The Work Studies Basic Principles Of Ancient Indian Art And Architecture. It Deals With Hindu Thinking And Practice Of Art Including The Hindu View Of Godhead, Iconography And Iconometry And Symbols And Symbolism In Hindu Art. It Surveys Indian Art And Temple Architecture From The Ancient Times And Makes Comparative Studies Of Religious Art In India.

The Work Studies Basic Principles Of Ancient Indian Art And Architecture. It Deals With Hindu Thinking And Practice Of Art Including The Hindu View Of Godhead, Iconography And Iconometry And Symbols And Symbolism In Hindu Art. It Surveys Indian Art And Temple Architecture From The Ancient Times And Makes Comparative Studies Of Religious Art In India.

Study Of Various Facets Of Indian Art With Reference To Aesthetic Theories Pertaining To Silpa

To 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 Coomaraswamyês 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. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The 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. An outstanding portrayal of ancient Indiaês 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.

This work ventures to study Indian Art and Architecture with reference to, and in the context of, its theory which, though available to us in Sanskrit texts, is not generally studied and it is essentially a study of the Theory of SILPA (Indian Plastic Arts) from the Ancient to Medieval times. The first Chapter studies 'Mithuna' in the temple forum. Overwhelming textual prescriptions affirm that Devangana Mithuna sculptures both in Dance and Kama (Erotic) postures are incarnation of Srngara. Roct Cut Temple Architecture has been studied in the next chapter. A Saila Guha (Cave) is excavated into the living rock while a saila mandira is carved out of the Rock; independent and structural, it has all the four facades and a grand superstructure open to sky. another chapter is devoted to the study of sculptural aestheticism. Iconography prescribed the figure and its broad outlines, and sometimes the posture too with weapons and ornaments but it did not prescribe the depth of the sculpture in the third dimension, and the sculptor was free to bring out an expression.The chapter on Lahara Vallari is study of a formal ornament in Indian Art. It has no floral element and it rises and falls like wave and moves forth with exquisite grace like a sinuous scroll. The Chapter on the Inter relationship of the Performing and the Plastic Arts is devoted to the study of non iconographic devangana sculptures. The last chapter deals with lotus fountain of the Rang Mahal Red Fort DELHI of Shah Jehan 1628-58 A.D, which is unique creation of Indian Sculptor during the Medieval Period. Its petals appear to rise and fall when water ripples on their edges like a magical charisma.

In the first book in English on the Hindu precursor to feng shui, readers will learn how to design homes that conform to eternal spiritual principles. Guidelines are also given for modifying existing buildings to promote peace, harmony, and health. 55 illustrations.