Publishers

Author : Singh, A. K.
Edition : 1985
Language : English
Size & Pages : Size 26 cm, pp. xii, 162, Illus., (Col.), 1985
Publisher : Agam Kala Prakashan
Format : Hardbound

Author : Jain, Ramachandra
Edition : 1979
Language : English
Size & Pages : Size 23 cm, pp, viii, 400, 1979
Publisher : Agam Kala Prakashan
Format : Hardbound

Author : Misra, O. P.
Edition : 1985
Language : English
Size & Pages : Size 26 cm, pp. xvi, 192, Illus., 1985
Publisher : Agam Kala Prakashan
Format : Hardbound

The book Deals with religion, art, architecture of various religious places belonging to Jainism, Buddhism, Hindu temples of Vaishnavism, Saivism, Shaktism, Charches Mosques etc. It contains seven chapters. This work is indispensable to scholars student,tourists and members of the general public interested in knowing about its precious religious art & architectural heritage.

This book is an attempt to understand contribution of Traikutakas, a dynasty in North Konkan in 5th-6th century CE. This book deals with various types of data related to Traikutakas. First two chapters deal with the political career of the Traikutaka kings and issues related to their chronology. Third chapter deals with the 5 important copper plates of their 'Age' as well as the coinage issued by Traikutaka kings. Translation of two of these copperplates is published here for the first time. Forth chapter narrates the cultural background of 5th and 6th century CE with the help of Epigraphical, Numismatic and Art historical Data. Here an attempt is made to understand Art historical data with archaeological methods. Next Three chapters deal with Architecture, Sculptures & Iconography and their Chronology. The last chapter is a brief review of the book with the concluding remarks.

This book mainly deals with the development of art in this region mainly under Traikutakas and also talks about the motivating factors behind such specific developments in art and architecture. There is an attempt made to assess the contribution of Traikutakas to this change and continuity as the ruling dynasty of the region.
The Authour
Born on 22nd March 1977, Dr. Suraj A. Pandit is working as Assistant Professor and Head of the Department of Ancient Indian Culture and Archaeology at Sathaye College, Mumbai. He is also Chairperson of Board of Studies in Ancient Indian Culture and Archaeology, University of Mumbai as well as member of Academic Council, Faculty of Arts, Board of University Teaching and Research in the faculty of Arts, Research and Recognition Committee in Ancient Indian Culture and Archaeology in University of Mumbai.

His specialization is Indian Buddhism and Buddhist architecture and archaeology. He did his Doctoral thesis on 'Kanheri Caves', a group of caves in Mumbai representing Western Indian Buddhist Rock-Cut Architecture, under the guidance of Prof. A. P. Jamkhedkar. He had received the K. T. Telang Research Fellowship in Indology of Asiatic Society of Mumbai in the year 2006-07. He has been delivering lectures for various courses under Mumbai University as well as in Pune University. He has total 19 paper published on his name in International as well as National journals.

He was working a visiting faculty for Post Graduate courses in History in SNDT University while he is a recognized teacher of the University of Mumbai. He has been in teaching Under Graduate and Post Graduate students of University of Mumbai and SNDT University, Mumbai for last 12 years. He is actively involved in the creating awareness among masses about the preservation of Heritage and delivered numerous public lectures on different monuments and heritage of Mumbai.

He has worked as consultant for the Ajanta Site Management Plan and Sisupalgar Site Management Plan. He had organized various seminars and workshops on Indology, Epigraphy, Buddhism and Heritage Conservation.

Presently he is working as Coordinator on a 'Research Project' on critical Editing of Manuscript in the possession of Asiatic Society of Mumbai, funded by Government of India. He has completed several projects funded by ICHR and American Institute of Indian Studies in the field of Epigraphy and Art History.

Echoes of the Golden Age (Art of the early 6th Century CE under Traikutakas)

The Author

Dr. Ajai Pal Singh was born in 1933 in the village Pahoripur Jarkhat District Kanauj, Uttar Pradesh. He completed his high school and intermediate from D.N. College Tirwa. He graduated from Allahabad University in science. He took his M.A. Degree in Ancient Indian History from Vikram University, Ujjain and completed his post graduate Diploma in Museology from Bhopal University, Bhopal. He was awarded Ph.D. Degree from Bhopal University, Bhopal. Besides this he has the following books to his credit.

1. Conservation and Museum Techniques.
2. Forts and Fortification of India.
3. Defensive art of India.
4. Monuments of Orchha.
5. Monuments of Mandu.
6. Concept of Environment in Ancient Art and Architecture.
7. Monuments a Vision of Harmony.
8. Geometrical Patterns of Ancient Icons.

Dr. Singh has contributed a good number of research papers to various reputed Journals.
The Book
Siva Mahadeva has been worshiped for thousand of years as the great God of India. His cult extended from the homeland of the Sakas in Central Asia to Kanya Kumari. There are numerous myths and legends associated with Him. It has been a rather of extreme happiness for us to gain an insight into the mysteries to Saiva philosophy as limited not to Cosmic lubrication but yoga and spiritual sadhana for the control of puranic energy. The worships of icons of Siva in Linga and image form originated right from the prehistoric period. The excavation of Mohenjo-Daro and Harappa substantiate to this fact.

The present work dealing with varous aspects and forms of Siva and Sakti of Hindu Iconography. The present work may be helpful to the readers having great faith on Siva.
The work has been very well illustrated with numerous photographs and figures that add to pictorial value of the book.

Social Changes Under British Crown
Auther: Dr. Santanu Kumar Pattnayak,S Edited by Dr. Sanjaya Kumar Mahapatra

This is a volume comprising of selected papers presented in National Seminar on 'Shakti in Indian Art, Archaeology, Philosophy and Literature'. The volume touches various areas of knowledge as the title suggests. Scholars who have contributed to the book are from various fields like Archaeology, Art, Numismatics, Hindustani Art Music, Cultural Anthropology, Literature, Political science and Philosophy. The book takes the cross section of the cultural reflections of the concept of 'Shakti'. Various forms and aspects of 'Shakti' are discussed by scholarly community compiled in the form of this volume. There total 26 papers contributed by scholars coming from various parts of Indian Subcontinent.

The present Volume is the latest endeavour to freshly enquire into the relevance and validity of commonly-held categorizations of ancient Indian religious architecture as Hindu, Buddhist, and Jain, often noticed in the extant standard writings on this genre of the art studies. It has been observed that while this may somehow appear true and may also have some sort of relevance primarily from the standpoint of its creators and users, who used to perform some kind of religious rites or indulged in some sorts of religious discourses and debates or even paid their obeisance to the revered deities, seated in the sanctum sanctorum, evidently to earn some spiritual merits, or, even from the perspective of its associated iconography and its lavish symbolism in its exteriors and interiors, but, viewed restrictedly from the architecture’s standpoint, these do not hold true and seem to represent only its peripheral dimensions. Architectural arrangements in these religious spaces, categorized differently, are essentially common, irrespective of their affiliations with Hindu, Buddhist and Jain, and betray the shared concepts amongst them evolved through the millenniums with very few alterations exceptionally to be called as distinct.

The Volume examines critically both the morphological and conceptual contours of these spaces right from the Vedic times to the later periods when the evolution came to its full zenith in the form of temples. How the earliest notions conceived in the making of the Yajña-vedis and chitis percolated in all the shades of later religious architecture has been explicitly elucidated. How a number of trees originally imagined as the resorts of the spirits and divinities got identified with several Hindu deities, Buddhas and the Tirthamkaras as well, and sired the notion of religious pillars to be erected in their honour as their own insignias, has all been elaborately explained to mark the conceptual and morphological affinities inherent in these so-called different religious spaces. The transformation of the rock-cut chaitya-gŗihas, slowly and gradually, into the temple architecture with many of their features not only carried forward but taken to new heights, narrate the same story. The analysis establishes that ancient Indian religious architecture is a narrative of shared concepts, of mutuality, inclusiveness, cross-connections, free exchanges of ideas and their broader adaptations, Interdependence through several points of convergences and conceptual affinities beyond the sectarian boundaries of Hindu, Buddhist and Jain. This is also endorsed by the prevalence of common terminologies – stūpa, chaitya, prāsāda, mandira, stambha, yașți, vedikā, etc. among the Hindu, Buddhist and jain forms of architecture, their comparative importance in a particular shade notwithstanding. Thus the Volume provides a new stimulus to the students, scholars and art-historians to take the studies of ancient Indian religious architecture with a new insight and perspective which expose its overall synthesizing and overarching effect that predominantly caused its outflow and evolution in ancient India beyond the sectarian bias.

The Author
An aluminus of the University of Allahabad with meritorious academic records, Dr. Prem Sagar Chaturvedi joined the Department of Ancient History, Archaeology and Culture D. D. U. Gorakhpur University in 1972. He served this institution in several capacities and finally retired as Professor and Head on June 30, 2012. He had the chance of working both as a disciple and colleague under the sage guidance of late Professor V. S. Pathak, an eminent scholar and indologist under whose supervision he obtained Ph. D. degree for his outstanding work Some Aspects of Technology in Vedic Literature. Because of his deep understanding of literary and archaeological sources, Dr. Chaturvedi has gained expertise in several branches of historical discipline. These include Vedic and Buddhist Studies, Ancient Technologies, Art and Architecture, Archaeology and Socio-Religious studies. He is mostly known for his highly acclaimed original work, Technology in Vedic Literature in which by deft-handling of the Vedic, Avestan and Indo-European data, he has drawn the profiles of several prehistoric and protohistoric technologies, such as wood, leather, textiles, ceramics, etc. many of which being extremely fragile by nature could not be procured materially except in some very exceptional situations, and hence, hardly find any allusion in archaeological writings although most of them were synchronously practiced by the early man along with the lithic. He has discussed some more facets of technology in The Vedic Technology, a Chapter contributed to the Volume, The Dawn of Indian Civilization of PHISPC, a dream project envisioned by late Professor D. P. Chattopadhyay and in several other writings in different publications. Besides these, he has exposed quite brilliantly some basic concepts of arts and aesthetics in a number of articles contributed to various journals. He has also authored and edited the volume Archaeological Findings from the Homeland of Buddha in which major archaeological discoveries of the region traversed by Buddha have critically been analyzed and their significance has properly been exposed before the scholarly world so much so that it stands as the most updated and authentic account of the archaeological studies of the region. Dr. Chaturvedi has guided several researches on different areas of history, attended a number of national and international academic meets, delivered lectures in different academic forums and contributed more than sixty research papers in various journals and publications. At present, he is engaged as a Senior Academic Fellow with Indian Council of Historical Research, New Delhi, and is working on the Project History and Culture of Sarayūpāra Region on the Basis of Extant Archaeological Remains.

Contributors
R.N.Misra, an eminent art historian, formerly National Tagore Professor, Fellow, Indian Institute of Advanced Study, Shimla, and former Professor and Chairman, School of Studies in Ancient Indian History, Culture and Archaeology, Jiwaji, University, Gwalior (M.P.)

Maruti Nandan Prasad Tiwari was formerly Professor and Head with the Department of History of Art, Banaras Hindu University, and Varanasi.

Prem Sagar Chaturvedi, a Senior Academic Fellow with the Indian Council of Historical Research, New Delhi, was formerly Professor and Head, Department of Ancient History, Archaeology and Culture, D. D. U. Gorakhpur University, Gorakhpur (U. P.).

Dhyanendra Narain Dubey is Assistant Professor in the Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Susmita Pande is Professor and Head in the School of Studies in Ancient Indian History, Culture and Archaeology, Vikram University, Ujjain.

Ashvini Agrawal , Professor of Ancient History, Culture and Archaeology, Punjab University, is former Dean, Faculty of Arts and Chairman, Department of Ancient History, Culture and Archaeology, Punjab University, Chandigarh.

Amar Singh was Professor in the Department of Ancient Indian History and Archaeology, University of Lucknow, Lucknow.

Alok Tripathi, Professor and former Head, Department of History, Assam University, is at present Director, Centre for Archaeology and Museology, Assam University, Silcher.

Chadrashekhar Gupta, formerly Professor and Head, Department of Ancient Indian History, Culture and Archaeology, Nagpur University, Nagpur.

Rahman Ali was formerly Professor and Head, School of Studies in Ancient Indian History, Culture and Archaeology, Vikram University, Ujjain (M. P.). He was Dean, Faculty of Social Sciences and School of Law in the same University.

Piyush Bhargava, Associate Professor, Department of Ancient Indian History and Archaeology, Lucknow University, Lucknow.

Alok Shrotriya is professor and Head, Department of Ancient Indian History, Indira Gandhi National Tribal University, Amarkantak (M.P.).

Pragya Chaturvedi is Associate Professor, Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Suniti Pandey is Assistant Professor in the Department of Ancient History, Culture and Archaeology, University of Allahabad, Allahabad.

Shitala Prasad Singh is Associate Professor, Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Hari Narayan Dubey, an expert in Purāņic studies, he has recently retired as Professor, Department of Ancient History, Culture and Archaeology, Allahabad University.

Vipula Dubey is Professor and Head, Department of Ancient History, Archaeology and Culture, D. D. U. Gorakhpur University, Gorakhpur.

Rajawant Rao, Professor, Department of Ancient History, Archaeology and Culture, D. D. U. Gorakhpur University, Gorakhpur,

Iravati was formerly Associate Professor and Head, Department of Ancient Indian History, Culture and Archaeology, Vasanta P. G. College for Women, Varanasi.

Harsh Kumar, Associate Professor, Department of Ancient History, Culture and Archaeology, Allahabad University, Allahabad.

Digvijay Bhatnagar, Professor and Head, Department of History, Udaipur University, Udaipur, Rajasthan.

Rekha Chaturvedi, Professor, Department of Ancient History, Archaeology and Culture, D. D. U. Gorakhpur University,.

Tulika Banerjee is an Associate Professor in Mahila P. G. College, Basti, U.P.

Durgananandan Tiwari, Associate Professor in Archaeology and Museology, Sampoornanand Sanskrit University, Varanasi,

Shanti Swaoop Sinha is Associate Professor in the Department of History of Visual Arts and Design, Faculty of Visual Arts, Banaras Hindu University, Varanasi.

Anand Prakash Srivastava, Principal, Sri Ram Kishun P. G. College, Gokul, Karasada, Varanasi,

Atm Prakash Singh is a teacher with keen interest in art studies.

Hari Gopal Srivastav, Associate Professor and Head, Department of Ancient History, Archaeology and Culture, Jawaharlal P. G. College, Maharajganj

Ram Pyare Mishra, Assistant Professor, Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University.

Vinod Kumar is a research scholar in the Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Rajesh Kumar Dhar Dubey is a Post Doctoral Fellow in the Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Preeti Tiwari is a research scholar in the Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Ruchi Srivastava is a research scholar in the Department of Ancient History, Archaeology and Culture, D.D.U. Gorakhpur University, Gorakhpur.

Siva’s Iconography is of seminal importance in the history of Indian Art. The present work, Siva in Indian Art, for the first time, presents an exhaustive study of the impact of mythology on the iconography of Siva from the earliest to the 16th century C.E. The author compares the Saiva sculptures of Andhra with their counterparts belonging to the other schools of art like the Pallava, the Chalukya, the Chola, the Rashtrakuta, the Kalinga and others of South India which makes the work authoritative and exhaustive.

Further, the study also throws fresh light on the iconographical evolution of different forms of Siva, besides their physiognomy. The forms of Siva are grouped as Nrityamurtis, Samyuktamurtis, Samharamurtis, Anugrahamurtis, Saumyamurtis & Pratyekamurtis. Being a serious research work this is very valuable for the history of Iconography of Siva and serves as a beacon for further research in this field. With over 100 illustrations, this is an essential book for anyone interested in Indian art.

The Author
Dr. D. Kiran Kranth Choudary, (b.1954), Ph.D., D.Litt. is Professor of Ancient Indian History, Culture & Archaeology and also the Principal and Dean Faculty of Arts, Sri Venkateswara University, Tirupati. He is the Coordinator of the UGC SAP DRS-I. His field of specialization is Art and Architecture in which he contributed innovative articles. He has completed five Research Projects sponsored by the UGC and ICHR. He has organized seven conferences/seminars/ workshops on different themes. He was the Coordinator of the Association of Indian Universities, 78th Annual Meet of the All India Vice-Chancellors. He received training in Remote Sensing for Archaeology at NRSA, Hyderabad. He chaired many sessions in various conferences and seminars. As a resource person he delivered lectures/talks in different universities in India and Abroad.

Dr. Kiran Kranth has published books: Five Prominent Temples of Bhuvanesvar (1982), Ragadhuli (1984), Ramayana in Indian Art and Epigraphy (2006), Srikalahstisvara Temple, A Study based on Epigraphs and Sculptures (2008), Teluguvari Silpakala (2012) and also edited Sankaram, Recent Researches on Indian Culture (2000), Prasadam, Recent Researches on Archaeology, Art, Architecture and Culture (2004), Ancient Civilizations (2006) and Archaeology and Art: New Dimensions (2008). He has seventy six research papers to his credit published in reputed Research Journals. He served as Dean (Exams) and Special Officer (Evaluation) for the university and also former Head and Chairman Board of Studies, Dept of A.I.H.C. & Archaeology. He is awarded Sri Gomateshwara Vidyapeetha Award-2008, Srikalahastisvaraswamy vari Puraskaram-2010, Meritorious Teacher Award-2011and Government of Andhra Pradesh State Awards to Meritorious Teachers-2013. He is associated with many academic bodies in various capacities. As poet and creative writer he is associated with many literary and cultural organizations.

Contents
Preface ix
Foreword xiii
Abbreviations xxxi
List of Illustrations xxxiii
1. Introduction 1
2. Nṛityamūrtis 28
3. Saṁyuktamūrtis 47
4. Saṁhāramūrtis 68
5. Anugrahamūrtis 99
6. Saumyamūrtis 122
7. Pratyēkamūrtis 151
8. Epilogue 185
Glossary 206
Bibliography 214
Index 231
Plates 239

Roman Diaspora in the making of India thrived on a syncrtic goddess ushered by the Greco-Buddhist reliquary cult. Lustrated by royal elephant identified with Africa, goddess Gajalakshmi on lotus of rebirth coexists with Isis-Venus and Nemesis symbolized by the Wheel of Low (Retribution), winged griffin and other rebus memory devices .Metaphors originally distilled faith in afterlife but these necromantic signs are now translated as Buddha’s external presence in a neural religion. Unprecedented cult images of goddess invoked as Maha Maya (Mega Maia) and Maha Vuhara Devi on the Great Boat (Mahayana) radically transformed the cultural landscape of South Asia. Subject to Influences, Meaning of art correlated with Mystery religions moved eastward from the Mediterranean to reach the gateway to heaven (Torana).The search for immortality demonstrates inter-connectedness of all art objects from Gandhara to Sri Lanka giving to ample scope for portraiture, Narrative techniques and symbolic Communication. Backed by new mortuary practices and esoteric rituals magic of art and new Brahmi script invented from invented from Aramaic was crucial to afterlife. Not surprisingly Tamil Brami on pot shards was found in Berenike and Oman. The two Volumes examine Late- synthesis in order to create new premises for investigating its Greco-Roman past centered on the powerful impulse to ti induces descent of the Lord (Bhagavato ukramti) through Immaculate conception and ambiguity in its cultural moorings. In the process, patrons, priest-kings and historical figures emerge as contributor to the obscure space of the funerary cult. Lasting less than four centuries in India, veneration of luminous Buddhas had far reaching consequences in Asia. Simultaneously, transcending human limitations goddess Mahalakshmi is singular witness to transformations through two millennia of Indian civilization.

ABOUT THE AUTHOR

Art Historian ArputhaRani Sengupta (born June 14, 1947) examines semiotics of iconography with wide range of meaning in the South and Central Asian Buddhist cultures in the milieu of Greco-Roman world. Her primary interest is to study the ways in which trans-cultural non-linguistic phenomena in art history can generate meaning and provide information on the role of cultural synthesis and knowledge production. Her powerful deductive Alternate History is a new form of empiricism that reveals synthesis of heterodox beliefs and philosophy in the Greco-Buddhist reliquary art and cult during the early Christian era. The former Professor at National Museum Institute, New Delhi and Stella Maris College, Chennai is adjunct faculty in the Delhi Institute of Research and Heritage Management. Sengupta has undertaken cross-disciplinary research on prehistoric and early historic burial goods in South Asia and on Buddist Symbole and Substitute with research grant from the Ministry of Culture and Indian Council for Historical Research. Publications include Art of Terracotta: Cult and Cultural Synthesis in India (2004), Jewellery from Buddha Zone in Central and South Asia (2012), Kailasanatha Temple. The Realm of Immortals (2009), and Makimekalai: Dancer with Magic Bowl (2005). Edited volumes include Cult of the Goddess (2012) and Devaraja Cult in South and Southeast Asia (2004).

This is the first somewhat comprehensive study of the sculpture (made in various mediums), of the Western Himalayas. Works spread over a period of the millennium and a variety of styles are discussed in this book. The author also discusses in some details the sculpture of the neighbouring areas; Kashmir, Punjab, Haryana and the south-eastern parts of Himachal Pradesh including the hills of Uttar Pradesh. It is hoped that this book would provide a deeper insight into this relatively uncovered area.

The Monuments of Sanchi, the magnum opus of Marshall and Foucher, is the result of painstaking exposition of the monuments, their assessment and description which is a signal service rendered to Indian culture in general and Buddhist art and architecture in particular. This monumental work by Marshall and Foucher is in three volumes. The present reprint, is reduced to almost two-thirds of the original size without impairing in any manner ts original quality. This would prove to be a real boon to students of Indology and Indian Culture, art historians, critics and archaeologists as well.

Edition : 1978
Language : English
Size & Pages : Size 26 cm, pp. xvi, 184, Illus., 1978
Publisher : Agam Kala Prakashan
Format : Hardbound

The Kadambas of Goa were an offshoot of the earliest Kadamba family of Karnataka viz., the Kadambas of Banavasi who ruled betwten 4th-6th cent. A.D. With the rise of Chalukyas of Badami they lost their imperial status and some members of the family migrated to the different places and served as subordinates of the imperial rulers. The Kadambas of Goa were one such family who were feudatories under Chalukyas of Kalyana and continued to serve the subsequent ruling families also.Though feudatories, they almost enjoyed a regal status with their own administrative system in their jurisdiction which covered Goa and almost the whole of Dharwad and Belgaum districts of Karnataka.Their inscriptions are a living evidence of their contribution to the growth of religion, society and culture of the area. The text given here are the result of extensive field work undertaken by the author herself. The book contributes immensely to the field of study of regional history.

The Author

Dr.S. L.Shantakumari (b.1938) started her career as research Assistant in the Department of Ancient Indian History and Epigraphy, Karnatak University, Dharwad and rose to the position of Professor and Chairman. She also held the position of Director of Research Centre for Women Studies and also Dean of the Faculty of Social Sciences in the same University. Though retired in 1998, she still engages herself in Epigraphical and Historical studies; she has published several research articles in different Journals and Felicitation volumes and participated in several Seminars and Conferences. Her book History of the Agraharas – Karnataka (400 – 1300 A.D.), published in 1986, continues to be a standard reference work in the field.

In this exellent book, the authors discuss the concept and role of myths and legends in Indian art. The centrality of myths andlegends in ancient Indian literature, folklore and popular imagination has been brought out. In the second part of the book, masterpieces of art have been carefully included keeping in mind chronological range, variety of mediums, different sources of repositories and above all their way of presentation. art.

Tiger king worshiped as Dakshin Raya is cohort of the goddess of Sundarbans and the Muslim saints who nurtured early settlements in lower Bengal. In the animistic religion folklore and oral epic is conservatory of medieval epic literature. Tiger is invincible soul of Asia. Through art and literature Sengupta unravels the history of the tiger in the East-West encounter. Tiger at the center of obsessive funerary cult appears in the Indus Valley seals and on the patterned silk of Central Asia and Han China. In the context of !ame-striped tigers on the inscribed Gilgamesh seals the new evidence of birch bark manuscripts written in Indus Valley hieroglyphs help logical restoration of the past. There is a reason for it; from the Bay of Bengal the tiger crossed the Silk Road and reached Caspian Lakes, Mediterranean East, Sicily and Britain. Capture and transportation of the tigress and the tiger cubs in the Dionysus and goddess cult is recorded in Roman mosaics.

This book deals about scientific investigation about mural art of Ajanta reflecting two decades of research. This discovery of Ajanta and measures adopted by various art lovers in early 19th Century at has direct impact on its conservation as detailed in the book. The ancient Indian painting recipe and mural art techniques employed at Ajanta has been incorporated in the book. Detailed studies about nature and characterization of mud mortar of Ajanta / Ellora which support the survival of mural art have been elaborated. The source of raw materials for the preparation of Ajanta / Ellora mud plaster, addition of various aggregates, proteinaceous adhesive and vegetal remains in the plaster for its preparation has been detailed in the book. An elaborative study about the discovery of Cannabis Sativa (Hemp or Bhang) in the mud plaster of Ellora has been discussed. The book also highlights the data for cross sectional study of painted plaster; the analytical data obtained through the instrumental analysis of the pigment and plaster layers using XRF, XRD, FTIR, Raman Spectroscopy, SEM, thermo – hygrograph, Lux meter, Protimeter, Carbon dioxide analyzer, noise meter etc, in details. This detailed investigation has helped in the preparation of matching mud / lime plaster at Ajanta / Ellora for restoration purpose. The impact of visitors on cave murals of Ajanta like variations of temperature, humidity, noise level, carbon dioxide level etc, within the caves besides impact of light on the painted plaster, degradation of murals caused by application shellac varnish, insect activity on the murals have been discussed. The scientific cleaning methods employed at Ajanta for the removal of 19th century shellac coating, soot, dust, dirt etc, from the painted surface has been discussed along with photograph of before / after cleaning activity. The recent cleaning efforts undertaken in the Hinayana cave of Ajanta has been specifically highlighted under unseen Ajanta.

This book also discuss about the application of saline technique for the consolidation of sculpture of Ajanta / Ellora.

About the Author:
Dr. Manager Singh, M. Sc, Ph.D, Superintending Archaeological Chemist, ArchaeologicalSurvey of India, Aurangabad has received his master degree in chemistry from Gorakhpur University and Ph.D in chemistry on “Scientific investigation of Ajanta Paintings and Performance evaluation of materials” from Dr. Babasaheb Ambedkar Marathwada University, Aurangabad, Maharashtra. He was associated with the preservation of Ajanta cave murals from 1997 – 2008 and carried out extensive research on the materials and technique of mural art of Ajanta / Ellora. He has published about four dozen research papers in the field of scientific conservation of our art works mostly in international journals. He has been covered extensively by Discovery channel, Japanese T.V and German print media for his innovative work on cleaning of hinayana painting of cave no. 10, Ajanta under unseen Ajanta. Prior to his service in Archaeological Survey of India, he has also served in Geological Survey of India, Bangalore and Naval Science & Technological laboratory, Visakhapatnam. He has been received three months ICCROM training on stone Conservation in Venice on stone conservation and visited many countries to deliver lectures on scientific conservation of Murals in India and characterization of ancient materials with the help of scientific analysis for synthesis of compatible restoration materials.

Saktism, the concept of Śakti, the source of all energies of the Universe plays a vital role in the socio-religious tradition of India since the dawn of human civilization. Mahiṣāsuramardinī, the Divine Mother is one of the manifestations of Śakti. She is the most impressive and formidable goddess of the Hindu pantheon. The cult of Mahiṣāsuramardinī is of considerable antiquity. Its genesis can be traced from the Vedic literature. The Mahabharat and the Purāṇas have provided varied but vivid accounts of the origin of the goddess. The author besides emphasizing on the descriptions of the deity as per the Puranic texts, has also discussed the emergence and representation of the goddess who has occupied a prominent place in the sculptural history of India through the ages.

Here the author presents a rich and variegated picture of the Mahiṣāsuramardinī art of Orissa, highlighting the evolving iconography of individual images with special reference to the Śilpa and Tantric Texts. He focuses on different forms and depictions of the goddess. In this work the generalization and characteristics have been drawn on the basis of iconographic, ritualistic and comparative studies. The book also incorporates the genesis of Śakti cult, historical development, ritualistic patterns along with the elements of art and aesthetic in Mahiṣāsuramardinī images. The work abounds in photographs revealing the variety forms of the goddess and provides many maps, diagrams and iconographical charts, yantras, mudras etc which will create interest not only for the scholars of archeology, history and religion but also for the historians of art as well.
The Author
Dr. Sanjaya Kumar Mahapatra (born 1963) who is an ardent devotee of Female Divinity,has devoted two decades of his illustrious career to the study of Archaeology, History and culture of the state of Odisha. Presently he is working as the Principal and the Departmental Head of History in Janata College, Kuhuri, Dist-Khurda(Odisha). For his excellence he has been conferred upon the titles such as Rastriya Gaurava Award by the India International Friendship Society, Delhi and also"Jyotishavidya Bachaspati" by the Astrological Foundation, Dinalipi, Berhampur (Odisha) and is also felicitated as educationist by Sri Sashi Bhusana Behera, the honourable M.P on behalf of Ramadaya Parishad, Nirakarpur, Khurda, Odisha.

Dr. Mahapatra is well versed in Yoga, Tantra and Astrology and has got the credit to publish seventy articles in the different national and state magazines like "The Kalyan Kalpataru", Gita Press Gorakhpur, "The Bhavan's Journal" Bombay, "Orissa Review" (Odisha), "The Orissa Historical journal", Bhubaneswar(Odisha), "The Mahodadhi", "The Nirmalya", "The Daivi Sakti", "The Niyati" and "The Nakshatra" etc. which brought him state and national repute in recognition. For the achievement of the spiritual goal he was initiated into the path of Kriya-Yoga in 1988 and simultaneously blessed with the divine grace of Sri Paramahamsa Hariharananda Giri, the beloved Kriya-Yoga Master.

Author : Dr. Kamal Shankar Srivastava
ISBN : 9788173201578
Edition : 2015
Language : English
Size & Pages : 29 Cm, Page 200, color Plates
Publisher : Agam Kala Prakashan
Format : Hardbound

The present piece of work is the outcome of the holistic, original documentation and survey of the art and architecture of South Kosala which is one of the interesting and dazzling chapters of Indian art history. Temples of a wide range of varieties were constructed in India during the post Gupta period over a time span of more than a millennium broadly in three varieties, namely nagara, dravida and vesara. The inscription Amritesvara temple at Holal Karnataka speaks of the Kalingan style too. The regional schools of art adopting nagara style came into existence under the patronage of the local ruling dynasties between 6 th -11 th century AD. in the territory of South Kosala. This aspect of cultural history has not received adequate attention of the scholars hitherto.

These temples of South Kosala later on developed a sub-regional manifestation. The temples were constructed either of brick or brick and stone or entirely of stone. The uniqueness in the South Kosalan architecture is that group of temples constructed after a star-shaped ground plan, rarely found elsewhere in India. As many as eleven temples of this type documented so far, revealed an interesting account of their architecture. Besides, altogether twenty three temples have been documented including both stellate and non-stellate temples. Thus the study focuses that South Kosala played a significant role in the temple building of all conceivable forms and Experiments of which stellate order is not only pronounced but also unique.

The Author
Dr.Jeeban Kumar Patnaik obtained his first class Master Degree in History from Berhampur University, Odisha in 1980. He did his M.Phil in History from the same University in 1981 with first class first rank. He completed his P.G. Diploma in Archaeology from Institute of Archaeology, New Delhi in 1990. Later on he was awarded Ph.D in History on the topic “Art and Architecture of South Kosala: A case study of Stellate Temples (6 th -11 th century A.D) from Sambalpur University, Odisha in 1998. He rendered his service as a professional archaeologist in Archaeological Survey of India in 1984 and continue to hold various posts. Presently he is Superintending Archaeologist in Excavation Branch-IV, Archaeological Survey of India and Bhubaneswar. As a chartered archaeologist, he has explored many archaeological sites in Odisha, Madhya Pradesh and Karnataka. He participated in excavations of Harappan site of Dholavira (Gujarat), Tarkhanewala Dera (Rajasthan). He assisted in undertaking excavations at Lalitagiri, Udayagiri, Barabati fort in Odisha, Chak-86 in Rajasthan. In addition, he has also undertaken exploration and excavation programmes. Of late, as a director he conducted archaeological excavation at Suabarei, a chalcolithic- neolithic site near Pipili, District Puri, Odisha for two consecutive seasons 2014-15 and 2015-16 along with exploration in the right bank of river Daya during the period under review. His academic bent of mind compels him to involve in contributing a large number of research papers in the field of archaeology, history, culture, art and architecture, epigraphy and numismatic. All the papers were also published in books, journals of national and international repute. Besides he has attended may conferences, workshops, seminars etc. in India and abroad.

He has edited to volumes to his credit cultural heritage of Jajpur, Odisha (2004), Pratna Bharatam “Glory of Archeology, Art, Epigraphy and protection of cultural heritage (2016). His forthcoming books are Excavations at Lalitagiri (1985-91) now in press. He is one of the editors of Indian Archaeology: A Review 2006-07 and 2012-13. He is closely associated with several academic bodies of Odisha State.

The Indian Temple is a unique institution and its development from almost the fifth century A.D. onwards is a fascinating tale. It furnishes material for reconstructing the religious history of India and also casts a spell on the student of art and architecture. It is in the temple - abode of the God –that the beauty and sublimity of divine experience meet so as to create a feeling of ananda (unalloyed joy). The function of the temple is to facilitate the union between the living being (Jiva) and the universal spiritual ground (Brahman) personified in the anthropomorphic God whose dwelling is in the temple. The temple was the spiritual centre from which religious and social life was regulated.

Styles of temples throughout India have been discussed. Nagara, Vesara and Dravida temples have explained. Temples from Jammu and Kashmir to Kerala have been described. But to appreciate Indian art to the full, one must study the temples that Indian ideas and local genius built in Greater India which was renamed as South-east Asia after the II World War in 1945. Angkor Wat in Cambodia the great Hindu complex of Brambanan in Java (Indonesia,) Ayutthya in Thailand, three groups of temples in Vietnam, Hindu-Buddhist temples in Bali (Indonesia) where Siva and Buddha are considered brothers!, Myanmar having more than 2000 red-brick temples and monuments in the city of Pagan, etc. are the examples of Indian art in Greater India which students of art and architecture should study to understand Indian art to the full. These books will be useful to general readers, professional and students.

The present monograph entitled “Jharkhand-Cultural and Archaeological Perspectives” Authored by Dr. Kamal Shankar Srivastava, an attempt has been made to trace and to explain the cultural and archaeological aspects of Jharkhand especially related to Chotanagpur and Santal Pargana regions of Jharkhand

The present work consists of eight chapters i.e., Indian Archaeology Introduction and Historical Approach, (2) Jharkhand-Pre and Proto-Historical Perspective, (3) Ranchi-Chota Nagpur Cultural and Archaeological Perspective, (4) Historical and Cultural Perspective of Santal Pargana, (5) Santal Pargana and Santals, (6) Art and Archaeology of Jharkhand- A Critical Approach, (7) Important sites of Chotanagpur and (8) Important sites of Santal Pargana, apart from detailed bibliography and relevant illustrations. Certainly, it proves to fascinate the scholars of Indian culture and Archaeology and History-lovers.


Auther: Dr.Kamal Shankar Srivastava
Publishers: Agam Kala Prakashan

The book Neolithic Cultures of South India deals with cultural changes and adaptations of the settled life in different stages of time span during the Neolithic period in South India. This particular book has many unique qualities like the south Indian Neolithic cultural sites are briefly documented based on the excavation reports. Being the field archaeologist the author very well used the various data available in the excavation reports to farm the conclusive results. Technological developments in the field of stone tools and other associated technologies such as metallurgy, stone and terracotta beads; development of pottery and its stages really attracts the attention. In Origin and Chronology of the Culture the methods he adopted is not based on hypothesis; but based on the scientific dating methods which speaks volumes on the authenticity of the facts. The book deals with all the aspects of the Culture like disposal of the dead, domestication of the animals and plants, architecture and the aesthetic wisdom of the people in detail. This culture in South India is associated with ash mounds and it is briefly cited in this volume. In the Archaeological studies of Indian cultures such compilation and analysis is needed and this particular book faithfully fulfills the need of the hour in many respects. The photographs and drawings used in this book are original in nature. They enhance the quality of the presentation and it is worth to be possessed by anyone interested in the field of study.

ABOUT THE AUTHER

Dr. Shivananda was born in Bengaluru the capital of Karnataka State in 1954. He received his higher education at Hubli, earning B.A., (1972), M.A., (1974) from Karnatak University, Dharwad and Ph.D., in Ancient history and Archaeology (1995) from the University of Mysore, Mysore. Dr. Shivananda worked in Archaeological Survey of India in various capacities before he retired as Regional Director. He has authored several books including the Guide book on Mattanchery Palace (1997) and Champaner Pavagadh (2009) Catalogue of Antiquities in Tipu Sultan Museum at Srirangapattana (2013), Excavations in Gujarat (2015). He has published more than 50 papers in various books and journals and edited Gauravam, Dr. B. K. Gururaja Rao Felicitation Volume (1996), Pratnakirti Prof. Srinivasa H Ritti Felicitation volume (2012) and assistant Editor of Sri Nagabhinandanam: Dr. M.S. Nagaraja Rao Felicitation Volume (1995).