters and Their Work – A Biographical Survey and Comprehensive Catalogue was published in 1994 by Oxford University Press, New Delhi. This is the first comprehensive book of reference as well as a critical reappraisal of the works of more than two hundred Mughal painters. His third book Mughal Pinter of Flora and Fauna, Ustad Mansur was published in 1999 by Abhivan Publications, New Delhi. He edited the volume Flora and Fauna in Mughal Art, Marg Publications, Mumbai, 1999.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eProfessor Verma is a practicing artist as well. He is the recipient of two prestigious awards by the Indian Academy of Fine Arts, Amritsar (1981) and the Academy of Fine Arts, Calcutta (1982).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn 1986-7, he worked at the Freer Gallery of Art, Smithsonian Institution, Washington, D.C. as a Fulbright Fellow.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eHere is yet another volume of our Art and Culture; actually the third one in our proposed series.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis volume carries the sub–title ‘Painting and Perspective’. Art, whether paintings or sculpture, is not value–free. We may go to the extent of saying that no human endeavor in any sphere of life can escape the value syndrome. The moment an individual, a group, or a community decides to create or do something, values, aspirations, and objectives start playing their role nay, their very decision is determined by an assortment of motivations and ideals. Utilitarian requirements and pragmatic considerations, too, cannot cold-shoulder the prevailing or fresh mores and values of a cultural environment.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIt is not rational to look upon paintings as a purely aesthetic exercise since aesthetics itself is a complex product of refined thought and reflection rooted in the psyche of social groups during the course of their various material activities.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eColor is the keystone of a painting, and do we need to remind ourselves that color is obtained from material objects? But colour combination in a painting for contrast or other purposes, is the result of the artist’s individual perceptions and insight. Indeed, a study of painting would be bereft of any meaning if they were not situated in their contemporary cultural construct.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eKeeping in view the above observations, the majority of the articles in the present volume in some way elaborate our understanding of what art constitutes. One can glean from paintings facets of science and technology, the daily life of the people, children’s games, symbols and signs of cultural significance, attitude towards nudity, etc. Sculpture claims only one contribution, depicting some episodes of the Ramayana.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eOf special mention is a piece of literary criticism concerning William Blake, the unique English poet, who used to illustrate his mystic verses in an exclusive manner. The reader will find that only three articles in the volume are without pictures: two belong to the category of women’s studies, and one is on an aspect of marine transport technology. We have avoided diacritical marks with some exceptions.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eWe take this opportunity to thank the contributors who warmly responded, when requested, to participate in our earnest undertaking.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eOnce again, we are sincerely grateful to our experienced and distinguished publisher Mr. Shakti Mali (Abhivan Publications, New Delhi) for bringing out this volume against heavy odds.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003eForeword\u003c\/td\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003e7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eList of Plates\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eContributors\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e16\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Miftah – ul Fuzala: A Study of an Illustrated Persain Lexion\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA. Jan Qaisar and Som Prakash Verma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAn Introduction to the Anwar – I Suhaili and its Illustrations\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA. Jan Qaisar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSymbols and Motifs in the Mughal School of Art\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSom Prakash Verma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSimilar Themes, Different Treatment: The Mughal Experience\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSom Prakash Verma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSimilar Themes, Different Treatment: The European Experience\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA. Jan Qaisar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eScientific Instruments: Evidence from Mughal Paintings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSreeramalu Rajeswara Sarma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e7.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOrdinary Life in Mughal India: A Survey of Mughal Painting\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e97\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSom Prakash Verma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e8.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWilliam Blake’s The Marriage of Heaven and Hell\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAsloob Ahmad Ansari\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSculpture Depiction of the Ramayana Themes in the Temple of Dadhimatimata in Rajasthan\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eNeelima Vashishtha\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e10.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePackaging Technology and Stowing Technique during the Seventeenth Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e127\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eA. Jan Qaisar\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEducational and Political Perceptions of Muslim Women during the first half of the Twentieth Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e139\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eHassan Imam\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e12.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFemale Performing Artistes in North India: A Survey\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e153\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eMadhu Trivedi\u003c\/b\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"A.Jan Qaisar and S.P. Verma","offers":[{"title":"Default Title","offer_id":43567037218954,"sku":"","price":2500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ArtandCulture.jpg?v=1693911035"},{"product_id":"mayamatam-2-volumes","title":"Mayamatam in 2 Volumes","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe Mayamata is a Vastusastra, i.e. a treatise on dwelling and as such it deals with all the facets of gods and mens dwellings, from the choice of the site to the iconography of the temple walls. It contains numerous and precise descriptions of villages and towns as well as of the temples, houses, mansions and palaces. It gives indications for the selection of a proper orientation, right dimensions, and of appropriate materials. It intends to be a manual for the architect and a guidebook for the layman. Well-thought of by traditional architects (sthapatis) of South India, the treatise is of great interest at a time when technical traditions, in all fields, are being scrutinized for their possible modern application.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe present bilingual edition prepared by Dr. Bruno Dagens, contains critically edited Sanskrit text, which is an improvement over the earlier edition by the same scholar and published as No.40 of Publications de I'Institute Francais d'Indologie, Pondicherry. The English translation, also published earlier, has now been revised with copious notes. The usefulness of the edition has been further enhanced by adding an analytical table of contents and a comprehensive glossary.\u003c\/p\u003e\n\u003cdiv data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eDr. Bruno Dagens (b. 1953) is an eminent Sanskritist and archaeologist. He is a member of the Ecole Francais d'Estreme-Orient. Dr. Dagens taught Sanskrit at the University of Louvain (Belgium) and did archaeological research in Afghanistan and Cambodia. He also worked, since 1977, at the Institute Francais d'Indologie, Pondicherry for quite a few years.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eBesides articles and research papers on the Archaeology and Iconography of monuments in Afghanistan and Cambodia, two earlier editions of the Mayamata and one edition of the Saivagamaparibhasamanjari (a compendium of Saiva doctrines and rituals), Dr. Dagens has authored Architecture in the Ajitagama and the Rauravagama (Sitaram Bharatia Institute of Scientific Research, New Delhi, 1984).\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe body of Sanskrit literature dealing with architecture and iconography is voluminous, even if scattered and insufficiently surveyed and it is matched by a vernacular literature, more scattered and less known. It comprises, first of all, independent works which can be classified under the general heading of \"technical treatises\" (silpaSastra) or under the more precise one of \"treatises on dwelling\" (vastuSastra) or \"treatises on dwellings\" (vastuSastra) The scope of these works, and that of the domain they cover, varies considerably and that goes for the comprehensive treatises as much as for those which confine themselves to limited subjects, such as iconography or astrological points bearing upon the founding and the construction of a house. There are few specialized works of importance in this category even so, architecture and iconography being more often dealt with in various works, whether more or less ambitious encyclopaedias or treatises which concentrate upon areas where architecture and iconography are involved. Some of the main purana or upapurana are to be found in this category (e.g. Matsyapurana, Agnipurana, Visnudbarmottarapurana ... ) along with encyclopaedias of royal inspiration (e.g. Manasollasa of Somesvara, Samaranganasutradbara of Bhoja ... ) and the Saivite and Vaisnavite agama of various persuasions, as well as the Grbyasutra. the Arthasastra and the Brhatsamhita. These types of works are just those in which the material is most abundant but most scattered; it should be added that a number of small independent treatises are nothing more than extracts from much larger works and, as well, that it is hard to be sure whether the Purvakamikagama has borrowed from the Mayamata the very great number of passages common to both texts or whether the reverse is the case (see below).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThat the dispersion is also historical and geographical only complicates the problem still further: the architecture and iconography, as they appear in a given work, are but the reflection of what was in existence during the time of its drafting in the region where that was done; significant in relation to the described forms, this factor is also apparent in the technical vocabulary which is always more or less marked by regional usage, as well as by borrowings from the vernacular. Then, there is the sectarian bias, whether stressed or not and very apparent in the iconography and also, even if to a lesser degree, in complex architectural forms, if not in their elements envisaged separately.\" The pretension to universality of many of these texts does nothing to conceal this phenomenon, and whether the regional and sectorian features are more or less emphasized, they are still, usually, obvious. It must also be added that the Indian or, more precisely, the Hindu koine, is so much the fruit of such a mixture of regional and unitarian trends that each author, or school, may legitimately imagine that its day-to-day reality is nothing but an accurate reflection of the whole Indian world.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn that very extensive and widely disseminated range of works, the Mayamata occupies a fairly well defined place. It is a general treatise, a vastusastra, written in Sanskrit but originating from Dravidian India, most probably from the Tamil area; it is part of the Saivite agamic literature without the connection being underlined by any pronounced sectarianism and its drafting must have been done during the Cola period, at the time when the architecture it describes had reached the peak of its maturity. Comprising about 3300 verses and divided into 36 chapters, it is identified as a vastusastra, that is, as a treatise on dwelling, for it defines the vastu as \"anywhere where immortals or mortals live\" (2.1)' This definition is followed by specifications which show that the concept of housing is very wide and is divided into four categories: the Earth (considered as original dwelling), buildings, vehicles and seats (which last three are nothing but \"vastu\" deriving from the first \"vastu\",the Earth). Once iconography has been added to this list we have a panorama, brief but inclusive, of the content of the work. Leaving aside here the details of this content which we will analyse further on, we note that the Mayamata is arranged in three large sections: the first (Chapters 1-10) deals with dwelling sites, the first vastu, the second section with buildings (Chapters 11- 30) and the third (Chapters 31-36), with the last two vastu, vehicles and seats, and with iconography (Linga images and their pedestals). In these different sections are found entire chapters or significant passages consecrated to particular topics in the sphere of technique or that of the ritual which sets the pace for the construction: system of measurements and quality of the architects (Chapter 5), orientation and laying-out (Chapters 6-7), offerings to the gods of the site (Chapter 8), foundation deposit (Chapter 12), joinery (Chapter 17), rites for the end of the construction of a temple and for the first entry into a house (Chapters 18 and 28) and renovation work and associated rites (Chapter 35).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe work as a whole is coherent in spite of various interpolations which are sometimes, but not always, indicated by changes in the metres.\" These appear quite frequently in chapters describing temples where they often give information on details of decorative motifs which were evidently mentioned, though not described, in the original text; in the same way the description of a pavilion of the siddha type (25.39 sq.) is interrupted by fourteen verses given over to ritual firepits (kunda); this interpolation would seem to have been entailed by the mention of the fact that the siddha pavilion may serve \"for all rituals\"; sometimes definitions of terms have been added, such as in Chapter 26 where we are given, but quite untimely, precise meanings for vimana, barmya and malika (26.100). These interpolations do not seem to give rise to any great internal discrepancy; it is only to be noted that the mention, in a general chapter on temples, of thirteen, fourteen and sixteen storeyed temple ( 11.19) seems to be the result of an updating of the text which never otherwise describes temples with more than twelve storeys (22.66 sq., see below ).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThat the Mayamata belongs to Saivasiddhanta literature is demonstrated by the leading place given to Siva temples, by the chapter given over to the Linga and especially by the speculations on the nature of the Linga which it contains and, lastly, by the pantheon described in Chapter 36 which is essentially that found in saivagamas. This being said, the Mayamata nevertheless does not appear to be a sectarian work; the list of Siva's Attendants is followed by a list of those of Visnu (Chapter 23) and Chapter 36 includes descriptions of images of Buddha and Jina which are not usual in agamic literature, no more than are mentions of the temples of these two deities such as are found here in the chapters dealing with villages and foundation deposits (9.70 sq. and 12.59 sq.). Ram Raz, who has noted the tolerance shown in the Mayamata (and the Mana- sara ) towards Buddhists and jains, says however that the locations attributed to the cult places of these two sects were close to those suitable for inferior deities or for malignant spirits.This absence of sectarianism is marked in a much more general way by constant references to a very classical society such as is presented in the Dbarmasastras. The society for which arc intended the construction prescribed by the Mayamata is that of the four uarnas and the \"others\", who are installed at a distance and who are responsible for polluting tasks such as refuse collection (e.g. 9.95-98). If the society of the Mayamata is that of the Dharmasastras, its political organization is that of the Arthasastra; there too the references to classical India are very evident, as well where they concern the hierarchies of towns and villages, as when they give the method of organizing the defence of a kingdom with forts, and the way in which the royal council chamber is to be arranged (cf. Chapters 9 and 10 and 29.191 sq.).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIt may be said, quite definitively, that the aim of the Mayamata is to organize the integration of the external manifestations of siddhanta Saivism in a context which could be qualified as \"non-sectarian Hindu\", so as to avoid the term \"secular\" which is not very appropriate when speaking of traditional India.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThis is our third MAYAMATA and it owes a lot to the former Institute of Indology (now French Institute of Pondicherry) we have retained without any substantial change the Sanskrit text and, after revision and emendation, the material for many of the footnotes, which have been added to the translation. That last, as well as the Introduction, has been borrowed after revision from our second work published in 1985 by the Sitaram Bhartia Institute of Scientific Research; we have tried to clarify it on several points, without however being able to make more than little progress in the interpretation of the ones. From the first published in 1970-1976 by the French passages dealing with timber work (chapters 18 and 25). The drawings of that second edition too have been kept with slight corrections; it should be reminded that they are meant to be no more than tentative sketches. Lastly an Index-glossary and an Analytical table of contents have been prepared.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe helps received since 1964 when the late Professor Jean Filliozat introduced us for the first time to the MAYAMATA, have been too numerous to be acknowledged one by one; exception is to be made however for that brought by Pandit N.R. Bhatt, founder and former Head of the Sanskrit Department at the French Institute of Pondicherry; I owe him more than can be expressed.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eLastly we thank Mrs. Kapila Vatsyayana for having asked us some years ago to prepare that book for the I.G.N.C.A. series, and for having friendly stood for out endless delays.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eForeword\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn the series of Kalamulasastra early texts on music, namely, Matralaksanam, Dattilam and Brhaddesi, have been published. The medieval texts on music, specially, the Sri hastamuktavali (No.3 in the series) and the Nartananirnaya (No.17 in the series), bring us upto the 15th and 16th century. In the case of architecture, despite the IGNCA's endeavour to publish portions of the Brhatsamhita, the Agnipurana and the Visnudharmottara-purana, first this has not been possible. Instead, our scholars wrere able to complete work first on a late but important text, namely, silparatnakosa. We hope that the sections on architecture in the Brhatsamhita, the Agnipurana and the Visnudharmottara-purana which predate the medieval texts, will be published soon, alongwith revised and re-edited texts of Manasollasa and Aparajitaprccha.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe Mayamatam is the fourteenth and fifteenth volumes in the Kalamulasastra series of the Indira Gandhi National Centre for the Arts (IGNCA).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eUrban development and city planning was, undoubtedly, known to the Mohenjodaro, but its most outstanding survivals of the historical period are in South India. The layout of Tanjore and later, Madurai has been widely commented upon. Understandably, technical texts, which devote attention to village, city planning, house building and temple construction, should be expected. An outstanding example of a comprehensive text, comprising thirty-six chapters, is the Mayamatam, written sometime between 11th and 12th century. The text is, obviously, a deduction from existing practices and actual structures rather than an abstract theoretical treatise on architecture. Its contents are more systematic than those found in other comprehensive texts, such as, the Manasollasa or the Samaranganasutradhara. The latter two are encyclopaedic in nature but are not tightly structured. In contrast, Mayamatam is more definitive and coherent as it situates itself within the larger saiva tradition and even more particularly, the Saivagama tradition and takes into account actual town and village layouts and temple construction. While it would be debatable whether the text precedes or succeeds the construction of the Brhadisvara with architectural plans, techniques of construction and the modular approach in regard to the number of storeys. The text assumes importance not only for its detailed descriptions of temples, but also for its detailed descriptions of houses for different categories of inhabitants in a village and a city, entrances, exists, ventilations and much else. Equally revealing is the concern with examination of the site, the analysis of the soil, the preparation of the foundations, the materials to be used and the methods of construction. A comparative study of the valuable date in this text, with techniques, which survive with the traditional sthaptis and others, would be the next rewarding journey.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eAs we have observed elsewhere Vastu and the Agama traditions are complementary and often they overlap. This was evident in the Svayambhuvasutrasamgraha and this interdependence has been highlighted by Prof. Pierre Filliozat in his Introduction. The Mayamatam, likewise, complements material in the Kamikagama specially the section on the Purvakamikagama and the two should be seen together, because while the text on architecture details the techniques of construction, the Agama texts lay down the process by which the material is transubstantiated to a non-material plane.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe text of the Mayamatam also interlinks the IGNCA programmes of studying the area of Tanjore and the Brhadisvara Temple. In a related programme, precise measurements have been taken of the city, new layout plans have been made, the Tmple has been measured precisely and a new set of drawings of ground plans, elevation and sections, is ready. Alongside, a volume on sculpture of the Temple, not understood in isolation but in its aspect of a programmed orchestration of the outer and the inner, the lower and the higher is ready for publication. Inscriptions have been re-assessed from the point of view of their placement and the contents of these inscriptions, specially those that have been deciphered recently, throw a fund of information on the organization of temple architecture activity. Alongside, the temple rituals are being documented. Studies are being carried out in regard to adherence or departures in contemporary practice of these rituals from the Agamas- whether the Kamikagama or the Makutagama. A comparison of the material of Mayamatam and the studies in the Brhadisvara project will, undoubtedly, throw up a new set of issues for further study.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eWith the publication of a group of monographs relating to the Brhadisvara Temple, including the Isanasivagurudevapaddhati and the Makutagama, the architectural, sculptural, painting and epigraphical volumes, and the volume based on the socio-political and cultural aspects and the history of the period and region, and the Mayamatam the Institute will have, hopefully, provided a new or, certainly, an alternate medel for the study of cultural areas and regions. Here theory and practice-the textual and the oral, the historical and contemporary, the monument, the texts and the living traditions are being investigated as interpenetrative categories.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIndira Gandhi National Centre for the Arts is grateful to Dr. Bruno Dagens, Editor and Translator of this edition of the text. A French edition was published by the French Institute of Indology, Pondicherry, in 1970-76 and an English translation of the text from Sitaram Bharatia Institute of Scientific Research was published in 1985. The present edition is a revision of Dr. Bruno Dagen's critical text published as also a revision of the English translation. He has provided an insightful introduction and an exhaustive glossary of technical terms, which will be an invaluable source of understanding for future scholars. Dr. Bruno Dagens brings to this edition the sensitive understanding of an excavator and an archaeologist. Thus, many complex passages have been edited by him with a view not only of grammatical correctness but also from the point of view of comprehension as statements of architectural construction. The question of homogeneity of this text - whether it was all composed during Cola or the post Cola period is somewhat debatable. Dr. Bruno Dagens concedes that there may be some interpolations. However, the question of interpolations in the Indian textual tradition is itself a complex matter. The text was never considered to be a frozen text. Since at all times the text reflected actual practices, as and when actual practices went through modifications, these changes were reflected in the subsequent texts or incorporated into an already prevalent text. Elsewhere, we have taken up the question \"What constitutes the authenticity of a text in the Indian tradition, other than the Vedic text under the category of Sruti?\". The Mayamatam, like many other texts in different disciplines but particularly the arts, is also not a frozen text of a particular fixed date and time, but belongs much more to the stream of evolution and development of distinctive schools of architectural style.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI would like to take this occasion to thank Dr. Bruno Dagens for preparing the present text and thank my colleagues, especially Dr. N.D. Sharma who has assisted in proof-reading of the Sanskrit documents and publications, and Prof. Satkari Mukhopadhyaya, for supervision.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable data-mce-fragment=\"1\" width=\"100%\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"80%\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVol. I\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eForeword\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePreface\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTable of figures\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAnalytical table of contents of Mayamata\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIntroduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exxxix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eText and translation of Mayamata (Chapter 1 to 23)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter1:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSummary\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMaya, auditor of the Lord of the Universe and author of the treatise(1-2). Summary of the treatise (3-11).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: divine origin of the treatise which deals with divine and human dwellings (14).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter2:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDwelling sites\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e7\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDefinitions:\u003cbr data-mce-fragment=\"1\"\u003e-Varieties of dwelling sites(1-3); principal and secondary sites (4-6a);\u003cbr data-mce-fragment=\"1\"\u003evarious kinds of dwelling sites (6b-8); the Earth as main site (9). Characteristic of sites intended for Brahmins, kings, vaisys and sudra (10-15).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: the perfect site (20).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter3:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eExamination of the site\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAuspicious characteristics (1-10a).\u003cbr data-mce-fragment=\"1\"\u003eInauspicious characteristics (10b-19).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: the perfect site (20).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter4:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTaking possession of the site\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHow to take possession of the site:\u003cbr data-mce-fragment=\"1\"\u003e-Dismissing of spirits and others (1-3); ploughing, seeding and grazing (4-8a); offering (8b-10a).\u003cbr data-mce-fragment=\"1\"\u003eNew examination is necessary before taking possession of the site (19).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter5:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSystem of measurements\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e23\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSystem of measurements:\u003cbr data-mce-fragment=\"1\"\u003e-Definition of the various units(1-6a); when to use them (6-11a); unit for rituals etc. (11b-12).\u003cbr data-mce-fragment=\"1\"\u003eThe four technicians:\u003cbr data-mce-fragment=\"1\"\u003e-Names (13-14a); the architect (14b-18a); the sutragrabin (18b-19); the taksaka (20); the vardhaki (21-22a); qualities of technicians (22b-24).\u003cbr data-mce-fragment=\"1\"\u003e-Envoi: such technicians are indispensable (25).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter6:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOrientation\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePreliminaries:\u003cbr data-mce-fragment=\"1\"\u003e- Choice of date (1-2a); preparation of the ground (2b-3a); making the gnomon (3b-7a).\u003cbr data-mce-fragment=\"1\"\u003eFixing the cardinal points:\u003cbr data-mce-fragment=\"1\"\u003e-Drawing east-west and north-south lines (7b-13a); values of apacchaya (11b-13).\u003cbr data-mce-fragment=\"1\"\u003eLaying out the building:\u003cbr data-mce-fragment=\"1\"\u003e--Making rope and stakes (14-18); the lines to be drawn: definitions (19-21a); order to be followed in drawing them (21b-24a); drawing the lines for four main building houses (24b-26).\u003cbr data-mce-fragment=\"1\"\u003eThe apacchaya (cont.)\u003cbr data-mce-fragment=\"1\"\u003e-Various (27); when to make adjustments (28).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter7:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDiagrams\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eList fo the thirty-two diagrams (1-21).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions:\u003cbr data-mce-fragment=\"1\"\u003eSakala diagram (22); pecaka diagram (23); pitha diagram(24); mahapitha diagram (25-27); upapitha and other diagrams (28-29).\u003cbr data-mce-fragment=\"1\"\u003eTwo two main diagrams (manduka and paramasayin):\u003cbr data-mce-fragment=\"1\"\u003e-Common characteristics (30-33a); names of the gods and their respective places (33b-42); manduka diagram (43-48); the Spirit of the site (49-56); manduka diagram (cont.) (57); Paramasayin diagram (58).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter8:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOfferings\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e51\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndividual offerings (1-15); common offerings (16-20); placing the gods (21-23).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter9:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVillages planning\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDimensions of settlements:\u003cbr data-mce-fragment=\"1\"\u003e-System of measurements (cont.): liner (1b-2a) and square (2b-4a) units; dimensions of village settlements (4b-8a); dimensions of towns (8b-10); dimensions of village, kheta, kharvata, forts and cities (10-16a); proportions of villages, kheta, kharvata, forts and cities (10-16a); proportions (16b-18a); the ayadi system (18b-24).\u003cbr data-mce-fragment=\"1\"\u003eNumber of Brahmins to be installed in a settlement (25-31).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Choosing a diagram(32-33a); list of village types(33b-34); various kinds of streets (35-39); definition of various kinds of settlements (40).\u003cbr data-mce-fragment=\"1\"\u003eDescription of village type:\u003cbr data-mce-fragment=\"1\"\u003e-Dandaka type (41-42); svastika type (43-45); prastara type (46); prakarnaka type (47); nandyavarta type (18-50a); paraga type (50b-51a); padma type (51b-52); sripratisthita and srivatsa types (53-54a).\u003cbr data-mce-fragment=\"1\"\u003eVillage planning:\u003cbr data-mce-fragment=\"1\"\u003e-General rules (54b-56); doors and sewage outlets (57-60a); defences (50b-60a); concentric zoning (61b-63); shrines (64-75); layout of centre of village (75b-78); harmony between settlement of shrines (84-85); the body of the Spirit of the Site is not to be harmed (86); arrangement of amenities and dwelling quarters (87-91a); houses: dimensions and types (91b-94); constructions around the village (95-98); errors to be avoided in plainning (99-100).\u003cbr data-mce-fragment=\"1\"\u003eThe foundation deposit for villages:\u003cbr data-mce-fragment=\"1\"\u003e-Components (101-122a); location (122b-128).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: Gifts to architect and others and their fruits (129-130).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter10:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTowns\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDimensions of towns (1-12)\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-The surrounding wall: layout and dimensions (13-16a); choice of a diagram and places to be avoided (16b-17a); streets (17b-18).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions of towns and other settlements:\u003cbr data-mce-fragment=\"1\"\u003e-Rajadhanin or the king's capital (19-26a); khata (26b); kharvata and janasthanakubja (27); pattana or harbour (28b-29a); sibira (29b-30a); senamukha (30b-31a); sthaniya (31b-32a); dronamukha (32b-33a); vidamba and kotmakolaka (33b-34a); nigama (34b-35a); skandhavara and cerika (35b-36a).\u003cbr data-mce-fragment=\"1\"\u003eFort:\u003cbr data-mce-fragment=\"1\"\u003e-Types (36b-38); qualities to be sought (39-40a); gateways (40b-42a); walls (42b-46a); stores (46b-48a); qualities to be sought (cont. 48b-49a). gods of the fort (49b-51a).\u003cbr data-mce-fragment=\"1\"\u003eTown plans:\u003cbr data-mce-fragment=\"1\"\u003e-General rule regarding the number of streets (51b-54a); dandaka, kartaridandaka, bahudandaka, kalakabandhadandaka, vedibhadra and svastika types of plan (54-61a); bhadraka, bhadramukha, bhadrakalyana, mahabhadra, vastubhadra and subhadra types (62-67a); jayanga, vijaya and sarvatobhadra types (67b-76).\u003cbr data-mce-fragment=\"1\"\u003eTown planning:\u003cbr data-mce-fragment=\"1\"\u003e-Habitation quarters and bazaars (77-87); shrines (88-89a); outside constructions (89-90); specificity o pattana (91b-c); list of various kinds of settlement(92).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: Gifts architect and others and their fruits (93-94).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter11:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe number of storeys and the dimensions\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e113\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDifferences regarding the plan of buildings and the number of their storeys(1-3a).\u003cbr data-mce-fragment=\"1\"\u003eDimensions of buildings according to number of storeys (3b-22a).\u003cbr data-mce-fragment=\"1\"\u003eDestination of buildings according to number of storeys (22b-25).\u003cbr data-mce-fragment=\"1\"\u003eMaximum size to be given to a building (?)(26).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: contents of the chapter (27).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter12:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe foundation deposit\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e121\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Why a foundation deposit is necessary (1-3a); the foundation pit (3b-8); the casker (9-15a); preliminary rites (15b-22); content of the casket (23-32).\u003cbr data-mce-fragment=\"1\"\u003eTemples foundation deposit:\u003cbr data-mce-fragment=\"1\"\u003e-Deposit for Siva temple (33-46a); deposits for Visnu (46b-48a), for Brahma (48b-51) and for Sanmukha (52-53); deposits for dikpalas and similar Attendants (54-58); for Buddha (59-60), for Jina (61-63), for Durga (64-65a) and for Ksetrapala (65b); deposits for Laksmi, Sarasvati, Kali, the Mothers, Rohini, Parvati, Mohini, etc….(67-70).\u003cbr data-mce-fragment=\"1\"\u003eDeposits for human dwellings:\u003cbr data-mce-fragment=\"1\"\u003e-Deposits for each of the four varna (71-83); deposits for the principal main buildings of catussala (84-87); deposits for various buildings (88-95); general points: deposit is not to be placed when he house mistress is pregnant(95); orientation of deposit (97); formula for foundation (98); deposits for wells… etc. (99_100).\u003cbr data-mce-fragment=\"1\"\u003eThe first bricks:\u003cbr data-mce-fragment=\"1\"\u003e-Number, nature and dimensions (101-108a); placing the first bricks (108b-111).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Order of operations (112); placing a pillar or a door jamb above the deposit(114).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter13:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe socle\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e151\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDefinition and proportions (1-5).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions:\u003cbr data-mce-fragment=\"1\"\u003e-Vedibhadra types (6-8); pratibhadra types (9-14); subhadra types (15-19a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral rules:\u003cbr data-mce-fragment=\"1\"\u003e-Decoration (19b-20); proportions (21-22).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter14:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTha base\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e157\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFoundation works:\u003cbr data-mce-fragment=\"1\"\u003e-Dry and moist grounds (1-4a); preparing the ground (4b-8).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Regulating course, base and socle (9-11a); definition of base (11b); height of the base (12-16); projection(17-18).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions:\u003cbr data-mce-fragment=\"1\"\u003e-Padabandha base (19-20); uragabandhu base (21-22); pratikrama base (23-24); padmakesara base (25-26); puspapuskala base (27-28); sri bandha base (29-30); mancabandha base (31)srikanta base (32); srenibandha base (33); padmabandha base (34); vaprabandha base(35); kapotabandha base(36a); pratibandha base (36b); kalasa base(37);\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Decoration and proportion (38-39); synonyms for 'base'(40); projection and recess (41-44); rule for interruption of base and stereo bate (45-47).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter15:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDimensions of pillars and choice of materials\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e179\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePillars:\u003cbr data-mce-fragment=\"1\"\u003e-General points:\u003cbr data-mce-fragment=\"1\"\u003e-Synonyms for 'pillar' (2); dimensions (3-8); various kinds of pillars:pratistambha, nikhatastambha, jhasalastambha (9-11a); rule for pillar diameter (11b-12).\u003cbr data-mce-fragment=\"1\"\u003e-Descrioptions:\u003cbr data-mce-fragment=\"1\"\u003e-Brahmakanta, vinsukanta, indrakanta, saumya, purvasra, rudrakanta and rudracchanda pillars (13-17a); proportion of lotiform base (17b); bhadraka pillar (18-19); sundupada and pindipada pillars (20-22a); ictrakhanda, srikhnda and srivajra pillars (22b-26a); ksepanastambha(26b-27a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Pillar assembly, general use of bracket capital, definition of module (27b-29a).\u003cbr data-mce-fragment=\"1\"\u003e-Capitals:\u003cbr data-mce-fragment=\"1\"\u003e-Types of bell-capital (29b-30); pillar upper part arrangement (31); bell capital (32-34a); abacus and other elements (34b-39a); bracket capital: dimensions (39b-42); description (43-47), various types (48-50).\u003cbr data-mce-fragment=\"1\"\u003e-Pilasters projection (51); intercolumniation (52-54); wooden and stone pillars (55-56); placing the reference line (57-58a); how to calculate the height of a building (58b-59a); placing the reference line (cont.)(59b-61a).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChoice of building materials:\u003cbr data-mce-fragment=\"1\"\u003e-Materials to be used (61b)\u003cbr data-mce-fragment=\"1\"\u003e-Characteristics of correct materials:\u003cbr data-mce-fragment=\"1\"\u003e-Trees (62-63); list of trees suitable for pillars (64-67a); stone is not to be used for vais, a and sudra buildings (78-79a); pure, 'mixed' and 'mingled' building (79b-80).\u003cbr data-mce-fragment=\"1\"\u003e-Search for timber:\u003cbr data-mce-fragment=\"1\"\u003e-Preliminary rites (81-83); 'male', 'female' and 'neuter' trees (84-86); cutting the tree(87-92); omens (93-98); squaring, transporting and storing timber (99-102); storing the nails, etc. (103-104a); making a muhurtastambha (104b-108); list of trees not to be used for human dwellings (109-114).\u003cbr data-mce-fragment=\"1\"\u003e-The making of bricks:\u003cbr data-mce-fragment=\"1\"\u003e-Choice of earth (115-116a); mixing earth with water and various saps (116b-118a); dimensions of bricks (118b-119a); drying and baking (119b); testing the bricks (120).\u003cbr data-mce-fragment=\"1\"\u003e-Envoi: why good materials are to be chosen (121).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter16:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEntablature\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e213\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe architrave and its upper fascia:\u003cbr data-mce-fragment=\"1\"\u003e-Three kinds of architrave (1-3); four kinds of arrangement for entablature (4); the upper fascia (5-7a).\u003cbr data-mce-fragment=\"1\"\u003eVarious features:\u003cbr data-mce-fragment=\"1\"\u003e-Braces (7b-9a); consoles (9b-10a); lierne and cornice (10b-15); struts (16-18a); decoration of cornice (18b-20a); upper fascia (cont.) (20b-23a); cornice (cont.) (23b-27); frieze: description (28-32a), various kinds (32b-35).\u003cbr data-mce-fragment=\"1\"\u003eThe ceiling:\u003cbr data-mce-fragment=\"1\"\u003e-Arrangement of architrave and pillars (41b-42a); orientation of architrave, beams, etc. (42b-44a); arrangement of beams, valika, joists and small joists (44b-45); decoration of entablature and making of ceiling (46-47); height of entablature (48); preparation of coating (49); even and odd measurements (50a); position of the door (50b); rule for arrangement of stereobate (51-53).\u003cbr data-mce-fragment=\"1\"\u003eLatticed windows:\u003cbr data-mce-fragment=\"1\"\u003e-Position and dimensions (54-55a); arrangement of upright and transoms (55b-56a); various types of latticed window (56b-60a); jambs and shutters (60b-61); circular windows(62).\u003cbr data-mce-fragment=\"1\"\u003eWalls:\u003cbr data-mce-fragment=\"1\"\u003e-Three sorts of walls (63); description of latticed and plank walls.\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: contents of the chapter and emphasis on rules regarding stereo bate (67).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter17:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eJoinery\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e235\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Definition (1); basic principle (2); varieties of assembly: names(3); how to make an assembly (4-8a); position of pieces to be joined (8b-10a); varieties of assembly (cont.); definitions (10b-15a).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions:\u003cbr data-mce-fragment=\"1\"\u003e-Sarvatobhadra assembly (15b-18); nandyavarta assembly (19-22a); svastibandha assembly (22b-23); vardhamana assembly (24-26a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral rules for successful assemblies (26b-28).\u003cbr data-mce-fragment=\"1\"\u003eAssemblies for pillars and for pillars (29) and horizontal elements (30); assembling the pillars: types of assembly (31-34); general rules (35-37); assembling the horizontal elements: types of assembly (38-34); general rules (35-37); assembling the horizontal elements: types of assembly (38-41); general rules (42-43).\u003cbr data-mce-fragment=\"1\"\u003etenons and pegs (44-45a).\u003cbr data-mce-fragment=\"1\"\u003eErrors regarding tenons and pillars (45b-46); position on diagrams (47-49); middle regarding tenons and pillars (45b-46); position on diagrams (47-49); middle of pieces (50-51a) and confusion of elements (51b-53a); evil result of an error (53b-54); errors regarding use of old pieces (55-56); assembly of pillars and architrave (57-58a) and assembly above the place of Brahma at the centre of the building (58b-59); error regarding male, female and neuter woods (60); happy fruit of a correct assembly (61).\u003cbr data-mce-fragment=\"1\"\u003eDescription of a special assembly(\/) (62).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter18:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eMaking of the roof and completion of the building work\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e251\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eUpper levels of elevation:\u003cbr data-mce-fragment=\"1\"\u003e-The attic:\u003cbr data-mce-fragment=\"1\"\u003e-Height (2); projections and recess (3-5a); decorative elements (5b-7a).\u003cbr data-mce-fragment=\"1\"\u003e-The roof:\u003cbr data-mce-fragment=\"1\"\u003e-Different types of roof and their proportions (7b-12a); proportions and names of corresponding types of rafter work (12b-14); roof shapes (15-17).\u003cbr data-mce-fragment=\"1\"\u003eHeight of the finial (18-19).\u003cbr data-mce-fragment=\"1\"\u003e-Roof timber work:\u003cbr data-mce-fragment=\"1\"\u003e-Number of rafters (20); puskara(?) (21-22); dimensions of rafters (23-29); the five categories of rafters (30-31); rafter work of a wagon roof (?) (32-35); timber-work of a pyramid roof (?) (36-37); dimensions of various roof elements (38-45); roofing (46-47a); lierne and other elements (?) (47b-64); roofing (cont.) (65-66a); axis of the finial: dimensions (66b-67) and setting up (68-77); decoration of the porch gable (78-81).\u003cbr data-mce-fragment=\"1\"\u003e-The finial:\u003cbr data-mce-fragment=\"1\"\u003e-Position of final axis (82); height (83-87a) and width (87b-89a) of finial parts; finial support (?) (89b-90); the finial is suitable only for the first three varna (91).\u003cbr data-mce-fragment=\"1\"\u003eCoatings and mortars:\u003cbr data-mce-fragment=\"1\"\u003e-Different kinds (92-98a); preparation of kalka and cikkana (98b-101a); preparing of bandhodaka (101b-103); making a roofing (?) and a gutter (104-108); paintings (109-112a); recipe to make a rock-like mortar (112b-115).\u003cbr data-mce-fragment=\"1\"\u003e-The crowning bricks (116-121a).\u003cbr data-mce-fragment=\"1\"\u003e-Axis of the finial (cont.): materials, shape and dimensions (121b-127a).\u003cbr data-mce-fragment=\"1\"\u003eConsecration ceremony:\u003cbr data-mce-fragment=\"1\"\u003e-Laying in place of the crowning bricks:\u003cbr data-mce-fragment=\"1\"\u003e-Preparatory rites: arrangement of pavilion (127b-133a); placing the bricks and the finial axis in that pavilion (133b-134a); offerings (134b-136a); settling of the architect for the night (136b-138a).\u003cbr data-mce-fragment=\"1\"\u003eMorning rites: dressing of the architect (138b-141a); meditation (141b-142); washing the bricks and the finial axis (143).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e-Setting the bricks: climbing up the roof of the building and placing the bricks (144-147a); placing a sacred deposit under the axis of finial (147b-151); hanging a banner and clothing the building (152-154); honoraria for the architect and others (155-156); where to place the deposit in various kinds of building (157-158).\u003cbr data-mce-fragment=\"1\"\u003e-General rules for the completion of the building work (159-169).\u003cbr data-mce-fragment=\"1\"\u003e-Summary of what has been already told in this chapter (163)\u003cbr data-mce-fragment=\"1\"\u003e-Axis of the finial (cont.): suitable woods (164).\u003cbr data-mce-fragment=\"1\"\u003e-Consecration rites:\u003cbr data-mce-fragment=\"1\"\u003e-Choice of a correct time (165); preparatory rites: arrangement of a consecration pavilion (166-170a); placing twenty-five vases and invoking the gods (170b-172); setting of the architect for the night (173-174); arrangement fo a sacrificial pavilion (175-178a); placing the murtikumbha in that pavilion and dressing the temple (178b-181); offerings to the divinities of the site (182-184).\u003cbr data-mce-fragment=\"1\"\u003e-The opening of the eyes (185-188); climbing up again the temple roof and handing banners (189-193a); making the vase of the finial and setting it in place (193b-195); consecration formula (196-198); end of the architect and others (202-206).\u003cbr data-mce-fragment=\"1\"\u003e-General rules for the consecration:\u003cbr data-mce-fragment=\"1\"\u003e-Necessity for the consecration ritual (207-210); the architect officiates in the consecration (211-212); the time for consecration (213-214); placing the vases (215).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: the rules to be followed for success.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter19:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eOne storeyed temples\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e307\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral features of single storeyed temples:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions and proportions (1-3a); shapes (3b-4a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples:\u003cbr data-mce-fragment=\"1\"\u003e-The pavilion in front of the shrine (4b-9); synonyms designating buildings (10-12); dimensions of the sanctum (13-15a); proportions of the finial (15b-17); false-dormer windows set in the roof (18-19a); the attic stereo bate (19b); the door (20-22); the gargoyle: position (23-24); description (25-28); alternative position (29).\u003cbr data-mce-fragment=\"1\"\u003eGeneral appearance of single storeyed temples (30-34).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003eNagara, dravida and vesara categories (35-38); images to be set on temple facades: ground floor (40-43); second floor (44-45a); third floor (45b-46); attic (47-48a).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: decorative elements which may used. (48b-49).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChpater20:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTwo storeyed temples\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e325\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDimensions and proportions of two storeyed temples (1-5)\u003cbr data-mce-fragment=\"1\"\u003eDescriptions of two storeyed temples:\u003cbr data-mce-fragment=\"1\"\u003e-Svastika type (6-7); vipulasundara type (9b-10a)\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples:\u003cbr data-mce-fragment=\"1\"\u003e-Aediculae (10b-12a).\u003cbr data-mce-fragment=\"1\"\u003eDescription of two storeyed temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Kailasa (12b-13a); parvata (13b-16a); svastibandha (16b-18a); kalyana (18b-19); pancala (20); visnukanta (21); sumangala (22-23); gandhara (24); hastiprstha (25-26); manohara (27a); isvarakanta (27b-28a); urttaharmya (28b-29a) and kuberakanta (29b-30a).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: there are fifteen types of two storeyed temple (30b-31a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regading temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Male,female and neuter building (31b-34a).engaged structures (35); arcatures: proportions (36-37) and positions (?) (38-39).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter21:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThree storeyed temples\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e337\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDimension and proportions of three storeyed temples (1-2a).\u003cbr data-mce-fragment=\"1\"\u003eDescription of three storeyed temples:\u003cbr data-mce-fragment=\"1\"\u003e-Svastika type (2b-10); vimalakrti type (11-14); hastiprstha type (15-18a)\u003cbr data-mce-fragment=\"1\"\u003eGeneral points points regarding temples:\u003cbr data-mce-fragment=\"1\"\u003e-The pavilion in front of the shrine: proportions (18b); decorative features (19-20); position of the reference line(21-23a).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions of three storyed temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Hastiprstha type (cont.)(23b-29a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Arcatures: tambhatorana (29b-33).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions of three storeyed temples (cont.)\u003cbr data-mce-fragment=\"1\"\u003e-Hastiprstha type (cont.) (34-40a); bhadrakostha type (40b-48a); vrttakuta type (48b-49); sumangala type (50-51); gandhara type (52-59); sribhoga type (60).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Aediculae (61-64a); new classification: buildings with and without aisle (64b-65); the sanctum (66); stereobate (67); arcatures (cont); patratorana, makaratorana and citratorana (68b-80a); other decorative elements; kumbhalata (80b-81), stambhakumbhalata (82-83) and vrttasphutita (84-86a); stairs: four types of stairs (86b-90), rule for step (91-92), proportions and location of stairs(93-97).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: arcatures and stairways have been described in this chapter (98); nagara, dravida and vesara temples (99).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter22:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTemples with four or more storeys\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e363\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFour storeyed temples:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions and proportions (1-2); Descriptions: subhadraka type (3-12); srivisala type (13-14); bhadrakostha type (15-24a); jayavaha type (24b-34a); bhadrakuta type (34b-36).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples:-The kapotapanjara (37-42).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions of four storeyed temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Bhadrakuta type (cont.) (43-46a); manohara type (46b-47a); avantika type (47b-48); sukhavaha type (49-54).\u003cbr data-mce-fragment=\"1\"\u003eFive storeyed temples (55-57).\u003cbr data-mce-fragment=\"1\"\u003eTemples with six to eleven storeys (58-66a).\u003cbr data-mce-fragment=\"1\"\u003eTwelve storeyed temples (66b-71a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points regarding temples (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Odd and even measurements: proportion of aediculae (71b-73); engaged structures for temples with four storeys or more (74-75); aediculae:proportions (76-78a), arrangement (78b-79a), projection (79b-81), roof shapes (82-85), other kinds of arrangement (86-92a); dimensions are to be in whole numbers of units (92b-93a).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: thus have been described temples …(93b-94).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter23:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eEnclosures and Attendants' shrines\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e387\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEnclosure:\u003cbr data-mce-fragment=\"1\"\u003e-Aim of temple enclosure (1); dimensions of the five enclosures: according to even and odd diagrams (2-5) or according to main temple size (6-16); position of reference line (17); enclosure walls: dimensions (18-22) and decoration (23-25); cloister-like gallery (26-31); decoration of wall coping (32a); height of enclosures base (32b-34).\u003cbr data-mce-fragment=\"1\"\u003eAttendants shrines:\u003cbr data-mce-fragment=\"1\"\u003e-General features (35-38);lists of eight (39-40a), twelve (40b-42a), sixteen (42b-45a) and thirty-two (45b-52) Siva's Attendants; arrangement of Attendants shrines: ccording to odd and even diagrams (53a); according to number of enclosures (53b-54a); according to orientation of main temple (54b-57a); appearance of Attendants shrines.\u003cbr data-mce-fragment=\"1\"\u003eStoreyed galleries:\u003cbr data-mce-fragment=\"1\"\u003e-General features (58b-61a); proportions (61b-69); temple storeyed gallery and dwelling house annexes (70-71a); storeyed galleries and Attendant's shrines or other features (71b-73).\u003cbr data-mce-fragment=\"1\"\u003eEnclosures arrangement:\u003cbr data-mce-fragment=\"1\"\u003e-Altars (74-81); flag mast (82-83a); various buildings within the enclosures (83b-88a); flag mast 9cont.) (88b-91);other buildings (92-97).\u003cbr data-mce-fragment=\"1\"\u003eAttendants of Visnu:\u003cbr data-mce-fragment=\"1\"\u003e-Lists and arrangement of eight (89-100a); twelve (100b-102), sixteen (103-105a) and thiry-two (105b-106) Visnu's Attendants.\u003cbr data-mce-fragment=\"1\"\u003eCharacteristics of the image of Vrsa:\u003cbr data-mce-fragment=\"1\"\u003e-General proportions (107-110a); detailed proportions (110b-127a); general features (127b-131).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVol.II\u003c\/b\u003e\u003c\/center\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eText and translation of Mayamata (chapter 24 to Appendix)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter24:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eGateway\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e421\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe five gateways:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions in relation to that of the main temple (1-10); names (11); dimensions and proportions (12-22); dimensions of doors (23-25), based (27-28) and pillars (29-30); position of foundation deposit (31a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral rules:\u003cbr data-mce-fragment=\"1\"\u003e-List of fifteen types (31-34a), number of storeys (34b-35); elevation: proportions for single storeyed (36-38), two storeyed (38b-40), three storeyed (41-43a), four storeyed (43b-46a), five storeyed (46b-49), six storeyed (50-54a) and seven storeyed (54b-59a) gateways; horizontal proportions for single storeyed (59b-60a), two storeyed (60b-63), three storeyed (63-68a), four storeyed (68b-70), five storeyed (71-72a), six storeyed (72b-74a) and seven storeyed (74b-77) gateways; doors and stairways (78-80).\u003cbr data-mce-fragment=\"1\"\u003eThe five gateways(cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Shapes (81-84a); dvarsasobha or gateway of first enclosure: srikara type (84b-88), ratikanta type (89-91a) and kantavijaya type (91b-94a);dvarasala or gateway of second enclosure: vijayavisala type (94b-97), visalalaya type (98-100a), and vipratikanta type (100b-103a); dvaraprasada or gateway of third enclosure: srikanta type (103b-106a); srikesa type (106b-110) and kesvisala type (111-113), dvaraharmya or gateway of fourth enclosure: svastika type (114-116), disasvastika type (117-120a) and mardala type (120b-123a); dvaragopura or gateway of fifth enclosure: matrakanda type (123b-126), srivisala type (127-129); caturmukha type (130-134); rule for gutters (135).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: the wide diversity of the five gateways (139-137).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter25:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePavilions and halls\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e451\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePavilions:\u003cbr data-mce-fragment=\"1\"\u003e-General rules:\u003cbr data-mce-fragment=\"1\"\u003e-Position (1-3a) and functions (3b-5) of pavilions; names square (6-8a) and rectangular (8b-11a) pavilions; features to be described in this chapter (11b-12); proportions and dimensions: value of intercolumniation (13-16), dimensions of pillars (17-20a), base (20a-21) and socle (22-24); definition of pavilion (25); etymology of the term mandapa (26a); definition of light building (26b-29), canopy (30-34) and malikamandapa (35-36a).\u003cbr data-mce-fragment=\"1\"\u003eSquare pavilions:\u003cbr data-mce-fragment=\"1\"\u003e-Meruka type (36b-37a); vijaya type (37b-39a); siddha type (39b-41).\u003cbr data-mce-fragment=\"1\"\u003eThe sacrificial pavilion:\u003cbr data-mce-fragment=\"1\"\u003e- Inside arrangement (42); quadrangular (43-44), vulva-form (47), semicircular (48), triangular (49a), circular (49b), hexagonal (50), lotiform (51), octagonal (52), heptagonal (53) and pentagonal (54) firepits; other method to draw firepits (?) (55-56)\u003cbr data-mce-fragment=\"1\"\u003e-Square pavilions (cont.):\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter26:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eHouses\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e515\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-Number and general features (1-3a); dimensions: width (3b-6a), length (6b-9a) and height (9b-10).\u003cbr data-mce-fragment=\"1\"\u003eHouses with a single main building:\u003cbr data-mce-fragment=\"1\"\u003eGeneral characteristics (11-12a); names (12b-13a); other features (13b-16a); orientation (16b-17).\u003cbr data-mce-fragment=\"1\"\u003e-Orientation (18-20); use and arrangement (21).\u003cbr data-mce-fragment=\"1\"\u003eHouses with a single main building (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-First and second type of dandaka houses (22b-25); arrangement fo doors (26-27); third (28-31a), fourth (31b-32) and fifth (33-35) type of dandaka houses.\u003cbr data-mce-fragment=\"1\"\u003eProportions of the verandah for houses with one, two or three main buildings (36),\u003cbr data-mce-fragment=\"1\"\u003eHouses with a single main building (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-dandaka houses (cont.) (37); maulika house (38-39a); svastika house (39b-40); caturmukha house (41-43); features common to dandaka and other types (44-46).\u003cbr data-mce-fragment=\"1\"\u003eHouses with two main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-Caturmukha type (47-51a); svastika type (51b-53); dandavaktra type (54-55).\u003cbr data-mce-fragment=\"1\"\u003eHouses with three main buildings.\u003cbr data-mce-fragment=\"1\"\u003e-Merukanta type (56-58); maulibhadra type (59-62); dimensions of houses with three main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions (64-66a) and types (66b-67); calculating the length (68-72).\u003cbr data-mce-fragment=\"1\"\u003eSarvatobhadra houses with four main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-First type (73-85); second type (86-87); third type (88-91); fourth type (92-95a); fifth type (95b-99).\u003cbr data-mce-fragment=\"1\"\u003eDefinitions of verandah (?) (101)\u003cbr data-mce-fragment=\"1\"\u003evardhamana houses with four main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-First type (102-109a); second type (109b-112a); third type (113b-115a); fourth type (115b-118); fifth type (119-133); sixth type (134-137a); seventh type (137b-151).\u003cbr data-mce-fragment=\"1\"\u003eNandyavarta houses with four main buildings:\u003cbr data-mce-fragment=\"1\"\u003e-Firth type (152-159a); second type (159b-161a); third type (161b-167); fourth type (168-172a); fifth type (172b-177a).\u003cbr data-mce-fragment=\"1\"\u003eOther types of houses with four main buildings.\u003cbr data-mce-fragment=\"1\"\u003e-Svastika houses with four main buildings:\u003cbr data-mce-fragment=\"1\"\u003eSvastika house (177b-185); rucaka house (186-187).\u003cbr data-mce-fragment=\"1\"\u003eGeneral rules for houses with four main buildings (189).\u003cbr data-mce-fragment=\"1\"\u003eHouses with seven and ten main buildings (190-193)\u003cbr data-mce-fragment=\"1\"\u003eGeneral features of houses:\u003cbr data-mce-fragment=\"1\"\u003e-Verandah and porch (194); 'limitless' house (195); even and uneven numbers )196a); placing the door (196b); placing the foundation deposit (197-198); auspicious and inauspicious axial door (199).\u003cbr data-mce-fragment=\"1\"\u003eMonasteries (200-202)\u003cbr data-mce-fragment=\"1\"\u003eGeneral features of houses (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-Dimension of houses pillars (203-205); how to build an auspicious house with reference to ayadi (206-211); annexes of houses (212-213); buildings within the house enclosures (214-218); number of enclosures (219-220). (\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter27:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eFeatures of houses for the four classes\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e573\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe enclosure:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions (1-4); plan (5); endclosure wall (6-9); annexes built around the house (10).\u003cbr data-mce-fragment=\"1\"\u003eRules for laying out:\u003cbr data-mce-fragment=\"1\"\u003e-Houses with main buildings separated or in blocks (11-13), small and large sizes (14-15a); drawing the house diagram (15b-19). The central pavilion:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions (20-23); the central platform (24-26); characteristics of central pavilion (27-35).\u003cbr data-mce-fragment=\"1\"\u003eLaying out the principal main-building of a catussala:\u003cbr data-mce-fragment=\"1\"\u003e-General rules (36-39a); laying out the sukhalaya for Brahmins (40-41).\u003cbr data-mce-fragment=\"1\"\u003eGeneral proportions for houses (42-44):Laying out the principal main-building of a catussala (cont.):\u003cbr data-mce-fragment=\"1\"\u003e-The sukhalaya (cont.) (45); the annalaya for ksatriya (46-48); the Elements of the upper part of the house (55-57).\u003cbr data-mce-fragment=\"1\"\u003eProportions for dwelling pavilions (?) (58-59).\u003cbr data-mce-fragment=\"1\"\u003eFoundation deposit:\u003cbr data-mce-fragment=\"1\"\u003e-Position (60-65); the muhurtastambha (66-69).\u003cbr data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Doors (70-73a); placing the gods (73b-75a); pillars (75b-80); the verandah (81-83a); the chamber of the master (83b-91). Roofing of the main building (95a) materials (95b-96a); base (96b-99); distribution of appurtenance (100), the heart (101-103); number of finials (?) (104); distributing oappurtenaces (cont.) (105-108)\u003cbr data-mce-fragment=\"1\"\u003eThe four types of dwelling:\u003cbr data-mce-fragment=\"1\"\u003e-List (109-110a); disibhadra dwelling (110b-111); garudapaksa dwelling (112a); kayabhara dwelling (112b-120a); tulaniya dwelling (120b-125a).\u003cbr data-mce-fragment=\"1\"\u003eGeneral rules (cont.)\u003cbr data-mce-fragment=\"1\"\u003e-Why to protect the external wall (125b-126); auspicious proportions (127); door proportions (128-129); time for construction (130-131); auspicious door positions (132); placing the master's apartment and the gynaeceum (133); period for beginning the construction (134).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter28:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eFirst entry into a house\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e611\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhen to enter the house (1-2)\u003cbr data-mce-fragment=\"1\"\u003eFirst rites:\u003cbr data-mce-fragment=\"1\"\u003e-Preparatory ceremony (3-5); putting in place of the vases (5-6); preparing the food for offering (7-9); installing the gods (10-11a); offerings (11b-23); departure of the architect (24-25a); preparing the house (25b-27).\u003cbr data-mce-fragment=\"1\"\u003eThe entering in of the master and mistress of the house:\u003cbr data-mce-fragment=\"1\"\u003eThey enter (28); the first meal (29-30); the perfect house (31-33); errors to be avoided (34); the entry is to be joyful(35);\u003cbr data-mce-fragment=\"1\"\u003eOfferings in villages, etc.(36)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter29:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eRoyal palaces\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e623\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProportions (1-12a).\u003cbr data-mce-fragment=\"1\"\u003eFeatures of a small palace:\u003cbr data-mce-fragment=\"1\"\u003e-Plan (12b-21); gateways (22-24a); arrangements of buildings (24b-26); the moat (27-29a); arrangement of buildings (cont.)(29b-30a); first enclosure (30b-42); second enclosure (43-55); third enclosure (56-64).\u003cbr data-mce-fragment=\"1\"\u003eThe town:\u003cbr data-mce-fragment=\"1\"\u003e-General features (65-69); the town's wall (70-72a).\u003cbr data-mce-fragment=\"1\"\u003ePalace gateways (72b-78); number of storeys for palaces (79-86).\u003cbr data-mce-fragment=\"1\"\u003eThe palace of narendra:\u003cbr data-mce-fragment=\"1\"\u003e-Enclosure walls (87-94), inner arrangement of the palace (95-102); external enclosure (103-107).\u003cbr data-mce-fragment=\"1\"\u003eSaubala palace:\u003cbr data-mce-fragment=\"1\"\u003e-First enclosure (108-111a); second enclosure (111-118a); third enclosure (118b-120); fourth enclosure (121-122a); fifth enclosure (122b-129).\u003cbr data-mce-fragment=\"1\"\u003eSaubala palace:\u003cbr data-mce-fragment=\"1\"\u003e-First enclosure (108-111a); second enclosure (111b-118a); third enclosure (118b-120); fourth enclosure (121-122a); fifth enclosure (122b-129).\u003cbr data-mce-fragment=\"1\"\u003eThe adhikaja palace:\u003cbr data-mce-fragment=\"1\"\u003e-Arrangement of buildings (130-157); walls and most (158-161).\u003cbr data-mce-fragment=\"1\"\u003eDifferent kinds of royal cities (162-167).\u003cbr data-mce-fragment=\"1\"\u003eMiscellaneous palace buildings:\u003cbr data-mce-fragment=\"1\"\u003e-General features (65-69); the town's wall (70-72a).\u003cbr data-mce-fragment=\"1\"\u003ePalace gateways (72b-78); number of storeys for palaces (79-86).\u003cbr data-mce-fragment=\"1\"\u003eThe palace for narendra:\u003cbr data-mce-fragment=\"1\"\u003e-Enclosure walls (87-94); inner arrangement of the palace (95-102); external enclosure (103-107).\u003cbr data-mce-fragment=\"1\"\u003eSaubala palace:\u003cbr data-mce-fragment=\"1\"\u003e-First enclosure (108-111a); second enclosure (111b-118a); third enclosure (118b-120); fourth enclosure (121-122a); fifth enclosure (122b-129).\u003cbr data-mce-fragment=\"1\"\u003eThe adhiraja palace:\u003cbr data-mce-fragment=\"1\"\u003e-Arrangement of buildings (130-157); walls and moat (158-161).\u003cbr data-mce-fragment=\"1\"\u003eDifferent kinds of royal cities (162-167).\u003cbr data-mce-fragment=\"1\"\u003eMiscellaneous palace buildings:\u003cbr data-mce-fragment=\"1\"\u003e-Elephant stable (168-180); the horses stable (181-187); various buildings (188-190); the council chamber, etc. (191-195a); the bath house (195b-200a); the coronation building (200b-205a); ritual weighing place (205b-215); place for gold embryo ceremony (216-225); the guard lodgings (226); underground apartment (227).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: all is to be arranged according to king's best pleasure (228).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter30:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDoors\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e681\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral features:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions of doors (2-11a); dimensions of door jambs (11b-12); door leaves (13-32); auspicious and inauspicious characteristics of doors (33-42); positions of doors(43-51).\u003cbr data-mce-fragment=\"1\"\u003eGateways:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions of the door(53-55a); single storeyed gateways; srikara, sita and sribhadra types (61b-67); two storeyed gateways: ratikanta, kantavijaya and sumangala types (68-75a); three storeyed gateways: mardala, matrakhanda and sriniketana types (75b-94a); seven storeyed gateways: bhadrakalyana, subhadra and bhadrasundara types (94b-108a): six storeyed gateways (108b-109); five storeyed gateways (110-114); four storeyed gateways (115-116); general rules (117-118); definition of stereobate (119).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: for whom are intended the various kinds of gateways (120-121).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter31:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVehicles\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e715\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDefinitions (1-2a).\u003cbr data-mce-fragment=\"1\"\u003ePalanquins:\u003cbr data-mce-fragment=\"1\"\u003e-Names (2b-3): pitha type(4-24a); sekhara and maundi types (25-28).\u003cbr data-mce-fragment=\"1\"\u003eChariots:\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions (29-30a); frame (30b-38); wheels (39-42a); assembly (42b-48a); uses (48b-49); pavilion-shaped cart (50-53); temple-shaped cart (54-56a);canopy-shaped cart (56b-57); elements of card elevation(?) (58-61).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter32:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBeds and seats\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e731\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBeds(1-6) and divans(7-10a).\u003cbr data-mce-fragment=\"1\"\u003eSeats\u003cbr data-mce-fragment=\"1\"\u003e-General rules (10b-13a); lion throne (13b-19); stand for worship(20-23). Rules regarding ayadi series (24).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter33:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe Linga\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e739\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral points:\u003cbr data-mce-fragment=\"1\"\u003e-Different kinds of divine representation (1-3); characteristics of stones(4-7); male, female and neuter stones and when to use them(8-12); young, mature and aged stones (12b-16a) pregnant stones (16b-17a); position of the 'face' of a stone (17b-19a); searching for stones: time and place (19b-21), preliminary rites (22-28a); quarrying a stone (28b-31a) and taking it to workshop (31b-33); how to proceed when a suitable stone is not found(34-36).\u003cbr data-mce-fragment=\"1\"\u003eDimensions of Linga:\u003cbr data-mce-fragment=\"1\"\u003eLinga and temple dimensions (37a); place of Linga in the sanctum (37b-40a); dimensions of nagara Linga (40b-43a); dimensions of dravida Linga (43b-45a); dimensions of vesara Linga (45b-48a); dimensions expressed in cubits (48b-53); dimensions of vesara Linga (45b-48a);dimensions expressed in cubits (48b-53); dimensions calculated from those of door and other elements of the temple (54-57); rule regarding ayadi series (58-64).\u003cbr data-mce-fragment=\"1\"\u003eFashioning the Linga:\u003cbr data-mce-fragment=\"1\"\u003e-Shapes to be given to the block at the start (65-66); the three parts of the Linga(67) and the way to draw them (68-71).\u003cbr data-mce-fragment=\"1\"\u003eProportions:\u003cbr data-mce-fragment=\"1\"\u003e-Sarvatobhadra, svastika, sivadhika types of Linga (72-79); surarcita, dharalinga, sahasralinga and trairasika type (80-84).\u003cbr data-mce-fragment=\"1\"\u003eLinga installed by Rsi (85-86).\u003cbr data-mce-fragment=\"1\"\u003eSelf-generated Linga (87-92a).\u003cbr data-mce-fragment=\"1\"\u003eThe cutting of a rounded shape at the top of the Linga (92b-100)?\u003cbr data-mce-fragment=\"1\"\u003eBringing out the characteristic signs:\u003cbr data-mce-fragment=\"1\"\u003e-Preparing the Linga (101-102); preliminary rites (103-105); drawing the lines (106-109a); bringing out the characteristics of nagara Linga (109b-114a); of dravida Linga (114b-117a); and of vesara Linga (117b-119a); width and depth of lines (119b-127a); general rules (127b-135); shapes of the frenum (136-143).\u003cbr data-mce-fragment=\"1\"\u003eOther types of Linga:\u003cbr data-mce-fragment=\"1\"\u003e-Crystal Linga (144-152); Linga of various material such as earth (153-158a); banalinga (158b-159).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi:\u003cbr data-mce-fragment=\"1\"\u003e-Installation of Linga (161); fruits of installing a Linga (162).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter34:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePedestals\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e783\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGeneral rules:\u003cbr data-mce-fragment=\"1\"\u003e-Materials (2-3); dimensions (4-10); shapes (10-13a); names (13b-15).\u003cbr data-mce-fragment=\"1\"\u003eDescriptions:\u003cbr data-mce-fragment=\"1\"\u003e-Bhadra pedestal (16-17); padma pedestal (18); vajrapadma pedestal (19-20); mahabja pedestal (21-22); srikara pedestal (23-24); pithapadma pedestal (25); mahavajra and saumya pedestals (26-28a); srikamya pedestal (28b-29).\u003cbr data-mce-fragment=\"1\"\u003eCommon features (30-43)?\u003cbr data-mce-fragment=\"1\"\u003ePlacing the pedestal:\u003cbr data-mce-fragment=\"1\"\u003e-The liners: Brahma stone (44-49) and nandyavarta stones (50).\u003cbr data-mce-fragment=\"1\"\u003ePedestals for statues (51-56a).\u003cbr data-mce-fragment=\"1\"\u003eTemple, pedestal and image(?):\u003cbr data-mce-fragment=\"1\"\u003e-Dimensions of temples as calculated from those of pedestals (56b-60); dimensions of temples as calculated from those of the images (61-64a).\u003cbr data-mce-fragment=\"1\"\u003eMaking of the eight (ingredients)mortar (64b-66).\u003cbr data-mce-fragment=\"1\"\u003eThe gods in the shrine:\u003cbr data-mce-fragment=\"1\"\u003e-Number of gods (67); the biggest shrine is that housing the Linga (68); diagram of the sanctum and place of the gods (69-71).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: all attention is to be given in placing divine representation in the sanctum (72); formless and man-made Linga (73); contents of the chapter (74).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter35:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eRenovation work\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e803\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e-Temple renovation (2b-14); renovation of Linga (15-33a); renovation of pedestal (33b-36); renovation of images (37-40a); general rules (40b-44); renovation of villages, etc.(45-47).\u003cbr data-mce-fragment=\"1\"\u003eProvisional installation:\u003cbr data-mce-fragment=\"1\"\u003e-Why a provisional installation (48); provisional shrine (49-50); provisional Linga (51-53); provisional image (54-55); provisional pedestal (56); materials?(57); how long may last a provisional feature(580.\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: rules for renovation have to be followed (59).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter36:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIconography\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e821\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBrahma(2-7).\u003cbr data-mce-fragment=\"1\"\u003eVisnu's images:\u003cbr data-mce-fragment=\"1\"\u003e-Visnu (8-12a); Varaha (12b-14a); Trivikrama (14b-15a); Narasimha (15a-24); Anantasayin (25-35a).\u003cbr data-mce-fragment=\"1\"\u003eMahesvara (35b-43a).\u003cbr data-mce-fragment=\"1\"\u003eThe sixteen manifestations of Siva:\u003cbr data-mce-fragment=\"1\"\u003e-The sixteen manifestation of Siva:\u003cbr data-mce-fragment=\"1\"\u003e-List (43b-46a); common features (46b-48); Sukhasanamurti (49-51a); Vaivahamurti (51b-58); Umaskandamurti (59-62a); Vrsarudhamurti (62b-64a); Tripurantakamurti (65-67a); Dancing forms (67b-89a); Candrasekharamurti (80b-81a); Ardhanarisvaramurti (81b-89a); Hariharamurti (90-91); Candesanugrahamurti (92-93); Kamarimurti (94-95a); Kalanasamurti (95b-97); Daksinamurti (98-101); Bhiksatanamurti (102-103); Kankalamurti (104-107a); Mukhalinga (107b-118).\u003cbr data-mce-fragment=\"1\"\u003eSanmukha (119-121).\u003cbr data-mce-fragment=\"1\"\u003eGanadhipa (122-126)\u003cbr data-mce-fragment=\"1\"\u003eSurya (127-136a).\u003cbr data-mce-fragment=\"1\"\u003eLords of the directions:\u003cbr data-mce-fragment=\"1\"\u003eIndra (136b-138); Agni (139-143); Yama (144-149); Nirrtti (149b-150); Varuna (151-152); Vayu (153-154a); Kubera (154b-156); Candra (157-161a); Isana (161b-162a).\u003cbr data-mce-fragment=\"1\"\u003eOther gods and goddesses:\u003cbr data-mce-fragment=\"1\"\u003e-Kama (162b-167a); the two Asvin (167b-170); the eight Vasu (171-173a); the eight Marut (173b-174); the Rudra and the Vidyesvara (175-177); Ksetrapala (178-185); Candesvara (186-188); the twelve Aditya (189-191); the seven sages (192-194a); the seven Rohini (194b-195a); Garuda (195b-198a); Sasta (198b-210).\u003cbr data-mce-fragment=\"1\"\u003eThe Mothers:\u003cbr data-mce-fragment=\"1\"\u003e-List (211-212); Virabhadra (213-214a); Brahmani (216-217); Mahesvari (218-219); Kaumari (220-222a); Vaisnavi (222b-224a); Varahi (224b-227a); Indrani (227b-228); Camundi (229-234a); Vinayaka (234b); installation of the Mothers (235-240a); Camundi (cont.) (240b-242); the Mothers Attendants (234-247a).\u003cbr data-mce-fragment=\"1\"\u003eGoddesses:\u003cbr data-mce-fragment=\"1\"\u003e-Laksmi (247b-255); Yaksini (256-257); Katyayani (258-262); Durga (263-264); Sarasvati(265-268a); Jyestha (268b-273); Bhumi (274-275); Parvati (276-278a);Saptamata (279-280).\u003cbr data-mce-fragment=\"1\"\u003eBuddha (281-283).\u003cbr data-mce-fragment=\"1\"\u003eJina(284-291).\u003cbr data-mce-fragment=\"1\"\u003eGeneral Points:\u003cbr data-mce-fragment=\"1\"\u003e-Proportions of images (293-303); dimensions of portable images (304-309).\u003cbr data-mce-fragment=\"1\"\u003eGuardians of the doors (310-314).\u003cbr data-mce-fragment=\"1\"\u003eEnvoi: What has been told in that chapter(315).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAppendix:\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eWhere and when a well is to be established\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e899\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChoice of the place(?)(1-5);choice of the day (6-7); choice of the asterism (8-13); choice of the place(?)(cont.)(14-15).\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e905\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEditions and Manuscripts of Mayamatajj used for the establishment of the Sanskrit text\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e911\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex-Glossary\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e913\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Bruno Dagens","offers":[{"title":"Default Title","offer_id":43832691556490,"sku":"","price":2500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/MAYAMATAMCovercopy.jpg?v=1696001875"},{"product_id":"vastu-science-for-21st-century-to-enjoy-the-gift-of-nature","title":"Vastu Science for 21st Century","description":"\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eVastu Science for 21st Century is the latest contribution by the author, Prof. B. B. Puri, after an overwhelming response to his earlier books titled Vedic Architecture and Art of Living, Applied Vastu Shastra in Modern Architecture and Vastu Shastra for Mass Housing. Vastu Shastra is not merely an art but a definite science in itself. This book has made an excellent effort to establish this fact. The knowledge of Vastu is based on Vedic literature and is derived from the fundamental principles of Vedantic knowledge.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eProf. B. B. Puri is a well – known architect, having a vast experience in the field of architecture. He is the founder of Vastu Kala Academy, the school of Architecture and Interior Designing. He is also the founder of Vastu Research Centre. He has brought out in clear terms that the knowledge of modern architecture is incomplete without Vastu science. The Vastu principles have been formulated keeping in view the cosmic influences of the sun, the direction of the wind, the position of moon, the art’s magnetic field and the influence of the entire cosmos on our planet.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eProf. Puri’s attempt to highlight the principles of Vastu science and its application in designing of built environment is commendable. It is highly desirable that all our young architects are equipped with this knowledge and they make use of it in their day – to – day design activities. To achieve this objective, it would be necessary to incorporate the knowledge of Vastu science in the curricula of Architecture, Town Planning and Engineering Colleges and Universities. The series of books written by Prof. Puri provide an excellent background for developing such a curriculum and encourage other scholars of Vastu to record their experience and knowledge in this field.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI pray the almighty to bless Prof. B. B. Puri to continue his efforts in spreading the knowledge of Vastu science.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eAs a practising architect with 40 years of experience in the field and 20 years research of Vastu Shastra, I compiled my conclusions in Vedic Architecture and Art of Living, which was foreworded by President, Council of Architecture and was released by then President of India Dr. Shankar Dayal Sharma. It was well received by the readership. After research in Vedic Vastu, I attempted to find out the solution on how to apply Vastu principles in modern living in a sequel titled Applied Vastu Shastra in Modern Architecture.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI am convinced that the time has come when Vastu vidya and Vastu vigyan come to take their place in human affairs. With this vision in mind, I founded Vastu Kala Academy, Delhi, in 1992, a college of Architecture and Interior Designing, which is now affiliated to Indraprastha, Guru Nanak University, Delhi and is conducting a course leading to B. Arch. Degree in Architecture. Side – by – side, I founded Vastu Research Centre, where I started teaching Vastu gyan and organizing Vastu workshops, seminars as ell as conducting further study of literature containing tenets of his science. On 12th Feb. 2000, the Institute of Vastu Science, India was set up to spread Vastu knowledge uniformly in India and other parts of the world.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn this book, I have tried to justify that Vastu principles are based on scientific logic and Vastu itself is a science much in need in the 21st Century in view of rapid advancements man is making in other fields without compensating on ecology front, which forms the basis of Vastu.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI have already discussed in detail the orientation of building, plot, cut plot, set back, basement and heath of building, Mandalas, slope, the permanent recommended position of open space, water bodies, Agni (Fire) and air directions etc. in my earlier books.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eI have since received lots of questions from readers on whether Vastu is a science and it its application is universal. A science eveloved thousands of years ago can still be useful and effective in 21st Century in the modern life and changing styles of Architecture. In the present text I take up these and other issues with reference to wider concern of balance and harmony with Nature that is uppermost in the minds of those who know how things stand with this planet.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIn the 21st Century, a growing concern about environment has introduced a new dimension to demographic studies. The crisis of human settlement is no less acute than the crisis of population explosion, and the need fro optimising human settlements is as great as that for controlling population growth. Of late, however, rapid urbanization, increasing rural – urban migration and the consequent ecological disaster have put immense strain in the minds of people and has compelled demographers to turn their attention to Vastu gyan.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe first need is to study Vatu Science based on Nature. But one could argue with equal force that “the first need is to take the strain off rural areas the strain of continued poverty, conditions of unemployment and economic and social stagnation.”\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eIt is important to bear in mind that throughout the world young people migrate from rural areas to big cities and metropolitan centers and not always for economies reason. Unless the frame of rural areas is improved, rural development alone will not be effective to discourage migration. The search fro a more satisfactory and peaceful habitat has let to the advocacy of small towns with growth potential which, it is argued, could serve as a bridge between Vastu (habitat) and Nature.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThere are serious complications of air pollution, water pollution, traffic congestion, inadequate housing, and noise in all the urban areas. On the other hand, the problem of maintaining social, economic and cultural traditions are being aggravated in rural areas with dearth of population. Taking into account the urgency of ensuring the people’s health and welfare and the necessity of rationally using the extremely limited land surface, a new comprehensive environment development plan must be devised. A view has been expressed that urban housing receives higher priority than rural housing in developing countries in spite of the fact that “rural housing cannot be ignored if Governments wish to reduce the drift of a large number of people from to strong pull of cities in spite of acute housing shortage in cities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003eAcknowledgments\u003c\/td\u003e\n\u003ctd width=\"10%\" data-mce-fragment=\"1\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eForeword\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePreface\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapters\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu Principles and Logic\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVedic Fundamentals and Vedantic Thoughts\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLight of Knowledge\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu Purusha Mandala and the Eight Directions\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu for Planning\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePhysical Control\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFunctional Frame\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSocial Milieu\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eCultural Symbolization\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFunctions at Human Level\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu Design for 21st Century\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eModular Design\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMass Scale Housing\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePrefabrication System\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHigh-Rise Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Basic Principle of Modular System\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu for Interiors\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e43\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHistory of Interior Design\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eImportance of Vastu Professional for Interior Designing and Decoration\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eModern Interior Design Features for 21st Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBasic Design Composition\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVASTU: The main source of Design Language\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIntroduction to Building Materials\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e7.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCreation Through Vastu Science\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePrakriti (Nature)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Mind (Purusha)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Medium of Creative Tools (Technology)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e8.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu for Natural Climatic Conditions and Solar Efficient Building Design\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e61\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVastu Concepts, Techniques and Applications\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIntroduction to Climatology\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimatic Primed Planning and Designing Input\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimatology and its Effect on Men, Building and Building Material\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimatic Parameters\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSettlement and Habitation at Comfort Zone\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimatic Efficient Building Design\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eElements of Climate and Our Environment in 21st Century C\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimate and Micro-Climate\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eClimate Analysis for Vastu Basic Design\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEnvironmental Crisis in 21st Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Remedies that Vastu Suggests\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eLandscaping in 21st Century on Vastu Principles\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e115\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIntroduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLandscaping Engineering Technique (Input Design) Climatology\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNatural Environment in Landscaping\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTypes of Landscaping\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLandscaping on Vastu Principles\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(a) Indian Historical Background\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(b) Water Reservoirs and Channels\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(c) How to Give Natural Shape to Landscape by Applying the Law of Five Elements\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(d) Sound and Movement\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLiving Plants\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLandscaping to Modify Micro-climate\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSome Vastu Tips on Landscaping\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e10.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePositive and Negative Energies\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e145\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEnergy Created by Modern Science for 21st Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTo Balance the Energies in Relationship with Human Comfort Level\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eProportion and Measurement for Vastu Shilpa and Vastu Kala \u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e157\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Deva Shilpa\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Manava Shilpa\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProportions and Measurements of Temple, Building and Structure\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eStructure and Column (Stambba)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGates and Windows\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTimber Work of Temple\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e12.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCosmic Energy from Air, Light and Color \u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e183\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eExposure to Sunlight\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRhythm of Life with Changing Color\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eScientific Discovery\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eUse Sunlight for Our Health\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhat Veda says\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRadiant Energy\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSeven Stages of Human Awareness\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e13.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eSunlight for Efficient Building Design\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e193\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEnergy from Sunlight\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSustainer of Healthy Life\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eUltraviolet (UV) Light\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhat are Ultraviolet Rays?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhat is Ozone?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWhat are Infra-red Rays?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHow to Use Ultraviolet Light for Perfect Health?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEfficient Building Design Based on Vastu Principles?\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSolar Architecture and Energy conservation through Building Design.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eHow Dangerous are Electric and Electromagnetic Radiations? \u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e225\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRadiation Generated by Modern and Ultra-modern Equipment\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHow to Deduct\/Identify the Excess Radiation\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRemedies and Safety Precautions via Vastu\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e15.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eNavagraha Mandalas – The Useful Effect of Planetary Yantras as per Vastu\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Planets (Graha)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOther Heavenly Bodies\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNavagraha Mandala and its Yantras\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAuspicious Months to Start the Construction Work\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAuspicious Days to Start the Construction Work.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e16.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVastu and Astrology of Colors\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e263\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eColor Radiations\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eColor Equivalents\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eTowards 21st Century\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e269\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFogging the Atmosphere\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eFamily of the Future\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eConcept of Motherhood\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBirth of the Superhuman\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEducation in the Future\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOr Another Scenario\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOr Climate Control\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChanges for a Change or Need\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Biological Factory in 21st Century\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e18.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eConclusion\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e283\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eStandard Tips as per Vastu Principles\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e288\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e290\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Dr. B. B. Puri","offers":[{"title":"Default Title","offer_id":43832697290890,"sku":"","price":495.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/51eq7ywEHAL._AC_UF1000_1000_QL80.jpg?v=1696002313"},{"product_id":"ऊँची-अटरिया-रंग-भरी-पं-राधावल्लभ-चतुर्वेदी-द्वारा-स्वरलिपि-एवं-परिचय-सहित-लोकगीत-संग्रह-unchi-atariya-rang-bhari-folk-song-collection-including-vocal-and-introduction-by-pt-radhavallabh-chaturvedi","title":"ऊँची अटरिया रंग भरी- पं. राधावल्लभ चतुर्वेदी द्वारा स्वरलिपि एवं परिचय सहित लोकगीत संग्रह- Unchi Atariya Rang Bhari","description":"\u003c!----\u003e","brand":"Radhavallabh Chaturvedi","offers":[{"title":"Default Title","offer_id":43906096726154,"sku":"","price":700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/unchiatariyarangbhari.jpg?v=1697880744"},{"product_id":"the-winged-form-aesthetical-essays-on-hindustani-rhythm","title":"The Winged Form","description":"\u003cdiv style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Book\u003c\/b\u003e\u003c\/div\u003e\n\u003cdiv style=\"text-align: left;\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis collection of essays is the first treatment of Hindustani Rhythm in the way of modern aesthetics. It seeks, on the one hand, to fix and distinguish the meaning of such words as matra, zarab, bol, laya. Tala theka, sama; and on the other hand, to seize the details of actual rhythm as it appears to contemplation. Nowhere in the book does theory over-shadow rhythm. But some wider questions have also been taken up. How, if at all, is rhythm an autonomous art? What are the strands of its winged form; its accent of magic and its prime evocativeness? Is it proper to speak of rhythm as 'expressive' or 'symbolic'? Does our tala seem 'embodied' as it swings and soars apace?\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWhoever is responsive to rhythm can profit from this book. It is of value to the Kathak dancer, too; and to all those who would see rhythm saturate, and not merely circle. The fabric of song.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDr. Sushil Kumar Saxena\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eteaches philosophy at the University of Delhi. Here, his main areas of interest have been metaphysics and the philosophies of art and religion. Beginning in 1964, Dr. Saxena has lectured postgraduate students on the philosophy of art for about fifteen years. His essays on aesthetical anthologies of national importance. And in the following well-known journals: The British Journal of Aesthetics and Religious Studies (U.K.); Diogene (France); Kant Studien (Germany); II Velro (Italy); and Philosophy East and West and The Journal of Aesthetics and Art Criticism (U.S.A.). His latest article, 'A Reply to My Gritics', appeared in the April 1979 issue of Philosophy East and West.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWithin the country, Dr. Saxena is regarded as perhaps the only person doing philosophical aesthetics with an emphasis on Hindustani music, rhythm, and Kathak Dance. He has contributed papers to National Seminars on Music, Rhythm, and Kathak Dance organized by the Central and State Akademies; served as 'a music critic' to The Hindustan Time (New Delhi), and on All India Radio's Informal Consultative Committee for the National Programme of Music (73, 74), as well as on Government of India's Selection Committees for awarding cultural scholarships for higher studies in music and dance; and has given 'orientation' lectures regularly for more than ten years to non-Indian visitors to India on: 'The Music and Dance of India' and 'The Hindu Way of Life'.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Saxena's first book: Studies in the Metaphysics of Bradley (published by George Allen \u0026amp; Unwin Ltd., London and Humanities Press, New York) appeared in the Muirhead Library series of philosophical works in 1967. His subsequent creative work includes not only published essays on aesthetics and the philosophy of religion, but music compositions 'recorded' on the occasion of various seminars on Hindustani music and Kathak dance.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eLittle aesthetical notice has so far been taken of rhythm in Hindustani (or North Indian) music. The book is a modest attempt to meet this clear need.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe essays that make this book (except nos. IV and X) have all already appeared in journals devoted to philosophy and the arts. But I have at places re-written some of these for the present volume, and in doing so I have drawn upon my essays: \"Essentials of Hindustani Music\" (Diogenes, Paris, 1964), \"Kant, Aesthetical Theory and some Indian Art\" (Kant Studien, Germany, 1978); and upon my numerous articles and 'reviews' contributed-the last, as a music critic' –to the, The Hindustan Times, New Delhi, more than twenty years ago.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThree of the essays here presented are from different issues of 'Sangeet Natak' (Journal of the Sangeet Natak Akademi, New Delhi), edited by Mrs. Uma Anand. The fact that this national body has further agreed to publish the present work is an honor to me, and I gratefully acknowledge it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eMy approach in this book is 'aesthetical' in two dominant senses of the word today: linguistic-analytic and phenomenological. But, in accordance with the Indian view that the single word Sangeet covers rhythm, music, and dance, I have also taken care to include two essays on the linkages of rhythm with our singing and Kathak dance. Perhaps, where I speak of the structure of sthayi from the viewpoint of its approach to the Sama (Essay VIII) some insight may also be had into the art of making music.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eMy concern here is not only with individual concepts and problems, but with wider questions of the status of Hindustani rhythm as an independent art, and of its relevance to some modern theories of art, both as illustration and as a challenge. The book indeed opens with the paper: \"Aesthetic Theory and Hindustani Rhythm\" contributed to The British Journal of Aesthetics; and presented, very differently, to the World Philosophy Conference at the University of Delhi, on January 2, '76. On the other hand, I have throughout kept in mind the details of rhythm as practiced. This in fact explains why, along with other ways of keeping close to fact, the syllables of rhythm have been freely given. Further, at the instance of Dr. Ranjan K. Ghosh, an old student and now a helpful colleague, I have put each syllable in both English and Hindi letters, the latter mostly within brackets. He rightly made me see that here the use of Hindi alone could cause needless confusion to readers without any knowledge of this language.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eSo far as I know, the book is the first of its kind; and I am happy I could do it. It seeks to fix the meaning of such basic concepts as laya, matra, zarab, bol, theka, tala, same, and layakari in the context of both aesthetic discourse and experience. And where I speak of the Gestalt laws and Kathak dance, I have tried to discuss the crucial questions of rhythmic filling and structure; and to determine the individual contribution of footwork and bodily bearing (ang) to the wholeness of rhythm.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBut the very singularity of my concern has in part been a handicap. The book is but a long furrow, and quite without the weight that comes from references to parallel writings. I, therefore, feel deeply indebted to all those who have made it possible for me to publish this book, and earlier gave me a chance to work and think for it, by inviting me to participate in National Seminars on Music and Rhythm, or to directly write on these arts. These friends are Mrs. Uma Anand and Dr. B.C. Deva (Akademi's own assistant secretaries for publications and music respectively) and Professor S.S. Barlingay, Editor of the Indian Philosophical Quarterly, Poona. I have also felt encouraged, I recall, by the extremely kind reactions that my essay on Laya elicited from Professor Manfred Junius (sometime with the Institute of Comparative Music, Venice) who not only knows and practices Hindustani music, but is deeply devoted to it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAs is commonly known, a good way to diversify one's knowledge of rhythm and to grow into the power to outstand passages of intricate layakari-is close and continual attention to Kathak dance. So I am beholden also to the members of my twenty-two years old Kathak team, to its key link in particular, comprising Rani Karnaa (the noted Kathak danseuse) and Ustad Chhamma Khan, the tabla expert of the University of Delhi. I need hardly add that without this association my acquaintance with rhythm would have been poorer than it it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBut from the viewpoint of the practice of rhythm and also, at times, in respect of my understanding of it-my main guide and monitor has been the ablest pupil of the late Ustad Habeebuddin Khan of Meerut, Mr. Sudhir Kumar Saxena who teaches tabla (at the College of Indian Music, Dance and Drama, Baroda University) and is himself a drummer of no mean merit. If the book is no mere speculation, it is due as much to his ready and attentive help as to my own deep love of rhythm as an art form.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAnd if in print the work seems passable I should thank some more friends. Mr. M.M. Shungloo (of the Akademi) chose the format and checked the proofs, along with Mrs. Uma Anand; and, after the careful start given by Mr. S. J. Dubey, the Manager of the Press, it was Mr. A. G. Korde who saw to the printing with patience and seemed ever willing to minimize errors.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable data-mce-fragment=\"1\" width=\"100%\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"80%\"\u003ePreface\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAesthetic Theory \u0026amp; Hindustani Rhythm\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1-17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOur Rhythm \u0026amp; Croce\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e18-29\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Concept of Laya in Hindustani Music\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33-56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTala, Bol, Theka\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e57-72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePhenomenology of Sama in Hindustani Rhythm\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e73-95\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eForm and Content\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e96-115\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e7\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAesthetic character of some Asymmetrical Rhythms: An Analytic Study\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e116-124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e8\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSama and Musical Structure\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e127-135\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e9\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Role of Rhythm in Kathak Dance\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e136-150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e10\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePostscript: Towards an Aesthetics of Hindustani Rhythm\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e151-166\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndexes\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Sushil Kumar Saxena","offers":[{"title":"Default Title","offer_id":43906155774090,"sku":"","price":175.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/the_winged_form_aesthetical_essays_on_hindustani_idk507.jpg?v=1697883771"},{"product_id":"indian-drama-in-retrospect","title":"Indian Drama in Retrospect","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIndian Drama in Retrospect offers a sweeping survey of theatre in most of the States of India, presented by front-ranking figures in the early phase of post-independence theatre. The contributors capture for us the discourse of the day pertaining to theatre in their regions and languages, which is further underscored by the discussions that follow the papers. There are twenty-one papers here representing as many States of India, offering a fund of authentic information on the practice of theatre in each linguistic region. Besides, there are twelve papers focused on special topics such as amateur theatre,, children's theatre, actors' training, and theatre, architecture. Besides students of theatre, this book will be of much value to scholars investigating the history of the performing arts in modern India, those studying arts policy and patronage, and those with a special interest in the relationship between the arts and the State.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eJayant Kastuar\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis the Secretary of Sangeet Natak Akademi. An alumnus of St. Stephen's College, Delhi, he obtained a Master's degree in history from the University of Delhi in 1978. He is an exponent of Kathak dance and has studied the art under Pandit Durgalal among other masters. Apart from visualizing, planning, and steering important projects in the fields of dance, music, theatre, and puppetry, he is known for his work in stage design and for his choreographic presentations.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBetween 1955 and 1958, Sangeet Natak Akademi organized four major seminars focusing on film (1955), Drama (1956), Music (1957), and dance (1958), the arts it was meant to nature. These events were the first all-Indian seminars convened by the national academy (which itself had been established in 1953) to discuss the state of the performing arts and the cinema in independent India, and enjoyed the participation of the leading artists, scholars, and other professionals it each field. At a time when meetings of musicians, dancers, or theatre people from all over the country were far less frequent than now, these seminars provided an opportunity for participants to exchange notes on the practice of their arts in far-flung regions, to spell out common problems before the new Indian state, and to make long-term recommendations to government for the healthy growth of each art.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eOther than the Film Seminar Report, impeccably edited by Dr. R.M. Ray and published by Sangeet Natak Akademi in 1956, the proceedings of these seminars had not been published earlier in book form. The documentation from the Drama Seminar was published in three consecutive special numbers of the Akademi's journal Sangeet Natak (Volume XXXVIII, Numbers 2-4, 2004), but this is the first time that the material is being presented between two covers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eFifty-one years after the event, the papers presented in the seminar command our attention for more than one reason. They offer a sweeping survey of theatre in most of the linguistic regions of the country, presented by leading figures in contemporary theatre. It is no doubt a dated survey, but its interest to us lies precisely in its period and in the personalities of the surveyors. Being acknowledged spokesmen for the regions they represent, the contributors capture for us the discourse of the day pertaining to their language theatres, which is further underscored by the discussions that follow the papers. There are twenty-one 'country papers' here, a fund of authentic information on every language theatre represented in the seminar. Besides, there are twelve papers focused on topics of general interest: new drama, amateur theatre, children's theatre, actors' training, theatre architecture, etc. to the reader leafing through these pages, the narrative may itself appear to be a replay of post-independence Indian theatre in its early phase, with its full cast of actors – a drama he is uniquely privileged to watch with the gift of hindsight.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn order to preserve this character of the text, we have thought it best to make available the documentation of the seminar much as it has come down to us, with only minimal editorial intervention. Positioning ourselves as watchers of the drama, we can see the makers of the new Indian theatre articulating their vision for the future more clearly. What they have to say would interest students of the theatre primarily, together with those involved with the performing arts in general. But other than these sections readers, the book will also engage the attention of researchers in the humanities and social sciences looking into the history of the performing arts in modern India, into arts policy and patronage, and the relationship of the arts and the state. At a time when nationhood and national identity continue to be under academic debate, the material presented in this book will certainly interest scholars curious to learn about the cultural aspect of nation-building.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e\n\u003ctable data-mce-fragment=\"1\" width=\"100%\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"80%\"\u003eIntroduction\u003cbr data-mce-fragment=\"1\"\u003eJayant Kastuar\u003cbr data-mce-fragment=\"1\"\u003eSecretary, Sangeet Natak Akademi\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\" width=\"10%\"\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWelcome Address\u003cbr data-mce-fragment=\"1\"\u003eP.V. Rajamannar\u003cbr data-mce-fragment=\"1\"\u003eChairman, Sangeet Natak Akademi(1953-61)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eInaugural Address\u003cbr data-mce-fragment=\"1\"\u003eS. Radhakrishnan\u003cbr data-mce-fragment=\"1\"\u003eVice-President of India (1952-62)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSpeech of the Seminar Director\u003cbr data-mce-fragment=\"1\"\u003eSachin Sengupta\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e1\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eSanskrit \u003c\/span\u003eDrama and Performance\u003cbr data-mce-fragment=\"1\"\u003eV. Raghavan\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e2\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAssamese Theatre\u003cbr data-mce-fragment=\"1\"\u003eChandra Kant Phookan\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e3\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eManipuri Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eM. Bira Singh, H. Romain Singh\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e4\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBengali Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eAmar Mukherjee\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e5\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Plays of Tagore\u003cbr data-mce-fragment=\"1\"\u003eLila Ray\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e6\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Professional Theatre in Bengal\u003cbr data-mce-fragment=\"1\"\u003eAhindra Chowdhuri\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e75\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e7\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Growth of Oriya Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eKalinid Charan Panigrahi\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e8\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDrama and Theatre in Orissa\u003cbr data-mce-fragment=\"1\"\u003eMayadhar Mansinha\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e96\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e9\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHindi Drama\u003cbr data-mce-fragment=\"1\"\u003eJ.C. Mathur\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e104\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e10\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHindi Folk Drama\u003cbr data-mce-fragment=\"1\"\u003eSuresh Awasthi\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e121\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e11\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePunjabi Drama and Theatre: Some Trends and Experiences\u003cbr data-mce-fragment=\"1\"\u003eSnehlata Sanyal, Sheila Bhatia\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e147\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e12\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eUrdu \u003c\/span\u003eDrama\u003cbr data-mce-fragment=\"1\"\u003eM. Mujeeb\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e165\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e13\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBhavai: The Gujarati Folk Drama\u003cbr data-mce-fragment=\"1\"\u003eDina Pathak\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e169\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e14\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eA Hundred Years of Gujarati Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eChandravadan C. Mehta\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e185\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e15\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMarathi Theatre\u003cbr data-mce-fragment=\"1\"\u003eMama Warerkar\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e193\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e16\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eKannada Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eAdya Rangacharya\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e213\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e17\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Professional Theatre in the Western Region\u003cbr data-mce-fragment=\"1\"\u003eK. Narain Kale\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e223\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e18\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eMalayalam Drama and Theatre\u003cbr data-mce-fragment=\"1\"\u003eK.M. George\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e242\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e19\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Growth of Drama in Tamil Nadu\u003cbr data-mce-fragment=\"1\"\u003eT.K. Shanmugam\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e249\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e20\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTelugu Drama and Stage\u003cbr data-mce-fragment=\"1\"\u003eB. Kanakalingeswara Rao\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e255\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e21\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eKuchipudi Bhagavatam: The Dance-Drama of Andhra Pradesh\u003cbr data-mce-fragment=\"1\"\u003eNataraj Ramakrishna\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e270\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e22\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndian Theatre in the Context of the World Theatre\u003cbr data-mce-fragment=\"1\"\u003eMulk Raj Anand\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e281\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e23\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTraditional and New Drama\u003cbr data-mce-fragment=\"1\"\u003eBalraj Sahni\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e304\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e24\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAmateur Theatre in India\u003cbr data-mce-fragment=\"1\"\u003eSombhu Mitra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e318\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e25\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProblems of Amateur Theatre: I\u003cbr data-mce-fragment=\"1\"\u003eI.L. Dass\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e323\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e26\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProblems of Amateur Theatre: II\u003cbr data-mce-fragment=\"1\"\u003ePrabhakar Machwe\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e326\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e27\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProduction Suited to Indian Conditions\u003cbr data-mce-fragment=\"1\"\u003eH.V. Gupte\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e339\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e28\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Training of the Actor\u003cbr data-mce-fragment=\"1\"\u003eE. Alkazi\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e355\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e29\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTheatre Architecture and Stage Setting\u003cbr data-mce-fragment=\"1\"\u003eAdi Marzban\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e366\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e30\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eProduction of Operas\u003cbr data-mce-fragment=\"1\"\u003eP. Sambamoorthy\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e376\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e31\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eNritta and Nritya Varieties in India\u003cbr data-mce-fragment=\"1\"\u003eShrimati Tagore\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e382\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e32\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChildren's Theatre: I\u003cbr data-mce-fragment=\"1\"\u003eSamar Chatterjee\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e392\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e33\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChildren's Theatre: II\u003cbr data-mce-fragment=\"1\"\u003eRomesh Chander\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e400\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\" valign=\"top\"\u003e34\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eRecommendations of the Drama Seminar\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e404\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eContributors\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e408\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Jayant Kastuar","offers":[{"title":"Default Title","offer_id":43906185166986,"sku":"","price":975.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/indiandramainretrospect.jpg?v=1697887477"},{"product_id":"architecture-of-manasara-original-sanskrit-text-with-english-translation-and-notes-three-volumes","title":"Architecture of Manasara (Three Volumes)","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eArchitecture and sculpture, both sacred and secular, through, have witnessed the best of human imagination and innovation serving culture and civilization in their evolution all over the world. Coming to the present generation, while the global necessity is protection of the nature, sustainable development and eco-friendly creations and constructions the artists, sculptors and architects in the east and the west have started rediscovering the classic oriental standards outlined in scriptures or presented in scientific details in specific technical texts in Sanskrit and allied languages, which have been practice for a very long time in human history. This invariably proved by the great monuments and heritage sites in incredible India and Indian sub content.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eManasara is regarded as the most standard and complete treatise, rather the fountain-head of all the Silpa texts. The very name ‘Manasara, means the ‘Essence if Measurement’. Of the seventy chapters if Manasara, the first eight are introductory , the next forty-two deal with architectural matters, and the last twenty are devoted to sculpture, where sculptural details of idols of deities of the Hindus, the Buddhists and Jains , statues of great personages and images of animals and birds are given. This new revised edition contains the original Sanskrit text along with the English translation and explanatory notes. Besides General Index, a Glossary of the technical terms is also appended to the work.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eHowever, the present work is sure to inspire the specialist with rare information and insight and also will bring home to the lay reader the contribution of ancient Indian in this highly technical area of human enterprise.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr Narasingha Charan Panda (Dr N.C. Panda), Associate Professor in Sanskrit, Vishveshvranand Vishvabandhu Institute of Sanskrit and Indological Studies (V.V. B.I.S. and I.S.), Punjab University, Sadhu Ashram , Hoshiarpur , is well –known in the field of Indological Research, who combines in him a comprehensive understanding of scholarly issues, impartial judgment and an exemplary clarity of expression.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAfter Graduation (B. A. Hons. in Sanskrit) from Utkal University, Bhubaneswar, and Post-graduation and M. Phil., degrees from Kurukshetra University, he obtained Ph. D. Degree in Vedic Studies from Punjab University, Chandigarh. In addition to these, Dr Panda is also qualified in other Indological branches, like: Buddhism (Acharya), Kashmir Saivism (M.Phil.), Indian Philosophy (Acharya), and C.C. in German.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePresently, Dr Panda is the Associate Editor of Vishveshvarananad Indological Research Journal. As an ardent scholar and a successful researcher of Indology, he has contributed a number of learned Research papers, and has written and edited some valuable books, viz: Perspectives of Indian Thought; Upadsasahasri (Revised and Ed.); Buddhism (Pali Text with English trans. in two Vols, Compiled and Ed.); kalatattvakosa Lexicon, Vols. V and VI (ED.); Saundarualahari (Critically Edited); Sankhya-karika (Rev. and Ed.); Mahanirvana Tantra (Ed.); Mahavamsa (Rev. and Ed.), Aspects of Vedanta (Ed.), Essays on the Gita (Ed.), Life of Gautama Buddha (Compiled and Ed.); Gods and Goddess in Indian Art and Literature; Manasara (Rev. and Ed.), etc\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHistory of Publication\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eArchitecture of Manasara is an English version of a Sanskrit text of that name edited, with critical notes, for the first time by the writer. The text is based on all the eleven available manuscripts gathered together by the then Secretary of State for India , Sir Austin Chamberlain, for the use of the writer. Except one, all other manuscripts are fragmentary and none contains any commentary, drawings, diagrams or sketches. The buildings of the time, religious, military, or residential, do not appear to exist in their entirety for a ready reference. In 1838 Ram Raz based, his Essay on Architecture of the Hindus on a few chapters of a single fragmentary manuscript. In recent years several other scholars have quoted extracts from one or other of the manuscripts. But no one, including Ram Raz, attempted the translation of any passage. A few Sanskrit texts of architecture have also been printed in the recent years, but none has been translated into English or elucidated in any other language, Indian or European.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt was the great Director General of Archaeology, Sir John Marshall, who conceived the idea, and advised Lord Pentland, the then Governor of Madras, to get a reliable version of the standard work ok Indian architecture scientifically edited and properly elucidated, together with sketches, Thomas, then librarian of the India Office, London, that I had been working for some time as a Government of India State scholar on the subject in consolation with Mr. E. B. Havell and under the guidance of Dr. L.D. Barnett of the British Museum, Dr. Thomas himself, and Dr. J. Ph. Vogel of Leyden. But the unfortunate coincidence of His Excellency’s retirement and Sir John’s absence from India at the time of my arrival in Madras upset the preliminary arrangement made for the publication from Madras. On my appointment to the Indian Educational Service in the United Provinces. Sir Claude F. De la Fosse, the then Di rector of Public Instruction, and the first Vice-Chancellor of the reconstructed Allahabad University, took up the matter with scholarly interest and induced the great educationist Governor, Sir Harcourt Butler, to sanction the publication on behalf of the United Provinces Government , though the Oxford University Press.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work of seventeen years- which Professor E. J. Rapson of Cambridge University correctly predicted to be a life’s undertaking – has thus reached its present destination. It is, however, not the end, but the beginning, of a new line of Indology which , it may perhaps be hoped, is likely to prove not merely of cultural and historical interest, but possibly of some practical benefit to the country and to the nation. Our architectural policy of the past few hundred years, based as it has been on foreign imitation, and an in entirely different climate and soil, has to proved quite successful in regard to temples and humble dwelling-houses, if not in regard to public edifices also. That the sole object of a work like the Mansara was primarily and ultimately practical giving general as well as special guidance to the builders of that time, as also of the future generations, will be clear even to the nation by the activity of the Archaeological Department, or which having defied the effect of time and weather, are yet standing almost in their original grandeur, will indicate the application of the rules and regulations, or at least the methods and principles laid down in the Mansara, remains to be proved. If, after making allowance for exciting conditions and requirements the methods and principles, as well as the rules and regulations laid down in the standard treatise, are found to be scientifically sound and suitable for modern buildings, big and small, they may be experimented with, and the solution of the problems relating to its textual imperfection and historical uncertainty may be left to the care of those whose missions is the elucidation of the past culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe preliminary accounts of the subject published in the writer’s Dictionary of Hindu Architecture and Indian Architecture according to Mansara Silpa-sastra have awakened a world-wide interest as will be seen from the extracts from reviews and opinions appended at the end of the present volume. This has emboldened me to publish as complete a record as is at present practicable. “But the reader must understand that these volumes do not claim to be other than provisional. In the nature of tings it could not be otherwise. These volumes do not claim to be other that provisional. In the nature of things it could not be otherwise .These volumes may open up a new line of Indian achievement and may led to a task which is just beginning. Fresh material’s facts and figures are likely to come to light. In such conditions any approach to finality is out of the question.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreparation of The Plates\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eOwing to the defective of the text, which has been shown elsewhere, one can hardly be perfectly sure of the interpretation. An elaborate effort, involving great expenditure of time, money, and convenience, was made to get into contact with the so-called –traditional builders in the south, in the Orissan countries, in the Indian State of Rajputana, Central India, Gujarat, Bombay , in the Frontier Provinces, and in the Hill States, in company with trained and experienced engineers, architects, and interpreters, in the vain hope of getting some light formalist. These salats are stated to build in accordance with an ancient tradition which, they claim to have inherited orally in some cases, but mostly from some fragmentary manuscripts that they have frequently failed to interpret.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAnother effort, extending over many years and made through many agencies, both official and non-officially to engage the services, against tempting payment, of teachers, or advances students of the few schools of arts and architecture in the Indian States and elsewhere, mostly under the Government ,ended also in failure.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn these circumstances, when it was about to be finally decided to publish this first edition without any illustrations, Mr. H. Hargraves, the then Director General of Archaeology, in camp at Sanchi, while taking rest in the evening, possibly in a meditative mood concerning ancient monuments, was move by my tale which had been once before related to him at his palatial office at New Delhi. He very definitely disagreed with my intention bringing out such a volume without illustrations, and readily accepted my request to place at my disposal the services of Mr. S. C.. Mukherji, B. A. , G, D. ARC. , A. I.I.A., then a research scholar of the Archaeological Department, whose name had been mentioned to me by his (MR Hargreves’) personal assistant, Mr. B. T. Mazumdar, and who was subsequently recommended by Mr. R.L. Bamsal, a very enthusiastic engineer of the public works Department. As an experienced officer of his exalted position, Mr. Hargreaves stipulated, however, that Mr. Mukherji ‘s services might be available only for a limited period and that I must be present while Mr. Mukherji would be working at his (Mr. Hargreaves) office at Simla, obviously to get the fullest advantage of a joint effort of his whole department and my own.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eMr. Mukherji himself undertook the task with the greatest possible enthusiasm. He had graduated with Sanskrit and ancient history and received training in the method and principle of Graeco-Roman and modern architecture. As a part of his training, he had been taken under proper guidance round Nasik , Madura, and other places where he had to examine and sketch ancient Hindu and Muhammadan building s. He came to know of the Manasara at the Agra branch of the Archaeological Department, wherefrom Mr. R. L. Bansal used to take book s in connexion with the measured drawings he had been making illustrate the preliminary chapters of the Manasara. Thus Mr. Mukherji eagerly undertook the task when Mr. Bansal could no longer continue with it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eMr. Bansal, after his training a t Roorkee Engineering College, had been in charge of roads and buildings for several years before he started to make observations, in consultation with Dr. Gorakh Prasad, D.SC., the Reader in Astronomy at Allahabad University , on the astronomical calculation of the Mansara in connexion with the dialling and orientation of buildings. Mr. Bansal also accompanied me in my tour over Rajputana, including Pushkar, Mount Abu, and Jaipur , where he studied and made copies and sketches of old structures in order to ascertain the exact nature of the mouldings that are frequently referred to in the Mansara. Mr. Bansal ‘s drafts on these objects have been accepted without much alteration have been finally drawn by Mr. Mukherji. I shall ever remain grateful to Mr. Bansal and Dr. Gorakh Prasad for their very valuable assistance in doing foundation work for the architectural drawings.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eFor the first three months, Mr. Mukherji and myself worked together at the rate of nearly sixteen hours a day. As a result of this hard work Mr. Mukherji was able to make draft of the more important chapters, including the one dealing with pillars and columns. The first fruit of his labour apparently satisfied Mr. Hagreaves, who took round Mr. Mukherji’s studio big officials, including Sir Frank Noyee, the then Educational Secretary , Mr. A. H. Mackenzie, then commissioner of Education, and others, in order to explain to them the revelation of the Manasara. Mr. Mukherhi had worked on these drawings for over two years and has earned my everlasting gratitude. Words fail me to express my indebtedness to Mr. Hargreaves and the Archaeological Department, without whose assistance these drawing s could not have been prepared.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThus it can be expected that all preliminary precautions that have been taken at eve stage in the execution of the architectural drawings may ensure a faithful representation online of what Mansara expressed in words. The measured drawings, one hundred and thirty-five in number, are appended as illustrations but represent only a fraction of those architectural objects that are actually described in detail. In any event these drawings will supply the much needed materials to determine whether the extant monuments of Hindu architecture were based on the methods and principles governing the details of the village scheme, town-planning , forts and fortresses, and temples, military building gorgeous palaces and humble residential dwellings of various sizes and measures described in the Mansara.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe sculptural drawings in line and in colours could not be given the same advantage of joint deliberation, mutual consultation, and final revision. Despite the fact that there is an ever-growing class of artist all over India, most of those of local renown and teacher of recognized schools of arts in Bombay, Baroda, Delhi, Lahore, Luck now, Allahabad, Ajemr, Jaipur, Jodhpur, Calcutta, Shillong, Cuttack, Puri , Madras, and Bangalore refused, after due deliberation, to undertake the work; and the few artists who agreed, on their own terms, gave up the task after trials lasting from two to three months. At last Professor M.H. Krishna, M.A., D. Lit., Director of Archaeology, Mysore State, took me to several local artists and undertook to select one for me. But after protracted negotiations lasting declaring that “our old- type artists are sold- worldly in their business habits.” But I am thankful to him for having brought me in contact with silpa Siddhati Sivayogi Sri Siddhallingaswamy, the head of the Jagadguru Naglingaswamy monastery, who claims to be “a Silpin by heredity,” to have “studied silpa, panting , etc., at the feet of Guru” and to have been “raining for a quarter of a century a number of youths in the art of sculpture, painting, and kindred subjects according to Sastric canons.” He undertook, after an experiment lasting for nearly a year, to supply twenty-two drawings on which another six months were spent. I believe that he has given the best of his inherited skill, ripe experience, and spiritual study of the subject to these sculptural drawings.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn the absence of the expected assistance and personal supervision of Dr. Krishna, the elucidation of the details had to be carried out in lengthy, and, at times, trying correspondence. I shall, however, remain grateful to Silpa Siddhannti Sivaogi Sri Siddhalingaswamy who, among all the artists I had approached, had the courage and patience of partly illustrating the sculptural section of the Encyclopedia of Hindu Arts, and hopes to execute the remaining sculptural drawings , numbering some three hundred, if his present performance proves successful and if the Mansasara itself receives the practical recognition it deserves.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eArchitecture and sculpture, both sacred and secular, through have witnessed the best of human imagination and innovation serving culture and civilization in their evolution all over the world. Coming to her present generation, while the global necessity is protection of the nature, sustainable development and eco-friendly creations and constructions, the artists, sculptors and architects in the east and the west have started rediscovering the classic oriental standard outlined in scriptures or presented in scientific details in specific technical texts in Sanskrit and allied languages, which have been practice for a very long time in human history. This invariably proved by the great monuments and heritage sites incredible India sub-continent.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eArt is synonymous with silpa or kala or more precisely with silpa-kala , which is the subject matter of Silpa-sastra. The term silpa means an ‘art’. Here Silpa-sastra is used as Vastu-sastra . The literal rendering of Vastu-sastra would be ‘Science of Architecture’, but a complete Vastu- sastra deal with more than what is generally understood by architecture. So, Silpa-sastra or Vastu-sastra means, treatises on Art and Architecture or any Art, fine or mechanical. In the Vastu- sastra the term architecture is taken in its broadest sense and implies what is built or constructed. Thus, in the first place it denotes all kind of buildings and their auxiliary members and component mouldings. Secondly, it covers town –planning ; laying out garden; constructing market- places including ports and harbors; marking roads, bridges, gate ways, triumphal arches; digging wells ,tanks, drains, sewers; building enclosure walls, embankments, dams, railings, landing places, flights of steps for hills and bathing steps and ladders. Besides, it also connotes articles of furniture, such as: bedsteads, couches, tables, chairs, wardrobes, baskets, cages, nests, mills, lamps, etc. It also includes the making of dresses and ornaments such as chains, crowns, heads-gear and foot and arm wear. Architecture includes sculpture and deals with carving of phalli, idols of deities, statues of great personages, images of animals and birds. It also concerned with such preliminary matters as the selection of site, testing of soil, planning, designing, finding out cardinal points by of a gnomon, and astronomical and astrological calculations. Though a number of Pauranic, Agamic and other texts deal with the above subjects but there are two recognized schools of Indian Silpa tradition, viz. the Northern or Aryan or Nagara School (School of Visvakarma) and the Southern or Dravidian School (School of Maya). The major Northern Silpa texts are : (1) Visvakrarma-prakasa, (2) Samarangana-Sutradhara, (3) Aparajita-Prccha, (4) Rupa- Mandana, etc, Similarly, the major Southern Silpa treatises are : (1) Mayamata, (2) Amsumad-bheda, (3) Agastya-Sakaldhikara, (4) Silparatna, (5)Manasara,etc.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe Major –Northern Silpa (Vastu) texts are:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eVisvlakarma- Prakasa\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eof Visvakarman is an important and popular work on the Northern Vastu tradition , which bears the titles: Visvakarma-Vastu-Sastra and Visvakarmiya-Silpa-Sastra. The treatise contains thirteen chapters. Basically, the text deals with direction on the building of houses making of roads, tanks, etc.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eSamarangana-Sutradhara\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eis attributed to king Bhojadeva of Dhara (11th century). Comprising of 83 chapters it deals with almost all the subjects of Architecture, both secular and religious.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eAparjita-Prccha\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eof Bhuvanadavacarya is a standard is a work on the Northern school of Indian Architecture and sculpture. The iconographical details of this treatise are not only exhaustive and extensive enough, but here are described practically all important classes of deities –Saiva , Vaisnava, Brahma, Saura, Sakta and Ganapatya. The Jaina images are also included in the subject matter of the text.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eRupamandana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eof Mandan is also an important work on Iconography. It deals with various subjects like murti-nirmana decata- pujana-vidhi, Visnu murtis and Sivamurtis, ets.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Major Southern Silpa (Vastu ) texts are:\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eMayamata\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eis a very extensive work on Silpa and occupies a fairly well –defined place in the artistic tradition of India. Comprising about 3300 verse in classical anustubh metre and divided into 36 chapters, it is identified as an ancient treatise on Dravidian Vastu-vidya (Sastra). Of these, the first thirty-two on Architecture bear the same titles as the corresponding chapters of the Mansasra. Of the remaining four on sculpture in place of twenty-one of the Mansara, two deal with the Phalli and Pedestals of Siva , one on minor works (anukarma) of the sculpture and one on images in general. It is to be noted that in respect of the titles of chapters, their sequence, except in one instance, contents, and method of treatment, the Mayamat runs exactly like the Manasara step by step.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cb data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eAmsumad-bheda\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis attributed to Kasyapa, which deals with sculpture more extensively than Mansasra. The work has eighty- six chapters, where architecture is treated in the first forty-five and the last two chapters. These forty-seven chapters are similar in many respect to the first fifty chapters of the Mansara . However, the treatise deals more elaborately with sculptural objects in rest thirty-nine chapters. As this text is the follower of the Agama buy name, so the Saiva icons are predominant here as well.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eAgastya- Sakaladhikara\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/b\u003eis attributed to sage Agasty, who is frequently cited as an authority in the field of Architecture. The word ‘sakala’ means an ‘icon and hence this text is exclusively written on sculpture. As the text is in the line of Agamic tradition, hence only Saiva icons form the subject matter of this famous treatise is : tripurantaka-laksana, ardanarisvara-laksana and pasupata-laksana, etc. Several of the chapters are based directly upon the corresponding chapters of the Manasara. The date and authorship are not yet known.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003eSilparatna\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof Srikumara (16th century A.D.) is based on the Dravidian Vastu-vidya tradition. It deals with practically all classes of icon, sviz. Siva, Visnava, Sakta and other belonging to Pancayatana groups, along with the images of miscellaneous deities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003cb data-mce-fragment=\"1\"\u003ePresent work Mansara\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eis regarded as the most standard and popular, rather the fountain head of all the Silpa or Vastu treatises. The etymological rendering of the word ‘manasara’ is the essence of measurement’, ‘sara’ meaning essence and ‘mana’ measurement. It may, however, be rendered by ‘the standard measurement ‘or ‘the system of proportion’. In this sense the full title Mansara-Vastu-sastra would imply a Vastu-sastra or ‘Science of Architecture’, where the essence of measurement is contained , the standard measurement followed, or the system of proportions embodied. There is an ambiguity as regards the signification of this standard work. The colophon annexed to each of the seventy chapters contains the expression’ Manasara vastu-sastre’. This is apparently intended to mean either the Vastu sastra by Manasar or the Vastu-sastra named Mansara. In other words, Mansara would seem to be such a name as may be applied to the author as well as to the work. In a passage in the treatise itself the term mansara has been used in both these sense: ( Krtamiti akhilamuktam manasarm puranaih\/Pitamahendrapramukaih samaastaih devairidam sastravaram puroditam\/ tasmatsamudhrtya hi mansasam sastram krtam lokahitarthameta Mansasra, LXX.57cd-58). Therein it is held that “all this is stated to have been compiled by ancient Mansaras. This great Science was formerly revealed by all the gods beginning with the creator and the king of gods. Having been compiled by there from, this treatise Mansara is made for the benefit of the people”. In the above passage the term ‘manasara’ is once used in the sense of a generic name (of architects), and secondly as the title of a treatise implying ‘the essence of measurement,’ which is the etymological rendering of mansara. This later sense is explicitly expressed in another passage where it is stated that “having successively collected in a concisie form the essence of measurement from the sastra” this treatise is compiled (Mananm saram samgrhya sastre samksepatah ramat—Mansaara, XXXIII. 1 dc). The former sense is also substantiated by several other passages. In one place it is stated that “ the treatise, compiled by the sages or professors of architecture called Mansarsas, was named after the sage or architect Mnasara”(Mansara-rsinam krtam sastram Masnasra-Muninamaamasit-Mansara, I.20ab). There is yet another ambiguity in this passage, Mansara being once a generic name in the plural and in a second place a personal name in the singular. As a generic name it is used in another passage where it is stated that there are many Mansaras (Manasaro bahuh srtah-Mansara ,LXVIII.6cd). The text mentions thirty-two preceding authorities or sages of Vastu –sastra or Silpa-sastra, viz., Visvakarman, visves, Visvavara, Prabodhaka, Vrta, Maya, Tvashtar, Manu, Nala, Manavid, Manaklpa, Manasara, Manabodha, Prashtar, Visvaboda, Mahatantra, Vastu- Vidyapati , Parasariuaka, Kalayupa, Chaitya, Chitraka, Avarya, Sadhakasara- samhita, Bhanu, Indra, Lokajna, and Saura. Out of these thirty-two sages or professor of architecture, the word ‘mana’ is associated with four names, viz. Mana-sara, Mana-kalpa,Mana-bodha, and Mana-vid. It is not unlikely that the sages or the architects, with whose names Mana or measurement is associated , are intended to be distinguished from the rest as being specialists in ‘measuring’ which is very important feature of the science of architecture. It is also used exclusively as a personal name when it is stated “by feature of the science of architecture. It is also used exclusive as a personal name when it is stated “by all great sages or old authorities, Mansara and other” (Sakalamuniva-rarmanasaradimukhaih- Manasara, LXIX.216). All available external references to the Mansara, however, point to its being used mostly as a personal as a personal name.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eHowever, the exact date and authorship of the text still remain untraced. But ,Mansara represents that period of Indian sculptural traditions when correct proportions were the essence of Art. It is from this fundamental angle that this work has treated not only sculpture, but also Architecture. The work is divided into seventy chapters, out of which the first eight are introductory, the next forty-two deal with architecture and the remaining twenty chapters are devoted to sculpture, where sculptural details of idols of Hindu, Buddhist and Jaina deities and images of animals and birds are given. In the opening verse, it is stated that the science of architecture (Vastu- sastra) has down to the sage Mansara from siva, Brahma and Visnu, through Indra, Brhaspati , Narada and all other sages. The contents of Mansara, however, fully justify its unique position as the most representative Silpa-sastra.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eRegarding the detail subject matter of the text, it can be said that the first chapter deals with the various subjects treated under architecture. The second deals with the system of measurement. The next three chapters classify Vastu under ground and site for building; building which includes places, pavilions, halls, mansions, alms-houses and theatres; conveyance comprising cars, chariots, chairs, swings, and nests and cages for domesticated birds and animals. The sixth chapter deals with gnomons for ascertaining the correct cardinal points for the purpose of right orientation of buildings. The next chapter explains scheme of site plans. The eight and last chapter on preliminaries refers to sacrificial offerings in connection with house building. In the next two chapters, village-schemes and town-plans are properly elaborated, which include the layout ,roads, bridges, gardens, ponds, public building like temples, hospitals, etc. The next chapter deals with the principles of dimensions for buildings of various storeys. Chapter twelve describes the foundations to be given to all constructions. Chapter thirteen and fourteen deal with pillars of free-standing and supporting varieties together with their pedestals, bases, shafts, capitals and entablatures. Chapter seventeen describes the wood-joining and other wood works for the buildings. Chapter eighteen speaks about the classification of building on the basis of the number of storeys, the styles of buildings, based chiefly on the shape of the shape of the top portion elaborate various parts and portion known as sikhara, sloping roofs and porticoes attached to the main building. Chapter nineteen to thirty elaborate various parts and proportion of some hundred types of buildings furnished with one to twelve storeyes. However, chapter thirty concludes with a description of staircases for all kinds of buildings. Chapter thirty- one describes various courts into which the whole compound of an edifice, temple or place is divided for the purpose of distribution of various structures. Chapter thirty-two discusses the court in a temple where the attendant deities are housed. Chapter thirty-three explalins the gate-houses attached both to residential buildings and temples and concludes with an elaborate description of windows. Chapter thirty-four describes detached pavilions of various kinds which are not storeyed and are like the modern bungalows built inland and on sea shore, river bank, hill too, etc. Chapter thirty-five elaborates the various classes of huge mansions composed of several rows of buildings. Location of such buildings and their measures are treated in the next chapter. Chapter thirty-seven describes the ceremonies of house warming or first entry into the newly built house. Chapters thirty-eight and thirty-nine deal with various kinds of doors and openings. Chapters forty to forty- two describe the royal palaces for kings of different ranks for their courts and families. Chapters forty- three to forty –five describe the cars, chariots, couches, and thrones for kings and gods and their consorts. Chapter forty-six describe decorative arches for royal and divine thrones and incidentally refers to the principle of constructive arches for building also. Chapter forty-seven explains theatres for performance of drama, inside temples and palaces, and ornamental trees for decoration purposes. The royal and divine structure are described with minute details of construction in chapter forty-eight. Chapter forty-nine describes corns for royals and divine wearers and their consorts with constructive details. In the next chapter, various articles of furniture and ornaments for the body of kings, gods, their consorts and other personages are described. This concludes the description of architectural objects proper.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWith similar elaborate description and constructive details the sculptural objects are described in the following twenty-one chapter, vviz. Fifty to seventy. Of these chapter fifty –one describes the images of Brahama, Visnu and Siva. Chapter fifty-two to fifty –three describe the phalli of siva and the pedestal (yoni) thereof. Chapter fifty-four explains the goddesses of various grades and measures. The Jain deities are described in the next chapter, which contains an elaborate account of sculptural measure. Chapter fifty-six describes the Buddhist images; chapter fifty-seven images of sages; chapter fifty-eight images of demi-godes; chapter fifty-nine images of devotees; chapter sixty images of goose; chapter sixty-one images of Garuda; chapter sixty –two the images of the bull and chapter sixty three the images of the lion. Chapter sixty-four speaks about a general description of all images, especially their proportion in comparison with the measure of the house wherein they are installed as well as with the measure of installer. The Tala measures which supply the proportion between various parts of the body of the basis of the head as the unit are illustrated in chapters sixty-five to sixty-six, where minute details of the ten and nine Tala measures are given, the other such measures being illustrated in the preceding chapters. For further sculptural measures the plump lines are described in chapter sixty- five to sixty-six, where minute details of the ten and nine Tala maeasures are given te other such measures being illustrated in the preceding chpataer. For further sculptural measures the plumb lines are described in chapter sixty-seven, whereby the sidewise distance from limb to limb of an image can be ascertained. The first casting of images in wax is described in chapter sixty-eight .Chapter sixty- nine speaks about the defects in constructing the various parts of a building and incidentally refers to the defects in making the images also. The concluding chapter describes the chiseling of the eye of an image and setting of precious stones in different parts of the images. This way, the chapters of this text are systematically arranged and elaborate in detail all about the subject matters of art and architecture. Hence, it can be finally said that the Mansara is a unique text, which covers all most all subjects of (Silpa-sastra or Vastu-sastra) Indian Art and Architecture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThus, this book is an Encyclopedia of Indian Architecture, since it covers almost all the aspects of art and Architecture. A number of illustrations of different Architectural aspects are nicely presented in this book , which really enhance the value of the book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eBesides the general Index, a Glossary of the technical terms is also appended in the work. Hence, this book would be immensely useful to the students as well as researchers to know and understand the real meaning, value and importance of Indian Art and Architecture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis edition is purely based on the previous edition of Prof. P.K. Acharya, published from Allahabad. As an editor, I have tried my best to correct the text as well as the translation, whenever I found necessary, i.e. on the basis of written evidences\/ documents. I have learnt a lot from the previous edition, and hence, I am really thankful to him for his outstanding scholarship.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI beg to express my sincere regards and thankfulness of Professor Ganesh Dutt Bhardwaj (Former Chairman , Deptt. of V.V. B.I. S. and I.S. , Punjab University, Hoshiarpur), Honourable Member Secretary, Himachal Sanskrit Academy, Govt. of Himachal Pradesh, Shimla, for his enlightening inspiration and valuable suggestions from to time to complete this work properly.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI am also grateful to Dr. Surendra Mohan Mishra, Dept of Sanskrit , Kurukshetra University, Kurukshetra , for his scholarly guidance and constant encouragement.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI am extending my sincere thanks to Prof. Shuk Dev Sharma, V.V. R. I. , Hoshiapur, Prof. Raghbir Singh, Chairman, Deptt. Of V.V.B.I.S. and I.S., Punjab University , Hoshiparpur , Prof. Rajinder Kumar Sharma, Prof.Prem Lal Sharm a and Prof. Krishna Murari Sharma, V. V. B. I. S. and I. S, Punjab University, Hoshiarpur, for their kind co-operation and scholarly suggestions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI offered my most sincere thanks to my wife Mrs. Shradhamjali Panda and my lovely daughter Prajna for their kind co-operation in accomplishing this work in time.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eShri C.P. Gautam, publisher, Bharatiya Kaka Prakashan, Delhi, deserves special mention here. Due to his personal interest and sincere effort, the book has been brought out in time and also in a beautiful form. Hence, I extend my heartiest thanks to him.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eLastly, I owe an enormous debt of gratitude to all those scholars, Institutions and Publishers, whose works\/ editions have helped me a lot in preparing this book. I am also equally thankful to Shri Raman Chaudhury for his useful suggestions.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"5%\" data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003ePreface\u003c\/td\u003e\n\u003ctd width=\"15%\" data-mce-fragment=\"1\"\u003e(xi)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eList of Illustrations\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(xxxix)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIntroduction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e(lxxxvii)\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\n\u003cdiv align=\"center\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVolume 1\u003c\/b\u003e\u003c\/div\u003e\n\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Collections\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1-5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Qualifications of architects and the System of Measurement\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6-13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Classification of Architecture\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14-17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Selection of Site\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e18-22\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Examination of Soil\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e23-31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eErection of Gnomons (for Orientation of Buildings) and Pegs (for Foundation)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e32-46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Ground Plans\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e47-86\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Sacrificial Offerings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e87-93\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Village\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e94-149\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Towns and Forts\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e150-163\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Dimensions of Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e164-177\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Foundation\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e178-197\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Pedestals of Columns\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e198-214\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Bases of Columns\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e215-261\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Columns\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e262-304\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\n\u003cdiv align=\"center\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVolume II\u003c\/b\u003e\u003c\/div\u003e\n\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Entablatures and Roofs\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e305-321\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eJoinery\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e322-340\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe General Features of Edifices\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e341-374\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe One-storeyed of Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e375-404\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Two-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e405-419\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Three-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e420-431\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Forr-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e432-444\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Five-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e445-451\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Six-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e452-459\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Seven -storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e460-466\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe eight-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e467-476\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Nine-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e477-483\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Ten-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e484-490\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Eleven -storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e491-497\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Twelve-storeyed Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e498-519\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Courts\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e520-530\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Temples of Attendant Deities\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e531-547\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Gatehouses’ and the Windows\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e548-599\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Pavilions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e600-651\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe storeyed Mnasions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e652-688\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Situation and Measurement of Dwelling-Houses\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e689-697\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Opening of the Dwelling House\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\n\u003cdiv align=\"center\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eVolume III\u003c\/b\u003e\u003c\/div\u003e\n\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e705-709\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Doorways\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e710-725\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXXXIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Measurement of Doors\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e726-744\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXL\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Royal Palaces\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e745-750\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Royal Entourage\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e751-758\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ethe Royal Orders and Insignia\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e759-774\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Cars and Chariots\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e775-782\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Couches, Bedsteads and Swings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e783-801\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Thrones\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e802-811\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Arches\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e812-815\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Central Theatre\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e816-824\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Ornamental Tree\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e825-845\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eXLIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Crowns\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e846-872\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eL\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Bodily Ornaments and House Furniture\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e873-884\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Triad\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e885-913\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe halls\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e914-918\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Altars\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e191-936\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Female Deities\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e937-346\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Jain Images\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e947-950\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Buddhist Images\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e951-958\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Images of the Sages\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e959-961\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Images of the Muthical Beings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e962-971\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Images of the Devotees\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e972-975\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Goose\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e976-988\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Garuda-Bird\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e999-1005\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Bull\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1006-1021\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Lion\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1022-1028\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXIV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Comparative Measure of Images\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1029-1040\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXV\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Largest Ten Tala Measures\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1041-1046\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXVI\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Intermediate Ten Tala Measures\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1047-1052\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXVII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Measure along the Plumb Lines\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1053-1062\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXVIII\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Casting of Idols in Wax\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1063-1068\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXIX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Penalties for Defective Construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1069-1076\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLXX\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe Chiselling of the Eye\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1077-1096\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eGlossary\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e","brand":"Prasanna Kumar Acharya","offers":[{"title":"Default Title","offer_id":44098448392330,"sku":"","price":6400.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/naf379.jpg?v=1703331210"},{"product_id":"a-study-of-the-hindu-science-of-architecture-and-its-practice-with-special-reference-to-rajavallabha","title":"A Study of The Hindu Science of Architecture and its Practice with Special Reference to Rajavallabha","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr.N.R.Dave is a Civil Engineering Graduate from I.I.T Madras. He passed B.Tech in 1965 after working in Government and Private Companies in 1967 he got himself self-employed as consulting Engineer and Builder. Since last 43 years he has to his credit construction of many prestigious Residential, commercial, Community and Industrial Buildings. He has developed expertise in construction of multistoried complexes in continuous area building zones of Chennai city. The repairs and alterations of buildings is another area where he has developed expertise. He has written papers on ‘Social Aspects of Civil Engineering’, ‘Cracks and repairs in Buildings’, Maintenances of Buildings’, etc. He is a member of Concrete Association of India, Valuers Association, Vastu Sastra Circle, and Fellow of Institution of Engineers \u0026amp; Fellow of institution of valuers.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn social and public field he was Under Sheriff, Madras in 1994. He was Diamond Jubilee District Governor of Lions Clubs International, District 324 a1 in 1991-92. He is the author and Managing Trustee of Lions Hearing Aid Bank, Dist.324a1 lions Eye Bank Trust \u0026amp; Foundation. He is the founder Trustee of lion’s edifice for service Trust, Heart Foundation and Lions Foundation for the Blind. He has been chiefly responsible in the creation of ‘Lions Cornea Block’ which is now the standing monument of service in the premises of ophthalmic hospital. The lions Model Eye Bank of which he is the author is a standing monument of service to the Sightless at Govt. Ophthalmic Hospital. Doordarshan has interviewed him on his social Activities.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eHe is life Member of Institution of Engineers (India). He is the Committee Member since last 31 years and at present he is the President of 90 years old Sri Z.P.H. Gujarati Kanya Kelavani Mandal. He is President of The Hindu Theological Higher Secondary School which is 120 years old. He is Vice President of “HINDUSTHAN CHAMBER OF COMMERCE”\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eHe has been awarded “Distinguished Alumnus Award” by I.I.T. Madras in 1996. In 2008 Sri Gujarati Mandal Awarede him “Chennai Gurjar Ratna Award”. Jagatguru Sankaracharya of Kanchikamakoti Peetam Pujya Sri Jayendra saraswati swamiji conferred ‘JANA SEVA’ title on him on 12th June 2010. He has been awarded “Paul Harris Fellow” awarded by Ratary International to honour his services in the field of Eye Donation. He is pursuing his studies in Sanskrit. In 2002 he passed M.A Sanskrit. From 2005 to 2009, he carried out research at University of Madras through Sanskrit Department and Presented Thesis on “The Hindu Science of Architecture, and its Practices with special Reference to Raja Vallabha”. He has been awarded doctorate of Philosophy (Ph.D) in May 2010 by University of Madras.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is a matter of great pride that the book. ‘The Hindu Science of Architecture and its practices with special reference to Rãjavallabha’ is getting printed and published. Dr. N.R. Dave, a well known Chartered Engineer and Social worker from Chennai desired me to write foreword to his wonderful book. It is commendable that Dr. N.R. Dave as a professional decided to make an indepth study of Hindu Science of Architecture and brought out the basic scientific principles and methodologies adopted in the construction of ancient Temples, Palaces, Buildings and other Civil Structures. For modern Students of Civil Engineering and Architecture this book will be a boon as it explains the five fundamental canons of Hindu Architecture dearly and vividly.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eEarlier it was thought that Vãstu is to be followed only for the construction of temples and palaces and not for buildings. But in the last fifteen years, Vãstu has become popular. Nowadays it is advertised by builders in the News papers that flats and buildings are constructed as per vastu. Does it mean that Vastu is only a placement of rooms in particular directions? No; it is not so. On the other hand Vastu has wider implications. Any planning and construction of a structure is Vastu, like Town Planning, buildings, Temples, Royal and Dwellings) markets, roads, gardens, lakes, wells, fountains, compound walls and other constructions. It also includes weapons, dresses and embroidery, Jeweilary, furniture, sculpture, painting etc. The principles of orientation and Planning, measurements, proportions and mathematical formulae, types of buildings and perspectives, materials, principles of astronomy, auspicious time, etc. are explained in great detail with illustrations in the Rajavallabha a work of great importance from Gujarat, written by a Acarya Mondana.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eContrary to common belief that Vstu cannot be followed in modern buildings and flats, nowadays the planners and builders are accommodating some principles of Vastu in buildings. The placement of columns and walls are avoided on the ‘Vedb.a’ points. They are so oriented as to get the benefit of maxinnun air, light and positive flow of energy. The proportions of height, length and width are also designed appropriately.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn the design of modern siopping malls, the centre place is kept open. This is the rhaaa of V4stu, which is reqiire4 to be kept open The concept of green building has tiLe principle of flqyg ztu 1ig4 i. tke The long spanned structures like Malls and Airports have colunms placed at large distance. They re designed keeping in mind structural stability and use of suitable building materials. The open cantilever foyers are leveraged by built up area in the main building.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eNot only one should build beautiful building but also build beautiful Life in the building. The body is made of the same Pancabhuta.-s (five elements) as that of the Universe. If there is synchronization of house and living body with the universe then it will result in beautiful life, wherein there is peace, prosperity and happiness. The principles of Vastu enables one to build beautiful lie.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. N.R. DAVE has divided his work in to two parts. The first part introduces the Hindu Science of Architecture, its history, its scope and subject matter and qualities of an architect. The study of five fine scriptures of Vastu-.4ãstra-s namely Sa.marangana Sütradhãra, Aparajita Pacchã, Manusyalaya Candrika, Mayamata and Rajavaflabha, on different aspects of Vastu-.astra is praiseworthy. The five canons of Hindu Architecture are explained in detail to enable the reader to learn how the planning, proportions, measurements, various mathematical formulae, testing of soils, placement of trees round the building, and perspectives of- structures are based on scientific principles. The second part is a free translation of RJjavallabha. From Sanskrit Gujarati to English. Rajavallabha is a complete Vastu scripture and Dr.N.R. Dave has translated it into English with great care perhaps for the first time to see that it conveys the same meaning of Acãrya Mandana who has written the original Sanskrit text. Explanations in the form of footnotes are provided for clear understanding of specific names and terminologies.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe speciality of Rajavallabha is that in the chapter of housings all types of housings like Ek-salã, Dwi-sãia, Tri-sala, Catu-salã etc. are described in details with figures and each type of house with various permutations and combinations are described with specific names in Sanskrit. The chapter on Astronomy, fixing auspicious time for various ceremonies, Astrology describing horoscopes for buildings and a full chapter on Omens makes very interesting and educative reading of this beautiful scripture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Kanaiyalal M. Munshi, the founder of Bharatiya Vidya Bhavan had made it a mission of his life for studies and development of Bharat’s heritage and cultural values. I am extremely happy that Bharatiya Vidya Bhavan has come forward to print and publish this great work of learned author Dr. N. R. Dave. Through research and case studies let Dr. N.R.Dave, the social worker help people to live trouble free, tension free and prosperous lives.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e“A Study of Hindu Science of Architecture and its practice with special reference to Rãjavallabha” is an attempt to share with non Sanskrit knowing readers the contents of the text. As a practising Civil Engineer for more than forty years, I have designed, constructed and repaired many residential, commercial and industrial buildings, using reinforced concrete and modern building technology. In repairing many old buildings, I came across ‘Madras Terrace’ roofing wherein the wooden rafters and wooden beams were used. Wooden Pillars were also used for supporting the beams. In many places brick masonary was used in mud and lime mortars. Plastering was done with lime mortar. In the design of old residential buildings, the central raised ceilings called Kalyana-kudams were provided to keep Ventilation. A big residential building consisted of multiple Kalyana-kudam-s. The buildings were constructed on square or rectangular plots and faced the cardinel directions. Each living portion was built to face a particular direction. I was given to understand that building structure was planned as per Vãstu in olden times. In early professional career, my goal was to be a successful Planner, Engineer and Builder and hence I did not have much time to learn about Vãstu principles. But, of late, since the beginning of the twenty-first century, a new interest has been kindled among owners andbuilders to construct buildings as per Vãstu and correct Vastu-dosa in existing buildings. With more time for learning, I decided to start study on Ancient Hindu Architecture. But I found that the ancient Vãstu literatures were in Sanskrit and though English commentaries were available on some of these books a working knowledge of Sanskrit language was a must. With basic knowledge of Sanskrit, I decided to appear for M.A. (Sanskrit) examination and passed the same in 2002 from KSOU. After a couple of years, in one of the meetings in the University of Madras, Marina Campus, I met the Head of the Department of Sanskrit Dr. Siniruddha Dash and showed my interest to study Västu. He invited me to the Department and encouraged me to join the University for Ph.D. course under the guidance of Prof. Dr. S. Padmanabhan. I enrolled myself for Ph.D and as per the guidance of Prof. Dr. S. Padmanabhan, made preliminary studies of - Samaranganasutradhara (S.S.) by Dr. Shukla, Aparajitaprccha (A.P.) by Prof. Mankad and Rajavallabha (R.V.) by Sri Manclana which was published by M\/s.Uday Jagushte with Gujarati translation by Sri Narayana Bharati Yashwantabhãrati. The first two books gave me a lot of insight in the principles of Ancient Indian Architecture. I found Rajavallabha as a complete book on Vãstu and i1pa-astra, with detailed study of Astronomy, Astrology and Omens. I found details of varieties of residential houses with various permutations and combinations and each with specific name for type of house. As a Civil Engineer, I found this book very interesting. And as a Gujarãti born and brought up in Chennai, I thought it would be easy for me to translate Rãjavallabha into English so that all sections of people will have access to this comprehensive and educative book on .i1pa-ãstra. Care is taken to illustrate with charts, figures and drawings wherever necessary. I dedicate this thesis to my parents who trained me from childhood in Hindu culture and to the people of Tamil Nadu and Gujarat who have spread this ancient science in their own states and other parts of the country.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI hope this book will be of immense use to architects and civil engineers in planning and designing of buildings and others structures.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI am beholden to Dr.S. Padmanabhan, Professor of Sanskrit, University of Madras for his guidence and advise in bringing out this book. My thanks are to Dr. R. Ananthan, former Professor of Vivekananda College, Chennai for editing the book. My gratitude to Dr. Udayan I-I. Shukla, Senate Member of M.S. University of Baroda for agreeing to write the foreword to this book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eFor the purpose of illustrations, the charts the drawings and the figures have been used from Rajavallabha (Gujarati) published by M\/s.Uday Jaguste, Ahmedabad. My sincere thanks to this publisher.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI am beholden to Bhartiya Vidhya Bhavan and especially Mr. K.N. Ramasamy, Director for printing and publishing this book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContent\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePART I\u003cbr data-mce-fragment=\"1\"\u003eChapter Title\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"20%\" data-mce-fragment=\"1\"\u003ePage No\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePrayer to Vlsvakarma\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eList of abbreviations\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eForeword\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003exiv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter 1: 1.1 Introduction\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1.2 The method of treatment\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e11\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e1.3. Method of Study\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e12\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter 2 :The Scope and subject matter of Architecture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.1 Philosophical and Cosmological\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e13\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.2 Meta – Physical\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.3 Astronomical – Astrological\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.4 Geographical – Geological\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e2.5 Architectural: Building Materials, Construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e15\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003echapter 3: The Architect and Architecture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.1 The Sthapati and his Equipment and Qualifications\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.2 The Knowledge of The Science- Vastu sastra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e18\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.3 Practical Experience of Karma\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e18\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.4 The Personal Insight, Prajna\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.5 The Character, Si1a\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e3.6 Sthapatya \u0026amp; Eight Fold Limbs\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter 4 An outline of Hindu Architecture both as Science and Art\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.1 Origin of Indian Architecture\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e21\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.2 Rise of The ãstra And the place Of VIvakarma\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e23\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.3 Maya\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e24\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.4 Vãstu literature\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e25\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5 Ancient Vastu literature and its classifications\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e26\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.1 Vedic Literature\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e27\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.2 Epics\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e30\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.3 Buddhist literature\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e30\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.4 Kautilya’s Arthagastra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.5 Purãna-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.6 Agarna-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e32\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.7 Tan tra-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.8 Brhatsamhita\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e4.5.9 Miscellaneous \u0026amp; .iIpa works\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e33\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter 5 .Study of Hindu science of Architecture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e5.1 Samarangava - sutradhâra - The scope and outline history of Hindu Architecture\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.1 The Advent of Earth\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e36\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.2 The Dialogue between Father \u0026amp; Sons\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e36\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.3 The Query\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.4 The Geography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e37\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.5 The mortals in the company of the Immortals and the rise of houses in the model of a tree\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.6 The division of Society according to Varna and A.4rama-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.7 The Qualifications of an Architect\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e38\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.1.8 The Eightfold limbs of the body of Västutastra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e5.2 A study of AparãjItaprcch (A.P.) edited by Professor P.A. Mankad\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.1 Vastudevatã Padavinyasa\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.2 Theory of Orientation\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.3 Styles of Indian Architecture\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.4 Styles of Architecture in Samarãilgana sOtradhâra (S.S)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e45\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.5 Styles in Aparjitaprccha\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.6.1 Vesara in Vasturaja\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.6.3 Vesara in Epigraph\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.7 Differentlatirg Characteristics of Nagara, Vesara \u0026amp; Dravida styles of architecture in A.P.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.2.8 Plava\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e59\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e5.3 HousIng In ManuydIaya Candrlkd\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.1 The various steps of house making\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.2 Examination of Soil\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.3 Good and bad omens for ceremony of house building.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e66\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.4 VastuvlnyasaWdhi or Planning\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.5 Three types of Vastuvinyasa\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e71\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.6 Vithivinyasa\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.3.7 FIxing of the area of building construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e73\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e5.4. Study of Mayamata with reference to housing and Its features\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1 Features of houses for four classes and specific arrangements for houses of each class\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.1 The wall of the enclosure\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e79\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.2 Annexes\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e80\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.3 Houses with main buildings separated or in blocks\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.4 Layout\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.5 Dimensions of Central pavilion\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.6 Position of annagãra etc.,\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e82\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.7 Elements of the upper part of the house\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.8 Proportions for dwelling pavilions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.9 Position of foundation deposit\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e85\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.10 The Muhurtastambha\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e85\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.11 General rules\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e86\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.12 The verandah\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4. 1. 13 The chamber of the master\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.14 Covering of the main buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.15 Distribution of appurtenances: (a thing added to the main building)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e88\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4. 1.16 The four types of dwelling\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.17 Door proportions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.18 Time for construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.19 Door positions Apartment positions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.20 Aparment Positions\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.1.2 1 Period of beginning of construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2 Housing in Mayamata\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.1 Types of Houses\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.2 Dimensions of main Buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.3 Houses with a single main building\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e93\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.4 Houses with two main buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e96\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.5 Houses with three main buildings \u0026gt;\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e97\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.6 Houses with four main buildings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e98\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.7 Houses with Seven main buildings or more\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.8 Placing the foundation deposit\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e111\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.9 The door\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e111\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.10 Monasteries\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e111\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.11 Dimensions of house pillars\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e111\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.12 The ayãdi formulae\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e112\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.4.2.13 Annexes\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e113\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e5.5 The Study of RãJavallabha\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e114\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eChapter 6. Fundamental canons of Hindu Architecture\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e117\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.1 Diñ-nirnaya or praci-sadhana.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e117\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.2 The Västu pada-vinyasa - the plan\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.3 Mãna (Hastalaksana)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e122\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.4 Ayadi-sad- varga\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e6.5 Patakadi-satchanda-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e127\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\n\u003cb data-mce-fragment=\"1\"\u003eRAJAVALLABHA ENGLISH TRANSLATION\u003c\/b\u003e\u003cbr data-mce-fragment=\"1\"\u003ePart II\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ctable width=\"100%\" data-mce-fragment=\"1\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd width=\"80%\" data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd width=\"20%\" data-mce-fragment=\"1\"\u003ePage No.\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-1\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHouse construction and method for its entry\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e131\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVatsacakra for seeing Vatsa-dosa for house construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e133\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe direction finding methods - which direction thehouse should face in relation to sign of the houseowner\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e138\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eSoil examination and finding of aIya\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e140\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe foundation ceremony and the face of the Serpent\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e146\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHouse starting to entry-five types of Vãstu-s\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e149\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe types of trees to be grown near the house\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe types of trees not to be grown near the house\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe right and wrong type of entry to house\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e152\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe measurement of gaja and its construction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e153\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEight types of appliances of sculptor\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e155\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-2\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVãstupurua, Vastumandala, worship of deities, offering, Vastumarma and yagna-kuncia (fire altar)\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e156\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-3\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAya laksana-s and Its forms, naksatra-s, ana, vãra, gana, vyaya, varga and nädi - cakra\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e165\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-4\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTown - planning, auspicious and inauspicious towns, forts, guns and other machines.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e176\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eWell, lake, small well, pond\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e187\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-5\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eKing’s palace and its placement in particulardirection\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e191\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe measurements of wall, door on the basis of width of house and their heights\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e192\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe type of wood to be used in a house\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe measurements of pillar in relation to height of house, the measurements of porch from width of house and planning of house and various partsconsidering proportionate divisions of width, horsestable, place for lamp, and method of making entrance door\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe method of making house doors and their placings\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e197\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe method of making house, temple, house of head of a sect, making of porches and about different types of pillars\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe measurements of outerwalls of house, place of staircase, good and bad house-entries - the method of demolitition of house, method of making a big house and placement of various portions of house in particular direction\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e200\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-6\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eEka-äIã house, its planning, the prastãra of laghu and guru, dwi-ã1ã\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e205\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-7\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eDwi-â1a, tri-.ãIä, catuIa houses and their methodologies\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e221\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-8\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe measurements of king’s cot, royal seat and umbrella and methodologies of their making, gavaksa, assembly halls, fire altar and lamp post\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e231\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-9\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTriiã houses for kings, Pratapavardhana to kamalodhbava palaces and their methodologies the palace - its pillars,\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e237\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eVedi, Kaksana, Six types of palaces, garden, water tank and methods of planting of trees.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e238\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eHorse stable, Lion door, house for elephants\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e243\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003ePalaces and houses of king, prince’s, queen’s chief minister’s, prostitute’s, sculptor’s and others and their measurements and methods.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e245\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe mathematics of ãIã and porch, providing\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e248\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-10\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eLice to Gala (hand) measurements, square, cube, ellipse, bow \u0026amp; arrow, octagon, hexagon, pentagon, sixteen sided polygons etc - their areas and calculations of side of a polygon.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e250\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-11\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eTithi, yoga, naksatra, vãra, auspicious and inauspicious results, candra, karana, lagna, graha-s, life of a building etc. Astrology details, virtures and vices of women, etc.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e250\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-12\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eThe movements of planets and stars, measurement of day and night, Sarvodaya, and mãtrikalaksanam\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e259\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-13\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAstrological Characteristics\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e269\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eChapter-14\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eOmens and their characteristics - as shown by elders.\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e291\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eBibliography\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e304\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eIndex of Appendices\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e306\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eAppendices\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003eI to XLIV\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Dr. N.R. Dave","offers":[{"title":"Default Title","offer_id":44231900692618,"sku":"","price":500.0,"currency_code":"INR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nad103.png?v=1705998418"},{"product_id":"a-glossary-of-indian-art-and-archaeology","title":"A Glossary of Indian Art and Archaeology","description":"\u003c!----\u003e","brand":"Sri Satguru Publication","offers":[{"title":"Default Title","offer_id":44272405708938,"sku":"","price":400.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nas141.png?v=1707133794"},{"product_id":"elements-of-indian-art-including-temple-architecture-iconography-and-iconometry","title":"Elements of Indian Art","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is a matter of certain amount of satisfaction that the first edition of this book, published in late 2002, was almost completely sold out by mide - 2006. Although, of late, I am not keeping good health, on the insistence of the students and the members of the Faculty of the National Museum institute, New Delhi, particulary Prof.(Dr.) Anupa Pande, head of the History of Art Department , who kept on going me to do it so very affectionately that I could not refuse. My friends Shri K. N. Dikshit and Sri Trivedi Madneshwar are to some extent also responsible for it. Having once decided to add three new chapters in this edition of the publication- one, dealing with the Rock Art, also called \"Prehistoric Art\" or \"Stone Age Art\", second dealing with the \" Protohistric Art\", or \" The Bronze Age Art\", same as \" The Harappan Art\", also called \" The Indus\" or \"the Indus- Sarasvati Art,\" and the third dealing with the \" Indian Art Beyond the Indian frontiers\" encompassing the ancient art of some of the neighbouring countries located on the south and the east of India _ Sri Lanka , Myanmar, Thailand, Cambodia and Indonesia _ since these countries have shared India's culture for centuries together and producted a lot similar works of art and architecture within their own local matrix.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eI will be failing in my duty if I do not record the most valuable assistance I received from my young colleagues in the Indian Archaeological Society, New Delhi, Sarvashri Suresh Bomble and S. Vijayakumar. On the Secretarial and Internet front, Savashri Mohit Srvastava, Lakhan Trivedi and Bharat Singh were of great help, for which I am thankful to them. Ms. Raj Rani, Librarian, helped me by providing most the books I needed.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eLastly, a word of appreciation for Shri Sushil Mittal, the Young and energetic owner of the D. K. Printworld, who lovingly placed a very tall order to me - \"Kindly complete it within two weeks Course of the National Museum Institute who have expressed great desire to own the book very soon.\" Was it not Cruelty? But than I thoroughly enjoyed it.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eBack of the Book\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eThe book is the study of the fundamental Principles of ancient Indian art and architecture, dealing with essentials of Hindu thinking and practice of art like the Hindu view of Godhead, iconography and iconometry, and symbols and symbolism in Hindu Art. It undertakes a survey of Indian art and Temple architecture from the 3rd century BCE through the mediaeval period. It elaborately views the various terms and concepts associated with the field of art and iconography like\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e,Mudras asanas, pithas\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e, explaining the nature of Buddhist and Jain deities as well as those of Hindu sects like Saivism, Vaisnavism and Saktism.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eTracing the differences in conception of a Hindu temple, a Muslim Mosque and a Christian church, the research focuses particulary on the principles of visualization of symbols and signs in Hinduism and Christianity. It also reveals how the West has viewed Indian literature and art, exposing the inner contradictions of some European thinkers who while praising literary works of kalidasa and others condemned the Hindu images.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe work contains more than 400 illustrations, half-tone and line drawings, that make the discussion easy to comprehend for a range of readers- scholars, students as well as laymen.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDr. S. P. Gupta\u003c\/b\u003e, born is 1931, presently Chairman, Indian Archaeological Society , New Delhi, is a distinguished archaeologist and art historian . He has authored a Number of books including\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eDisposal of the Dead and physical Types in Ancient India (1971), Tourism, Meseums and Monuments (1975), Archaeology of Soviet Central Asia and the Indian Borderlands\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/i\u003etwo volumes (1978),\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eThe roots of Indian Art (1980) and Cultural Tourism in India\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/i\u003e(2002).\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eDr. Shashi Prabha Asthana\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(1947- 1997) an expert in ancient Indian history and archaeology, won a number of prestigious scholarships and fellowships like Commonwealth Scholarship and British Institute Fellowship. She has authored several monographs and catalogues including\u003ci data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eHistory and Archaeology of India's Contacts with other Countries from earliest times to 300 BC (1976), Pre-Harappan Cultures of India and Its Borderlands (1985), Mathura Kala (200), Indian Art through the Ages and Indian Bronzes.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/i\u003e\u003c\/center\u003e\n\u003ctable data-mce-fragment=\"1\" width=\"100%\"\u003e\n\u003ctbody data-mce-fragment=\"1\"\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePreface\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ev\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePreface to the Second Edition\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003evii\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMap of India showing important Art Sites\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ex\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTransliteration Chart\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003exv\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMap of India showing Sites of Principal Temples\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003exvi\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e1\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eRock Art in India\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e1\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVarious kinds of Rock Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e2\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDistribution and Chronology\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e2\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBhimbetka\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e3\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Purpose of Rock Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e5\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDating the rock Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e5\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOther Forms of Stone Age Art \u0026amp; Architecture\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e7\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e2\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eThe Harappan Art\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e9\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMaterials Used\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e11\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSubject Matter \u0026amp; Common Motifs\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e12\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eStone \u0026amp; Bronze Sculptures\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e13\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTerracottas\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e14\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSteatite Seals\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e15\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePottery Paintings, Metal Art, Glazing, etc.\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e16\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHarappan Architecture\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e17\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Continuity of Harappan Traditions\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e20\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e3\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eFundamentals of Indian Art\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e21\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eReligion and Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e22\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHinduism has no Hierarchy Amongst Gods\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e23\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHinduism\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003evis-à-vis\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eChistianity and Islam\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e24\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eAvataras\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eof Visnu\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e24\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBuddha: The Life and Teaching\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e25\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMahavira: The Life and Teaching\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e26\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eArt and Architecture\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e27\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSacred Structures\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e27\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHindu Temple\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e31\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTemples of north India\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e34\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTemples of South India\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e40\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTemples of Orissa\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e44\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Icons\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e47\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSymbols\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e49\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHindu Iconography\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e53\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSiva\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e53\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVisnu\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e54\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBrahma\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e55\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Sakta\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e55\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe\u003cspan data-mce-fragment=\"1\"\u003e Tantra\u003c\/span\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e63\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eIhamrga\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e66\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMythology: What it is in Hinduism?\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e67\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBuddha\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e67\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBodhisattva\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e68\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eJina\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e69\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBasic Nature of Indian Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e70\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePaintings\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e72\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNine Rasas\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e75\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTempera and Fresco Techniques\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e75\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eDiffering Attitudes towards Indian Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e77\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Role of European Travellers Coming with Christian Bias\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e78\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e4\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIndian Art in Historical Perspective\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e81\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eThe Terminology\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e81\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVedic Heritage\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e82\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMauryan Art (fourth- third centuries BCE)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e83\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSunga- Satavahana Art (second- first centuries BCE)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e89\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKusana Art (First-third centuries CE)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e94\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBactrian, Mathura and Gandhara Schools of Kusana Art\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e101\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eGupta Art(fourth - Sixth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e103\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePost-Gupta Art - Phase I (Sixth -eighth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e109\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMaitrakas Art (Sixth- seventh centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e109\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eEarly Calukyan Art (sixth- seventh centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e110\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eRastrakuta Art (eight- ninth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e110\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePallava Art (Sixth - eighth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e111\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePost- Gupta Art - Phase II (ninth- twelfth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e112\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eGurjara- Pratihara Art (eighth -tenth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e112\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eCola Art (ninth -twelfth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e112\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePala Art (eighth -eleventh centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e115\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHoyasala Art (eleventh- thirteenth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e116\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOrissa School (eighth- thirteenth centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e117\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eCandela Art (tenth- eleventh eleventh centuries)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e118\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOther mediaeval Monuments and Art Traditions\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e119\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNorth India\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e119\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSouth India\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e119\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e5\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIconography : The Making of Cult Images\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e121\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eIconometric Sources\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e122\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTexts governing the Northern Schools\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e122\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTexts governing the Southern Schools\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e122\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNon-iconometric or\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eSastriya\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eSources\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e122\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTantras\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e123\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOther Works\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e124\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSome classifications of Images\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e125\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eCala\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Portable Images\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e126\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAcala\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Stationary Images\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e126\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePurna\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Complete Images\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e126\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eApurna\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Incomplete Images\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e126\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSanta\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eImages or Images with Pleasing Countence\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e127\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAsanta\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eImages or Images with Agitated Countenance\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e127\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMudras\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e127\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHasta- mudras\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Hand Poses\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e128\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePada- mudras\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Foot Poses\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e133\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSarira- Mudras\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Body poses\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e134\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAttributes or objects held in hands\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e135\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eWeapons of War and Chase\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e135\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHousehold and Agricultural Objects and Implements\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e137\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFruits\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e138\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eFlowers\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e138\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAnimal World\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e139\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMusical Instruments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e139\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eOthers\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e140\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAsanasor Sitting Postures\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e141\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAsanas or pithas(pedestals)\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e142\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVahanas\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Mounts\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e143\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMukutas\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Headgears\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e144\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAbhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e145\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKarnabhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Ear ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e145\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKanthabhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Neck ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e146\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVaksabhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Chest ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e146\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eKati-abhusanaor Hip ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e147\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePada- abhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Feet ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBahu and Bhuja- abhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Armlets and Wristlets\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eNasa-abhusana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Nose ornaments\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eParidhana\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Dress\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBandha\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eor Belt\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eVastra or Cloth\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e148\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSpecial dress of the Buddha\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e149\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e6\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePrincipals of Iconometry\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e151\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eTala as main Unit of Measurement\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e152\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eAngula as the First Unit of Measurements\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e152\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eHeight and Girth Measurements\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e152\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eMeasurements of Different Parts of the Body\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e153\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eUttam Madhyama and Adhama Measurements\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e154\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSome Textual Differences\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e155\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e7\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eIndian Art Beyond the Indian Frontiers\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e157\u003c\/b\u003e\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSri Lanka, 159; Myanmar, 162; Thailand, 166; Cambodia, 170; Indonesia, 176\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eSelect Bibliography\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e183\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr data-mce-fragment=\"1\"\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e \u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eIndex\u003c\/i\u003e\u003c\/td\u003e\n\u003ctd data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003e187\u003c\/i\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"S.P.Gupta","offers":[{"title":"Default Title","offer_id":44291795812490,"sku":"","price":600.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/elements_of_indian_art_including_temple_architecture_idi055.png?v=1707809544"},{"product_id":"art-beauty-and-creativity-indian-and-western-aesthetics","title":"Art Beauty and Creativity","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eWhen the 18th century German philosopher, A.G. Baumgarten first introduced 'Aesthetics' as an academic discipline to deal with the philosophy of beauty, he couldn't possibly have anticipated the controversies that have lately been raised by logical positivists, analytical schools, and even linguists - controversies questioning the validity, the very legitimacy, of a philosophical inquiry into beauty, art and creative processes. Notwithstanding the relatively more recent usage of the term proper, Aesthetics has a millennia-long history: beginning, in the West, with the old-world Greek philosophers, like Pythagoras, Plato, and Aristotle; and, in India, with the Vedic writings, more specifically, Bharata\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Shyamala Gupta's book is indisputably a painstaking effort trying to chart the historical progression of aesthetics: both Indian and Western - with focus not only on its evolutionary landmarks, but on its important concepts and theories as well. Schematically structured into two parts, Part 1 of the book examines the status of\u003cspan data-mce-fragment=\"1\"\u003e Indian\u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/book\/Philosophy\/aesthetics\/\" data-mce-fragment=\"1\"\u003e \u003c\/a\u003eAesthetics: its theories of rasa and dhvani, and, besides these, of its world view of art. In its Part 2 are traced the development of Western theories of art and beauty, together with their attendant issues appearing, from time to time: from the days of ancient Greek philosophers to contemporary thinkers. Additionally, the authoress also tries to show how art is positioned vis-à-vis morality, science, sport and culture.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eA Comprehensive, meticulously updated perspective on aesthetics, the book is sure to interest anyone concerned with the disciple: whether as a specialist, a student or a general reader.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: center;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eShyamala Gupta\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e(b. August 1931) is Bombay University's Ph.D (Philosophy), with specialised interest in Aesthetics. And has been Research Fellow at the prestigious Indian Institute of Advanced Study, Shimla (1966-67). An untiring researcher and writer, she has published numerous papers in different journals and, in addition, has contributed as many as 27 articles to the 3-volume Marathi Encyclopaedia in Philosophy (published by MEP Council, Pune). Also, she has authored two books, namely, The Beautiful in Indian Arts, and Saundarya Tattvamimamasa (Hindi) - both prescribed by Delhi University for undergraduate-level students taking a course in aesthetics.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eInvolved with the teaching of philosophy for well over three decades, Dr. Gupta retired, in 1996, as Reader from Kamla Nehru College, University of Delhi, Delhi.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e\u003cb data-mce-fragment=\"1\"\u003eCover photos\u003c\/b\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eUtka Nayika(Waiting for her lover); Chamba, circa 1800-10. Courtesy: Jagdish \u0026amp; Kamla Mittal Museum of Indian Art, Hyderabad.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eForeword\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePreface\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eIntroduction\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePART I\u003cbr data-mce-fragment=\"1\"\u003eINDIAN AESTHETICS\u003c\/b\u003e\u003c\/center\u003e\n\u003col type=\"1\" data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIndian View About Aesthetics\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTheory of Rasa and Dhvani\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eThe Indian View of Art\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e \u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePART II\u003cbr data-mce-fragment=\"1\"\u003eWESTERN AESTHETICS\u003c\/b\u003e\u003c\/center\u003e\n\u003col start=\"4\" type=\"1\" data-mce-fragment=\"1\"\u003e\n\u003cli data-mce-fragment=\"1\"\u003eIntroduction\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003ePhilosophical Aesthetics\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eArt and Beauty - The Concepts and their Relation\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eWork of Art\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eForm and Content in a Work of Art\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eComparison of Arts\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eTraditional Theories of Art\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eSome Contemporary Theories of Art\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eArt and Science\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eArt and Morality\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eArt and Sport\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAesthetic Experience\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAesthetic Attitude\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eAesthetic Judgement\u003c\/li\u003e\n\u003cli data-mce-fragment=\"1\"\u003eEpilogue - Art, Civilisation and Culture\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eBibliography\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003ePlates\u003c\/i\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003ci data-mce-fragment=\"1\"\u003eIndex\u003c\/i\u003e\u003c\/p\u003e\n\u003c\/li\u003e\n\u003c\/ol\u003e","brand":"Shyamala Gupta","offers":[{"title":"Default Title","offer_id":44293677777034,"sku":"","price":850.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/art_beauty_and_creativity_indian_and_western_aesthetics_idd659.png?v=1707894594"},{"product_id":"vastusastra-ancient-indian-architecture-and-civil-engineering-retrospects-and-prospects","title":"Vastusastra","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThough there has been considerable interest in vastusastra in recent times and the orientation aspects of vastusastra have been often discussed, little is known of the essential elements that constitute vastusastra and its scientific application in the present day. Based on extensive research, the work, Vastusastra attempts to address this aspect. Examining comprehensively the subject of vastusastra: its conceptual roots in Silpasastra and its later evolution as dealt with in the Vedas , the Epic literature, Arthasastra, literature on ayurveda and Kamasutra literature, the volume analyses technical aspects of vastusastra by concentrating on the essential elements (angas) of vastusastra which involve decision-making and actual construction methods, art of engineering and role and responsibilities of engineers, and aspects related to land materials and rituals associated with use of building after its construction. It discusses the eco-friendly life style of the ancient Indians based on vastusastra principles. Giving minute attention to details, it focuses on the application of vastusastra in the present-day society - how the vastusastra principles can be scientifically applied and the potential of application of vastusastra keeping in view modern trends in architectural science and civil engineering.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\" data-mce-fragment=\"1\"\u003eThe book will be useful for students and scholars of architecture and engineering and those interested in vastusastra.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDr. Rahul V. Atlekar, an expert on vastusastra, is a production engineer with years of industrial, corporate training and consulting experience in materials management and IT strategy among other areas. He has delivered lectures on vastusastra and ancient Indian architecture and engineering. He is at present involved in vastusastra consultancy.\u003c\/span\u003e\u003c\/p\u003e","brand":"Rahul Vishwas Altekar","offers":[{"title":"Default Title","offer_id":44293704417418,"sku":"","price":600.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nav852.png?v=1707896348"},{"product_id":"art-and-art-libraries-in-india","title":"Art and Art Libraries in India","description":"\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eArt and Art Libraries in India is an outcome of the author's constant study and research on The role of special libraries in the field of art and culture with special reference to National Academies-Sahitya, Lalit Kula and Sangeet Natak (including National School of Drama-in India. Culture is the way of the human society transmitted from one generation to the next by learning of language and other symbolic media and by experiences. Art enriches man's life, giving him a broader, deeper and more sensitive realization of life. Thus art and culture play a pivotal role in modern Indian society. Today, an all round awareness and programmes for the restoration of artistic and cultural heritage are gaining ground at the national and international level.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn this context, the Art and Art Libraries in India highlights the significance of art and culture and existence of National Academies in India. It also describes the role of special libraries and their network in India, in the area of art and culture. The unique feature of this book is the creation and establishment of a National Documentation and Information Centre in Humanities under the aegis of the ICCR, New Delhi.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003ePerhaps, the first of its kind, the volume will be equally useful of students, teachers and professionals, organizers of libraries and information centres.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Ashok K. Choudhury, associated with India's National Academy of Letters, is the first Indian scholar to do doctoral research on the role of National Academies in promoting art, literature and culture. Having brilliant academic records with both Master's degree and Bachelor's degree and securing first position is presently doing his post-doctoral research on the Thematical Varieties of Post-Independent Oriya Literature.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eAuthor of seven books. and more than eighty articles based on erudite research, Dr. Choudhury was invited to join the team of scholars of A Critical Inventory of Ramayan Studies in the World, a joint project of Sahitya Akademi and Union Academic International of Bruxelles, Belgium. Recipient of Banshidhar Acharya Memorial Gold Medal, Dr. Choudhury is also the Visiting Faculty of Aggarwal College, (M.D. University, Rohtak), Ballabhgarh, Haryana.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Baman Parida has been a senior Faculty Member at P.G. Dept. of Library and Information Science, Utkal University, Orissa, retiring in 2005. A post-graduate in Public Admn., and M. Lib. Inf. Sc., and Ph. D. in Lib. \u0026amp; Inf. Sc., he has contributed and presented a number of papers at national level conferencesjournals of library and information science and technology. He has edited and published three books in English and one textbook in Oriya. He has also compiled a glossary in Library \u0026amp; Information Science (Oriya-English) published by Orissa Text Book Bureau. Under his able guidance three sholars has already been awarded Ph. D. in Library Science from Utkal University.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eDr. Parida is a member of several professional societiesassociations and cultural organizations of India. He has organized ILA, IATLIS, SIS, and CALIBER as joint organizing and organizing secretary of these national level conferences and seminars. Formerly General Secretary of Utkal Library Association, Orissa, presently he is a council member of ILA.\u003c\/p\u003e\n\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter data-mce-fragment=\"1\"\u003e\u003cb data-mce-fragment=\"1\"\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThis book is an outcome of sincere study and investigation into .the over-all activities of National Academies of Indian art and culture in general, and growth and development of their libraries in particular. India, one of the most ancient countries of the world, has long been significant in global affairs. It is one of the main centres of civilization which has produced a rich and varied as well as distinctive culture, that has eventually made a remarkable contribution to world heritage. Culture is nothing but the artistic and social pursuits, expressions and tastes valued by a society or class. In other words, it is the enlightened or refined understanding of the arts and other human intellectual achievements. Therefore, it is clear that art and culture are interrelated terms. Art plays a pivotal role in a society. It is one of humankind's glorious achievements. It is the expression of aesthetic idea or purposes by the use of skill and imagination in the creation of objects, environments, or experience that can be shared with others. Art is ever present, essential and an universal language which the people of all nations can understand.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIt is in the sphere of art more than in any other sphere of life that the spiritual quality of each nation finds its most characterstic expression and it is through the medium of national art that each nation has made its distinctive contribution to human culture. It has been noted that the most dominant characterstic of Indian art and culture is to create spirituality. Our artisans and craftsmen cultivated a spiritual milieu in order to in still their work with its essences. At present, we notice in Indian art, a unique blend of Hindu, Muslim and Christian art in all its manifestations such as architecture, music, dance, painting, craft etc.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eArt embodies and transcends both its creators and its time to reveal the enduring truth about the human condition. The more we understand art, the more we understand ourself. However, there appears to be a growing concern about the disappearance of much traditional knowledge and the cultural heritage in many parts of the world by the introduction of modern science and technology. Therefore, an allround awareness and programmes for the restoration of artisic and cultural heritage are, today, gaining ground at the national as well as international level. The socio-technical and intellectual process was first taken out by the museums, galleries, archives and other related cultural centres. But with the advent of special libraries which came into being in response to intellectual demand and pursuit of knowing the unknown, it would now be disastrous to assume that they are merely the preservers of the cultural remains of humanity. The basic function of these special libraries has been the socialization of reading materials by adopting latest technology for the study and research for the benefit of the whole mankind, which is discussed in this book.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eIn India there are hundreds of such art libraries, alongwith museums, archives and other cultural forums that are playing an important role to increase public understanding and appreciation of Indian art and culture, through restoration, preservation, research, documentation, and classification of our history, art and culture. However, it is not possible to present an elaborate description and details of the aims and functions of all art libraries, the focus has been given on the libraries of the three prominent National Academies.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eTo preserve our past artistic achievements as well as for the furtherance of contemporary art forms and their varied experimentation, since independence, the Union Government has established numerous national information centres in the field of art and culture, especially three prominent agencies, i.e., National Academy of Music, Dance and Drama (SNA), National Academy of Letters (SA), National Academy of Fine Arts (LKA) which is augmented in this work. The National Academies engage in creating artistic consciousness among Indian masses through its multifarous cultural activities. Above all because of their global outlook the Academies have shouldered the responsibilities of popularising and promoting our traditional and modern cultural heritage worldwide.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\" style=\"text-align: left;\"\u003eThe Academies have their own libraries of national focal point which are the hub of our cultural legacy. The SA library is a multilingual library of books in twenty-four Indian languages recognized by it, with of course distinct subjects specialization in literature. Nevertheless, it covers the entire gamut of Indian religion, philosophy, literature, history, art and culture. In the field of performing art, SNA accord with priority to the building up of its archive, museum, and library with a view to ensuring preservation of various art forms and also with a view to disseminate its rich collection for research and study. Its library has a sensible collection of books on performing art and allied subjects covering music, dance, drama, theatre, sociology, folklore, tribal studies, history, religion, and culture. LKA is the apex cultural body in the field of visual arts in India. It maintains a library covering world art and collecting immensely valuable materials in visual arts and artefacts for preservation and research purpose. These three institutions are pioneers in the field of documentation and preservation process of Indian traditional and classical art and culture.\u003c\/p\u003e","brand":"Ashok K.Choudhary","offers":[{"title":"Default Title","offer_id":44293873893514,"sku":"","price":2140.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/uai935.png?v=1707909467"},{"product_id":"the-iconography-of-architectural-plans","title":"The Iconography of Architectural Plans","description":"\u003cp style=\"text-align: left;\"\u003eOver the rolling centuries, Buddhism and Hinduism, two of the world's oldest sustained faiths, came to evolve a complex, yet precisely defining, iconic language: not just for figural representations, but for the architectural plans of their temples and monuments as well - a language that allows interpretations of geometric proportions. Here is the first ever effort to brilliantly unravel the iconic idiom involved in the architectural plans of Buddhist and Hindu temples and monuments of India and the \"Indianized\" States of Southeast Asia.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWith his indepth surveys of diverse 'Buddhic' and 'Hindic' temples in India, Sri Lanka, Java (Indonesia), Kambuja, Myanmar, Thailand, Vietnam, and even Malayasia, the author shows how the basic element in their architecture: the PLAN - conceived within a cosmological framework - was fraught with iconographic import and input, necessitating the guidance of authoritative compendia, like the Manasara and the Mayamata, the arcane knowledge of the sthapati (priest-architect), and many other complex procedures which all were steeped in symbolism. In analyzing the architectural plans of these temples, Professor Bunce also highlights the various related iconographic considerations, like orientation, basic geometric forms, construction methods, rules and ratios, the non-congregational necessity, the high place as a consideration as well as the cave - besides a number of viable \"influences\" which exert various amounts of control, e.g., textual, philosophic\/theologic, numerological, astrological\/astronomical, 'regionality' and, most importantly, the\u003cspan\u003e Mandala\u003c\/span\u003e.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGenerously supported by visual material comprising as many as 400 figures and line-drawings, Professor Bunce's book is veritably a monumental, off-beat exercise of enormous interest to iconographers as well as the historians\/specialists of South and Southeast Asian temple architecture.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Author:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFredrick W. Bunce, a Ph.D. (Comparative Arts) from the Ohio University Athens, Ohio, USA, is a cultural historian and international repute. Now Professor Emeritus of Art, Indiana State University, Terre Haute, Indiana, he has lectured at learned forums and published on a variety of art-related themes. And has held many a solo exhibition at different art galleries, art museums and universities; besides his participation in the artist's guild\/faculty\/other ventures of the kind.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eA scholar with varied intellectual \/ research concerns - notwithstanding his specializations in iconography, particularly Oriental and Buddhist Arts, Professor Bunce has been legitimately honoured with certain notable awards \/ commendations, and is listed in Who's Who in American Art and also the International Biographical Dictinary: 1980-present. Among his published books are: Encyclopaedia of Buddhist Deities (2 Vols); Encyclopaedia of Hindu Deities (3 vols.); Dictionary of Buddhist and Hindu Iconography; and Yantra of Deities and their Numerological Foundations, all published by D. K. Printworld.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable cellspacing=\"7\" border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"100%\"\u003ePreface\u003c\/td\u003e\n\u003ctd\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Paltes\u003c\/td\u003e\n\u003ctd\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Figures\u003c\/td\u003e\n\u003ctd\u003exxi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAbbreviations\u003c\/td\u003e\n\u003ctd\u003exxvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eIntroduction - Architectural Iconography\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    The Basics of Form\u003c\/td\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Philosophic and Theological Foundations\u003c\/td\u003e\n\u003ctd\u003e15\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Numerology\u003c\/td\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Astrology \/ Astronomy\u003c\/td\u003e\n\u003ctd\u003e30\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Additional Iconic Concerns\u003c\/td\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    The Mandala\u003c\/td\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Magic Squares Mandalas\u003c\/td\u003e\n\u003ctd\u003e35\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Vastu-purusha Mandala\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Manduka Mandala\u003c\/td\u003e\n\u003ctd\u003e42\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Paramasayika Mandala\u003c\/td\u003e\n\u003ctd\u003e44\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Manduka Mandala, Circular\u003c\/td\u003e\n\u003ctd\u003e46\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Vajrayana Mandala\u003c\/td\u003e\n\u003ctd\u003e48\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Stupa, Symbolism and Numerology\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Gyantse Kumbum, Gyantse, Tibet\u003c\/td\u003e\n\u003ctd\u003e56\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Garbh-Griha Plan\u003c\/td\u003e\n\u003ctd\u003e58\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Ancillary Shrine Plan\u003c\/td\u003e\n\u003ctd\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Temple Plan\u003c\/td\u003e\n\u003ctd\u003e62\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e        Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e64\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eIndia and Sri Lanka\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Stupa I, Sanchi, India\u003c\/td\u003e\n\u003ctd\u003e70\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Thuparama Dagoba, Sri Lanka\u003c\/td\u003e\n\u003ctd\u003e72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Ruvanveli Dagoba, Sri Lanka\u003c\/td\u003e\n\u003ctd\u003e76\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chaitya Hall, Karli, India\u003c\/td\u003e\n\u003ctd\u003e78\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Buddhist Cave-Monastery #2,\u003cspan\u003e Ajanta\u003c\/span\u003e, India\u003c\/td\u003e\n\u003ctd\u003e82\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Ladh Khan, Aihole, India\u003c\/td\u003e\n\u003ctd\u003e86\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e   \u003cspan\u003e Durga\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eTemple, Aihole, India\u003c\/td\u003e\n\u003ctd\u003e90\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Shiva Temple, Indor, India\u003c\/td\u003e\n\u003ctd\u003e94\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Subrahmanya Temple, Manjeri, India\u003c\/td\u003e\n\u003ctd\u003e98\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Kilatali Shiva Temple, Thiruvanchikula, India\u003c\/td\u003e\n\u003ctd\u003e102\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Vatadage, Polonnaruwa, Sri Lanka\u003c\/td\u003e\n\u003ctd\u003e104\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Tivanka Pilimage (Lankatilaka), Polonnaruwa, Sri Lanka\u003c\/td\u003e\n\u003ctd\u003e110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Brahmeshvar Temple, Bhuvaneshvar, India\u003c\/td\u003e\n\u003ctd\u003e114\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Keshva Temple, Somnathpur, India\u003c\/td\u003e\n\u003ctd\u003e118\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Garden Pavilion, Kotilal Fort, Delhi, India\u003c\/td\u003e\n\u003ctd\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e127\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eJava (Indonesia)\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Borobudur, Java\u003c\/td\u003e\n\u003ctd\u003e132\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chandi Lumbung, Prambananm, Java\u003c\/td\u003e\n\u003ctd\u003e140\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chandi Sewu, Prambananm, Java\u003c\/td\u003e\n\u003ctd\u003e144\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Loro Jonggrang, Prambananm, Java\u003c\/td\u003e\n\u003ctd\u003e150\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chandi Sari, Prambananm, Java\u003c\/td\u003e\n\u003ctd\u003e156\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chandi Djago, Malang, Java\u003c\/td\u003e\n\u003ctd\u003e160\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chandi Panataran Sanctuary, Kediri, Java\u003c\/td\u003e\n\u003ctd\u003e164\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e168\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eKhmer (Kambuja)\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e169\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Preach Ko, Roluos\u003c\/td\u003e\n\u003ctd\u003e172\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Bakong, Roluos\u003c\/td\u003e\n\u003ctd\u003e176\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Bakheng (Mount Ensemble), Angkor\u003c\/td\u003e\n\u003ctd\u003e180\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Ta Keo Shrine, Angkor\u003c\/td\u003e\n\u003ctd\u003e186\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Phimai Prasat, Thailand\u003c\/td\u003e\n\u003ctd\u003e192\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Banteay Samre Temple, Angkor\u003c\/td\u003e\n\u003ctd\u003e196\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Baphuon, Angkor\u003c\/td\u003e\n\u003ctd\u003e200\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Angkor Wat, Angkor\u003c\/td\u003e\n\u003ctd\u003e206\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Bayon, Angkor Thom, Angkor\u003c\/td\u003e\n\u003ctd\u003e214\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e222\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003ePagan (Myanmar [Burma])\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e223\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Nat-Hlaung-Kyaung, Pagan\u003c\/td\u003e\n\u003ctd\u003e226\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Nan-Hpaya, Pagan\u003c\/td\u003e\n\u003ctd\u003e230\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Myin-Pya-Gu, Pagan\u003c\/td\u003e\n\u003ctd\u003e234\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Shwe-Zigon Pagoda, Pagan\u003c\/td\u003e\n\u003ctd\u003e238\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Naga-Yon, Pagan\u003c\/td\u003e\n\u003ctd\u003e242\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Ananda Temple, Pagan\u003c\/td\u003e\n\u003ctd\u003e246\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    That-Byin-Ngu, Pagan\u003c\/td\u003e\n\u003ctd\u003e252\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Dhamma-Yan-Gyi, Pagan\u003c\/td\u003e\n\u003ctd\u003e258\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Gawdaw-Palin, Pagan\u003c\/td\u003e\n\u003ctd\u003e262\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Myinkaba Kubyauk-Nge, Pagan\u003c\/td\u003e\n\u003ctd\u003e266\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Bogyoke-Mi Kubyauk, Pagan\u003c\/td\u003e\n\u003ctd\u003e270\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Dhamma-Yazila, Pagan\u003c\/td\u003e\n\u003ctd\u003e274\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Mingala-zeidi, Pagan\u003c\/td\u003e\n\u003ctd\u003e278\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Pentagonal Temple (Pancha-Buddhas) (Near Mingalazedi Stupa), Pagan\u003c\/td\u003e\n\u003ctd\u003e282\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Paya-Thon-Zu, Pagan\u003c\/td\u003e\n\u003ctd\u003e284\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e287\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eLanna Tai, Sukhothai, Ayutthaya \u0026amp; Rattanakosin (Thailand)\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e289\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chedi Wat Kukut, Lamphun\u003c\/td\u003e\n\u003ctd\u003e292\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chedi Wat Chang Lom, Si Satchanalai\u003c\/td\u003e\n\u003ctd\u003e296\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Phra Chao Phanan Choeng, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e300\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Mahathat, Sukhothai\u003c\/td\u003e\n\u003ctd\u003e304\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Phra Si Rattana Mahathat, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e310\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Phra Ram, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e314\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Ratchaburana, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e318\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Chedi Chet Yot, Chiang Mai\u003c\/td\u003e\n\u003ctd\u003e322\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Phra Si Sanphet, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e326\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Chedi Wat Phukhao Thong, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e330\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Chai Watthanaram, Ayutthaya\u003c\/td\u003e\n\u003ctd\u003e334\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Wat Phra Chetuphon, Bangkok\u003c\/td\u003e\n\u003ctd\u003e338\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Lohaprasad, Wat Theptidaram, Bangkok\u003c\/td\u003e\n\u003ctd\u003e344\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e348\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003eChampa (Viet Nam)\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e351\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Pho-hai Shrine, Phan-thiet\u003c\/td\u003e\n\u003ctd\u003e352\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Khuong-my Shrine, n. Hoi-an\u003c\/td\u003e\n\u003ctd\u003e354\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Dong-Duong Monastery\u003c\/td\u003e\n\u003ctd\u003e356\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e359\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003cb\u003ePostscriptus: Malaysia\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e361\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Masjid Terengkera, Malacca\u003c\/td\u003e\n\u003ctd\u003e362\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Masjid Kampung Laut, Kelantan\u003c\/td\u003e\n\u003ctd\u003e366\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Masjid Kampung Kling, Malacca\u003c\/td\u003e\n\u003ctd\u003e368\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Masjid Kampung Hulu, Malacca\u003c\/td\u003e\n\u003ctd\u003e370\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e    Notes\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e372\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eConclusions\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e373\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eBibliography\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e381\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAppendix A\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e397\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAppendix B\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e487\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAppendix C\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e505\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAppendix D\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e513\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eIndex\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e529\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAcknowledgements\u003c\/b\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e553\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\n\u003cb\u003eAddendum\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e(That Luang, Vientiane, Lao)\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/td\u003e\n\u003ctd valign=\"top\"\u003e555\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Fredrick W.Bunce","offers":[{"title":"Default Title","offer_id":44316874211466,"sku":"","price":4000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/the_iconography_of_architectural_plans_idd165.png?v=1708669891"},{"product_id":"the-power-of-the-female-devangana-sculptures-on-indian-temple-architecture","title":"The Power of The Female","description":"\u003cp style=\"text-align: left;\"\u003eAlthough devangana (celestial female) is a ubiquitous motif in the visual arts and architecture of India and those artistic traditions inspired by Indian aesthetics, the literature on the subject is less than abundant. Dr. Gauri Krishna, a well –known art historian now fills that lacuna with a volume that analyses the me in depth and breadth using multiple disciplinary perspectives.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe outstanding feature of this scholarly work by Bharatanatyam exponent, art historian, curator and scholar-Gauri Parimoo Krishnan is, it unravels multiple levels that contribute meaning to the celestial women, who are certainly not mere aesthetic appendages decorating temple walls. Besides reviewing the work of senior art historians, she interprets the motif of devanganas from the perspective of feminist interprets the motif of devanganas from the perspective of feminist intervention, not attempted so far, allowing different insights into the history of temple architecture and sculpture. She has brought to her study of these sculptures-practical knowledge of a dancer and the discipline of an art historian. The application of aesthetic principle of dhvanin is another major contribution. The representation of feminine power has been studied, analyzed and interpreted in a path-breaking novel way.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFor the first time a study has been made in the context of semiotic analysis and the dhvani theory of Indian aesthetics to unravel the meaning of the sculptural motif of celestial woman, variously called devangana, surasundari and apsaras. The study of the typology, programming and the pattern of placement of various devangana figures on western and central Indian temples, dated between eighth to twelfth centuries, is Krishna’s contribution to the subject. The author has tried to unravel multiple levels of meaning, studying these celestial women individually and totally. This iconological study provides cultural connotations of the motif showing its continuity in the visual imagery and form of the yaksi sculptures of the earlier Buddhist and Jaina monuments.\u003c\/p\u003e\n\u003cp align=\"center\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Book\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book is an offering to New Art History taking the study of Indian classical sculptural art and traditional India iconography to newer heights of interpretation. Sculptures of female figures in classical India architectural traditions have enjoyed a special placement and significance. Numerous engaging images of devangana- the sura sundari, apsaras and alasakanya figures –decorate wills, ceilings and doorways of Hindu temples in India. Viewing the devangana sculptures as continuation f he uaksi sculptures of Buddhist and Jaina monuments and the concept of primordial mother goddesses of het Vedic times, this challenging work on the devangana sculptures studies the morphology, iconology and semiotic meanings of the devangana figures and their placement in monuments of Gujarat, Rajasthan and Madhya Pradesh between the eighth and twelfth centuries ce.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn a path-breaking effort, the work focuses not on the much-discussed erotic and sexual connotations but explores their dynamic meanings in the religious and cultural consciousness which help to symbolize “the power of the female’ in representational artistic traditions of India. For this, copious architectural and religious texts are examined. With more than 250 illustrations of temple sites and detailed sculptures, this book enquires into the imagery of these figures. A significant aspect of the research is its critiquing of the existing literature on the subject to come up with novel viewpoints and se of tool like dhvani theory, psychoanalysis and feminism t interpret the devangana sculptures.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe book will benefit young researchers, cultural enthusiasts and erudite scholars of India art and architecture focused on religious and cultural significance of India’s sculptural heritage.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eDr Gauri Krishna specializes n South Asian Art History and Performing Arts. She obtained her PhD in Art History from the Maharaja Sayajirao University of Baroda, India where she taught Art History and Aesthetics before moving to Singapore. She developed the Indian collection as the founding Curator for South Asia at the Asian Civilizations Museum and was the Deputy Director for Research and Publication at the museum. She is currently engaged in the development of the Indian Heritage Centre project of the national Heritage Board, Singapore as its centre Director working closely with the India community.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eShe received Singapore Government’s Commendation Medal Pingat Kepujian in honour of her contribution to the development of the Asian civilizations Museum’s collections, galleries, exhibitions ad publications. She is the recipient of research grants of het Victoria 7 Albert Museum, London; the Gurgaon; Monash University, Melbourne and the National Heritage Board.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGauri has curated many seminal block-buster exhibitions, lectured on Ndina art and the Diaspora; published extensively in reputed journals; her major publications are : Images of the Compassion: The Art of Naina Dalal (ed. 2000); Ratan Parimoo: Ceaseless Creativity –Paintings, Prints, Drawings (ed. 2000); The Divine Within : Art and Living Culture of India \u0026amp; South Asia (2006); Visual and Performing Arts of Asia (ed. 2010) Her for coming edited volumes on Buddhist Art of Asia and Indian Trade Textiles will be seminal contributions to new research on Indian and Asian art.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eGauri Parimoo Krishnan represents a younger generation of art historian who have imbibed the knowledge and approach to Indian art of their peers but who have also critiqued on investigating a “ motif” in Indian art which pervades all schools and styles of Indian art, from about the second century BCE the fourteenth or fifteenth century CE. The “woman and tree” motif has been the subject of investigation by historians of Indian art ranging from Ferguson (Tree and Nature Worship) to Vincent Smith and, more importantly, Vasudeva Saran Agarawala, A.K. Coomaraswamy, Stella kramrisch as also the present writer (Kapil Vatsyayan).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe salabhanjika, known by her various names- surasundari, apsaras, madanika , alasa kany and many others- are integral to the architectural schema. They can be as bracket figures as in Sanc, they can be railing figures as in Mathura, they can hang loosely form pediments, and they can even surround the outer and inner walls of temples, Hindu and Jaina alikle, A.K. Cooomaraswamy delves into the subject, focusing his attention on water cosmology. Vasudeva Saran Agrawala classifies them into sub-categories, especially in the context of Kusna (Mathua). Stella kramrisch elucidates upon them in the context of the Hindu temples, particularly Khajuraho.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDevangan Desai investigates them within the framework of her principal argument of religious imagery. Kapila Vatsyayan examines the motif from the point of view of movement. And now Gauri Parimoo Krishnan looks at this subject anew, while maintaining continuity but not repetition. She has assiduously perused the critical analyses of her predecessors and has assiduously perused the critical analyses of her predecessors and has gone further by concentration attention on the morphology of architecture and the place and devangana sculptures within the architectural schema.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGauri Parimoo Krishnan meticulously looks at the critical literature of the twentieth-century scholarship an re-examines some of the earlier classifications. She extends her investigation very pointedly to medieval western Indian sculptures, modeling, form and style. Here she takes into account the valuable and path-breaking work of U.P. Shah as also M.A. Dhaky. However, here there are both fresh insights, and new material.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGauri Paimoo Krishnana commences her study with an introduction clearly outlining the scope of her study, as also the methodologies and strategies she proposed to adopt. The introduction takes in to account studies on the subject as mentioned above, but it states clearly that at the level of methodology she proposes to apply both Erwin Panofsky’s formulation in studies in iconology ( 1950) as also Anadavardhana’s theory of dhvanin (i.e theory of meaning ). She elaborates on the latter. This juxtaposition is a welcome fresh approach which will stimulate critical reflection.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eGauri Paimoo Krishnan carries her narration through seven chapters from these multiple perspectives and methodologies of interpretation. All this is brought together in the final eight chapter. Here she presents her own formulation on the iconological and semiotic interpretation of the devangana motif. She adopts the “semiotic interpretation of the devangana motif. She adopts the “semiotic method” and subscribes to the Morris’ view of semiotics. She returns to juxtaposing this with theories of Anadavardhaa. She elucidates on symbiosis, the semantically paradigramatic dimensions and returns to state that it is truly significant that the principle of dhvani in Indian literary criticism is so closely analogous to he semiotic analysis. She carries forward her argument convincingly to enunciate a “diagrammatic analysis of the devangana motif”. This diagrammatical analysis is a new and welcome theoretical formulation. I have n o doubt that the arguments given and the conclusion drawn will engage scholars in the future.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIt has been a great pleasure and education for me to read this seminal impressing comprehensive study.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe discipline of art history is multi-dimensional, always inviting the scholar t undertake new journeys on age-old material. Painstaking, sincere endeavors such as this are significant milestones.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eArigourous training in the twin disciplines of Bharatanatyam and History of Art has moulded my vision to explore areas of learning still neglected and lacking in scholarly rigour. Having settled upon field-based research, I found Gujarat, the state where I was born and grew up, the most accessible. I visited a number of architectural sites in Gujarat and Rajasthan to make first –hand observations since the 1980s. Eventually, I widened the scope of my research to include adjoining areas of Rajasthan and Madhya Pradesh, which have close cultural affinity with Gujarat.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFor two decades I have been concerned with tripartite comparative analysis of dance text, its representation by an artist in painting or sculpture and its recreation in dance by a performer. At one stage, I had confined myself to Gujarat and Orissa, while the textual references focused on nrttahastas, sthanakas and caris from various texts.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe present concern is an outcome of the above focus on sculptures of the surasundari, apsaras and alasakanya that gradually became the most engaging, intriguing and challenging subject t of my study. The more I saw them, the more elusive they became. This book is a holistic inquiry into their imagery, their evolution on various India monuments and the cultural connotations associated with their placement and meaning. In attempting this, I am focusing mainly on the “content” analysis as Panofsky (in Western art history) has demonstrated, without overlooking formal and stylistic analysis of the sculptural form. Most monuments’ discussed in this book are from the eight to twelfth century CE, since the major efflorescence of devangana imagery appeared on the temple architecture during these four centuries.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI have used the term devangana to refer to the so-called surasundari, apsaras and alas kanya figures, because this term was originally used in Vrksarnava, an architectural text from Gujarat and it is the only term in my view which is devoid of any erotic or sexual prejudice. It denotes divine beauty or a beautiful divine female. Terms like surasundari, apsaras, madanika, alasa kanya refer to their amorphous and amorous characters; they are created and dissolved at will to allure the mankind with the power of their beauty.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSome are often spoken of as the dancers of Indra’s court, while some bear the connotation of divine courtesans and prostitutes. The nati, nartaki or nayika imply they are dancers or characters of a play. In the light of my interpretation, the erotic connotation or the aspect of beauty ad eroticist has been overridden by an urge to explore more dynamic meanings in the light of human cultural consciousness, “the power of the female” , which is not necessarily religious, erotic or anything trivial. Instead, I have tried t focus on their image typology, its programming and placement on the temple wall. I urge the reader to visualize what is the role of the devangana sculptures in the cultic context, what role would a chief priest or chief sthapati play in the planning of the iconographic arrangement on a temple wall. Were there specific rules and injections laid down by the sthapati or, were there specific rules and injunctions laid down by the sthpapati or, were the sculptors free to use their creative and innovative ideas in configuring the images of the devanganas?- these are some of the questions I have raised and tried to answer. Did sculptors specialize in carving devanganga figures or would the same sculptor carve a devangana, a Visnu and a Siva statue? Since many of the Silpa texts are dated later than the temples, one would imagine that they record a prevailing practice and continuing oral tradition and not theoretical prescriptive rules.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBelow is an attempt to enumerate a critique of the writings of significant scholars on the salabhanjika, surasundari, and apsaras which has received some attention but not warranted a full-length book, which is why I feel this book shall fill some gaps. Using the field research material and various methodologies of the Western and Indian scholars such as Vogel , coomoaraswamy, Stella Kramrisch, V.S. Agrawala , Motichandra, C. Sivaramamurti , M.A. Dhaky,Kapila Vatsyayan, Pramod Chandra, Wendy Doniger O’Flaherty, RatanParimoo, Darielle Mason, Vishakha Desai, Vidya Dehejia, and others, I expand upon the existing interpretations and explore new avenues. The theories of “Iconology” and “semiotics” of Erwin Panofsky and Roland Barthes respectively, along with psychoanalytic approach of Freud and Jung have also lent sufficient insight into the “contextual” interpretation of a work of art. Writings of Ernst Cassirer regarding symbols formation and the philosophy of Human Culture have been a path breaker. I have tried to absorb some relevant concepts from their theoretical writings to analyses the devangana imageries in the context of Hindu –Buddhist and Jaina architecture and the evolution of their imagery from the earlier forms of primordial mother goddess figurines, salabhanjika-vrksika-yaksi, river goddess-nadi-devatas to devanganas. The theory of evolution of imagery can also be observed in the structure manner in which the American Institute of Indian studies has produced its Encyclopedia of Tempe Architecture. This methodology of Dhaky and Meiseer has provided a framework for observing comparative trends within one motif or iconographic construct or regional sculptural or architectural styles. Drawing attention to the placement of the devangana imagery on temple walls and their relation with other sculptures on the same wall and the entire edifice in the manner of Stella Kramrisch has taken my study to another plane-it has become a structured approach to deconstructing their meaning and reconstructing their function in a dynamic process. Following the trail of Kramrisch and Dhaky, I launch on this exploratory and interpretative journey armed with multiple tools from Indian and western traditions.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBefore critiquing the existing literature and unfolding my methodological concerns, I wish to state that the present thesis attempts to perceive the apsaras\/devangana sculptures as a continuation of the yaksi sculptures found on Buddhist and Jaina monument and further afar into the imageries in the Vedic texts of primordial mother goddesses such as Raka, Sininvali an Aditi. In sculptural representation of these celestial figures, one can notice that not only yaksis, and salabhanjikas, but even nadi-devatas (river goddesses ) and nayikas (heroines) played a important role in the development of their iconography. This can be observed at many sites such as Ajanta and Ellora in Maharashtra, Jagat and Mt. Abu in rajasthan, Badoli and Khajuiaho in Madhya Pradesh and Roda, Rani Vav and Modhera in Gujarat. There are some obvious iconographical representations which are found with staggering regularity on most of the Nagara style temples such as darpana (holding mirror ), alasa (longingly waiting), vasanabhramsa (removing the lower garment), kanduka-krida (playing with a ball), kesanistoyakarini (bathing beauty0, putravallabha (holding a child), sva-stana-sparsa (touching her breast), markatacesta a(veing disturbed by a monkey), vira (holding a weapon)m natipvartaki (dancing) and prasadhika (doing make-up-). Some architectural texts from Gujarat virksarnava and kisrarnava (fourteenth-fifteenth centuries ( mention a list of 32 devanganas suggesting that the details relating to this group of images was circulated within sthapati families and was known orally in many regions. I will elucidate on these devanagabasm their typology and how in a synchronic and diachronic way they coalesce into a vision of ever-changing cyclic order towards asceticism, eroticism, creativity and annihilation. It is the “continuity” and “constancy” in imagery that constitutes the raison d’etre of my inquiry.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eCritique of Earlier Writings\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003eThe concept of the famine energy personified in Indian culture, thought, art and literature, is irrevocably immersed in the Indian psyche. IN ht course of the present research I found that the representation of the female, other the goddesses per se, contained connotations of verity, fertility, eroticism and asceticism that broadly oscillate between, “material” versus “spiritual” polarities. IN the process of collecting observations and interpretations of earlier scholars, I noticed that the subject of saslsabhanjika or apsaras has engaged the interest of many earlier scholars. But surprisingly their probing and interpretations have remained unidirectional.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eVogle proposed the concept of salabhanjika in literature and art to understand the evolution essentially of the “woman and tree” motif. From a seasonal festival to an allegory of fertility-the standardization of its posture, is shared by Mayadevi in the birth-giving pose on Buddhist monuments. He also noted the continuation of this motif from a community festival to an architectural motif wherein any type of imagery is classified under the term salabhanjika. Thus the term is conceived very broadly and the imagery is left fluid. Vogel enumerate literary data from Sanskrit texts, prose and verse literature like Natyasastra, Mahavamsa, Buddhiacarita and Simhasanabattisi. Vogel’s interpretation has been repeated by Coomaraswamy, B.M. and R. N. Misra in their researches on yaksa cult and Bharhut sculptures. Since the scope of their research was specific, they did not delve deeper into t he wider connotation of the salabhanjika motif, its related imagery and its continuation in later architecture.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBut coomaraswamy rightly observed that the yaksis (carve on Bharhut, Saci , Mathura ) give rise to three ichnographically identical motifs, albeit differently interpreted : the Buddha’s nativity , “the asoka dohada motif in classical literature”, and the “river goddesses of medieval shrines”. He also distinguished between the gandharvis, apsaras, et. And pointed out that it was incorrect to call them merely dancing girls. Although indirectly, Cooomaraswamy was probably the first ever t hit at the continuation of yaksi salabhanjika imagery in later sculptures of surasundari, on temples architecture. I believe that the continuation or recalling of similar motifs on different monuments after a long lapse of time does not mean these had been erased from the memory of artists’ visual vocabulary of motifs an image. They may have survived in other forms to be recalled back at an opportune time when a appropriate function on an appropriate monument may have emerged.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe contribution of V.S. Agrawala to the study of yaksi-salabhanjika –vrksika motif in the light of the Sanskrit literary data is extremely insightful. In his work, begum in the 1940s on Mathura sculptures, he identified the imagery of a number of female sculptures such as sukasarika, kesanistoyakarini, veniprasadhana, asoka dohada, putravallabha, kanduka-krida and padmini. He also bought to light the numerous references from Sanskrit, Pali and Prakrt sources, Parallel motifs or imageries of nayikas as described by the poets and dramatists like kalidasa, Bana,Asvaghosa, Rajeskhara, Bhoja and others. A whole range of kridas such as udyana-kridas and jala-kridasa re mentioned by him with literary references to show the cultural context from which the imagery of a number of yaksis on Mathaura pillars was derived, He has given only stray references to alas kanya and others on later temple architecture. Agrawala does not observe any parallels or evolution in any single imagery type, e.g. kesanistoyakarini, through the centuries from stupa architecture to temple architecture. The book Indian Art (1965) treats the topic of Kusana salabhanjika at great length. The development of the motif in the post-Gupta and the medieval period has been left out.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eC. Sivaramamurti, in his enormous study on Amarvati sculptures (1942), brought to light a number of references to yaksi in architectural contexts from epic and classical Sanskrit literature like the Ramayana, Mahabharata, Mahabhasya and Raghuvamsa. He also noticed the overlapping meanings shared by the imagery of yaksi, Sri and nadi-devatas, i.e. bestowing prosperity and abundance. In his subsequent book, Sanskrit Literature and Art: Mirror of Indian Culture (1955), he devoted one section to salabhanjika and stambha puttakika, which are very brief and do not provide much insight.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eReferences to apsaras in the writings of indologists and iconographers have been found much before art historians began to study them in earnest. Vedic Mythology of A.A. Macdonell(1898) and A.B. Keith (1925) contain enormous information from the Vedic and Puranic sources on apsaras. An extensive study of iconography with supportive discussion on parallel manifestations through the ages done by T.A. Gopinath Rao (1914-16) and J.N. Banerjea (1956), have brought to light one significant observation on associating Bharhut apsaras Misakosi, Alambusa and others with the sculptures of later day Ganga and Yamuna on Hindu temple architecture. Banerjea justifiable observed that the imagery of Ganga-Yamuna could be traced to the Bharhut prototypes (apsaras) even though they are not depicted in dancing postures. Thus the “continuity” of the visual imagery an form from yaksi-apsaras to nadi –devatas was hinted at by Banerjea in 1941 in his Development of Hindu Iconography, but a systematic study was still wanting. The identification of dance postures had to wait for Kapila Vatsyana’s research on Classical Dance in Literature and the Arts (1968), which was conducted during the 1950s. Now we know that every sculpture, standing or seated, of human figures, could be identified as a sthanaka or a cari conforming to the study of sculpture an literature and the inseparable, almost “symbiotic” relationship, shared by the visual, literary and performing arts in India. A number of sculptures of hither to classified apsaras, yoksis, devanganas and surasundaris, have been discussed by her from the context of their dance postures.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe apsaras, salbhanjik concepts in literature and the arts have been dealt with independently by two scholars, namely Projesh Banerjee (1982) and U.N. Roy (1979), which harks back to the method of the recent researches of specialized nature and contain larger compilation of references from the Vedic, Puraninc and classical Sanskrit sources. Projesh Banerjee also brings in devadasis as the “daughters of e celsestial apssara” and extends the interpretation to temple ritual, but fails to project any formidable conclusions. U. N. Roy in his study on salabhanjika refers mainly to the Kusana period, and rounds off the Gupta period summarily. Although he mentions the continuation of this motif in nadi-devatas, he has made no efforts at elaborating and establishing the links. Motichandra (1973) , in his book The World of Courtesans refers to apsaras as courtesans and reduces the the level of divine prostitutes power. The book incorporates photographs of apsaras interpreted as courtesans.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAt this juncture, I pause with some questions-what are the apsaras or devanganas doing on a temple? What role do they play in the architectural and sculptural programming (plan and layout) of the temple? What is the meaning of their action? Does their iconography have any meaning? Why are certain types of devangana repeated on many monuments across different regions over several centuries?\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBy far the most brilliant interpretation of surasundari and apsaras sculptures in conjunction with temple architecture in the light of the above question and in the larger context of the temple’s iconographical programming, has been attempted by ?Stella Kramrisch way back in the 1940s, followed by Alice Boner in the 1950s.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eForeword by Kapila Vatsyayan\u003c\/td\u003e\n\u003ctd\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003eAcknowledgement\u003c\/td\u003e\n\u003ctd width=\"15%\"\u003exi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eList of Photographs\u003c\/td\u003e\n\u003ctd\u003exiii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eA Medical Historical Backdrop Apsaras Imagery froom Sanskrit and Prakrt-Sources\u003c\/td\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eApsaras Imagery from Sanskrit and Prakrt Sources\u003c\/td\u003e\n\u003ctd\u003e53\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003eWeaving the Architectural Fabric: Morphology of Architectural style and Placement of Devangna Sculptures\u003c\/td\u003e\n\u003ctd\u003e105\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eDevangana Sculptural Image Study I: Emergence and Evolution of Individual Motif Types\u003c\/td\u003e\n\u003ctd\u003e185\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eDevangana Sculptural Inage Study II: Post-Gupta and Medieval Devanganas\u003c\/td\u003e\n\u003ctd\u003e271\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eMedieval Western Indian Sculpture: Modeling the Medieval Form and style\u003c\/td\u003e\n\u003ctd\u003e357\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eIconological ans Semiotic Interpretation of the Devangana Motif\u003c\/td\u003e\n\u003ctd\u003e377\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAppendix\u003c\/td\u003e\n\u003ctd\u003e421\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e429\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e433\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e445\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Gauri Parimoo Krishnan","offers":[{"title":"Default Title","offer_id":44317039263882,"sku":"","price":4800.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/naf484.png?v=1708673058"},{"product_id":"towards-a-new-art-history-studies-in-indian-art","title":"Towards a New Art History","description":"\u003cp style=\"text-align: left;\"\u003eMainstream art historical writing on Indian art has remained focused on identifying and defining stylistic schools, understanding evolutionary patterns and regional styles as well as understanding iconographic and narrative conventions and structures. The wide-ranging essays in this volume challenge the boundaries and assumptions of mainstream art history. Moving away from an art history, structured by an art object-centred approach, this book gestures at a framework-oriented approach that calls attention to the political, social, economic structures that undergird art. It is an attempt to reformulate the discipline in a manner that can explain the field of the visual in a way that goes well beyond the explanatory capacity of conventional modes of studying Indian art.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThese essays question the preconceived notions about meaning in representations - artistic and art historical. They contest earlier claims about the objectivity of scholarship in general and history writing in particular as much as they critique the valorization of a purely individuated, subjective art criticism. In its attempt to historicize the practice of art, the book examines the economic, political and social implications of art that enable the restitution of art history among social science disciplines.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe emphasis is on the study of specific visual cultures within the dynamics of historical processes. These essays raise critical issues of art production, circulation and consumption as well as production of meaning. Traditional arts have been studied from a critical perspective that extricates them from a past that is hermetically sealed off from the present. The opposition of \"high art\" and \"non-art\" (read popular or mass visual culture) has been challenged. Breaking outside the ambit of high art, studies in the book extend from popular, mass-produced art to MTV imagery to digital art.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eShivaji K. Panikkar teaches at the Department of Art History and Aesthetics, M.S. University of Baroda. Saptamatrka Worship and Sculpture: An Iconological Interpretation of Conflicts and Resolutions in the 'Storied' Brahmanical Icons; Twentieth Century Indian Sculpture: Last Two Decades (ed.) and the exhibition catalogue Creative Process: Tangible Realities, Concrete Myths are among his publications. He is presently engaged in writing on art developments in Madras since the 1940s.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eParul Dave Mukherji teaches at the Department of Art History and Aesthetics, M.S. University of Baroda. She has done her doctoral dissertation at the Faculty of Oriental .Studies, University of Oxford. Her publications include the translation of The Citrasutra of the Visnudharmottara Purana. Her current area of work is on visuality in early Indian art.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDeeptha Achar teaches at the Department of English, M.S. University of Baroda. She has worked on representations of Africa in popular boys' fiction of the late nineteenth-century Britain for her PhD dissertation. Her current research interests centre around education and childhood in India and she is currently engaged in a project entitled \"Educational Policies and Gender: The Case of Gujarat.\u003c\/p\u003e\n\u003ccenter\u003e\u003c\/center\u003e\u003ccenter\u003e\u003c\/center\u003e\u003ccenter\u003e\u003c\/center\u003e","brand":"Shivaji K Panikkar","offers":[{"title":"Default Title","offer_id":44317158310026,"sku":"","price":4500.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/naw086.png?v=1708674611"},{"product_id":"unique-art-of-warli-paintings","title":"Unique Art of Warli Paintings","description":"\u003cp style=\"text-align: left;\"\u003eWarli painting has its own place in adivasi art of India. It takes its name from the Warli tribes of Maharashtra. It seems their roots are in the rock shelters of ancestors found in Bhimbhedka and Raisen in Madhya Pradesh. Warli paintings are pointers – they fulfill a purpose. Their presence in the hut is auspicious and is said to promote fertility, avert disease, propitiate the dead, etc. They show rituals at birth, marriage, a life full of dance and music, livelihood, connectivity with death and life after death. Artists express a kind of fulfillment they experience that is in harmony with nature and their gods and goddesses.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWarli art is simple yet rich. The material used for painting is simple, themes contained therein, philosophy of existence and even life beyond death, all are brought forth in a most elementary format. Many specimens of Warli art are contained in this book. The paintings are expressive with profound truths and project all that one needs to know how to live a happy life. Austere brown wall surface of huts displaying tribal designs with typical rock art motifs make Warli art different from other tribal paintings of India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book is a modest compilation of Warli art that comes through an unbroken tradition of thousands of years. But Warli art traditions are gradually vanishing. Money elsewhere is pulling artists away from their traditional occupation. Something has to be done by society to create conditions for them, to not get weaned away by lure of commercial avenues. This book is a small effort to save this art from falling off from the pathway of time continuum.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDr Sudha Satyawadi is an artist, a researcher, an author. Tribal, rural and folk arts are her interests and she has spent over fifty years on these. Exhibitions of her paintings on rural and folk art have been held in New Delhi, Melbourne, Gaborone, Universities of Standford, Berkeley, Louisiana, Buffalo and Pittsburgh in the last ten years or so. She heads an NGO called Udayan created for encouraging the rural artists who work deep inside a village. She spends much time with them and is working for them. With her background she is trying to preserve this dying art and encourage artists by giving them exposure in the global world. She has authored two books.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eFolk and tribal art have always fascinated me. This art originated in early tribal and agriculture communities containing in itself and thoughts and beliefs of early man. After a long continuous journey through generations it is still popular in villages and is now attracting urban art lovers. Over time, this art came into contact with numerous cultures and has assimilated outside influence, without losing its original character. In early stages this art was associated with religion. As of today, different regions have their own style of painting. Yet there is something common with other styles and some regional peculiarities. All such traditional art has contributed to building the culture of this country.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWarli Art got its name from Warli tribes of Maharashtra. Their art is very close to rock art of central India but with a powerful narrative power. Warli paintings added a new dimension to tribal art. They use brown mud plastered walls of their huts as their canvas, and paint tribal designs in while or brilliant sindura red. Agricultural implements used by them, and areas allotted for rice pounding, worship, marriage etc. are all decorated with typical motifs like tress and creepers, birds and animals, sun and moon, man and woman. Painting is also done on side walls at the entrance of dwellings. Main focus of these drawings is on fertility, averting disease, propitiating the dead, and fulfilling the demands of ghost spirits who fill the dream world of the Warlis.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWarli paintings have seen three stages of evolution. In the first stage, paintings were made on walls on auspicious occasions inside huts and were called chauk or\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/mandala.htm\"\u003emandala\u003c\/a\u003e. Generally, paintings were made at marriages and in harvest season. In the second stage, Warli artists were given paper and colour. They made paintings on rituals, myths, wisdom stories told by ancestors, man’s origin and their movement. In the third stage, Warli art became commercial and artists are now making paintings according to the tastes of customers. In the rat race of rapid commercialization this small book is a humble effort to document the traditional art of Warlis.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eMy thanks to the library staff of Indra Gandhi National Centre for Arts, National Museum, India International Center, College of Arts Pittsburgh University and, Art Library of Ohio State University USA. There is little written material on Warli paintings and their world. Most of he substance for this book, I have collected from Warli artists themselves – my special thanks to all of them especially Sh. Anil Chaitya Wangad of Warli village of Maharashtra. My husband Dr Nitish Satyawadi gave valuable suggestions at every stage in writing of this book. I received constant encouragement from my sons Alok and Amit, daughters – in – low, Reena and Swati. My precious grandchildren Ananya, Adwit and Anwita gazed at Warli paintings around me with genuine curiosity and asked innocent little questions. Credit for including many paintings here goes to them.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003ePreface\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1.\u003c\/td\u003e\n\u003ctd\u003eWarlis and Their Paintings\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2.\u003c\/td\u003e\n\u003ctd\u003eReligious Beliefs\u003c\/td\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3.\u003c\/td\u003e\n\u003ctd\u003eRites and Rituals\u003c\/td\u003e\n\u003ctd\u003e17\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4.\u003c\/td\u003e\n\u003ctd\u003eWarli Paintings\u003c\/td\u003e\n\u003ctd\u003e23\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(i)\u003c\/td\u003e\n\u003ctd\u003eThree stages of Warli Paintings\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(ii)\u003c\/td\u003e\n\u003ctd\u003eMyths and Legends\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iii)\u003c\/td\u003e\n\u003ctd\u003eNarrative Paintings\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e(iv)\u003c\/td\u003e\n\u003ctd\u003eContemporary Paintings\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e81\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e85\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e87\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003c\/center\u003e","brand":"Sudha Satyawadi","offers":[{"title":"Default Title","offer_id":44323196764298,"sku":"","price":700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ihl333_1.png?v=1708933382"},{"product_id":"cinema-through-rasa-a-tryst-with-masterpieces-in-the-light-of-rasa-siddhanta","title":"Cinema Through Rasa","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003ePrachand Praveer has produced an original path-breaking book. He has used his learning of the classical texts, the Natyaśästra of Bharata Muni and its famous commentary, the Abhinavabharati to connect the ancient thought regarding drama with a modern medium like cinema.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSince the inception of the modern Indian state from the British rule in 1947, a schizophrenia was inserted into the Indian psyche by the first Prime Minister Jawaharlal Nehru through his reformist socialist agenda, that for India modernity was not an inseparable extension of tradition and heritage, but instead a rejection of it. For him alteration in heritage continuity was not essential. Thus, a strike was made on one of the major practices of Indian culture which presumes that cultural change must preserve and embellish tradition.\u003c\/p\u003e\n\u003ccenter\u003e\u003c\/center\u003e","brand":"Prachandc Praveer","offers":[{"title":"Default Title","offer_id":44366083752074,"sku":"","price":800.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ubd656.png?v=1709366964"},{"product_id":"natyasastra-in-the-modern-world-proceedings-of-the-15th-world-sanskrit-conference","title":"Natyasastra in the Modern World","description":"\u003cp style=\"text-align: left;\"\u003eNatyasastra of Bharatamuni, considered as the fifth Veda, has remained a Sarnhita with a systematic presentation of conceptual frameworks, theories and practices of Indian theatre for a few millennium years. Every performing art of India (dance-drama) has drawn both theoretical and aesthetics values from Bharata and his Natuasasira, giving continuity to a legacy, as it was written to set models and standards for actors, artisans, and the playwrights. Natyasastra's discovery in the nineteenth century was a milestone in the world history of aesthetics and theatre. The subsequent researches made Bharata and his theatre a vibrant topic of global dialogue and researches. This has resulted in the discovery of different versions of the Natyasastra.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis volume discusses in detail the divergent views on Natyasastra - its origin, concepts, philosophy, history, vrtti, impact on traditional stages, relevance in modern age and stage, and its applicability in post-modern stage. It also vividly talks about the interlinks between Natyasastra and the regional theatre forms with specific focus on south India. It therefore reinstates the fact that the regional theatric traditions have considerably contributed to the restructuring of Natyasastra texts.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWith deliberations on varied topics, this book proudly announces that Natyasastra is not just a text, but a tradition of theatre that has remained vibrant till today, reminiscent of Indian world- view. And this makes this volume a must-study for \"who is who\" in the theatric domain.\u003c\/p\u003e\n\u003cp align=\"center\" style=\"text-align: center;\"\u003e\u003cstrong\u003eAbout the Author\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eProf. Radhavallabh Tripathi is one of the senior-most professors of Sanskrit in the country. He has served as Vice-Chancellor of Rashtriya Sanskrit Sansthan, Vice-Chancellor on additional charge at Shri Lal Bahadur Shasri Sanskrit Vidyapeeth and Vice-Chancellor in charge of Dr H.s. Gour University. He was visiting professor at Silpakorn University, Bangkok, for three years.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWidely acclaimed for his original contributions to the study of Natyasastra and Sahityasastra, Prof. Tripathi has published 159 books, 216 research papers and critical essays as well as translations of more than thirty Sanskrit plays and some classics from Sanskrit into Hindi. He has received thirty-three national and international awards and honours for his literary contributions. He has been referred in various research journals on Indology. Research for Ph.D. has been completed as well as is being carried on his creative writings in Sanskrit in a number of universities. Three journals brought out special numbers on his writings. Four books comprising studies on his creative and critical writings are also\u003c\/p\u003e","brand":"Radhavallabh Tripathi","offers":[{"title":"Default Title","offer_id":44366134509706,"sku":"","price":700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/naf476.png?v=1709367703"},{"product_id":"art-aesthetics-and-philosophy-reflections-on-coomaraswamy","title":"Art, Aesthetics and Philosophy","description":"\u003cp style=\"text-align: left;\"\u003eThe savants of the twentieth century have excavated the past to discerningly reveal the present. Swami Vivekananda, Rabindranath Tagore, Sri Aurobindo, Mahatma Gandhi and Ananda Coomaraswamy, among others, interpreted Indian aesthetics, civilization, culture and philosophy unearthing the Indian wisdom against the wrong interpretations and teachings of the Western colonial scholars. This volume, a collection of papers presented at a national seminar on the Philosophy of Ananda Coomaraswamy held in February 2011, approaches Coomaraswamy's philosophy on Indian aesthetics, life and religion from different perspectives. This books brings forth the different facets of Coomaraswamy: as a catalyst in spiritualizing Indian arts; his views on modernism and anti-modernism; his efforts in aesthetizing India; his polemics of de- colonization through art criticism; his aesthetical philosophy; his perception and understanding on art, culture and Indianness; his metaphysics; and his philosophical approach to visuals and materials from the lens of an art historian. It sketches Coomaraswamy's multifaceted persona, enunciating that the crux of modern Indian philosophy is one of vision, rather than building theories.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis book in a nutshell presents the varied reflections on Coomaraswamy's personality as a philosopher, art historian, art curator and his strong positioning against the colonial teachings of Western art historians and philosophers on India's art, civilization and culture, projecting an image of Indianness in every sphere.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eAbout The Authors\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eS.G. Kulkarni is a Professor of Philosophy at University of Hyderabad, where he has been teaching since 1980. He obtained his doctorate from Indian Institute of Technology, Kanpur. His area of specialization is Philosophy of Science and in particular the Problem of Realism. His areas of interest are Metaphysics and Social and Political Philosophy as well as Modern Indian Thought.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eKavita Chauhan is an Assistant Professor of Philosophy at University of Hyderabad. She obtained her Ph.D from Punjab University, Chandigarh. Her area of specialization is Philosophy of Art and in particular Indian Aesthetic tradition. At present she is pursuing Acharya in Sahitya.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eIGNCA understands the arts as comprising of creative and critical literature, written and oral; the visual arts ranging from architecture, sculpture, painting and graphics to general material culture, photography and film; the performing arts of music, dance and theatre in their broadest connotation; and all else in fairs, festivals and lifestyle that has an artistic dimension.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThrough its diverse programmes of research, publication, training, creative activities and performances, IGNCA seeks to place the arts within the context of the natural and human environment. The fundamental approach of IGNCA in all its work is both multidisciplinary and interdisciplinary. This work is carried out through five divisions - Kala Nidhi (Library \u0026amp; Information Division); Kalakosa (Research and Publication Division); Janapada Sampada (Division for the Study of Diverse Living Traditions); Kala Darsana (Division for Exhibition and Presentation); and Sutradhara (Division for Administration and Co-ordination). It also has a well-developed Media Unit for audio-visual documentation and film-making as also a Cultural Informatics Lab for the production of interactive multimedia CDs, DVDs and developing a National Digital Data Bank on Culture.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn this organizational milieu, the Kalakosa Division of IGNCA has been bringing out three fundamental series of publications, viz.:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e1. Kalatattvakosa - series of Indian key concepts;\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e2. Kalamulasastra - fundamental texts bearing on the Arts; and\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e3. Kalasamalocana - a series of analytical and interpretative writings on the Arts.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOut of these, the first is a multi-volume Thesaurus of Indian thought systems and categories of knowledge. These volumes make explicit the multi-disciplinary character of the cognitive reflection that permeates different disciplines and different levels. The six volumes so far published in this series have been enthusiastically received as essential reference material by scholars. The second series is the publication of fundamental texts based on primary materials. These texts range from the earliest discussions on the nature of musical notes to the texts discussing temple plans, town planning, theatre, music and dance. The twenty-six published texts in this series, including some in multiple volumes, throw significant light on the vigorous theoretical traditions of India.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eFinally, the third series, under which the present volume is published, comprises publications on analytical and interpretative writings on different facets of the arts and aesthetics. Around sixty works of eminent scholars have already appeared in this series. Some of the major com- positions highlight the unbroken artistic traditions of other parts of Asia as well. Bringing out reprints of the collected works of Ananda K. Coomaraswamy is the most important part of this series. Through his prolific writings, Ananda Coomaraswamy revealed himself as a great art critic, philosopher and historian of our time. His son Rama P. Coomaraswamy gave copyright permission to IGNCA to reprint the works of his father. In fact, way back in 1994, a part of the Ananda Coomaraswamy collection was first acquired by IGNCA through the efforts of Dr. Kapila Vatsyayan, former Member Secretary and Founder Member of the IGNCA Trust. She personally met Rama P. Coomaraswamy in the US and he very generously donated a part of his father's collection. It includes books, photographs, gramophone records, some unpublished papers and slides.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOut of this collection, IGNCA has till date brought out seventeen publications which include reprints of the revised editions of his works, while some are the volumes of his collected papers and letters. A volume of the bibliography of his works also has been published. Details of the published volumes are given in the Preface by Dr Advaitavadini Kaul, Chief Editor, IGNCA, and Coordinator of the Kalasamalocana Series.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn 2008, IGNCA acquired yet another collection of Ananda Coomaraswamy from Francis Nicholas Coomaraswamy. This collection comprises photographs, paintings, about 700 folders containing correspondence, notes and monographs compiled by Ananda Coomaraswamy during his lifetime.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe publication of the present volume may be seen as the fructification of the efforts of IGNCA in presenting the manifold aspects of this multifaceted personality. It is a matter of satisfaction for us that the idea of holding a seminar on Coomaraswamy emerged through the publications of IGNCA. We are happy to publish the proceedings of this seminar as Art, Aesthetics and Philosophy: Reflections on Coomaraswamy which includes eight research papers contributed by eminent scholars in their respective fields. I am grateful to each one of them. My gratitude to Prof. S.G. Kulkarni of the Department of Philosophy, University of Hyderabad for initiating the proposal for organizing the seminar and for bringing it to fruition. Also, I am thankful to him and his colleague Dr. Kavita Chauhan for editing this volume.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eRama P. Coomaraswamy had written a pen sketch of his father for IGNCA. It was published in Vihangama (IGNCA Newsletter) in 2001. We find it appropriate to reproduce it here in this volume.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am pleased to present this volume to the readers with the hope that it will facilitate and enhance the understanding of the concepts of Indian art and aesthetics.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the year 2010 the University of Hyderabad had planned a national seminar on the \"Philosophy of Ananda Coomaraswamy\". They approached IGNCA with a proposal for publishing the proceedings of the seminar. The seminar was scheduled to be held in February 2011 and was to be organized by the Department of Philosophy. IGNCA welcomed the proposal. For IGNCA, the publication of this volume would have added a new perspective to the Coomaraswamy Series that forms a major part of a publication programme known as the Kalasamalocana series. We came to know later through Prof. S.G. Kulkarni of the University of Hyderabad that the very idea of holding the seminar had emerged from the extant publications of IGNCA. In a sense, this is a fulfilment of one of the objectives of IGNCA. It is a matter of satisfaction that the publications of IGNCA have motivated scholars and inspired them to reflect upon and discuss the works of a scholar of substance who gave new perspective to the understanding of Indian art and aesthetics.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Kalasarnalocana series is one of the elemental publication series of IGNCA. It relates to critical writings on different facets of the arts and aesthetics. While one part of the series concentrates on works of eminent scholars who have dealt with fundamental concepts, identified perennial sources and created bridges of communication by juxtaposing diverse traditions, the other part deals with revisions, and rearranged editions and translations of a select number of eminent authors and their works. The most important part of this programme is bringing out the collected works of Ananda K. Coomaraswamy. IGNCA has till date published seventeen volumes of Ananda Coomaraswamy's writings. These volumes have been reorganized thematically, with the author's authentic revisions, and edited by eminent scholars.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn the Cultural Archives of IGNCA the Ananda Coomaraswamy collection has publications of his own writings which comprise many voluminous books, a very large range of pamphlets, articles, critical reviews, translations and letters published in different countries. A glance at the list of his writings indeed makes one wonder whether one is looking through the catalogue of a library or the works of a single individual. Out of this corpus, the details of the seventeen volumes published by IGNCA till date are summed up below:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003ePhilosophical Writings\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e1. Time and Eternity (1990): Man's awareness of Time has been articulated in ancient and modern civilizations through cosmologies, metaphysics, philosophy, religion, theory and arts. Coomaraswamy propounds that though we live in Time, our deliverance lies in eternity. All religions make this distinction between what is merely \"everlasting\" (or \"perpetual\") and what is eternal.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e2. Spiritual Authority and Temporal Power in the Indian Theory of Government (1993, 2013) edited by Keshavaram N. Ienger \u0026amp; Rama P. Coomaraswamy: The Indian theory of government is expounded in this work on the basis of textual sources. The welfare of the community in each case depends upon a succession of obediences and loyalties; that of the subjects to the dual control of king and priest, and that of all to the principle of an eternal law (dharma) as King of Kings.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e3. Hinduism and Buddhism (1999) edited by Keshavaram N. Ienger \u0026amp; Rama P. Coomaraswamy: The two essays are authoritative expositions on the teachings of these religions as understood by those who practised them rather than as understood by scholars and comparative religionists who studied and viewed them from without.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e4. Perception of the Vedas (2000) edited by Vidya Nivas Mishra: Coomaraswamy published A New Approach to the Vedas, and thereafter he regularly brought out longer and shorter studies of the Vedas and Upanisads. Published in a variety of American, European and Indian journals, these essays have been arranged in this volume in relation to some aspect or the other of Vedic text as one integrated perception.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e5. Elements of Buddhist Iconography (2008) edited by Krishna Deva: This study deals with the basic symbols of Buddhist art, viz., the Tree of Life, the Earth-Lotus, the Word-Wheel, the Lotus-Throne and the Fiery Pillar, and shows that these symbols can be traced back beyond their first representation in Buddhist iconography through the aniconic period of the Brahmanical Vedas, even into the Rgvedic period itself, and that they represent a universal Indian symbolism and set of theological concepts.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWritings on Civilizations\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e6. What is Civilization? (1989): The essays raise fundamental questions, which are both piercing and incisive. In one unbroken sweep, a vast spectrum of Western and Eastern civilizations is covered. Four essays in this volume - \"Mind and Myth\", \"Symbols\", \"Interpretation of Symbols\" and \"Symbolism of Archery\" - reflect the autumnal ripeness of Coomaraswamy's mind journey as an art historian.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e7. Selected Letters of Ananda Coomaraswamy (1988) edited by Alvin Moore Jr. \u0026amp; Rama P. Coomaraswamy: The letters included in this volume, published for the first time, reveal the being of this uncompromising man, who believed in no theories or ideologies, political or philosophical issues. Combining scientific precision with his own sensitivity, Coomaraswamy addresses himself to the disciplines of history, philosophy, religion, arts and crafts. The letters reveal the incredible range of his mind which cuts across civilizations, cultures, languages, arts and crafts, encompassing the whole.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e8. A Bibliography of Ananda Kentish Coomaraswamy (2002) compiled and edited by James S. Crouch: This comprehensive and accurate bibliography is an invaluable reference work for anyone concerned with the study of comparative religion, mythology, traditional metaphysics, iconography and symbolism.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWritings on Art and Aesthetics\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e9. Yaksas: Essays in the Water Cosmology (1993) edited by Paul Schroeder: The origin of the yaksas is examined in the context of Vedic, Brahmanical and Upanisadic literature, along with the non-Aryan and pre-Aryan preoccupation with the concept. Dealing with the interpretation levels of artistic motif, Coomaraswamy delves deeper to unfold the water cosmology.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e10. The Transformation of Nature in Art (1995) edited with an Introduction by Kapila Vatsyayan: In this volume, Coomaraswamy attempts to explain the theory behind medieval European and Asian art, especially art in India. The first principle of his theories is that art does not exist for its own sake; it exists as a means to some religious conditions or experience. He supplements the Indian theory with that of the Chinese. The comparison with medieval European art is also extremely illuminating. He shows that both differ radically from post-Renaissance European Art.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eOne of the significant developments in the post-independent philosophical scene of India is the recognition that the claim that modern Indian philosophy is either not modern or not Indian or not philosophy was a travesty of truth. Our deep engagement with the nineteenth-twentieth-century Indian savants has convinced us that in spite of their organic link with the classical Indian thought, they were sensitive to the intellectual traditions of modernity, responses to which shaped their concerns and positions on some crucial issues, both time-honoured and contextual. Also, though their orientation was intended to be universal their focus was India and, in particular, the colonial condition against which she had begun to struggle in a way that was unique. Further, their thinking was philosophical in the fundamental sense of a culture's self- understanding, on the one hand, and grappling with the civilizational issues raised by the challenges of modernity, on the other, which sought to determine the values guiding our individual life and the organizing principles of our collective life. In view of such a task, \"philosophical\" in the discursive sense was irrelevant. It is, therefore, natural that the crux of modern Indian philosophy, unlike that of its Western counterpart, was one of weaving visions rather than building theories. This is evident in the works of Vivekananda, Tagore, Aurobindo, Gandhi and Ananda Coomaraswamy, whose thoughts have rendered the very concept of modern Indian philosophy into a distinct theoretical category.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAs pointed out above, the primary focus of modern Indian philosophy was India herself, and even here as a civilization, rather than a nation state, potential or actual. The discovery (and invention for the protagonists of imperialism) of India as a civilization was motivated by (1) an endeavour to seek terms of self-understanding and thereby reject India's characterization by the West including the myth of pre-colonial barbarism; and (2) to convince ourselves that the colonial onslaught could not destroy the cultural self of India, though it might have mauled her socio-economic body.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eObviously, such an endeavour begins by directly confronting the issue of tradition vs. modernity, though such an undertaking might end with transcending that dichotomy as one of those dualities the West has used to delegitimize and thus domesticate its Other. In doing so, the modern Indian philosophers articulated their idea of tradition that speaks volumes about their creative imagination. Geeta Kapur very ably brings this out when she says:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWhat in India we call tradition today was put in the fray by 19th-century nationalists. The manifestos of Swadeshi (political and cultural self-reliance)... produced in conjunction with the ideal tradition, a kind of aesthetic which is at once didactic and contemplative. This is best exemplified by A.K. Coomaraswamy. -1990: 48\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSince tradition so construed is another name for lndianness, it was the fulcrum of self-understanding and hence of resistance. The attempt to dive deep into the collective memory of the people and to affirm the value of the extant modes of life was an effort to win back a civilizational poise set at naught by the forces of colonialism. To quote Geeta Kapur again:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIf the savants of the [20th century], among them Coomaraswamy, have excavated the past to provide the present (in their opinion errant and impoverished) century with perennial life-symbols the exercise has rather special significance when this is contextualized within an anti-imperialist struggle.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe national culture construed on the lines of reconfigured tradition was not anchored in the transcendental notions figuring in the Indian metaphysical tradition, though such notions do figure in the articulation of the idea of national culture. We may say these notions were connected to the concrete lives of the people. The Upanisadic message was read by Tagore in the art of the folk such as the songs of baul musicians. Vedantic ideas were connected to ordinary people's religious ethos by Vivekananda, thanks to his association with Sri Ramakrishna. Gandhi related truth with the ethos of the productive life of peasants and artisans:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWith Coomaraswamy tradition, besides its metaphysical status, is the code derived from and applied to actual\/ideal iconographic forms. -1990: 50\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eHence, there was no need to bring tradition to life as it was alive and in the case of Coomaraswamy, it found living expression in the canonical aesthetic of craftsmen. It was this recognition of the ways tradition finds living expression that goes against their characterization as conservative. Further, modernist dichotomies, such as tradition and modernity and trichotomies, whether conservative, liberal and radical, may help us to understand an intellectual\/cultural phenomenon only up to a point beyond which it is detrimental to its authentic understanding, in particular, grasping how a creative thinker defies formulae by the very dynamism of his thinking. More importantly, conservativism merely rejects modernity, it does not work out its critique which points to an alternative vision, and this is precisely how modern Indian thinkers succeeded. Their critique of modernity was at once profound and concrete. Modernity was fundamentality construed in terms of the industrial civilization and the attack on it was cognitive, ethical and aesthetic. That is, the critique portrayed modernity as false consciousness, immoral and ugly. Particularly important in this connection is the vision of a \"post- industrial society\" - words coined by Coomaraswamy as acknowledged by Arthur J. Penty who used this expression in connection with the concept of Guild Socialism - a concept which found its first expression in the thoughts of those whom Karl Marx called \"Patriarchs of Socialism\" (cf. Brantlinger 1986: 485). Coomaraswamy contraposes what he called \"inspired tradition\" that emanates from highest religious consciousness with modern civilization. A society based on the former is a cooperative workshop whose production is geared towards use and not profit. Industrial society, the icon of modern civilizations, replaces needs that can be fulfilled by wants which keep artificially multiplying by transforming human needs into market demands.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eWe have touched only a couple of issues which Coomaraswamy addresses with matchless intensity and conviction. There are many other issues especially those pertaining to art and aesthetics on which Coomaraswamy took positions. The papers in this anthology critically engage with his positions on these issues. We summarize these papers, as far as possible, in the words of the authors themselves.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSharad Deshpande in his \"Ananda Coomaraswamy and Spiritualization of Indian Arts\" begins by asking what happens when two civilizations meet one another under colonial conditions and what makes one civilization interpret the other the way it does? He argues that these questions presuppose a much wider civilizational context of the reception of ideas, values and beliefs on both sides of reception. What makes Ananda Coomaraswamy one of the most central figures in the modern Indian art history is, for Deshpande, his awareness of this larger civilizational context. Therefore, to situate Coomaraswamy in the context of the historical unfolding of the civilizational encounter between India and Europe would be a pre-condition of any meaningful reading of Coomaraswamy. After spelling out some of the details of this encounter Deshpande traces how the construction of an idealistic, spiritualist world-view of Indian civilization and its aesthetic traditions emerged in the writings of E.B. Havell, and following him Ananda Coomaraswamy. According to Deshpande we need to have a theoretical framework to see the interrelatedness of various concepts and doctrines through which the spiritual or the idealistic character of Indian art was inscribed by the colonial scholars of Indian art history.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eParul Dave Mukherji in her paper \"The Two Faces of Ananda Coomaraswamy: Discourses on Modernism and Anti- Modernism\" focuses on the significance of a reassessment of Coomaraswamy's legacy in our increasingly globalized world. Looking back at the twentieth-century cultural politics, Coomaraswamy emerges as a heroic figure who singlehandedly brought about a profound transformation in taste, sensibility and categories of seeing art. At a time when Asian art was still a beleaguered entity and Indian art did not even feature as culturally significant, Coomaraswamy became a Messiah of the East, a saviour of Indian and Asian art and a champion of an alternative, non-Eurocentric aesthetic. From a post-colonial perspective, it is easy to reclaim Coomaraswamy as an agent of decolonization whose interpretation of Indian philosophy and aesthetics enabled a positive recognition of cultural difference and a radical critique of modernization. However, recently, there has begun a reassessment of Coomaraswamy's legacy in the West that focuses on him as an ardent exponent of modernism. From his role as a defender of Eastern art, today Coomaraswamy's work assumes significance in the history of modernism itself. His close association with the Stieglitz circle, the Euro-American avant-garde and his early acceptance of photography as worthy of a museum collection align him squarely with the modernists. How do these two conflicting constructs of the Coomaraswamian legacy relate to our contemporaneity that is no less ridden with contradictions between universalism and cultural difference?\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003eForeword\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003ev\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003eix\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAnanda Coomaraswamy: A Pen Sketch\u003c\/td\u003e\n\u003ctd\u003exvii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAcknowledgement\u003c\/td\u003e\n\u003ctd\u003exxv\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eContributors\u003c\/td\u003e\n\u003ctd\u003exxvi\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003eAnanda Coomaraswamy and the Spiritual Reading of Indian Arts\u003c\/td\u003e\n\u003ctd\u003e10\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003eThe Two Faces of Ananda Comaraswamy: Discourses on Modernism and Anti-Modernism\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003eAestheticizing the Nation: An Essay on Ananda Coomaraswamy\u003c\/td\u003e\n\u003ctd\u003e58\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003ePolemics of Decolonization: The Art Criticism of Sri Aurobindo and Ananda Comaraswamy\u003c\/td\u003e\n\u003ctd\u003e72\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003eTowards an Understanding of the Aesthetical Philosophy of Coomaraswamy\u003c\/td\u003e\n\u003ctd\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003eAnanda Coomaraswamy on Art, Culture and Indianess\u003c\/td\u003e\n\u003ctd\u003e107\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e7\u003c\/td\u003e\n\u003ctd\u003eCoomaraswamy as a Metaphysician\u003c\/td\u003e\n\u003ctd\u003e125\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e8\u003c\/td\u003e\n\u003ctd\u003eThe Visual and the Material in Coomaraswamy's Art History\u003c\/td\u003e\n\u003ctd\u003e138\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e155\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"S.G. Kulkarni","offers":[{"title":"Default Title","offer_id":44367875899530,"sku":"","price":630.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nak706.png?v=1709382944"},{"product_id":"silparatnakosa-a-glossary-of-orissan-temple-architecture","title":"Silparatnakosa","description":"\u003cp style=\"text-align: left;\"\u003eThe Silparatnakosa is a 7th century Orissan text composed by Sthapaka Niranjana Mahapatra, describing all the parts of the temple and the most important temple type of Orissa, such as the\u003cspan\u003e Manjusri\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eand Khakara. It also contains a section on sculpture (Prasadamurti) and an appendix on image-making (Pratimalaksana). This text, though much later than the temples described, reflects the still living tradition and it contributes much to clarify the terminology of Orissan temple architecture. It contains interesting references to the symbolism of the temple and its elements. The most important contribution of this text, however, lies in the identification of the Manjusri temple with the Sricakra, which has helped the authors to re-identify the Rajarani temple at Bhubaneswar as a temple dedicated to Rajarajesvari in the form of a Sricakra.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe text ha been edited form three palmleaf MSS and translated with numerous illustrations (line-drawings and plates). The glossary adds to the usefulness of the book. This text is an important addition to the Silpa\/Vastu literature published so far, and it will be very useful to all those interested in Orissan temple architecture.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eAbout the Author\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cb\u003eDr. Bettina Baumer\u003c\/b\u003e, an indologist from Austria, is living an working in Varanasi since 1967. at present she is Honorary Coordinator of IGNCA, Kalakosha Division, Varanasi, and Director of Research, Alice Boner Foundation for Fundamental Research in Indian Art. Her main fields of interest are Kashmir Saivism and Silpasastra of Orissa, as well as interreligious studies and comparative mysticism. She has published several books in German, (Upanisads, a selection from Abhinavagupta, etc.) and she is editor of Kalatattvakosa, a Lexicon of Fundamental Concepts of the Indian Art (Vol. I, 1988, Vol. II, 1992). Among the Silpasastras of Orissa she has edited the Vastusutra Upanisad (Motilal Banarsidass, 1982).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003e\u003cb\u003eProf. Rajendra Prasad Das\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eis a noted archaeologist and historian of Orissa, and also a creative writer in Oriya. After serving in the Archaeological Survey of India he became Professor of History and Principal in several Colleges in Orissa. He served as Dy Director, Education, Government of Orissa. He is co-author of the important book by Alice Boner, New Light on the Sun Temple of Konarka (Varanasi, Chowkhamba\u003cspan\u003e Sanskrit\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003eSeries Office, 1972). After his retirement he is engaged in the study on Orissan temple and Silpasastras.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Silparatnakosa by Sthapaka Niranjana Mahapatra is the sixteenth in the series of Kalamulasastra. Although many Vastu texts are planned in this series, this is the first to be printed. It is hoped that in the course of the next year similar texts such as the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMayamata\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eManasollasa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003ewill be published. Despite the fact that the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis a late text attributed to the seventeenth century, it has an importance from different points of view. Its structure and contents differ significantly from the contents of other Orissan texts, particularly the Silpa Prakasa and the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilpasarini.\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eNevertheless, all these texts are distinctively Orissan in character. Besides, they belong to a Pan-Indian tradition in so far as the temple corresponds to the image of Man and that the ground plan and elevation concretize the concept of 'Purusa' on the micro and macro level. The\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilpasarini\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003edevelops the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003emaharasasta pancaratha prasada\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eon the geometrical motif of the square. The ground plans of most other Indian temples are also based on the geometrical motif of the square, circle or ellipse. The\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eaccepts the basic symbolical identification of the parts of the rekha temple to the body of the divine person (Purusa). However, the governing geometrical motif of the Manjusri type of temple is the Sriyantra. Logically. This type of temple is called Manjusri, both signifying the feminine principle and goddess Sri. Few Indian texts have given attention to the Manjusri type of temple plans built in the shape of the Sricakra, both ground plan and elevation. For this one reason alone, the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eassumes importance in the textual corpus of Indian architecture.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDivided into two sections on temple architecture and temple sculpture, the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eelaborates on the rekha type of temples and details the shape, size and measure of the different architectural members from the pitha to the kalasa. Of great interest is the detailed account of the placements of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003enaga\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003ci\u003evyala\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003emotifs. This detailed account of the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003erekha prasada\u003cspan\u003e \u003c\/span\u003e\u003c\/i\u003eis followed by a lucid description of the Majusri type of temple. The author declares: \"The Manjusri is a most beautiful variety of the rekha type of temple.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eIn Part II on Temple Sculpture the author is concerned with sculpture (Prasadamurti), an integral part of temple architecture. The programme of the placement of the figures is outlined, while pertinently dividing the images into those of worship (arca) and those for decoration\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e(mandana).\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eMore significant is the classification of the images into avyakta and vyakta (unmanifest and manifest). It is only after the author has stated the broad classification that he dwells on the techniques of making images.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eA perusal of this text is convincing proof of a distinctive Indian vision, a approach, methodology, and technique of not only architecture but also the other arts.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe visualiser, the composer and the sthapati accept a single basic grid at the level of macro or micro architecture, Purusa or Sakti serving as a model. He concretizes this vision through setting up a series of correspondences in theme, contents, and, most fundamental of all, a mathematical or geometrical shape and form which determines measure, be it in architecture, sculpture, drama, poetry, music or dance. The\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003esystematically establishes these correlations by accepting the Sriyantra as a basic design grid, imbues it with symbolic significance and then expands both the ground plan as also the elevation. The images on the outer walls o the temple as in the Rajarani Temple in Orissa are parts of a single vision where each image serves a geometrical or symbolical function in relation to the basic Yantra and is also a dramatis persona in a larger mythical choreography.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBetween these two layers of an abstract geometrical paradigm and its manifestation through figurative art, as specific images, there are other layers. Con-currently, the temple is Purusa (as rekha prasada) and is also Manjusri, but it is also symbolic of the five elements (mahabhutas) as well as the three gunas. Thus the physical structure of the temple is a coordinate of multiple levels of consciousness almost like the staff lines of music notation. A reading of the text makes it clear that the system of establishing correspondences was sensitively understood and practised until the 7th century. This text is also important because it is codifying an existing tradition and an actual architectural practice rather than laying down guidelines or ground rules for the making of temples. Dr. Bettina Baumer's detailed analysis of the Rajarani temple as a Manjusri type of temple based on the Sricakra is therefore most welcome.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eBettina Baumer and Rajendra Prasad Das, who have so assiduously edited the text, have raised important questions regarding the nature of the textual tradition in regard to Sastras in the introduction. These issues assume a new validity in the context of the modern discourse, on what constitutes a text, whose text, and what text, and for whom? Medieval Indian writers of the Sastras may not have been participants to a modern discourse but they were certainly anticipators of this discourse. For them the text, specially the Sastra, was not prescriptive, fixed, nor was it theory, understood in its usual connotation. Instead it was indeed flexible and fluid, immutable in regard to certain guiding principles but with an inbuilt capacity for change, flexibility and varied interpretation. Thus the text and the practice interpenetrated and walked in and out of each other. The importance of the text (Sastra) is not as theory tendency to evaluate these texts merely on the basis of early or late therefore needs reconsideration. This is as true of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eSilparatnakosa\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eand other text on architecture as it is of texts on Music published by the Indira Gandhi National Centre for the Arts (especially the Brhaddesi). I hope that a careful reading of these carefully edited texts in the different arts will enable future art-historians to be aware of the deeper dynamics of the creative and critical discourse within the tradition.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI hope that the publication of this text will stimulate further discussion both on the particular text, on the terminology of Orissan temple architecture as also on many questions which the distinguished Editor has raised in her Introduction. The Indira Gandhi National Centre for the Arts is grateful to her and Sri Rajendra Prasad Das for having undertaken to critically edit and translate this text.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Silpasastra presented here is a living testimony to the fact that the Silpa tradition in Orissa continued practically unbroken up to the present day. The text was composed in 1620 A.D. or 1542 of the Saka era, i.e. ten to four centuries after the construction of the temples of Bhubaneswar, Konarka and others which it describes. One might ask, what was the purpose of composing such a text in the 17th century? It seems that it served as a practical architectural dictionary (kosa) to the students of Silpa and Sthapatya, first, to let them understand the existing historical temples in all their parts, and second, to assist them in the construction of temples following the same age-old prescriptions and rules which had bestowed sanctity and beauty (these being inseparable) on the Orissan temples.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAnother important function of such a text, which it can fulfil even today, is to reveal the symbolic significance of the temple and all its parts, a significance which is easily forgotten. After studying its content, one will look at the temples with new eyes, and discover hidden aspects which a superficial view, and even a purely archaeological description or art-historical analysis, cannot unravel. In any art-form, a knowledge of its principles, symbolism and form-language leads to a fuller appreciation. One may enjoy Indian classical music without any knowledge of the ragas and 'talas, but the more one knows and can recognize each raga and tala with their subtleties, the greater and more appropriate will be the enjoyment of music. Thus the function of theory in the Sastras of the Indian Arts is far more than a technical aid for the practitioner.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eJust as poetry uses language in a free way, yet it has to follow the rules of grammar, so the Silpasastra contains a grammar of the form-language of a given art, its content and style. A grammar always gives rules for possible combina- tions of words forming sentences, and similarly our text describes form-elements which can be variously combined and applied. The description is therefore not simply sequential, but often topical. For example, where the context requires the description of a pillar, this leads the author to describe all possible shapes of pillars, although they may belong to other parts of the temple than the one under study. This methodology, which resembles the enumeration of gram- matical forms, has to be kept in mind, while trying to understand the text. Architecture consists of structures and patterns which are repeated, and where the details and the whole are in a harmonious relationship. A modern archi- tect like Christopher Alexander speaks of the same laws governing' architecture: \"The structure of the language is created by the network of connections among individual patterns: and the language lives, or not, as a totality, to the degree these patterns form a whole.\"!\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOf course, a kosa is not a technical manual of construction, but one has always to place such texts in the context of the living practical tradition. This is true of almost all classes of Sastra in India, which often appear to be dry enumerations of definitions or instructions, if they are not combined with a living guru-parampara, which can fill each word, sutra or sloka with meaning. Thus,' even today, sthapatis in Orissa quote verses from ,the Silparatnakosa, relating them to temple construction, and not merely to the description of existing temples. If this text had not been useful for them, they would not have taken the trouble to recopy it up to the 19th century, even though, from a literary point of view, each recopying involved a deterioration of the textual tradition.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe text says clearly that it is meant only for the community of sthapatis and should not be given to outsiders. This is one of the indications that the silpis and sthapatis, the architects, sculptors and craftsmen, just as other traditional groups, were jealously guarding their own respective tradition - not because it contained any secret doctrines or rituals, but because the knowledge which by tradition belonged to a certain community was not supposed to be divulged to another group. The other indication that this text is not the product of learned pandits can be found in its language, which is, in Keith's words, \"a pretence of Sanskrit. We shall deal with the problem of the language of the text separately.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eRecent research has thrown much light on the nature and function of Silpa- sastras and their relation to existing monuments and works of art. In order to understand the function of the text, it will be useful to reflect upon the most important methodological points. For a long time textual and art-historical studies moved on parallel lines without meeting and enriching each other. This situation has changed drastically, with the result that we now have a better contextual basis for understanding Indian art. T.S. Maxwell, in an article \"Silpa versus Sastra\" has given a penetrating analysis of the role of Silpasastras in the Indian artistic tradition and in the evaluation of Indian art. About the nature of these texts he says, \"it must on the face of it be unlikely that such texts, though cast in what we take to be a shastric form, were ever used as on-site instruction manuals. Their purpose was, rather, to preserve what could be remembered of former traditions and recent conventions and to discuss such obviously associated issues as aesthetic theory. They seem to have been designed to enter the main tradition as sastra alongside silpa as its complement, but not as detailed commentary or explanation... Those texts epitomised and consolidated the culture in which the artist lived and worked, and from which he drew his inspiration.\" (ibid., pp. 10-11) Against the opinion that there must be a uniform canon and terminology, he stresses the flexibility of art and of the artist even in the most traditional culture. The Silparatnakosa hints several times at this artistic freedom. \"In fact,\" says Maxwell, \"there exists no single canon, and certainly no single authoritative text, for any of the Indian arts. There is no Panini at any stage in the development of sculpture; art is not reducible in this way because it cannot stand still. Artistic creation being a process, every work of art - a temple, a sculpture - is to the artist a project abandoned along the path of a continuous pursuit ... \" (ibid., p. 13). This flexibility also applies to the regional idiom, in style and terminology. Again, Maxwell says about the function of Silpasastra that \"it supports, rather than censors art.\" (Ibid., p. 15) The controversy of whether it should be considered to be prescriptive or descriptive is no longer valid in the light of Maxwell's observations. This approach will help us to look at the text with the right perspective.\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cb\u003eThe Conception of the Temple\u003c\/b\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe Silparatnakosa, like most Silpasastras, is not a speculative but a tech- nical text. It does not elaborate on the basic principles of architecture or the theology of the temple. Yet, being grounded in the tradition, it contains a clear symbolical conception of the temple which is consistent throughout the whole text. This conception is known to us from the Agni Purana:\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOne should meditate on the Lord of the temple as embodiment of splendour (vairajarupam), 'Lord of the gods', then the wise should imagine the whole temple as Purusa.\"\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eOther texts, such as the Silparatna (16th cent.), also refer to this symbolism of the body of the divine Person,\" Purusa meaning here the cosmic Being in human form. The body of the Purusa is the outer form, so to speak, the sthula sarira, in which the other, subtle or spiritual body of the God dwells. However our text does not speak of the interior of the temple, nor of the image within the qarbhaqrha, as the divine presence. This has to be inferred or rather is assumed to be known.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe symbolical identification of the parts of the temple, from plinth to the kalasa, with the body is applied to the rekha prasada (SRK v. 6). At first the fourteen parts of the vertical divisions of the temple are identified with fourteen parts of the human body {vv. 7-15) in a rather realistic way (e.g. the five mouldings of the pancakarma are the five toes of the feet, etc.). Later (v. 273), with the addition of even the ayudha and dhvaja (the emblem on top and the flag), the whole body of the Purusa is made to consist of sixteen parts, sixteen being the number of completeness (sodasakala purusa). That the temple as the body of the Purusa is a living body becomes evident when the text speaks of the hole on the upper part of the sikhara as the \"breath of the raha” (rahasvasa, v. 351).\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAnother fundamental conception is that of the five elements, which assume visible shape in the temple: \"As the world is created from the five elements, so the sikhara is (also) conceived.\" (v. 84). The five parts of the pancakarma represent the five elements: the khura is the earth tattva, the kumbha stands for water, the patta stands for fire, the kanika represents wind and the vasanta symbolizes vyoman or space (vv. 84-101). There is an inner logic in these identifications, though it may not be evident in each case. The elements are not applied here to all the parts of the sikhara , but only to the pancakarma, because the five mahiibhiitos are the basis of the other tattvas, whether in the Samkhya list of 25, or in the Agamic conception of 36 tattvas. The basic idea is of course that the temple is a microcosm which corresponds to the creation of the macrocosm.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"80%\"\u003eForeword by Kapila Vatsyayan\u003c\/td\u003e\n\u003ctd width=\"10%\"\u003evii\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAcknowledgments\u003c\/td\u003e\n\u003ctd\u003e25\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Illustrations\u003c\/td\u003e\n\u003ctd\u003e27\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSilparatnakosa: Text and Translation\u003c\/td\u003e\n\u003ctd\u003e29-193\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart I : On Temple-Architecture\u003c\/td\u003e\n\u003ctd\u003e31\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePart II: On Temple-Sculpture\u003c\/td\u003e\n\u003ctd\u003e170\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePratimalaksana\u003c\/td\u003e\n\u003ctd\u003e182\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e195\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e205\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSloka Index\u003c\/td\u003e\n\u003ctd\u003e207\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e215\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Plates\u003c\/td\u003e\n\u003ctd\u003e227\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePlates\u003c\/td\u003e\n\u003ctd\u003e229\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"Rajendra Prasad Das","offers":[{"title":"Default Title","offer_id":44378524713098,"sku":"","price":895.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/idi645.png?v=1709633052"},{"product_id":"silpa-prakasa","title":"Silpa Prakasa","description":"\u003cp\u003eThe Silpa Prakasa is an important edition to the existing literature on Indian Silpa texts.\" (V.S. Agrawala). This early text on Orrisan Temple architecture (Possibly from the 10th cent. A.D.) describes various temple types of Orissa, but especially a tantric temple termed Vimanamalini with its sub-types Padmagarbha and Kamagarbha. The latter could be identified with the 10th cent. Varahi temple at Caurasi near Konarak. The text goes into great detail of the architecture, the iconography and the symbolism of all the parts of the temple. Its unique contribution lies in the description of yantras or symbolic diagrams underlying the architecture as well as sculpture.\u003c\/p\u003e\n\u003cp\u003eThe original author was not only a practicing tantrika, but also an expert architect speaking from experience.\u003c\/p\u003e\n\u003cp\u003eThe text was first discovered, edited and translated by Alice Boner with the help of Pandit Sadasiva Ratha Sarma of Puri, and published by Brill (Leiden) in 1966. The present edition is a completely revised version and text translation, with new illustrations, on the basis of palmleaf manuscript, with added Indices.\u003c\/p\u003e\n\u003cp\u003eThe edition will be extremely valuable for understanding not only the temple construction but the entire symbolism underlying the unique temples of Orissa.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eAbout the Author:\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eAlice Boner (1889-1981) who first discovered and translated the Silpa Prakasa, was a Swiss artist and an outstanding scholar on Indian art, especially Orissan temple architecture and sculpture. Her important publications include principles of composition of Hindu Sculpture: Cave Temple Period (Leiden 1962) and New Light on the Sun Temple of Konarka (Varanasi 1972).\u003c\/p\u003e\n\u003cp\u003eSadasiva Ratha Sarma was a traditional priest of Jagannatha temple, Puri, who was well conversant with the art traditions of Orissa and who could decipher the meaning on the text.\u003c\/p\u003e\n\u003cp\u003eBettina Baumer is a scholar of Sanskrit, Agama\/Tantra,indian\u003cspan\u003e \u003c\/span\u003eand temple architecture of Orissa. She has been professor of Religious Studies in Vienna University and at present she is a Fellow at the Indian Institute of Advanced Study, Shimla. Her publications include Vastusutra Upanisad (with Alice Boner and S. R. Sarma), Silparatnakosa (with R.P.Das), editing of Kalatattvakosa, A Lexicon of Fundamental Concepts of Indian Arts (Vols. I, II, III), translations from Sanskrit into German and three books on Kashmir Saivism in German.\u003c\/p\u003e\n\u003cp\u003eRajendra Prasad Das is a noted historian of Orissa who has been serving in the Archaeological Survey of India, then Professor of History and Principal in various colleges of Orissa. He has co-authored Alice Boner's book New Light on the Sun Temple of Konarka.\u003c\/p\u003e\n\u003cp\u003eSadananda Das is a scholar of Sanskrit with a Ph.D. from the University of Pune. He has been teaching Sanskrit in various European Universities (Berne, Lausanne, Heidelberg) and is at present Research Officer at the Alice Boner Institute, Varanasi.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface to the Second Edition\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eAlice Boner’s pioneering translation of the Silpa Prakasa a unique text in the field of Silpasastras has remained almost unknown in India since it was published in Leiden and was not easily accessible to scholars in India. Besides the book has been out of print since almost 20 years. Therefore a revised edition became a necessity especially in the light of an increasing interest in the ancient texts on architecture and sculpture Vastu and Silpasastra.\u003c\/p\u003e\n\u003cp\u003eA complete revision of the text and translation could be undertaken on the basis of only one illustrated manuscript which was in the possession of the Alice Boner institute Varanasi and which was therefore made the basis for the new edition. Since the other two MMS which Alice Boner used were no longer available the variants given from MS 2 in the printed text are noted as variant readings. The printed text had been heavily edited by Pandits who were more concerned with correct Sanskrit than with the technicalities of architecture and therefore it could not be used. The editorial principal followed now was not to change the peculiar style of a Silpasastra by making it conform to Paninian grammar. Only the most necessary corrections were done in the text.\u003c\/p\u003e\n\u003cp\u003eAt is has been stated by editors again and again the language of these texts is grammatically defective but by this the meaning is not affected the Silpa Prakasa invariably uses the form etani bhedani among other faulty. As the text itself and alicen Boner in her introduction makes sufficiently clear the author Ramcandra Mahaptra Kalula Bhattaraka was not a Sanskrit Pandit but was himself an architect. This is reflected in the character of the text. Along with a revision of the Sanskrit text coming closer to the original as given in the MS the translation was also completely revised. In spite of many mistakes in the earlier edition Alice Boner’s intuition regarding the correct meaning supported by Pandit Sadasiva Rath Sarma’s traditional knowledge is surprising. In many cases her doubts could be clarified on a careful new reading of the MS.\u003c\/p\u003e\n\u003cp\u003eThus in spite of a revised version of text and translation the basic understanding of the meaning remains especially with regard to identifying the temple types described with extant temples of Orissa the most outstanding example being the Varahi temple at Caurasi belonging to the Kamagarbha type called Vimanamalini.\u003c\/p\u003e\n\u003cp\u003eThe last forty years have seen much new research and publications on the temple architecture and sculpture of Orissa (see Bibliography). In this light the dating of both the tect and the Varahi temple at Caurasi could be established with greater precision. Both on historical as well as stylistic grounds this has resulted in an earlier dating of text and temple. The temple is now dated around the early part of the 10th century.\u003c\/p\u003e\n\u003cp\u003eThe question remains whether the author of the Silpa Prakasa was also involved in the building of this temple which he describes in great detail and with evident love. His attachment to this temple (and other of its kind which are not extant now) is also related to the fact of his religious affiliation to the Kaula Sampradaya and to the Tantric forms of the Goddess, Bhattarika as his name itself expresses.\u003c\/p\u003e\n\u003cp\u003eWhatever may be the answer to this question the Silpa Prakasa constitutes an important testimony to the Tantric tradition of Orissa and their architectural and sculptural expressions. Alice Boner in her introduction goes into the importance of Yantras described in the text both in the architectural sense of ground plan and in the sense as symbolic ritual and compositional components of Tantra besides Mantra and\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/mudras.htm\" data-mce-href=\"https:\/\/www.exoticindiaart.com\/mudras.htm\"\u003eMudra\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003ethey assume here their proper role as the abstract visual form of the Divine. In the much later text of Orissa Silparatnakosa it has been clearly shown that the Rajarani temple of Bhubanesvar (which is dated about a century later at 1025 A.D) is not only based on a ground plan of the Sriyantra. This text shows that at later as the 17th century this Tantric tradition was alive in Orissa not so much in the construction of temple but in their interpretation and ritual use.\u003c\/p\u003e\n\u003cp\u003eThis only confirms the earlier insights of the Silpa Prakasa. But the authority on which the text bases its tradition is the Saudhikagama an encyclopaedic text on both secular and religious architecture which therefore must predate the 10th century. This text has been edited and is in the process of translation and publication. This will show the continuity of the Tantric tradition form at least the 9th to the 17th century in Orissa.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface to the First Edition\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eThis Silpa Prakasa is an important addition to the existing literature on Indian Silpa text. Four copies on palm leaf of this work are known two discovered in Orissa and two in Andharadesa as detailed in the introduction. Three were exhibited at the 26th international congress of Orientalists in New Delhi in January 1964. There they were examined by scholars and experts and found to be genuine and there cannot be any doubt about the authenticity of this unique text. This work has a character different from other Sanskrit works on Temple architecture. In that it concentrates on one particular temple type and gives a detailed description of its architecture illustrated is one of copies MS.2 with drawings of the component parts. This illustrated manuscript is particularly valuable because it is unparalleled in the whole range of Sanskrit Silpa Sastra literature found until now. It is the work of a master Architect who shows his professional skill in the detailed description contained in the text.\u003c\/p\u003e\n\u003cp\u003eMiss Alice Boner and Pandita Sadasiva Rath Sarma the discover of three of these texts have fulfilled their obligation of making a critical edition and of preparing an English translation of the text with a detailed introduction and historical notes. A very useful illustrated glossary of technical terms is attached at the end. The two authors are to be felicitated on the labor of lover which they bestowed on this self imposed task.\u003c\/p\u003e\n\u003cp\u003eThe author of this text who gives his name a Ramacandra Kaula Bhattaraka was an Orissa architect living in a Tantric village on the banks of the Musali river and enjoying the patronage of one Raja Viravarman of Airavata Mandala. As a follower of the Kaulacara doctrine he worshipped Jagannatha under the name of Daksina Kalika. He frequently mentions the Saudhikagama as the source of his knowledge and his authority. This seems to refer to a Tantric school of temple architecture of which not much is known to day and on which this text gives valuable information.\u003c\/p\u003e\n\u003cp\u003eThe Saudhikagama was apparently based on Tantric doctrines and the Silpa Prakasa is entirely imbued with this doctrine. The word Saudha Seems here to be taken in the sense of temple or shrine and the title Saudhika seems to correspond to the title Salata in Saurastra which means a stone worker.\u003c\/p\u003e\n\u003cp\u003eThe text begins with an invocation to Visvakarman and Yantrakalika as the presiding deities of all temple building and throughout the text the practice is followed of depositing and consecrating yantras in the foundations and below various parts of the temple as well as under the images of deities. This is a disctinctive characteristic of Tantric traditions. In other Silpa Sastra texts as for Instance in Thakura Pheru’s Vastusastra which in the general plan of topics is very similar to the Silpa Prakasa there is no mention of any Yantra consecrated below the temple. These is mention only of the Sesanaga cakra, which however occurs also in the Silpa Prakasa under the name of Nagabandha. For the construction of temples the author also uses the term Pradadmandana which is the title of Rajasthani Silpa text by Sutradhara Mandana a very appropriate expression still current all over northern Indian to denote the complete operation of planning and building a house or a temple.\u003c\/p\u003e\n\u003cp\u003eA distinctive feature however of the Silpa Prakasa is the method followed in the outlay of the ground plan of temple and Mukhasata starting from the centre of the garbhagrha and growing outwards in geometrical proportions based on units of measurement underlying the garbhagrha. Under the garbhagrha a\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e Yogini \u003c\/span\u003eYantra has to be consecrated which also does not occur in other Silpa Sastras.\u003c\/p\u003e\n\u003cp\u003eThe Orissa temples have all one characteristic in common in that they are divided into vertical sections running from the base to the top of the Sikhara and are called rathas or pagas. These are separated from one another by deep chases called khandis in Oriya and Visrantishala in Sanskrit which would correspond to what is Rajasthani architecture is called salilantra. In front of the entrance of temple and mukhasala there are invariably round steps called nandavarata which occur also in shrines and stupas of South India and Ceylon and they are called moon stones.\u003c\/p\u003e\n\u003cp\u003eThe doorframes of temples have since Gupta and post Gupta times been carved with various bands of decorative friezes. Varaha Mihira in his Brhat Samhita goes into the details of these decorations such as of full vessels of patravalli and of love scenes. He also mentions the figures of pratiharas in the lower quarter of the door jambs all features which actually appear on the doorways of the famous Devagarh and Dahaparbatiya temples. The Silpa Prakasa retains some of the older motifs and adds new ones. At the base of the doorjambs the Pratiharas are now called Dvarapalas and are sometimes conceived as furious or grotesque figures of Pramathas and Ganas the dwarfish sons of Kubera. They are sometimes also represented with tiger or lion faces as those on the temples of Ramacandi and alaka padma in Puri.\u003c\/p\u003e\n\u003cp\u003eIn those forms they were called Bhairavas and were supposed to ward off and to frighten away all evil influences from the temple.\u003c\/p\u003e\n\u003cp\u003eIn the oldest temples we find also Nagarajas with full water vessels flanking the doorway as auspicious and treasure bringing symbols. Much attention was paid in all brahmanical temples to the decorations of these doorframes, And besides the various vertical bands the horizontal lintel always bore the image of Laksmi as a sign of auspiciousness or of a divinity which had some relationship with the divinity installed in the shrine. The goddess Laksmi which could be a general symbol of auspicious or of a divinity which had some relationship with the divinity installed in the shrine. The goddess Laksmi which could be a general symbol of auspiciousness or the distinctive sign of a visnu temple had its correspondence in the figure of Lalatabimba in Rajasthani temples. In\u003cspan\u003e \u003c\/span\u003eSiva\u003cspan\u003e \u003c\/span\u003etemples there may be Ganesa or the Marriage of Siva and Parvati or Lakulisa on the lintel. The silpa Prakasa mentions two types of Laksmis Gaja Laksmi and Subha Laksmi the former having the cloud elephants above her head and the latter having them as pedestal figures.\u003c\/p\u003e\n\u003cp\u003eThe Navagraha stone above the door lintel was not known is Gupta temples such as at Devagarh and Dahaparbatiya but came into use in early medieval temples as testified by the Silpa Prakasa.\u003c\/p\u003e\n\u003cp\u003eAnother very important feature of medieval temple architecture especially in Orissa was the Vajramastaka of which the Silpa Prakasa gives a detailed technical. It began to emerge in the later Gupta Period as a round gavaksa window dominated or not by a lion face and was appropriately called grasa or Kirti mukha the latter term being derived from the sun windows or openings of a caitya hall rock excavation. The round window with a lion head on top on the face of cave shrines was gradually conventionalized into a decorative motif applied to the front of temples.\u003c\/p\u003e\n\u003cp\u003eThe Silpa Prakasa has given this motif the appropriate name of Vajramastaka. In the Vajra doctrine prevalent then in the Tantric schools, the Vajra denoted diamond-like solidity which could not be fractured even by lightning. This motif was placed on the front of the Sikhara in conspicuous dimensions, but also on the base of-temples and door-jambs in smaller size. This motif variously called vajrãñga or vajramastaka could also be placed on the base or top of pillars.\u003c\/p\u003e\n\u003cp\u003eAs many other decorative and symbolic motifs of earliest Indian art have come down to medieval times, putting on a new complexion, the ancient tree-and-woman motif is reappearing here in the gelaba-nari, in which beautiful female figures are entwined with creepers, and the love- couples hanging from the ancient kalpa-vrksas (wish-fulfilling trees) are reappearing here as mithunas and keli-bandhas. The Silpa Prakasa also mentions figures of Rama and Krsna on the door-jambs, which in Gupta art (Deogarh Temple) appear on the temple-base. The rangani flowers mentioned in the Silpa Prakasa correspond to the four-petalled mallika flower on Gupta door-ways and the jalapatra motif of the Silpa Prakasa, where semicircular leaves are superimposed in a vertical band is very similar to the srivrka motif in Gupta art, produced by superimposed palm leaf motifs. While other Silpa Sastras take a bird’s eye view of the architecture of various regions and times, the author of the Silpa Prakasa limits himself strictly to his own time and place, although he fully acknowledges the authority of older scriptures.\u003c\/p\u003e\n\u003cp\u003eThe very word kirti, which originally meant a rock-excavation or a caitya-hall, as in the Traikutaka inscription of 493 A.D., is used here in the sense of temple.\u003c\/p\u003e\n\u003cp\u003eThe ancient motif of the Salabhanjika carved on the toranas of Buddhist stüpas returns in yet another way on medieval temples. In the Silpa Prakasa the graceful female figures distributed in great profusion on the temple-wall are called Alasa kanyas, in the plural Alasa-bandha or Nari-banadha.\u003c\/p\u003e\n\u003cp\u003eThis Alasa kanya motif is a great favourite with the author of the Silpa Prakasa and he recommends its use on numerous places of the vimäna and the mukhasala. He even goes so far as to say, that a temple shorn of this type of decoration will remain without interest and bear no fruit (1.393). He enumerates 16 types of female figures, who bear different names according to their features, poses and emotions.\u003c\/p\u003e\n\u003cp\u003eIn other Silpa Sastra texts the lists of such figures are even larger. In the Saurastra tradition, 32 types of what is called there Nataka-stri are given. A few figures only are common in the two lists, although even their names differ. What in the Silpa Prakasa is called Alasi, is Lilavati in Saurastra. What is Darpana in the Silpa Prakasa becomes Vidhicita, and what is Matrmurti becomes Putravallabhi in Saurastra, and Gunthana in the Silpa Prakãa becomes Manohamsa there. In Rãjasthni tradition they are called Preksanikas (derived from Preksana or dramatic show) owing to their often assuming dramatic poses.\u003c\/p\u003e\n\u003cp\u003eAfter having described the mukhasala of his temple in the first part of this text the author proceeds to describe the vimana in the second part. He first gives a short description of 12 types of temples, which he says are in the tradition of Vivakarman, although their list is evidently confined to the types found in Orissa. Other texts like the recently published text Pancaratra Prasada Prasadhana, compiled by H. Daniel Smith, or the i1pa-Ratnakara compiled by Narmada Sankara Mulajibhai contain far larger lists. One of the temples described in the Silpa Prakasa is particularly noteworthy, because it bears a Buddhist name, and although being a Hindu temple points back to the Buddhist tradition, which prevailed in Orissa down to the 12th Cent. A.D. This temple has a rather peculiar form, since it has secondary spires attached to the central spire, somewhat in the way as they are used in Rajasthan under the name of Srñgas or Urusrngas. The followers of the Saudhikagama call this type of temple the Manjus’ri. Then the Silpa Prakasa proceeds to explain in minute detail all elements of the vitnãna, from the pancakarma to the Jangha, the konaka, the anartha and anuraha and the raha, with all their structural and ornamental elements. In the chapter on the vimana the author also makes a cogent and explicit defence of the amorous sculpture. Its style is pure and attains to philosophical heights while frankly declaring that these motifs are in accordance with Kaulacara rites. These sculpture are said to be based on the Kamakala Yantra which is the secret of the Kaulacaras and is represented as a Siva Lingam surrounded by 16 yonis with the names of 16 Saktis and surrounded by a ring of 8 yogins. This is the most important and most sacred decoration of the vimana’s outer parts. The author makes an interesting distinction between the Keli bandha and the Mithuna bandhas the former ones denoting mere love play while the latter may depict Viracara rites or sexual union.\u003c\/p\u003e\n\u003cp\u003eAnother feature upon which the author lays great stress is the lion figure and he says that without lions adorning every place the monument would lose all its significance. Four types of lions are prescribed according to the place where they stand. They Viraja lion standing on his hind legs and turning backwards in what elsewhere is called the simhavalokana attitude is mostly used for the khandis between the pagas. The jagrata or seated lion with a raised paw known elsewhere as ksubhyamna or khumman simha is best on top of the roof. The Udyata or jumping lion called elsewhere Jhampa simha is mostly for the front of the Sikhara and the Gajakranta lion overpowering an elephant called elsewhere Simhakunjara is for the front of the sikhara as well as for the front of portals.\u003c\/p\u003e\n\u003cp\u003eTwo types of kalasas are also mentioned the one in the form of a yupa or sacrificial post for Devi temple and the other in the form of a full water vessel for Siva or Visnu temples.\u003c\/p\u003e\n\u003cp\u003eThis important treatise on Silpa Sastra ends with glowing tributes to the merit of building temples and says that this is equal to the Rajasuya or to a Sona Sacrifice. It also eulogizes the Silpa Sastras descended from Visvakarman which have kept the torch of the science of Silpa burning through the ages.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003eThe Silpa Prakãsa occupies, among Silpa Sastras, a special and unique position. The hitherto known texts on Vastu-vidya, and what parts of the Puranas have been dedicated to this subject, are theoretical treatises, whose authorship is mostly attributed to legendary and mythical personalities of Rsis and gods. They are bigger or smaller compendia of general principles and rules of architecture and all allied arts. They cover a vast number of subjects, a vast number of art-forms spread over the length and breadth of India, and even considerable time-perspectives. On critical analysis they appear to be collective works, built up of successive stratifications, of accretions, elaborations and modifications undergone in the course of many centuries. Since they give elaborate classifications and descriptions of all types of temples, towns, forts, houses, gateways, wells etc., of innumerable types of imagery, with theft ornaments and attributes, they have come down to us as veritable store-houses for the study and preservation of art-forms that have been in use since the most ancient times. They form the broad historical foundation on which it was possible to retrace the development of Indian art and architecture from its very beginnings.\u003c\/p\u003e\n\u003cp\u003eThe Silpa Sastra presented in this volume is a different type of work. It does not claim divine authorship, but is avowedly written by a historical person, of whom we learn the name, ancestry, religious profession and residence. Since this person happens to be an architect by profession, speaking about his own work, it gives the book from the very outset a complexion of specialized competence. The author concentrates all his efforts on the elaborate description of one particular type of tãntric temple and on the method of its construction. Whatever descriptions there are of a general character appear only in the margin, as a sort of framework to the central subject of the book. They are set at the beginning only of each one of the two parts, into which the book is divided, and almost give the impression of being mere concessions to the generally accepted procedure of presenting a Silpa Sãstra text. This is especially so in the case of the introductory paragraphs to the second chapter, which have no necessary connection with the avowed subject of the book, and appear more like later accretions, added by some zealous copyist who was eager to improve upon his model. They contain brief accounts of temple-forms, such as the\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/www.exoticindiaart.com\/book\/details\/chanting-names-of-manjusri-manjusri-nama-samgiti-IDC158\/\" data-mce-href=\"https:\/\/www.exoticindiaart.com\/book\/details\/chanting-names-of-manjusri-manjusri-nama-samgiti-IDC158\/\"\u003eManjusri\u003c\/a\u003e, the Mahameru and the Kailasa, which most probably are of a later date than the actual subject of the book. Moreover, these cryptic references to other temple-forms do not show in the least the same degree of competence as the rest of the book and are not everywhere intelligible. The same can be said of the short notes on the various forms of konakas, anarthas, anurahas and rams used on these rekha temples, which therefore remain of rather uncertain identification. Although we have done our best to elicit their meaning, our rendering of these parts, from sloka 3 to 44 and from 106 to 151 of the second Prakasa can in consequence not be considered as anything but tentative.\u003c\/p\u003e\n\u003cp\u003eWhen in these preliminaries our author, however, touches on tãntric forms of temples, like the Rathayukta, the Vaitala and the Hemakuta represented by tile Parauramevara, the Vaitäl and the Gauri temples of Bhubaneswar, the exposition, although brief, becomes perfectly lucid and clear. Not to speak of the main subject of the book, the two Vadabhi types of temples, the Padmagarbha and the Kamagarbha, which are described very systematically and with minutest care of details.\u003c\/p\u003e\n\u003cp\u003eApart from these excursions into extraneous subjects, the text is of one single piece, as it would necessarily be, when written by a single person and centering around one single theme. If it is thus more limited in scope than other Silpa texts, it has, on the other hand, the unique distinction of introducing the reader right into the very workshop of an architect, where he will not hear disquisitions f theoreticians, or compilers, but the practical instructions of a professional, of a Master-architect, who is initiating and guiding his disciples and coworkers. He has the privilege of hearing froth the Master’s own lips, how every part of the temple has to be fashioned, its proportions in respect to other parts, and the proportions of all parts with respect to the whole. He is enabled to enter into the very actuality of building operations, being guided systematically from the lay-out of the ground plan and the excavation of the foundations to the elevation of the walls, the Sikhara and the roofing. Over and above all, he has the privilege of receiving, together with the disciples, initiation into a number of secrets, religious and professional, connected with the art of temple-building. The Master, being avowedly a Kaulacara, attaches very great importance to the symbolical yantras that have to be placed and consecrated below every part of the temple. Similarly he insists, that all images of divinities that adorn the temple have to be composed on yantras and have to be visualized by the sculptors according to their dhyanas. Even for merely decorative motifs he gives compositional diagrams.\u003c\/p\u003e\n\u003cp\u003eThus the Silpa Prakasa has the rare merit of providing practical instruction into the art of temple building on all levels on the religious and ritualistic as well as on the architectural and technical plane. This gives a feeling that with an adequate disposition of mind and heart and the availability of trained workers it would be possible even today to build a temple according to its directions.\u003c\/p\u003e\n\u003cp\u003eThe text of the Silpa Prakasa exists as far as we know today in four copies only. There of these were consulted for working out the present translation. The existence of the fourth copy name to our knowledge only recently and therefore could not be included in our studies. It is in the custody of Sri Goswami Arisandha Math, Nimapada.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eCONTENTS\u003c\/b\u003e\u003c\/center\u003e\n\u003ctable border=\"0\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"92%\"\u003ePreface to the Second Edition by Bettina Baumer\u003c\/td\u003e\n\u003ctd width=\"8%\"\u003eV-VI\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eHistorical Note to the Dating of the Text by Rajendra Prasad Das\u003c\/td\u003e\n\u003ctd\u003eVII\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePreface to the First Edition by V.S.Agrawala\u003c\/td\u003e\n\u003ctd\u003eIX-XIV\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eAcknowledgements\u003c\/td\u003e\n\u003ctd\u003eXV\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Figures\u003c\/td\u003e\n\u003ctd\u003eXIX\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eIntroduction by Alice Boner\u003c\/td\u003e\n\u003ctd\u003e1-41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e\u003ccenter\u003eSILPA PRAKASA: TEXT \u0026amp; TRANSLATION\u003c\/center\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eDetailed Contents of the Text\u003c\/td\u003e\n\u003ctd\u003e43-47\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFirst Prakasa\u003c\/td\u003e\n\u003ctd\u003e48-191\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSecond Prakasa\u003c\/td\u003e\n\u003ctd\u003e192-381\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eNotes\u003c\/td\u003e\n\u003ctd\u003e383-393\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGlossary to Technical Terms\u003c\/td\u003e\n\u003ctd\u003e395-425\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eBibliography\u003c\/td\u003e\n\u003ctd\u003e427-429\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eSloka Index\u003c\/td\u003e\n\u003ctd\u003e431-450\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eGeneral Index\u003c\/td\u003e\n\u003ctd\u003e451-456\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eList of Plates\u003c\/td\u003e\n\u003ctd\u003e467-471\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePlates\u003c\/td\u003e\n\u003ctd\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e","brand":"Rajendra Prasad Das","offers":[{"title":"Default Title","offer_id":44378543194250,"sku":"","price":1795.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/silpa_prakasa_idf188.png?v=1709633313"},{"product_id":"indian-aesthetics-convergences-and-divergences","title":"Indian Aesthetics","description":"\u003cp style=\"text-align: left;\"\u003eTIME tests the merit of a work. That on revisiting the papers after a few years one finds them as relevant as they were when just written speaks of the relatively lasting significance of these works that deal with diverse issues of Indian aesthetics. The relevance of the papers presented here has two implications. One, they are by many of our leading as well as young and upcoming scholars of aesthetics. Second, they are in areas where interest and relevance are sustained through ages. Beauty and what makes a thing beautiful have intrigued humankind since ages. While through advances in cognitive science, some of the answers are slowly coming, they are still far too incomplete and there are still many questions that remain unanswered. The book addresses some of them from diverse approaches and orientations. Thus, literary art, music, visual arts, film, and performance, all come under its purview, both in terms of ancient theorizations, modern reinterpretations as well as application of such theories to modern and contemporary arts - both Indian and Western. Unfortunately, as the book sees the light of the day, we and many of its authors miss the presence of three of its key contributors who are no more with us - Professor Ananta Charan Sukla, Professor Navjyoti Singh and Professor Ranjan Ghosh, three stalwarts of Indian aesthetics and philosophy whom the academic community misses deeply. We offer our prayers for the departed souls. We would also like to take this occasion to thank all the contributors for continued goodwill and support for necessary changes and edits as required for the publication of the volume. We would also like to thank Indian Council of Philosophical Research, where some of the ideas for the book and its themes emerged. Finally, we would like to express our gratitude to Mr. Susheel Kumar Mittal of D.K. Printworld for his meticulous endeavour and support in making this book possible.\u003c\/p\u003e","brand":"Priyadarshi Patnaik","offers":[{"title":"Default Title","offer_id":44378994442378,"sku":"","price":1000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/ubd683.png?v=1709640562"},{"product_id":"prehistory-and-protohistory-of-india-an-india-palaeolithic-non-harappan-chalcolithic-cultures","title":"Prehistory and Protohistory of India","description":"\u003cp style=\"text-align: left;\"\u003eFresh excavations new dating techniques and ever growing conceptual frameworks framework since 1950 have greatly reshaped our perspective on prehistory and Protohistory of the Indian subcontinent. This monograph which is primarily aimed to serve as a starter for the under-graduate and post-graduate students presents in a concise but comprehensive manner a syncretic view of the latest information on various aspects such as tools and technologies settlement and subsistence patterns, ecological background and distributional configuration in respect of the stone Age and the Chalcolithic Cultures outside the Harappan Zone. The Megalithic cultures of peninsular India and the Deccan too find a place in the book. A glossary of the terms used frequently in archaeology as well as maps, line drawings and explanatory notes in individual sites add further value to the text.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eDr. V.K. Jain teaches history at Motilal Nehru Collage university of Delhi. His two other books include Trade and Traders in Western India, New Delhi 1990 and Cities and sites of ancient and Early Medieval India-A Historical Profile, New Delhi, 1998.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eForeword\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eMuch work has been done in the field of Indian archaeology during the last fifty years or so as is evident from the large number explorations and excavations that have been undertaken during this period and form the vast amount of literature that has been generated by archaeologists. Although many excavation reports have remained unpublished scholars have made good use of whatever material is available in print and have deepened our understanding of India’s past. The information and interpretation contained in the archaeological literature however have yet to find their due place in the textbooks and become accessible to teachers as well as students. The present work by Dr. V.K. Jain is a commendable effort in this direction.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eAn inspiring teacher of long standing and a dedicated researcher, Dr. V.K. jain has painstakingly rummaged through the entire relevant literature and ahs ably tried and fashionable approach he ahs dealt with controversial issues in a highly detached manner and had presented a comprehensive view of the latest information on tools and technologies, subsistence patterns and distribution and ecological background of settlements during the period form the Palaeolithic to the non-Harappan Chalcolithic. The appendix on the megalithic cultures of central India and the Deccan the line drawings of tools, of central India and the explanatory notes on important archaeological sites accompanied by maps are some of the Important features of the book which make it extremely useful for the readers. I am sure the students as well as teachers will find Dr. Jain’s book Protohistory and will eagerly wait for the publication of its companion volume on the Harappan culture.\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003ePreface\u003c\/b\u003e\u003c\/center\u003e\u003ccenter\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/center\u003e\n\u003cp style=\"text-align: left;\"\u003eFresh excavation new darting techniques and ever-growing conceptual frameworks during the last half-a-century have greatly reshaped our perspective in Prehistoric and protohistoric past of the Indian subcontinent. But still most of those by D.K. Chakrabarti, F.R. Allchin, D.P. Agarwal, K. paddayya and a few others continue to follow the traditional “culture-history” paradigm or collection and narration approach rather than focus on the cultural process of change and continuity. Since 1950, the pace of research has increased manifold and there is today enough data to portray more or less a clear and connected picture of India’s cultural growth in the remote past and to justify the argument that there is nothing static about Indian society which as any other has been growing with time and space.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThis monograph is and attempt to present in a concise but comprehensive manner a syncretic view of the latest information on tools and technologies, settlement-subsistence pattern distributional framework and ecological background etc. in respect of prehistory and Protohistory of India. It covers a canvas extending from the Palaeolithic to the non-Harappan Chalcolithic cultures and leaves out the Harappan Civilization for the subsequent volume. It begins with an enquiry into the definition of prehistory and Protohistory and goes on to refer to the significance of latest dating technique and theoretical perspectives in archaeology. Chapter II reviews the contribution which Indian archaeological studies since 1950 have made to our knowledge. In the subsequent chapters the salient features of Palaeolithic, Mesolithic, Neolithic and non-Harappan Chalcolithic cultures have been highlighted. The chief elements or the iron-using megalithic cultures of peninsular India and the Deccan (c. 1000bc -300bc), the archaeological excavation, have been discussed in the appendix which also includes a glossary of important terms frequently used in archaeological as well as the explanatory notes on prominent sits mentioned in the text.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eThe book is and enlarged version of the chapters initially intended for inclusion in an advanced level text-book by a multi-scholar team and therefore, it naturally has a inquisitive enough to know more about India’s remotest past may also find it beneficial. The biggest difficulty in writing a text of this nature lies in deciding what to include and what to exclude. And for this I have taken the liberty of using my academic experience and discretion because in a subject which is so full of details and unresolved issues and controversies it is just not possible to do justice to each and every fact or interpretation. It has been my endeavour to drew a generality and confine more to highlighting the important features of cultural growth. Archaeological jargons have been fully explained in the text or in the glossary at the end. For the purpose of conveying the visual interpretation line-drawings illustrations and maps have been included, wherever required. For a reader who is stimulated enough to know more, a select bibliography is appended to the text.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eSome repetition and errors of facts or spellings may no doubt remain. The author will be delighted to receive from anyone the suggestion for correction or improvements.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI shall like to place on record my gratitude to all those scholars whose contribution have been utilized fruitfully in writing this book.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI also wish to gratefully acknowledge the support and encouragement that I received form Prof. B.P. Sahu, Head, Department of history, Delhi University and Prof. R.C. Thakran also of the Delhi University. I an thankful to many of my friends and well wishers at the national Museum, the Archaeological Survey of India and the Motilal Nehru collage for their help in many ways. My thanks are due to Shri D.P. Sharma, in- Charge Prehistory Section at the National Museum, Delhi for readily helping with the books, articles and suggestions whenever needed. I am grateful to Dr. Nagarch, formerly Director of the Archaeological Survey of India, for going through the proofs and making valuable comments.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am thankful to the library staff of the Archaeological Survey of India and the national Museum particularly Shri Bhagwan Chaube, for providing me with all possible assistance in procuring the material necessary for writing the book.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI am highly indebted of Prof. D.N. Jha, a scholar of international repute and the General President of the Indian History Congress (66th session, Santiniketan), who in spite of a very busy schedule and numerous obligations has been kind enough to oblige me with a foreword for this book.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI shall like to record my great sense of appreciation for the personal interest which Shri Susheel Mittal of the D.K. Printworld (P) Ltd. Bringing about the book in a record time.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eLast but not least my thanks go to my wife Dr.\u003cspan\u003e Krishna \u003c\/span\u003eJain and my son Siddharth for supporting me all through this take of preparing the manuscript with love, patience and good humour.\u003c\/p\u003e\n\u003cp style=\"text-align: left;\"\u003eI take the privilege of dedication the book as a token of regard and gratitude to Prof. R.S. Sharma who has throughout been devoted to the task of promoting secular and scientific approach in Indological studies. As the founder-Chariman of the Indian Council of historical Research, New Delhi he was instrumental in giving a positive direction to historical studies whereas at the university of Delhi where he was a professor and the Head of the department of history in 1970s, he has generated among students a new sense of enthusiasm and encouragement for research in various aspects of social and economic history. Those of us who have been associated with him either as a students or a researcher can never forget his kindness grace and commitment to the subject.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ccenter\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/center\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003ctable width=\"100%\"\u003e\n\u003ctbody\u003e\n\u003ctr\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"80%\"\u003e \u003c\/td\u003e\n\u003ctd width=\"10%\"\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eForeword\u003c\/td\u003e\n\u003ctd\u003eVII\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003ePreface\u003c\/td\u003e\n\u003ctd\u003eIX\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eList of Maps and Figures\u003c\/td\u003e\n\u003ctd\u003eXVII\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eIntroduction\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eWhat is Prehistory\u003c\/td\u003e\n\u003ctd\u003e1\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eEnvironmental Factors\u003c\/td\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eHuman Evolution and Indian Prehistory\u003c\/td\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eScientific Dating and related Techniques\u003c\/td\u003e\n\u003ctd\u003e9\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNew Theoretical Perspectives\u003c\/td\u003e\n\u003ctd\u003e14\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e2\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eIndian Archarological Studies During the Last Five Decades and their Significance\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e19\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e3\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003ePalaeolithic Cultures\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e39\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChronology\u003c\/td\u003e\n\u003ctd\u003e40\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTools and Technologies\u003c\/td\u003e\n\u003ctd\u003e41\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSpread and Distribution of Palaeolithic Sites\u003c\/td\u003e\n\u003ctd\u003e49\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSettlement and subsistence Pattern\u003c\/td\u003e\n\u003ctd\u003e52\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e55\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e4\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eMesolithic Cultures\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSalient Features\u003c\/td\u003e\n\u003ctd\u003e57\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eRegional Distribution\u003c\/td\u003e\n\u003ctd\u003e60\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTools and Technologies\u003c\/td\u003e\n\u003ctd\u003e63\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMaterial Culture and Subsistence Pattern\u003c\/td\u003e\n\u003ctd\u003e65\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e67\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eRock Art\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e68\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e5\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eNeolithic Cultures\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e75\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e75\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCharacteristic Features\u003c\/td\u003e\n\u003ctd\u003e76\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChronological and Distributional Pattern\u003c\/td\u003e\n\u003ctd\u003e77\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNorth west India\u003c\/td\u003e\n\u003ctd\u003e80\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eNorthern India\u003c\/td\u003e\n\u003ctd\u003e84\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCentral India\u003c\/td\u003e\n\u003ctd\u003e86\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMid Gangetic Region\u003c\/td\u003e\n\u003ctd\u003e89\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eEastern India\u003c\/td\u003e\n\u003ctd\u003e91\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSouthern Neolithic Cultures\u003c\/td\u003e\n\u003ctd\u003e92\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e96\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e6\u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eNon-Harappan Chalcolithic Cultures\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e99\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eCultures Outside the Harappan Zone\u003c\/td\u003e\n\u003ctd\u003e100\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSettlement System\u003c\/td\u003e\n\u003ctd\u003e106\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSubsistence Pattern\u003c\/td\u003e\n\u003ctd\u003e108\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eTools and Technologies\u003c\/td\u003e\n\u003ctd\u003e109\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003etrade Contacts\u003c\/td\u003e\n\u003ctd\u003e110\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eReligious Beliefs and Practices\u003c\/td\u003e\n\u003ctd\u003e111\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e112\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eCopper Hoard Cultures\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e113\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAppendices\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAppendices I: Megalithic Cultures (Peninsular India and the Deccan c. 1000 bc-300 bc)\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIntroduction\u003c\/td\u003e\n\u003ctd\u003e119\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eDistribution of the Megalithic Monuments and their Structural Forms\u003c\/td\u003e\n\u003ctd\u003e120\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eChronology\u003c\/td\u003e\n\u003ctd\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eMaterial Culture\u003c\/td\u003e\n\u003ctd\u003e124\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eSubsistence Economy\u003c\/td\u003e\n\u003ctd\u003e127\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eConclusion\u003c\/td\u003e\n\u003ctd\u003e129\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003e\u003cb\u003eAppendix II: Prominent Sites\u003c\/b\u003e\u003c\/td\u003e\n\u003ctd\u003e133\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eAdamgarh, 133-Adichnallur, 134- Ahar, 135- Anagwadi, 136, Baghor, 137- Bagor, 137- Belo Valley, 138- Bhimbetka, 139- Brahmagiri, 141- Budihal, 143- Burzahom, 143-Chirand, 145- Chopani-mando, 146-Damdama, 147- Daojali Hading, 147-Didwana, 148-Gilund, 148-Gufkral, 149-Hallur, 150 Hunsgi, 150-Inamgaon, 151- Jakhera, 153-Jodhpura, 153-jorwe, 154-Kayatha, 155-Koldihwa, 156- Kuchai, 157- Kupgal or Kupgallu, 157- Langhnaj, 158- Mahadaha, 159- Mahagara, 160- Mahurijhari, 161- Maski, 162 – Navadatoli, 165 – Nevasa , 166- Noh, 167 Paisra, 168- Paiyampalli, 168- Pandu Rajar Dhibi, 169 –Piklihal, 170-Sanaganakallu, 171- Sarai Nahar Rai 172- Savalda, 173-Takalghata, 173- Tekkalakota, 174-Utnur, 175- Watgal, 175\u003c\/td\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eGlossary\u003c\/td\u003e\n\u003ctd\u003e177\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eBibliography and References\u003c\/td\u003e\n\u003ctd\u003e199\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003e \u003c\/td\u003e\n\u003ctd\u003eIndex\u003c\/td\u003e\n\u003ctd\u003e207\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003ccenter\u003e\u003cbr\u003e\u003c\/center\u003e","brand":"V.K.Jain","offers":[{"title":"Default Title","offer_id":44444883419274,"sku":"","price":300.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/prehistory_and_protohistory_of_indiaan_india_palaeolithicnonharappan_idl191.png?v=1709701999"},{"product_id":"wheel-of-desire","title":"Wheel of Desire","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan\u003eLord Buddha, in his profound wisdom, said that for the extinction of human suffering, complete annihilation of desire is the only way. This is the sacred truth of suffering.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eAcarya Carvaka, equally profound in his thinking, said that life is a continuous celebration of desire. \u003c\/span\u003e\u003cem\u003eKama\u003c\/em\u003e\u003cspan\u003e (desire) and \u003c\/span\u003e\u003cem\u003eartha\u003c\/em\u003e\u003cspan\u003e (wealth) are the only true goals of life. Beg, steal, or borrow, but live life like a king. Enjoy life as long as one is alive.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eWho is correct? Lord Buddha or Acarya Carvaka? What does desire mean to Indian society, religion, and culture through the ages?\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThe book tries to address these and similar questions objectively and diligently.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cstrong\u003e\u003cspan class=\"title-detail\"\u003eCONTENTS\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e1. Introduction\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e2. The Cult of Kama\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e3.Religion of Pasupati\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e4. Celebrating Desire\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e5. Suppression of Desire\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e6. Fantasy Desire\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e7. Dance of Desire\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e8. Myth of Desire: Parakiya Love\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e9. Ardra: Beauty Desirable\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e10. Vedic Materialism\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e11. Wine and Desire\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e12. Devi: Womb of Creation\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003eBibliography\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003eIndex\u003c\/p\u003e\n\u003cp style=\"text-align: center;\"\u003e\u003cspan\u003eM.L. Varadpande is an erudite scholar of international reputation having written more than twenty-five books and won two national awards for literary excellence.\u003c\/span\u003e\u003c\/p\u003e","brand":"M.L. Varadpande","offers":[{"title":"Default Title","offer_id":44446829183114,"sku":"","price":1700.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/wheel_Front_-325x419_jpg.png?v=1709717478"},{"product_id":"sindhu-sarasvati-civilization-new-perspective","title":"Sindhu-Sarasvati Civilization","description":"\u003c!----\u003e","brand":"Nalini Rao","offers":[{"title":"Default Title","offer_id":44447438176394,"sku":"","price":4000.0,"currency_code":"INR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/files\/nah346.png?v=1709720403"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0592\/8583\/1818\/collections\/art-architecture-antiquities-700786.jpg?v=1736350739","url":"https:\/\/www.motilalbanarsidass.com\/collections\/art-architecture-antiquities.oembed?page=4","provider":"Motilal Banarsidass","version":"1.0","type":"link"}