Doris Meth Srinivasan
Datos Biográficos
| ID | 1246196 |
|---|---|
| NOMBRE | Doris Meth Srinivasan |
| NOMBRES | Doris Meth |
| APELLIDO | Srinivasan |
| FIRMA | SRINIVASAN D M |
| AFILIACIONES | Stony Brook University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 23 |
| TOTAL DE CITAS | 4 |
| TOTAL COMO AUTOR | 23 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1973 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2022 |
| ÍNDICE H | 1 |
Self-Coronation
Mathura's Hindu art opens with two deities performing a gesture I have named “the self-coronation gesture”; it has no antecedents in Indian art or texts. Śiva and the Warrior Goddess (possibly developing into Mahisāsuramardinī) bestow upon themselves an honorific crowning object, the floral garland. Wherefrom came this particular gesture? The paper assigns the gesture's origin to the Greek Olympian. From this source a progression is traced eastwa…
The immobilised elephant at Dhauli
The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumental sculpture. Aśoka reigned between 270–235 BC and the Dhauli elephant is dated c. 257 BC. Only the elephant's forefront is sculpted; about half of the animal's bulk remains within the rock (Figure 1). One art historian claims that Emperor Aśoka is in the vanguard presenting himself to the people of Kaliṅga. Usually, however, the Dhauli elephant is conside…
Fancy Footwork
This paper is the first assessment of the different sources and shapes in a selection of Gandhāran furniture. Two main types of furniture legs are discussed. These are thought to be originally wooden legs attached to chairs, stools, and beds that are depicted in Kushan sculpture from Gandhāran. The two types are defined by their decoration. The first type is the geometric, lathe-turned furniture leg, the second type of leg is carved, not lathe-tu…
Dangerous Devīs
Śrī-Lakṣmī in Early Art
It has only recently been possible to affirm that Śrī-Lakṣmī was depicted in the north-west of the Indian subcontinent, and this paper represents the first survey of Śrī-Lakṣmī’s early imagery in the region known as Greater Gandhāra in antiquity. Lakṣmī’s northern imagery falls into three conceptual classifications which stem from concepts initially associated with the Goddess in Brahmanic and Epic texts, and in Indian reliefs dating as early as …
On the Cusp of an Era
On the Cusp of an Era
South Asian religious art became codified during the Kusana Period (ca. beginning of the 2nd to the mid 3rd century). Yet, to date, neither the chronology nor nature of Kusana Art, marked by great diversity, is well understood. The Kusana Empire was huge, stretching from Uzbekistan through northern India, and its multicultural artistic expressions became the fountainhead for much of South Asian Art. The premise of this book is that Kusana Art ach…
The Citrautra of the Visnudharmottara Purana
Mathura
Phantasmic Anatomy of the Statues of Mathura
Many Heads, Arms and Eyes
Many Heads, Arms and Eyes, Origin, Meaning and Form of Multiplicity in Indian Art
One of the first things that strike the Western viewer of Indian art is the multiplicity of heads, arms and eyes. This convention grows out of imagery conceived by Vedic sages to explain creation. This book for the first time investigates into the meaning of this convention. The author concentrates on its origins in Hindu art and on preceding textual references to the phenomenon of multiplicity. The first part establishes a general definition for…
From Transcendency to Materiality
Bibliography of Indian Art, History and Archaeology. Volume I. Indian Art
Exploring India's Sacred Art, Selected Writings of Stella Kramrisch
Śiva in Dance, Myth and Iconography
Unhinging Śiva from the Indus civilization
When books on Hinduism begin with a discussion of the Indus Valley civilization, one of the main postulates to illustrate the influence of the Indus upon Hinduism is that Śiva originates from this prehistoric civilization. The postulate is based on three types of objects found in the Mature Harappan context (c. 2500–1900 B.C.) which strongly evoke the personality of the great Hindu god. These objects are phallic emblems and baetyls, seals, and so…
Vedic Rudra-Śiva
Sources of History Illumined by Literature
The Religious Significance of Divine Multiple Body Parts in the Atharva Veda
Sadhyā
SA . M D H Y A : M Y T H A N D R I T U A L 1 by DORIS SRINIVASAN Columbia University, N.Y. I. I n t r o d u c t i o n A t present, a m o n g the H i n d u o r t h o d o x y , there is one c e r e m o n y which is to be p e r f o r m e d each d a y twice, if not thrice. This is the
The Myth of the Panis in the Rig Veda
THE PURPOSE OF THIS PAPER is to examine a myth in the Rig Veda concerning a set of demons called Panis. The myth of the Panis is here seen as an allegorical statement concerning the reestablishment of world order. Aspects of this myth have been previously mentioned in conjunction with other problems in the Rig Veda, but, the myth itself has not been the subject of a critical study. Thus, its story has not been fully explored, nor its symbolism pr…
The Cult of Brahmā
On the Cusp of an Era
South Asian religious art became codified during the Kusana Period (ca. beginning of the 2nd to the mid 3rd century). Yet, to date, neither the chronology nor nature of Kusana Art, marked by great diversity, is well understood. The Kusana Empire was huge, stretching from Uzbekistan through northern India, and its multicultural artistic expressions became the fountainhead for much of South Asian Art. The premise of this book is that Kusana Art ach…
Unhinging Śiva from the Indus civilization
When books on Hinduism begin with a discussion of the Indus Valley civilization, one of the main postulates to illustrate the influence of the Indus upon Hinduism is that Śiva originates from this prehistoric civilization. The postulate is based on three types of objects found in the Mature Harappan context (c. 2500–1900 B.C.) which strongly evoke the personality of the great Hindu god. These objects are phallic emblems and baetyls, seals, and so…
Sadhyā
SA . M D H Y A : M Y T H A N D R I T U A L 1 by DORIS SRINIVASAN Columbia University, N.Y. I. I n t r o d u c t i o n A t present, a m o n g the H i n d u o r t h o d o x y , there is one c e r e m o n y which is to be p e r f o r m e d each d a y twice, if not thrice. This is the
Sadhyā
SA . M D H Y A : M Y T H A N D R I T U A L 1 by DORIS SRINIVASAN Columbia University, N.Y. I. I n t r o d u c t i o n A t present, a m o n g the H i n d u o r t h o d o x y , there is one c e r e m o n y which is to be p e r f o r m e d each d a y twice, if not thrice. This is the
The Myth of the Panis in the Rig Veda
THE PURPOSE OF THIS PAPER is to examine a myth in the Rig Veda concerning a set of demons called Panis. The myth of the Panis is here seen as an allegorical statement concerning the reestablishment of world order. Aspects of this myth have been previously mentioned in conjunction with other problems in the Rig Veda, but, the myth itself has not been the subject of a critical study. Thus, its story has not been fully explored, nor its symbolism pr…
The Cult of Brahmā
The Religious Significance of Divine Multiple Body Parts in the Atharva Veda
Sources of History Illumined by Literature
Vedic Rudra-Śiva
Unhinging Śiva from the Indus civilization
When books on Hinduism begin with a discussion of the Indus Valley civilization, one of the main postulates to illustrate the influence of the Indus upon Hinduism is that Śiva originates from this prehistoric civilization. The postulate is based on three types of objects found in the Mature Harappan context (c. 2500–1900 B.C.) which strongly evoke the personality of the great Hindu god. These objects are phallic emblems and baetyls, seals, and so…
Bibliography of Indian Art, History and Archaeology. Volume I. Indian Art
Exploring India's Sacred Art, Selected Writings of Stella Kramrisch
Śiva in Dance, Myth and Iconography
From Transcendency to Materiality
Many Heads, Arms and Eyes, Origin, Meaning and Form of Multiplicity in Indian Art
One of the first things that strike the Western viewer of Indian art is the multiplicity of heads, arms and eyes. This convention grows out of imagery conceived by Vedic sages to explain creation. This book for the first time investigates into the meaning of this convention. The author concentrates on its origins in Hindu art and on preceding textual references to the phenomenon of multiplicity. The first part establishes a general definition for…
Many Heads, Arms and Eyes
Mathura
Phantasmic Anatomy of the Statues of Mathura
The Citrautra of the Visnudharmottara Purana
On the Cusp of an Era
On the Cusp of an Era
South Asian religious art became codified during the Kusana Period (ca. beginning of the 2nd to the mid 3rd century). Yet, to date, neither the chronology nor nature of Kusana Art, marked by great diversity, is well understood. The Kusana Empire was huge, stretching from Uzbekistan through northern India, and its multicultural artistic expressions became the fountainhead for much of South Asian Art. The premise of this book is that Kusana Art ach…
Śrī-Lakṣmī in Early Art
It has only recently been possible to affirm that Śrī-Lakṣmī was depicted in the north-west of the Indian subcontinent, and this paper represents the first survey of Śrī-Lakṣmī’s early imagery in the region known as Greater Gandhāra in antiquity. Lakṣmī’s northern imagery falls into three conceptual classifications which stem from concepts initially associated with the Goddess in Brahmanic and Epic texts, and in Indian reliefs dating as early as …
Dangerous Devīs
Fancy Footwork
This paper is the first assessment of the different sources and shapes in a selection of Gandhāran furniture. Two main types of furniture legs are discussed. These are thought to be originally wooden legs attached to chairs, stools, and beds that are depicted in Kushan sculpture from Gandhāran. The two types are defined by their decoration. The first type is the geometric, lathe-turned furniture leg, the second type of leg is carved, not lathe-tu…
Self-Coronation
Mathura's Hindu art opens with two deities performing a gesture I have named “the self-coronation gesture”; it has no antecedents in Indian art or texts. Śiva and the Warrior Goddess (possibly developing into Mahisāsuramardinī) bestow upon themselves an honorific crowning object, the floral garland. Wherefrom came this particular gesture? The paper assigns the gesture's origin to the Greek Olympian. From this source a progression is traced eastwa…
The immobilised elephant at Dhauli
The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumental sculpture. Aśoka reigned between 270–235 BC and the Dhauli elephant is dated c. 257 BC. Only the elephant's forefront is sculpted; about half of the animal's bulk remains within the rock (Figure 1). One art historian claims that Emperor Aśoka is in the vanguard presenting himself to the people of Kaliṅga. Usually, however, the Dhauli elephant is conside…
History (15 obras) · Art (14 obras) · Indian and Buddhist Studies (14 obras) · Philosophy (8 obras) · Ancient history (7 obras) · Eurasian Exchange Networks (7 obras) · Literature (6 obras) · Archaeology (5 obras) · History (5 obras) · Art history (4 obras)