| Specifications |
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Publisher: Aayu Publications, New Delhi |
| Author Mousumi Deka | |
| Language: English | |
| Pages: 254 (Colour Illustrations) | |
| Cover: HARDCOVER | |
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10.00x7.5 inch |
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Weight 740 gm |
| Edition: 2024 | |
| ISBN: 9789391685737 | |
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HBT940 |
| Delivery and Return Policies |
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Usually ships in 5 days |
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Returns and Exchanges accepted within 7 days |
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Free Delivery |
The depiction of woman is one of the important parts for the beautification in the temple art. In the temple art, the woman is shown in many forms as goddess, dancer, musician, and sometimes depicted in erotic theme and in other secular theme. Some ancient sources like epigraphic records, literary sources, temple ruins etc. informed that like other places of India, Assam was an important centre for sculptural activity during 5 century AD-12 century AD. Under different subject matters, a great variety of female sculptures adorned the temple walls.
The introductory chapter highlights the concept of woman and her religious sigruficance, and describes about the ancient literatures where woman is defined. The status of woman in Vedas is discussed thoroughly Sringara (erotic) Rasa is closely connected with the beauty of women. The expression of Rasa is defined here. It is discussed about the development of the image worship in ancient Assam A great variety of ornaments are observed on the female images. Different types of ornaments of ancient Assam, and related mythologies are discussed here.
The second chapter examines the development of visual representations of female beauty in prehistoric period. Belan Venus was the first known sculpture of woman in India created fifteen to twenty thousand years ago. Besides, the chapter deals with the Indian art where female beauty is prominently observed. The chapter analyses the origin of the female figures like Salabhanjika, Yakshi etc. which occupy important place in Indian art.
The third chapter concentrates on the female beauty of religious theme in the temple art of Assam. It highlights the tradition of Devi worship in ancient Assam. A great variety of female divinities in sculptural representations are discussed thoroughly. Saktism and Tantrism are religious modes which are closely connected with the development of images of goddesses in temple art.
The fourth chapter focuses on the female beauty of erotic theme in the temple art of Assam. Most of the female sculptures of erotic theme are found from the temple sites of Assam, and some female sculptures are found at museums. The study focuses on the origin of sculptural representations of female involved in erotic theme of world art. In prehistoric art, erotic motif was visible. In temple art, women are involved in various kinds of erotic postures which are distinctively impressive.
The fifth chapter highlights on the female beauty of dance and music sculptures which are mostly found from the temple walls. Though, mostly, women are found in dance posture, but sometimes women are showed as musician playing on musical instruments like vina, drum etc.
The entire study is based upon the site visits and literature survey: For the research work, different temple sites, museums of Assam are visited. Besides, for in-depth study, prominent ancient sites of India like Hampi archaeological sites, Badami cave of Karnataka, Ajanta cave, Ellora cave, Elephanta cave of Maharashtra, temple sties of Rajasthan etc. have been visited.
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