Satyawadi sudha (18 resultados)

Condición: New. pp. vii + 92 110 Figures (Col.), Illus. (Mostly Col.), Map.

Condición: New. pp. vii + 92, Map, Index 1st Published.

Condición: New. pp. vii + 92.

Hardcover. Condición: New. ISBN:9788124605578.

Original cloth with dustjacket, large format, minor traces of use, else in (very) good condition. Please see description or ask for photos.

Contents Preface 1 Warlis and their Painting 2 Religious Beliefs 3 Rites and Rituals 4 Warli Paintings 1 Three stages of Warli Paintings 2 Myths and Legends 3 Narrative Paintings 4 Contemporary Paintings Conclusion Glossary Bibliography Index This book is a modest compilation of Warli art of the Warli tribes of Maharashtra that comes through an unbroken tradition of thousands of years Warli art is simple yet rich The paintings are expressive with profound truths which are brought forth in a most elementary format Warli 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 In Warli paintings are pointers they fulfil 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 fulfilment they experience that is in harmony with nature and their gods and goddesses In Warli 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 In this 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 92 pp. 92 col. figs, 18 b/w figs (ilustrador).…

Condición: New. pp. xvi + 340 Figure, 41 Illus. (Col.), 1297 Maps.

Condición: New. pp. xvi + 340, 1297 Maps, Index.

Cloth binding, with dust jacket. Many ills, in color. 324 p. -(Dust jacket slightly worn around the edges, label on dj's spine, general signs of use, but overall in good condition.). ISBN 8124600309.

Condición: New. pp. xvi + 340.

Hardcover. Condición: New. ISBN:9788124600306.

Hardcover. Condición: New. Ajanta is the greatest center of early Buddhist art in India, renowned for its creativity and artistic excellence. In the realm of painting, these caves are virtually unique in the world of art. No other source, including literature, equals their significance. A single image from Ajanta can communicate meaning better than a thousand words, offering a powerful visual representation of Buddhist ideals and sentiments. Discovered by a British soldier in 1819, Ajanta represents a masterful combination of three arts: architecture, sculpture, and painting. The paintings on the walls and ceilings of the caves constitute the true beauty of Ajanta. These artworks span different historical periods, ranging from 200 BC to 650 AD. Caves 1, 2, 16, and 17 contain the finest examples, serving as a vivid record of contemporary life. Three dominant themes emerge in these paintings: the life of Gautama Buddha, the Jataka tales, and intricate ceiling decorations. This book focuses specifically on the decorative designs within the caves. Though lesser-known, the ceiling paintings hold a wealth of artistic designs and patterns that were popular during that era. They convey stories, legends, beliefs, and glimpses of the contemporary socio-political environment. Beyond their historical and artistic value, they are highly pleasing to the eye. In the darkness of the shrine, these ceiling paintings enhance the beauty of the caves. They are rich with symbolic motifs, and the designs are closely related to water cosmology. The ceilings depict celestial beings such as Kinnaras, Gandharvas, Vidyadharas, and Yaksha couples, all subjects of Kubera's kingdom. Yakshas represent the genii of the earth and vegetation. In the folk religion of that time, Yakshas were worshipped as protective spirits; in the Ajanta ceilings, these figures are aligned with the worship of the Buddha. The decorations also feature ornaments, flowers, fruits, and animals that symbolize wealth and prosperity. Both animal and human figures are permeated with naturalness and grace. These paintings were created by craftsmen and artists who received patronage from the temples. They were fully devoted to their work and held a position of high social standing. Recognition of their talent and genius encouraged them to specialize in specific art forms. This dedication led to the creation of fabulous, high-quality paintings that reached the heights of classical art. The Ajanta style also inspired foreign artists, who carried its influence far and wide to places like China, Korea, Sri Lanka, Tibet, and Japan.…

Hardcover. Condición: New. Estado de la sobrecubierta: New. 2nd Edition. Contents: Foreword/Prof. B.B. Lal, Director General (Retd.) Archaeological Survey of India. Preface. Introduction. I. Scope, framework and methodology: 1. Geographical regions: North Baluchi cultures. South Baluchi cultures. Indus Valley cultures. 2. Geographical features. 3. Climate. 4. Flora. 5. Fauna. 6. Time span. 7. Material. 8. Shape of potteries. 9. Ground colour. 10. Design. II. History, purpose and classification: 1. Symbols. 2. Motifs. 3. History of motifs. 4. Purpose of motifs: Decorative, religious; ritualistic; superstition, personal. 5. Kinds of motifs: Geometrical; floral; faunal; others. III. Empirical investigation and description: 1. Geometrical motifis: Cross. Checker board. Triangle. Swastika. Meandering lines. Axe type. Loop. Fish scale. Circle. Spiral. Bead. 2. Floral motifs: Palm. Banana. Neem. Acacia. Unidentified plant. Peepal. Single leaf. Rosette. Lotus flower. Peepal rosette. Sun flower. Geometric flower. Bean. 3. Faunal motifs: Animal. Bird. Fish. Horn and bull head. 4. Other significant motifs: Sun. Star. Comb. IV. Conclusion: 1. In-depth study of selected motifs: Checker board. Horn. Comb. Sun and rosette. Plant. Intersecting circle. Fish. Bird. Animal. Fish scale. 2. Comparison of motifs on territorial basis: Mesopotamia and Indus Valley. Iran and Indus Valley. Baluchistan and Indus Valley. 3. Spatial and temporal development of motifs--charts: i. Cheker board. ii. Horn & bull head. iii. Comb. iv. Sun and rosette. v. Plant (Peepal leaf). vi. Intersecting circle. vii. Fish. viii. Bird. ix. Animal. x. Fish scale. 4. Indus culture--style shown in ancient scripture. 5. Resume. Appendices: 1. Sources of figures. 2. Excavations and researches. 3. Excavated sites. 4. Introduction to sites. 5. Radio-carbon dating. Colour plates. Glossary. Bibliography. Index. "In the 1920s was found one of the world's oldest, most mysterious civilizations: the Indus Valley. Which, in view of the relatively more recent archaeological evidence, could possibly have evolved from a much older, indigenous culture: of about nine millennia ago--some 6000 years before the growth of Mesopotamian urbanism or about 2000 years before the Egyptian's. Among a variety of excavated material remains, pottery affords a significant clue that influences archaeologists' conclusions. "Despite many a scholar's avowed fascination for the pottery of the Indian subcontinent--since John Marshall's days, Dr. Satyawadi's book becomes the first-ever, exclusive study of its art motifs: from the earliest times to 1750 B.C. Marshalling a whole diversity of painted-pottery motifs: from potsherds, from excavatory reports, and from as many as twenty archaeological museums of India, it explores the genesis of popular themes/forms and how they developed from their most primitive character to mature Harappan period--with sharp focus on their creative purpose, stylistic/formal variants and their spatial-temporal parameters. Also surveying extensively the painted pottery of Indus Valley: of both pre- and post-Harappan cultures, the author painstakingly classifies artmotifs into their different genres: religious, ritualistic, decorative, superstitious, and personal. And into their different forms too, like geometrical, floral, faunal, other. "In her effort to probe the beginnings of pre-Harappan pottery motifs, the artist in Dr. Satyawadi visualizes their continuity not only in mature Harappan cultures, but even in contemporary folk and tribal art of India: almost in their pristine, primitive form--keeping alive, from generation to generation, an insistent, inherently powerful tradition, despite the ravages of time. The author also tries to trace the linkages between the painted motifs (on pottery) of Indus Valley and other old-world cultures, notably, Mesopotamian, Egyptian, Afghan, Iranian, and Baluchi. "With one hundred thirty six photographic reproductions, this study is supplemented by over 650 line-drawings which, (all beautifully copied by th. …

N.A. Condición: New. ISBN:9788173054303.

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