The 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.
The weight of words, the impact of photographs: Short texts supported by about 530 illustrations mainly in color. The author takes a fresh look on the museum antique pieces to follow the footsteps of the fertility goddess Lajja Gauri from the first centuries ac. until the earliest Prehistoric testimonies.The complete design of the goddess in Lajja Gauri attitude, her symbol ?M+V? and the swastika appear at Mezin, Ukraine, towards 10.000 bc. The migration of these symbols from the Black Sea cultures will reach all the Ancient World: Prehistoric Egypt, Neolithic Western China, Near East, Indus valley, Western Europe, ? until Easter island. The theories of the author, illustrated by his interpretation of the antique pieces, bring a fresh reading on many topics of history of ancient civilizations and on the iconographic origin of the universal goddess of sexuality.
Striking images of a certain Indian goddess have been variously referred to as the "shameless woman" the "nude squatting goddess," the "mother goddess," or, because her historical name remains unknown, more than twenty-five names, among them Aditi, Lajjā Gaurī, Renukā, and Nagna Kabambdha. The best-known images of this goddess have a female torso and a lotus flower in place of a head, while her legs are bent up at the knees and drawn up to each side in a position that has been described as one of "giving birth" or "self-display." This type of goddess figure is explained as part of a long, highly sophisticated tradition of expressing fertility and well-being in Indian art. The artists creating images of Lajjā Gaurī drew on various ancient symbols of fortune, fertility, and life-force to communicate her power through their rich heritage of meanings. As these historical-religious symbols and images were constantly reused and reincorporated, they formed a new and enriched religious context. In the process of recycling they became empowered cultural metaphors, visual morphemes in the language of Indian art. 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 Lajjā Gaurī's rich symbolic meanings and cultural context.
The roots between the Hindu religion and the wider culture are deep and uniquely complex. No study of either ancient or contemporary Indian culture can be undertaken without a clear understanding of Hindu visual arts and their sources in religious belief and practice. Defining what is meant by religion - no such term exists in Sanskrit - and what is understood by Hindu ideals of beauty, Heather Elgood provides the best synthesis and critical study of recent scholarship on the topic. In addition, this book offers critical background information for anyone interested in the social and anthropological roots of artistic creativity, as well as the rites, practices and beliefs of the hundreds of millions of Hindus in the world today.
The first exhaustive collection of goddess mythologies from India. • Explores the evolution of goddess worship in India over 4,000 years. • Stunning color photographs illustrate many stories of goddess lore never before available in one collection. In India it is said that there is a goddess in every village, a nymph in every lake. Demonesses stand guard on village frontiers, ogresses howl on crossroads, and untamed forests resound with the laughter of celestial virgins. It is a land of mysterious Apsaras and seductive Yakshinis, of terrifying Dakinis and wise Yoginis--each with a story to tell. In this wide-reaching exploration of ancient Hindu lore and legends, author Devdutt Pattanaik discovers how earth, women and goddesses have been perceived over 4,000 years. Some of the tales recounted are revered classics, others are common and folklorish, often held in disdain by priests. Until now, most have remained hidden, isolated in distant hamlets or languishing in forgotten libraries, overwhelmed by the din of masculine sagas. As the tales come to light through word and stunning color imagery, the author identifies the five faces given to the eternal feminine as man sought to unlock the mysteries of life: the female half of existence is at first identified with Nature, gradually deified and eventually objectified. She comes to be seen as the primal mother, fountainhead of life and nurturance. The all-giving mother then transforms into the dancing nymph, a seductress offering worldly pleasures that bind man in the cycle of life. As this nymph is domesticated, the dominant image of woman becomes the chaste wife with miraculous powers. Finally the submissive consort redefines herself as the wild and terrifying goddess who does battle, drinks blood, and demands appeasement. Exploring mysteries of gender and biology, and shedding light on the roots of taboos and traditions practiced in India today, the author shows how the image of the Mother Goddess can be both worshipped and feared when she carries the face of mortal woman.
About the Book A CLASSIC GUIDE TO THE LIVES AND LEGENDS OF THE MANY GODDESSES WHO INHABIT THE HINDU IMAGINATION Lakshmi massages Vishnu’s feet. Is this male domination? Kali stands on Shiva’s chest. Is this female domination? Shiva is half a woman. Is this gender quality? Why then is Shakti never half a man? Taken literally, stories, symbols and rituals of Hindu mythology have much to say about gender relationships. Taken symbolically, they reveal many more things about humanity and nature. Which is the correct reading? The third title in the bestselling ‘Hindu Trinity’ series focuses on the Goddess and respected mythologist Devdutt Pattanaik tries to unravel the secrets locked within her stories, symbols and rituals.
Illustrations: 75 colour and 136 b/w figures and 26 plans Description: In the arid region of Gujarat and Rajasthan with scarce rain, a highly original architectural form developed, that of the stepwell, that is, a well with a long flight of steps leading down to the water's edge. The steps did not remain as a mere adjunct to the well, but increased in complexity. Structural necessity to hold back the loose earth, coupled with the builder's Jove of the ornate, transformed the flight of steps into an elaborate stairway, with many pillared pavilions demarcating the stages and with many storeys on successive pavilions. The Ranki Vav, or the Queen's Stepwell, at Patan, the old capital of Gujarat, was built by Udayamati in memory of her husband late in the eleventh century. The monument was planned on an ambitious scale, over two hundred feet in length, with a draw well nearly one hundred feet deep, and was furnished with no fewer than eight hundred sculptures. The present work is concerned with the architecture, statuary, style and chronology of the Queen's Stepwell. The method of construction is also considered to enable the reader to understand better this unique architectural form. Twenty - six large drawings, specially commissioned, and 211 colour and black - and - white photographs, illustrate the book.
What is a temple? Who built or patronized such structures and why? Temples have always formed a crucial element of the cultural landscape of South Asia. Combining textual analysis, archaeology, and archival research with contemporary anthropology, Archaeology and Text provides a stimulating appraisal of religious life in the past. Through detailed case studies from regions like Karnataka, Maharashtra, Madhya Pradesh, Rajasthan, Bengal, and Orissa, the book examines both the religious architecture of the temples and the cultural practices surrounding them. The essays underscore the importance of the temple in its interaction with diverse interest groups, such as worshippers, ritual specialists, ascetics, patrons, artisans, and others. They also show how temples were not only expressions of political authority but also formed important centres of learning, popular devotion, and pilgrimage. The volume explores the development of bhakti and ascetic traditions in the subcontinent in relation to temples. It investigates the relationship between sacrificial rituals and devotional practices; emergent religious cultures and older traditions; and temples and renouncers. The collection also questions the notion of boundaries surrounding religious traditions underlining the fact that present categories do not fit neatly in those of a bygone era. The introduction provides a succinct account of sacred spaces as they came to be defined in archaeological records from the first millennium BCE onwards.
