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The Life of Form in Indian Sculpture
Silpa Prakasa
Elements of Indian Aesthetics: Volume II (Two Streams of Indian Arts: Part III Indian Gesturology)
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An Encyclopaedia of Buddhist Deities, Demigods, Godlings, Saints and Demons: With Special Focus on Iconographic Attributes (2 Volumes)
Towards Ananda: Rethinking Indian Art and Aesthetics

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Ganesha - the Elephant Headed God, Art and Mythology

What is the symbolism of Ganesha's elephant head? Why does Ganesha ride on a mouse? What is the spiritual significance of Lord Ganesha? How was Ganesha especially devoted towards his mother Parvati? What are the different symbols Ganesha holds in his hands? These are some of the questions this article answers.
Ganesha - the Elephant Headed God, Art and Mythology

Vishnu - A Symbolic Appreciation

"'The world rests as the lotus in the palm of my hand, the cosmos revolves around my finger like a discus. I blow the music of life through my conch and wield my mace to protect all creatures'... Vishnu is the Preserver, the protector of all humanity. A deity who saves mankind from calamities which result from its own foibles... (a) popular icon of Vishnu shows him in a dreamlike state reclining upon a mighty serpent and floating upon the primordial waters. Vishnu in his dream state represents that gap in time when creation stands withdrawn and eternity awaits the birth of a new age..."
Vishnu - A Symbolic Appreciation

Green Tara and White Tara: Feminine Ideals in Buddhist Art

"Goddess Tara, a female Buddha and meditational deity, is arguably the most popular goddess in the Buddhist pantheon. She is considered to be the goddess of universal compassion who represents virtuous and enlightened activity. The word Tara itself is derived from the root 'tri' (to cross), hence the implied meaning:' the one who enables living beings to cross the Ocean of Existence and Suffering'. Her compassion for living beings, her desire to save them from suffering, is said to be even stronger than a mother's love for her children."
Green Tara and White Tara: Feminine Ideals in Buddhist Art

Putting The Ocean in a Bowl - The Origin of the Buddha Image

"The Buddha image...has constantly been under debate as to its origin and evolution...Some believe that the first Buddha image had come into being during the lifetime of the Buddha himself...For most scholars however...he earliest Buddha images come from around...some five hundred year after Buddha's Mahaparinirvana...early Buddhist art...sought to represent him by a number of symbols, or material motifs, which had remained associated with him...These motifs, the empty throne and stupa in particular, depicted rather, and with utmost thrust, only Buddha's absence, as it was in his absence that his devotees realized the presence of their Master...the artists, working as per the Buddhist tradition itself, saw Buddha more in the Dharma rather than in a human form...Even during the subsequent late phase...not a single Buddha image...has so far come to light, which does not depict one aspect or the other of the Dharma...It does not so much portray the Buddha as it does the Dharma..."
Putting The Ocean in a Bowl - The Origin of the Buddha Image

Evolution of the Buddha Image

"...the first ever image defined by humanity was not a thing chiseled to a likeness, but such likeness was only discovered in it...the image of the Divine, discovered or made, and its worship, were quite in vogue much before Buddha's days...Buddhist themes first make their appearance in...a number of monolithic pillars surmounted with animal capitals aiming at invoking man's reverence for all creatures, which was the prime thrust of Buddhism...the mind of the Buddhist sculptor, which had so far wrestled between the 'image' and the 'non-image', had at last discovered 'one' in the 'other', that is, the motif in man and the man in motif...it is yet a matter of debate whether (the) early...images were sculpted at Mathura or in Gandhara region...Gandhara images of Buddha are more akin to Greek models, whereas Mathura images show a continuity of its own indigenous tradition...During over 2500 years of its emergence the Buddha image has always been growing and evolving and is today the most loved and preferred image for a drawing room, irrespective to whom and to which land it belongs"
Evolution of the Buddha Image

Hindu Goddesses - Lakshmi and Saraswati- Exotic India Art

The role of the goddess as one who fulfills wishes has remained one of enduring strength and consequence. In the ancient collection of sacred hymns known as the Veda, this aspect of the goddess already becomes manifest. The two most shining examples in this context are The Great Goddesses Lakshmi and Saraswati.
Hindu Goddesses - Lakshmi and Saraswati- Exotic India Art

Shiva as Nataraja - Dance and Destruction In Indian Art

"Shiva the Hindu god of destruction is also known as Nataraja, the Lord of Dancers (In Sanskrit Nata means dance and raja means Lord). The visual image of Nataraja achieved canonical form in the bronzes cast under the Chola dynasty in the tenth century AD, and then continued to be reproduced in metal, stone and other substances right up to the present times. The Chola Nataraja is often said to be the supreme statement of Hindu art."
Shiva as Nataraja - Dance and Destruction In Indian Art

The Dance of Shiva

"God of eroticism, Shiva is... the master of Yoga, which is described as the method used to sublimate virile power and transform it into mental and intellectual power. He is therefore the 'great Yogi.'... 'I have never renounced any vice: it is they who have left me' summarizes the message of Shiva."
The Dance of Shiva
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Thank you so much, I'm honoured and grateful to receive such a beautiful piece of art of Lakshmi. Please congratulate the artist for his incredible artwork. Looking forward to receiving her on Haida Gwaii, Canada. I live on an island, surrounded by water, and feel Lakshmi's present all around me.
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