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Stone figures hardened by ascetic discipline and heroic effort face north in deep shadow. There they meet the gazes of the same gods and goddesses but with gentler bodies enacting grace, warmth, seduction, and marriage, drenched in sunlight, facing south. These figures adorn the eighth-century Kailasanatha temple complex in southeastern India, built by rulers who were both warriors and ascetics, engaged in the work of this world and in spiritual quests. They designed their temple as an exuberant visual feast to sustain both modes of being. In 'Opening Kailasanatha', Padma Kaimal deciphers the intentions of the monument's makers, reaching back across centuries to illuminate worldviews of the ancient Indic south. She reveals how circling the complex in a clockwise direction focuses the mind and spirit on worldly engagement ; in a counterclockwise direction, on renunciation and ascetic practice. This pairing of highly charged, complementary pathways enabled devotees to grasp these counterpoised opportunities in their own listening, gazing, moving bodies. By focusing on the material form of the complex - the architecture, inscriptions, and sculptures, along with the spaces they carve out that guide light, shadow, sound, and footsteps - Kaimal offers insights that complement what surviving texts tell us about Shaiva Siddhanta ideas and practices, providing a rare opportunity to walk in the distant past.
Hindu temples --- Hindu art --- Śaiva Siddhānta --- Art hindou --- Hindouisme --- Kailasanatha Temple (Kānchipuram, India) --- India --- Hinduism. --- Temples.
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Hindu art --- Ecology in art. --- Nature (Aesthetics) --- Art and nature --- Nature and art --- Aesthetics --- Art, Hindu --- Art --- Petit âge glaciaire --- Civilisation --- Art et ecologie --- Art hindou --- Hindu art. --- Barbarism --- Auxiliary sciences of history --- Culture --- World Decade for Cultural Development, 1988-1997 --- India --- Bharat --- Bhārata --- Government of India --- Ḣindiston Respublikasi --- Inde --- Indië --- Indien --- Indii︠a︡ --- Indland --- Indo --- Republic of India --- Sāthāranarat ʻIndīa --- Yin-tu --- インド --- هند --- Индия --- Art védique --- Hindouisme --- Antiquités hindoues --- Symbolisme hindou --- Architecture hindoue --- Art tantrique --- Autels hindous --- Peinture hindoue --- Sculpture hindoue --- Art religieux --- Civilisation hindoue --- Art et environnement --- Écologie et art --- Environnement et art --- Écologie --- Art et sciences --- Civilisation universelle --- Civilisations --- Héritage culturel --- Climat --- philosophie --- Histoire --- Philosophie --- Influence extraterrestre --- Changements --- Animaux et civilisation --- Anthropologie --- Eau et civilisation --- Guerre et civilisation --- Islam et civilisation --- Mer et civilisation --- Nature et culture --- Culture numérique --- Patrimoine culturel --- Plantes et civilisation --- Religion et civilisation --- Astronautique et civilisation --- Sauvages --- Sciences et civilisation --- Technique et civilisation --- Bon sauvage --- Christianisme et civilisation --- Civilisation comparée --- Civilisation et mondialisation --- Biculturalisme --- Ésotérisme --- Évolution sociale --- Folklore --- Moeurs et coutumes --- Problèmes sociaux --- Religions --- Savoir et érudition --- Société primitive --- Civilisation chrétienne --- Civilisation islamique --- Civilisation occidentale --- Civilisation orientale --- Conflit culturel --- Décivilisation --- Éducation
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