The Temple of Devi-Kothi

The Present Study, Divided Into Two Parts, Deals With The Socio-Geographical Mosaic, The Racio-Cultural Background And Discusses The Factors Responsible For The Development Of The Wooden Temple Architecture In The Western Himalayas.

While numerous studies exist on major South-Asian temples, surprisingly little is known about ‘minor shrines’ and ‘lesser states’. Here fifty-five new documents, in a western-Himalayan script and language, and belonging to a small Siddha shrine, redress this remarkable gap in our knowledge. The documents cover a wide spectrum—from revenue grants to those dealing with ritual, pilgrimage, legality and temple-economy—thus building a picture of the relationship between state and shrine, and particularly so for the minor centres: their popularity and relationship with major temples; mundane matters; notices, petitions, and law-suits. It becomes clear how ‘lesser states’, despite their limited resources, patronized numerous small shrines, along with major temples; and the role played by the Nath-Siddha-ascetics in creating consent-to-rule, acculturation, and constructing hybridity between the Hindu and Tibetan-Buddhist traditions.

The Temple Architecture In The Himalayas Has Been Wholly Of Wood As Extensive Forests Of Deodar Have Been In Existence Here Since Times Immemorial. The Wooden Shrines, Richly Carved, Are Very Large, Look Picturesque, And Evocative Than The Secular Buildings.

Volume Three offers 1643 annotated records on publications regarding the art and archaeology of South Asia, Central Asia and Tibet selected from the ABIA Index database at www.abia.net which were published between 2002 and 2007.

Chakshudana or rituals of opening the eyes are practiced across multiple South Asian communities by artists, sculptors, and priests. The ritual offers gods access to the mortal world. This practice, applied to the study of material and visual culture, offers a distinctive perspective to interrogate the complex engagements with paintings, sculptures, found objects, fragments, built environments, and ecologies. This volume takes the process of seeing as its focus—to look closely, remaining true to the object, but also to see widely—from multiple subjective stances and diverse bodily engagements such as walking to dreaming, glancing to looking askance, hypnotic stares, and to see beyond the visible. It examines art history through nuanced considerations of materiality, aesthetics, and regional specificities. The essays emerge from current research that builds on the contributions of Michael W. Meister, W. Norman Brown Distinguished Professor of History of Art and South Asia Studies at the University of Pennsylvania, whose works laid the foundations for the study of South Asian visual and material culture. The essays in this book underscore methodological resonances rather than privileging conventional categories of media or chronology, exploring artistic media including temples and paintings as well as Bengali-quilted textiles, manuscript ‘lozenges,’ and metal repousse. This volume, part of the Visual Media and Histories Series, will be of interest to students and researchers of history of art, religious studies, and history as well as the allied disciplines of anthropology and folklore studies. Chapter 2 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons (CC-BY-NC-ND) 4.0 license.