Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Language and Literature > Shringara: The Faces Of Indian Beauty
Displaying 3280 of 4536         Previous  |  NextSubscribe to our newsletter and discounts
Shringara: The Faces Of Indian Beauty
Shringara: The Faces Of Indian Beauty
Description
About the book

Shringara is a metaphor of love in its various expressions including the spiritual dimension. Shringara is equally an aesthetic that explores the pleasure of being the lover and exuberance for the beloved, who is also manifestly the divine. Shringara journeys as the king of rasas through forms that bind the ancient to the modern. The book presents a multidisciplinary interpretation through poetry, painting, architecture, visual arts and brings alive the joy of beauty. Adorned with illustrations, myriad representations that seek to capture the essence of the rasa, Shringara will take you into the known and the unknown.

About the Author

Alka Pande trained as an art historian and has written prolifically on Indology and Art History. She is the author of several books with a special interest in gender and sexuality; her PhD thesis was on the theme of Ardhanarisvara. She has written extensively on erotic Indian Literature and art as well.

She was awarded the Chevalier dans I ordre des Art et des Lettres in 2006 by the French government. In 2009, she received the Australian Asia Council Special Award. Alka Pande is an independent curator and is currently working as an art consultant for India Habitat Centre, New Delhi. She lives in New Delhi with her husband and daughter.

Introduction

Love is the first born loftier than the gods the fathers and men. You, o love are the eldest of all altogether mighty. To you we pay homage. Grater than the breadth of earth and heaven or of waters and fire you O love are the eldest of all altogether mighty. To you we pay homage. In many a from of goodness o love you show your face grant that these may penetrate within our hearts send elsewhere all malice. As an art historian, I am often asked to define beauty in a word, phrase, or even as a concept. I see beauty essentially as a value connected to the perception of different affirmative aspects of human emotionality. When we perceive something that is in harmony with nature and generates feelings of joy, fulfilment and pleasure within us, we describe it as being beautiful.

The concept of beauty and aesthetics are both part of the European tradition. The closest parallels in the Indian lexicon are shringara and saundarya. Their ambit lies in the untranslatable—the slippage that occurs when shringara is translated into beauty. In fact this hook belongs more to the domain of that slippage, the spaces between the concepts of beauty, shringara and its further dimension, saundarya. Many-layered Meanings.

Beauty, in its quintessential sense, is innate rather than created. It is to he discovered, rather than ornamented, and possessed rather than sculpted. Its appeal is different when seen through the eyes of the samajika (lay person) and the rasikam (trained aesthete). The lay person derives a visual delight, while the aesthete moves beyond the sensual beauty of the subject to an uaner, subjective and private perception, rendering the concept more philosophical. Saunda.’a is this half-received and half-perceived phenomenon. Through the dual realms of shringara and saundarya, I discovered that the concepts and traditions of Indian aesthetics and beauty were like an onion: for every layer peeled, another notion waited to be unfolded, and yet another lay beneath.

The notions of Indian beauty have been drawn from Sunddarya shastra, a compendium of the ideas of philosophers, poets, aesthericians, dancers, musicians, religious texts, secular texts and the Puranas. At the base of the pyramid is Natasyashastra in which is embodied the first written canvas of the performance and appreciation of beauty or the shringara rasa, also known as the rasaraja or the king of all rasas.

The notion of beauty defies any attempt at limited and compartmentalized generalization. All over the world, at different times in human history, the idea of beauty has meant different things to different people, whether it he in terms of aesthetic experience, concepts of diviuity, perceptions of nature or physical form.

Beyond Definition

The concept of ‘beauty’ has never been an absolute and it will never he for there are so many manifestations, so many ways of perceiving it, so many definitions, so many notions. The most immediate is physical beauty the outer image that pleases in its very appearance and is easy to behold since it boasts perfect proportions. The human form provided the most universal inspiration for the depiction of perfect physical beauty. The Greek poets idolized it, painters painted it, sculptors sculpted it, philosophers pondered over it, and the bards sang of it. In the Indian context, physical beauty was always linked to nature. For instance, a maiden with beautiful eyes was referred to as kamal nayan (lotus-eyed) and flowing black hair was compared to ark monsoon clouds.

Experiencing beauty involves extending its landscape to include the performing arts, the senses, the fragrances, and the ambience that the viewer experiences and derives joy from.

Ways of Perceiving Beauty

There are myriad ways in which one can experience and appreciate beauty;

Beauty through participation is of the highest 3rder, since this is beauty beyond utility. The creation and celebration of beauty through subjects of beauty is an integral part of the Indian psyche. ‘Whether it is adornment of :he body or the dwelling, or making beautiful subjects of daily use—there is a vibrant connection between the maker, the object itself and the users of these objects. From the Indian point of view, the very act of creating something new, integrating the beautiful in daily living, is an evocation of Vishvakarma, the Divine Architect.

Beatuy through ritual establishes a correspondence between the microcosm and the macrocosm, between the world of humans and that of the gods, between chaos and order.

Contents

Acknowledgements11
Introduction13
Natyashastra The Beginnings3
Navarasa The Emnodiment of Flavour19
Shirngara The Rasaraja King of Rasas29
Kama The Erotic45
Kavya Beauty in Verse61
Chitra Lines of Pleasure83
Shilpa Shastra Adornment in Stone101
Sangeet Food For The Soul119
Nritya Joy In Rhytm135
Salah Shringara Adorning The Body149
Shringara In Living Culture163
Shringara From The Ancient To The Modern173
Glossary182
Photo credits192
Index193

Shringara: The Faces Of Indian Beauty

Item Code:
NAE166
Cover:
Hardcover
Edition:
2011
ISBN:
978812917564
Size:
11.5 inch X 9.0 inch
Pages:
226
Other Details:
Weight of the Book: 1.4 kg
Price:
$75.00   Shipping Free - 4 to 6 days
Add to Wishlist
Send as e-card
Send as free online greeting card
Shringara: The Faces Of Indian Beauty

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 3948 times since 16th Mar, 2013
About the book

Shringara is a metaphor of love in its various expressions including the spiritual dimension. Shringara is equally an aesthetic that explores the pleasure of being the lover and exuberance for the beloved, who is also manifestly the divine. Shringara journeys as the king of rasas through forms that bind the ancient to the modern. The book presents a multidisciplinary interpretation through poetry, painting, architecture, visual arts and brings alive the joy of beauty. Adorned with illustrations, myriad representations that seek to capture the essence of the rasa, Shringara will take you into the known and the unknown.

About the Author

Alka Pande trained as an art historian and has written prolifically on Indology and Art History. She is the author of several books with a special interest in gender and sexuality; her PhD thesis was on the theme of Ardhanarisvara. She has written extensively on erotic Indian Literature and art as well.

She was awarded the Chevalier dans I ordre des Art et des Lettres in 2006 by the French government. In 2009, she received the Australian Asia Council Special Award. Alka Pande is an independent curator and is currently working as an art consultant for India Habitat Centre, New Delhi. She lives in New Delhi with her husband and daughter.

Introduction

Love is the first born loftier than the gods the fathers and men. You, o love are the eldest of all altogether mighty. To you we pay homage. Grater than the breadth of earth and heaven or of waters and fire you O love are the eldest of all altogether mighty. To you we pay homage. In many a from of goodness o love you show your face grant that these may penetrate within our hearts send elsewhere all malice. As an art historian, I am often asked to define beauty in a word, phrase, or even as a concept. I see beauty essentially as a value connected to the perception of different affirmative aspects of human emotionality. When we perceive something that is in harmony with nature and generates feelings of joy, fulfilment and pleasure within us, we describe it as being beautiful.

The concept of beauty and aesthetics are both part of the European tradition. The closest parallels in the Indian lexicon are shringara and saundarya. Their ambit lies in the untranslatable—the slippage that occurs when shringara is translated into beauty. In fact this hook belongs more to the domain of that slippage, the spaces between the concepts of beauty, shringara and its further dimension, saundarya. Many-layered Meanings.

Beauty, in its quintessential sense, is innate rather than created. It is to he discovered, rather than ornamented, and possessed rather than sculpted. Its appeal is different when seen through the eyes of the samajika (lay person) and the rasikam (trained aesthete). The lay person derives a visual delight, while the aesthete moves beyond the sensual beauty of the subject to an uaner, subjective and private perception, rendering the concept more philosophical. Saunda.’a is this half-received and half-perceived phenomenon. Through the dual realms of shringara and saundarya, I discovered that the concepts and traditions of Indian aesthetics and beauty were like an onion: for every layer peeled, another notion waited to be unfolded, and yet another lay beneath.

The notions of Indian beauty have been drawn from Sunddarya shastra, a compendium of the ideas of philosophers, poets, aesthericians, dancers, musicians, religious texts, secular texts and the Puranas. At the base of the pyramid is Natasyashastra in which is embodied the first written canvas of the performance and appreciation of beauty or the shringara rasa, also known as the rasaraja or the king of all rasas.

The notion of beauty defies any attempt at limited and compartmentalized generalization. All over the world, at different times in human history, the idea of beauty has meant different things to different people, whether it he in terms of aesthetic experience, concepts of diviuity, perceptions of nature or physical form.

Beyond Definition

The concept of ‘beauty’ has never been an absolute and it will never he for there are so many manifestations, so many ways of perceiving it, so many definitions, so many notions. The most immediate is physical beauty the outer image that pleases in its very appearance and is easy to behold since it boasts perfect proportions. The human form provided the most universal inspiration for the depiction of perfect physical beauty. The Greek poets idolized it, painters painted it, sculptors sculpted it, philosophers pondered over it, and the bards sang of it. In the Indian context, physical beauty was always linked to nature. For instance, a maiden with beautiful eyes was referred to as kamal nayan (lotus-eyed) and flowing black hair was compared to ark monsoon clouds.

Experiencing beauty involves extending its landscape to include the performing arts, the senses, the fragrances, and the ambience that the viewer experiences and derives joy from.

Ways of Perceiving Beauty

There are myriad ways in which one can experience and appreciate beauty;

Beauty through participation is of the highest 3rder, since this is beauty beyond utility. The creation and celebration of beauty through subjects of beauty is an integral part of the Indian psyche. ‘Whether it is adornment of :he body or the dwelling, or making beautiful subjects of daily use—there is a vibrant connection between the maker, the object itself and the users of these objects. From the Indian point of view, the very act of creating something new, integrating the beautiful in daily living, is an evocation of Vishvakarma, the Divine Architect.

Beatuy through ritual establishes a correspondence between the microcosm and the macrocosm, between the world of humans and that of the gods, between chaos and order.

Contents

Acknowledgements11
Introduction13
Natyashastra The Beginnings3
Navarasa The Emnodiment of Flavour19
Shirngara The Rasaraja King of Rasas29
Kama The Erotic45
Kavya Beauty in Verse61
Chitra Lines of Pleasure83
Shilpa Shastra Adornment in Stone101
Sangeet Food For The Soul119
Nritya Joy In Rhytm135
Salah Shringara Adorning The Body149
Shringara In Living Culture163
Shringara From The Ancient To The Modern173
Glossary182
Photo credits192
Index193
Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Based on your browsing history

Loading... Please wait

Related Items

Twelve Patterns of Shringara – Adornment of Shri Jagannatha Ji
Paata Painting on Patti
Folk Art from the Temple Town of Puri (Orissa)
Artist: Rabi Behera
39.0 inch X 23.0 inch
Item Code: PU07
$395.00
 With Frame (Add $275.00)
Add to Cart
Buy Now
Devi with Shringar
Wood, Bronze and Fabric From South India
23.0 inch x 16.0 inch x 7.0 inch
6.0 kg
Item Code: ZBF90
$995.00
Add to Cart
Buy Now
The Bridal Shringara
Oil Painting on Canvas
Artist: Anup Gomay
48 inch X 36 inch
Item Code: OU50
$495.00
 With Frame (Add $275.00)
Add to Cart
Buy Now
Large Size  Looking Into The Mirror (Shringar)
Brass Statue
52" X 19.4" X 15.6"
54.5 Kg
Item Code: EQ64
$1675.00
Add to Cart
Buy Now
Shringar
Batik Painting On Cotton
2.8 ft X 3.0 ft
Item Code: BK76
$35.00
Add to Cart
Buy Now
Shringara of the Princess
Oil Painting on Canvas
34.5 inches X 46.5 inches
Item Code: OR71
$395.00
 With Frame (Add $275.00)
Add to Cart
Buy Now
Shringar of the Lady
Oil Painting on Canvas
23.0 inches X 34.0 inches
Item Code: OR59
$295.00
 With Frame (Add $225.00)
Add to Cart
Buy Now
Shringar The Ras Raj: A Classical Indian View
by Ved Bhatnagar
Hardcover (Edition: 2004)
Abhinav Publications
Item Code: IDI737
$60.00
Add to Cart
Buy Now

Testimonials

I received my black Katappa Stone Shiva Lingam today and am extremely satisfied with my purchase. I would not hesitate to refer friends to your business or order again. Thank you and God Bless.
Marc, UK
The altar arrived today. Really beautiful. Thank you
Morris, Texas.
Very Great Indian shopping website!!!
Edem, Sweden
I have just received the Phiran I ordered last week. Very beautiful indeed! Thank you.
Gonzalo, Spain
I am very satisfied with my order, received it quickly and it looks OK so far. I would order from you again.
Arun, USA
We received the order and extremely happy with the purchase and would recommend to friends also.
Chandana, USA
The statue arrived today fully intact. It is beautiful.
Morris, Texas.
Thank you Exotic India team, I love your website and the quick turn around with helping me with my purchase. It was absolutely a pleasure this time and look forward to do business with you.
Pushkala, USA.
Very grateful for this service, of making this precious treasure of Haveli Sangeet for ThakurJi so easily in the US. Appreciate the fact that notation is provided.
Leena, USA.
The Bhairava painting I ordered by Sri Kailash Raj is excellent. I have been purchasing from Exotic India for well over a decade and am always beyond delighted with my extraordinary purchases and customer service. Thank you.
Marc, UK
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2017 © Exotic India