Item Code: IDE539
by Vidya DehejiaHardcover (Edition: 2005)
Munshiram Manoharlal Publishers Pvt. Ltd.
Size: 11.4" X 8.7"
Pages: 342 (B & W Illus: 252)
Price: $95.00 Shipping Free - 4 to 6 days
Story-telling is an ever popular activity that occurs space and time. Which child has not sat enthralled by the magic of story-tellers, and which adult has not succumbed to the seduction of reenactments of great legends? India's ancient Buddhist capitalized on the lure of stories, portraying them visually in stone reliefs and painted murals, to introduce viewers to the Buddhist faith and to confirm them in their belief. Commencing in the first century BC. Buddhist monasteries across the Indian subcontinent were extensively decorated with visual narratives of varying sizes, from a mere twelve inch panel to an extensive fifty foot wall.
This book is a pioneering exploration of the manner in which stories are told. It identifies seven modes of visual story-telling used by the artist in early India, considers the reason for one mode being chosen over another, and explores how, the effect of a story on the viewer varied according to the manner chosen to portray it. The book is a contribution to the expanding sphere of art historical investigation and also to the field of Buddhist studies.
About the Author:
Vidya Dehejia is currently Curator of Indian and Southeast Asian Art at the Smithsonian Institution's two museums of Asian Art, the Freer Gallery of Art and the Arthur M. Sackler Gallery, located in Wahsingon D.C. During her extensive prior academic career, she published extensively in the field of Indian art, ranging from early Buddhist material to British India, and from Tamil poetry to tantric temples. She has to her credit ten sole-authored books, three edited volumes and numerous articles. Her books include Early Buddhist Rock Temples (London, 1972); Yogini Cult and Temples: A Tantric Tradition (New Delhi, 1986); Slaves of the Lord: The Path of the Tamil Saints (New Delhi, 1988); and Impossible Picturesqueness: Edward Lear's Indian Watercolours (New York, 1992).
DISCOURSE AND STORY
|Chapter One||On Modes of Visual Narration||3|
|Chapter Two||The Multivalent Sign in Early Buddhist Art||36|
|Chapter Three||Text and Image||55|
|Chapter Four||Towards Narrative: Sanchi Stupa 2||75|
|Chapter Five||Emergence of Visual Narrative: Bharhut Stupa||83|
|Chapter Six||Narrative Achieves Assurance: Sanchi Stupa 1||110|
|Chapter Seven||Variations in Narrativity: Lesser Monasteries||135|
|Chapter Eight||Maturity of Narrative: Amravati and Nagarjunakonda||150|
|Chapter Nine||Narrative Cycles at Gandhara||183|
|Chapter Ten||Ajanta's Painted Murals||207|
|Chapter Eleven||The Narrative Tradition Recedes||238|
|Chapter Twelve||Concluding Remarks||271|
|Appendix One||Donative Inscriptions on Bharhut Sculptures||277|
|Appendix Two||Jatakas at Bharhut||281|
|Appendix Three||Location of the Sanchi Gateway Narratives||283|
|Appendix Four||Vajrapani in Gandharan Narratives||287|
|Appendix Five||Inscriptions of Ajanta's Major Donors||290|
|Appendix Six||Ajanta's Minor Donative Inscriptions||293|
|Appendix Seven||Viharasvamin / Viharasvamini||296|