The Indira Gandhi National Centre for the Arts (IGNCA) is an institution that studies and experiences all arts, focusing on their mutual interdependence with nature, social structure, and cosmology. Through diverse programs of research, publication, training, creative activities, and performance, the IGNCA seeks to place the arts within the context of the natural and human environment. Nari Samvaad Prakalp, a significant initiative by IGNCA, focuses on exploring women's contributions to Indian literature, culture, and art. It aims to uncover overlooked aspects of women's discourse vital for empowerment. Through seminars, workshops, and research projects, it sheds light on their impact. The project's endeavours include national and international academic and cultural activities, along with undertaking research and field studies, and furthering its goals effectively.
In 2021, a research and field studies project was taken up by Dr. Ramadevi Sekhar, titled "Tribhanga - The Sculptural Evolution of Durga and Ardhanarishvara' under the Nari Samvaad Prakalp, IGNCA. This project aimed to study the various postures used to depict these two forms right from the Pallava age to the Chola period, and the elements introduced to achieve the balance of the forms. This iconographical study is significant for identification, and interpretation of these sculptures. There are also various ancient texts in Indian knowledge tradition that provide detailed principles and prescriptions for the creation and worship of religious and secular icons, including the icons under study.
This illustrated monograph conducts a thorough analysis of postures as delineated in treatises such as, the Shilpashastras, Agamas, Puranas, and Natyashastra.
Emphasizing the gradual evolution of these forms, from their initial 'Samapada posture to attaining the sublime "Tribhanga' posture, the narrative underscores the sculptor's imperative role in facilitating such evolution, and bringing these to the level of delicate, yet, solid expressions. Through meticulous examination, this work illuminates the iconographic nuances inherent in the depictions of Durga and Ardhanarishvara, offering readers a deeper understanding of their artistic journey across ages.
I extend appreciation to Dr. Ramadevi Sekhar, who brings a wealth of knowledge and expertise to her analysis of Tribhanga, with a special focus on icons of Durga and Ardhanarishvara sculptures in Tamil Nadu. She has meticulously documented and analyzed the intricate details of these iconographic representations. The IGNCA-NSP team, headed by my colleague Prof. (Dr.) Sudhir Lall, deserves due credit for their keen involvement in the project, and seeing this through each and every step, and bringing this publication out.
I hope this illustrated monograph captures the interest of both scholars and students, and inspire researchers to explore new avenues of comparative and analytical research on the topic. Exploring the evolution of these iconic figures across different historical periods must provide valuable insights into not just artistic changes, but also into cultural and philosophical shifts over time. We believe that readers worldwide will derive value from this humble, yet, meaningful contribution by the IGNCA.
For thousands of years, people in Asia have created art that is seemingly endless in quantity and infinitely diverse. These works were often materializations of their creators' most sacred religious and philosophical beliefs, but could be interpreted by anyone at any stage of spiritual development. On one level, the art expressed concepts so abstract that technical vocabulary had to be developed to express them verbally; on another level, they portrayed the simplest acts of devotion, expressing the belief that an offering and faith could bring material blessings. Through creating religious structures and images that depicted divine beings and immutable truths, the creators were able to interact with the divine as though they lived close by. The temple art works then are not just aesthetically pleasing, but are visual representations of the transcendent made understandable to humans.
The conception of the goddess has become synonymous with feminine might in the culture where she originated. As the goddess who protected the order of the world through her demon-slaying exploits, Durga evolved into a pan-Indian martial goddess.
Right from the Indus Valley, Durga has found manifestations because her multifaceted attributes strengthened the connection between commoner and regal levels of devotees worshiping her. The image of Durga-Mahisasurmardini has been an enduring source of inspiration for the artistic geniuses over the centuries, showing a clear transformation of its iconography.
Vedas (1182)
Upanishads (493)
Puranas (624)
Ramayana (741)
Mahabharata (354)
Dharmasastras (165)
Goddess (496)
Bhakti (242)
Saints (1503)
Gods (1290)
Shiva (370)
Journal (187)
Fiction (60)
Vedanta (362)
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