Carol Radcliffe Bolon
Biographic Data
| ID | 3831179 |
|---|---|
| NAME | Carol Radcliffe Bolon |
| GIVEN NAMES | Carol Radcliffe |
| FAMILY NAME | Bolon |
| SIGNATURE | BOLON C R |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Opening Kailasanatha
In Opening Kailasanatha, Padma Kaimal explains the intended message of the creators of the temple and its means of reception by the viewers. Under her guidance in ritual clockwise circling of the complex, one focuses on animated mythic depictions that fill the temple walls of the gods' worldly engagement; then circling in the counterclockwise direction, the focus changes to themes of renunciation and ascetic practice. Following those complementar…
The Dvaravati Wheels of the Law and the Indianization of South East Asia
The Powers of Art
Forms of the Goddess Lajja Gauri in Indian Art
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. 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 in the language of Indian art. Since there are no texts to e…
Images of Agastya in Nepal
Srivatsa, the Babe of Goddess Sri
The Parvati Temple, Sandur and Early Images of Agastya
Temple de l'epoque Châlukya (670-80), situe dans la region de Karnataka. Architecture et sculptures exterieures: representations de Civa Pasupati a deux et quatre bras (tenant un lotus, serpent, trident ou autres attributs), d'Agastya, un des sept sages de l'Inde du Sud, dont l'A. commente le role dans la mythologie indienne du VII s. pendant les regnes de Vikramaditya et Vinayaditya. Comparaison avec d'autres temples Châlukya: Alampur, Aihole, M…
Indian Mediaeval Sculpture
The Mahakuta Pillar and Its Temples
Region de Karnataka, S.-E. de l'Inde. L'elegante colonne, inscrite de la date correspondant a 602 apr. J.-C., depuis 1920 au Musee archeologique de Bijapur, a ete associee au site du temple de Mahakutesvara: la colonne rappelle une donation fonciere au dieu Makutesvaranatha. La verification de cette association est importante, quant a l'antiquite eventuelle du temple. Discussion portant sur le style (architecture, sculptures), les inscriptions, e…
An Architectural Description and Analysis of the Early Western Calukyan Temples
No prominent works on this page.
The Mahakuta Pillar and Its Temples
Region de Karnataka, S.-E. de l'Inde. L'elegante colonne, inscrite de la date correspondant a 602 apr. J.-C., depuis 1920 au Musee archeologique de Bijapur, a ete associee au site du temple de Mahakutesvara: la colonne rappelle une donation fonciere au dieu Makutesvaranatha. La verification de cette association est importante, quant a l'antiquite eventuelle du temple. Discussion portant sur le style (architecture, sculptures), les inscriptions, e…
An Architectural Description and Analysis of the Early Western Calukyan Temples
The Parvati Temple, Sandur and Early Images of Agastya
Temple de l'epoque Châlukya (670-80), situe dans la region de Karnataka. Architecture et sculptures exterieures: representations de Civa Pasupati a deux et quatre bras (tenant un lotus, serpent, trident ou autres attributs), d'Agastya, un des sept sages de l'Inde du Sud, dont l'A. commente le role dans la mythologie indienne du VII s. pendant les regnes de Vikramaditya et Vinayaditya. Comparaison avec d'autres temples Châlukya: Alampur, Aihole, M…
Indian Mediaeval Sculpture
Srivatsa, the Babe of Goddess Sri
Images of Agastya in Nepal
Forms of the Goddess Lajja Gauri in Indian Art
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. 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 in the language of Indian art. Since there are no texts to e…
The Powers of Art
The Dvaravati Wheels of the Law and the Indianization of South East Asia
Opening Kailasanatha
In Opening Kailasanatha, Padma Kaimal explains the intended message of the creators of the temple and its means of reception by the viewers. Under her guidance in ritual clockwise circling of the complex, one focuses on animated mythic depictions that fill the temple walls of the gods' worldly engagement; then circling in the counterclockwise direction, the focus changes to themes of renunciation and ascetic practice. Following those complementar…
History (8 works) · Ancient history (6 works) · Art (6 works) · Indian and Buddhist Studies (5 works) · History (4 works) · Indian History and Philosophy (4 works) · Art history (3 works) · South Asian Studies and Conflicts (3 works) · Computer Science (2 works) · Eurasian Exchange Networks (2 works)