INTERNATIONAL SEMINAR
ON
SYMBOLISM IN INDIAN ART,
ARCHAEOLOGY AND LITERATURE
1-3 December 2016
ABSTRACT BOOK
Deccan College
Post-Graduate and Research Institute, Pune
(Deemed University)
1
Convener
Prof. Vasant Shinde
ViceChancellor,
Deccan College Post-graduate and Research institute
Deemed University, Pune-6
E-mail: [email protected]
Coordinators
Dr. Shrikant Ganvir, Department of AIHC and Archaeology
E-mail: [email protected]
Mr. Rahul Mhaiskar, Department of Linguistics
E-mail: [email protected]
Mr. Hari Palave, Department of Sanskrit and Lexicography
E-mail: [email protected]
Chief Guest
Prof.Y. Sudershan Rao
Guest of Honour
Dr Senarath Dissanayake
Keynote Speaker
Dr. Kirit Mankodi
‘The Plunder of India’s Heritage’
Chancellor
Prof. A. P. Jamkhedkar
will preside over the function.
This seminar is sponsored by the Indian Council of Historical Research.
2
Deccan College, Deemed University, Pune
MESSAGE
by
Dr. A. P. Jamkhedkar, Chancellor
I welcome all the delegates participating in the International Seminar
on “Symbolism in Indian Art, Archaeology and Literature”.
I wish this conference will discuss important research issues pertaining
to symbolism of architecture, icons, artefacts, memorial stones, texts,
paintings, folk cults, and will also provide an academic platform to the future
generation.Symbolism of ancient culture is a significant aspect to comprehend
multi-faceted dimensions of the past.
I wish magnificent success of the conference.
3
4
Deccan College, Deemed University, Pune
FOREWORD
by
Prof. Vasant Shinde, Vice-Chancellor
I am pleased to welcome you all participating in the International Seminar on
‘‘Symbolism in Indian art, Archaeology and Literature’’.
This seminar aims at discussing significance of symbolism in Indian art, archaeology
and literature to reconstruct the cultural history of ancient India. There will be
discussion on multiple paradigms of ancient Indian symbols as envisaged in art,
archaeological remains, culture, architecture, texts, considering cultural, sociological,
religious, anthropological, mythological significance with spatial and temporal contexts.
The seminar will also highlight recent research trends in various areas of symbolism
of Indian culture.International and national scholars are presenting their researches in
this Seminar.
Around 180 scholars are presenting papers in this International Seminar on different
themes such as symbolism depicted in prehistoric art, epistemological analysis of
ancient belief system, symbolism of different paradigms of ancient culture, religious
meaning of ancient symbols, contextual analysis of decorative motifs, iconographic and
iconological interpretation of architectural and art-historical heritage, symbolism reflected
through iconographic and architectural elements, historiographical analysis of symbolism,
folk deities and their symbolic association, mystery of symbols depicted on coins and
seals, contextual meaning of religious narratives, analytical study of rituals, symmetrical
analysis of motifs on pottery, symbolic interpretation of landscape, symbolism envisioned
through texts, etymology of symbols, symbolic interpretation of memorial stones,
symbolism of artefacts preserved in archaeological context etc.
The genesis of thought-process evolved through this seminar will not only provide
new directions for further research in the fields of Indian culture but also is going
to provide a new platform for young generation.
I wish all the best for grand success of the Seminar.
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LIST OF COMMITTEES
Dr. S. P. Ganvir
Shri R.R. Ghanekar
Smt. Manjiri Karambelkar
Central Organizing Committee
Prof. V.S. Shinde (Chairperson)
Prof. J.D. Sathe
Prof. Sushama Deo
Prof. K. N. Hota
Prof. Shailendra Mohan
Prof. Vijay Sathe
Shri C.V. Joshi
Smt. Trupti More
Shri P.C. Khedekar
Academic Session Programme
Committee
Dr. Prasad Joshi (Chairperson)
Dr. P.C. Sahoo
Dr. P.P.Dandvate
Dr. Arati Deshpande-Mukherjee
Dr. Shilpa Sumant
Shri Gopal Joge
Dr. Gurudas Shete
Smt. Nisha Sawant-Kulkarni
Smt. Astha Dibyopama
Smt. Khusboo Parghi
Shri Prateek Chakraborty
Dr. Kirti Kulkarni
Dr. S. P. Ganvir
Shri Amogh Prabhudesai
Shri Bhav Sharma
Smt. Rucha Abhyankar
Shri Ganesh Sable
Registration Committee
Prof . P. D. Sable (Chairperson)
Dr. Shubhangi Kardile
Dr. Supriya Mahajan
Dr. Kanchana Bhaisare
Smt. Astha Dibyopama
Smt. Megna Carvalho
Smt. Meena Kengar
Smt. Vijaya Mandlik
Shri R.R. Shigwan
Shri Samadhan Shinde
Smt. Priya Ahire
Shri M.M. Londhe
Smt. Sarika Kamthe
Smt. Dhanashri Sarpale
Abstract Committee
Dr. Shilpa Sumant (Chairperson)
Prof. Sonal Kulkarni-Joshi
Dr. Prasad Joshi
Dr. S. P. Ganvir
Shri. Gopal Joge
Smt. Madhavi Godbole
Smt. Khusboo Parghi
Shri Amogh Prabhudesai
Shri Bhav Sharma
Dr. Pankaj Goyal
Dr. Shantanu Vaidya
Publication Committee
Prof. Sonal Kulkarni-Joshi (Chairperson)
Dr. Arati Deshpande-Mukherjee
Dr. Amruta Sarkar
Dr. Shilpa Sumant
Dr. Gurudas Shete
Smt. Khusboo Parghi
Dr. Kirti Kulkarni
Dr. Pankaj Goyal
Shri Prateek Chakraborty
7
Stage & Hall Management Committee
Dr. Veena Mushrif-Tripathy (Chairperson)
Dr. Pradnya Deshpande
Smt Vijaya Valhe
Smt. Khusboo Parghi
Shri V.C. Kamble
Shri B.S. Gajul
Shri H.S. Bhandare
Smt. Pallavi Chhalare
Smt. Kanchan Desai
Smt. Sarika Chavan
Shri C.S. Shendge
Shri Vijay Dhone
Smt. B.M. Kamble
Shri Neelesh Humbre
Shri Prashant Humbre
Shri Ganesh Taware
Shri D.R. Bhilare
Shri S.N. Jadhav
Shri S.R. Gaikwad
Shri. Shridhar Lohkare
Shri. R.R. Shigwan
Shri B.S. Katare
Shri K.B. Gaikwad
Shri S.M. Bhagwat
Shri Gujar
Shri Manohar Khairnar
Reception Committee
Dr. Kantikumar Pawar (Chairperson)
Shri Amit Pendam
Shri Sambhaji Jadhav
Shri B.S. Waghmode
Shri Shridhar Lohkare
Shri H.S. Bhandare
Photography, Presentation System &
Technical Support Committee
Shri Satish Bangar (Chairperson)
Shri. Sunil Jadhav
Shri Sumeet Jadhav
Shri Sanjay Hargude
Shri. Rahul Mhaiskar
Shri Vijay Pawar
Shri Jairaj Bhilare
Shri Gajanan Ambekar
Shri Yogesh Pardeshi
Accommodation Committee
Dr. Satish Naik (Chairperson)
Shri. Hari Palave
Shri P.C. Khedekar
Shri J.G. Kulkarni
Shri Amit Pendam
Shri Bansi Lawhale
Shri Sambhaji Jadhav
Shri Yogesh Devtarse
Shri S.V. Valunj
Shri S. Shendge
Publicity Committee
Dr. Prabodh Shirvalkar (Chairperson)
Shri Amogh Prabhudesai
Shri Prateek Chakraborty
Dr. S. P. Ganvir
Shri G. V. Pahade
Smt. Jyoti Memjade
Exhibition Committee
Shri B.S. Gajul (Chairperson)
Dr. Shahida Ansari
Shri G.D. Mandke
Smt. Neelam Dhapare
Smt. Manjiri Kulkarni
Fund Raising Committee
Smt. Madhavi Godbole (Chairperson)
Dr. Kantikumar Pawar
Shri Hari Palave
Dr. Sachin Joshi
8
Cultural Programme Committee
Dr. Amrita Sarkar (Chairperson)
Dr. Pradnya Kulkarni
Smt. Manjiri Kulkarni
Smt. Astha Dibyopama
Shri. Bansi Lawhale
Smt. Bhagyashri Kamble
Shri. Raju Savale
Shri. B.S. Gajul
Shri. Waghmode
Shri. B.B. Dighe
Shri Ganesh Kachi
Refreshment & Food Arrangement
Committee
Dr. Vrushali Bhosale (Chairperson)
Prof. Shailendra Mohan
Shri. Rahul Mhaiskar
Smt. Noorjahan Pathan
Shri Ganesh Shilwane
Smt. Sarika Chikode
Shri D.S. Survase
Shri Prashant Pasnur
Shri Ambawale
Shri T.H. Rathod
Shri D. B. Dalvi
Shri M.M. Chavare
Smt. Ujwala Karande
Shri Chandrakant Shendge
Shri. Ganesh Kachi
Shri. Anil Dhumal
Shri. Burkunde
Smt. Lalita Kamble
Shri. Mohan Singh
Accounts Committee
Smt. Anita Sonawane (Chairperson)
Dr. Prasad Joshi
Dr. Shailendra Mohan
Smt. Trupti More
Shri. Rahul Mhaiskar
Smt. Pratibha Hole
Smt. Ujawala Kadam
Shri. Shyam Walke
Shri. Vijay Omble
Smt. M. G. Jekate
Shri. Mandar Chavare
Felicitation Committee
Dr. Pradnya Deshpande (Chairperson)
Smt. Trupti More
Smt. Vijaya Valhe
Shri. B. S. Gajul
Smt. Nilam Dhapare
Smt. Priya Ahire
Shri. Vijay Kute
Invitation and Certificate Preparation
Committee
Dr. Pradnya Kulkarni (Chairperson)
Dr. S. P. Ganvir
Dr. S. A. Pradhan
Shri. S. D. Rokade
Shri. B. B. Dighe
Shri. B. S. Waghmode
Shri. Sanjay Hargude
Smt. Meena Kengar
Smt. Vijaya Mandlik
Shri. Amin
Transporatation Committee
Shri. Nilesh Jadhav (Chairperson)
Shri. Sachin Joshi
Dr. Pankaj Goyal
Shri. Bansi Lawhale
Shri. Kishor Shendage
Shri. H. S. Bhandare
Shri. Vijay Omble
Shri. M. M. Londhe
Shri. D. B. Dalvi
9
List of Authors [A to Z] and Paper Titles
No.
Name
Topic
1 Aakanksha
Lord Dhanvantari: Symbol of Ancient Indian
Medical Knowledge
2 Aaryaa Ashutosh Joshi
The Concept of menstruation of women and its
symbolism with Menstruation of The Earth and
rivers.
3 Abhiruchi Oke and
Anuja Patwardhan
The Chausath-yoginis and the symbolism of their
relationship with Bhairava
4 Ajay Pratap
The symbolic corpus of Vindhyan rock art
5 Ajeesh Raj. A
City as Art: A study of Kochi in the context of
International Biennale
6 Ajit Kumar
Possible Connotation of Ladder and Labyrinth
symbols observed in Art
7 Akiyala Imchen
Symbolism in Hunting Practices among the Ao
Nagas: A Case Study of Mangmetong Village,
Nagaland
8 Alpana Awasthi and
Neeta Lalwani
Arun Joshi's City and the River: River
Symbolizing Significance and Salvation to
Mankind
9 Ambarish Khare
Once done is Sufficient : Symbolic Actions in
Vedic Rituals
10 Amit Pendam
Worshipping Departed: Investigating the
Symbolic Significance of the Memorial Stones at
Mahagaon, Maharashtra
11 Amogh Prabhudesai
Symbolism in Sanskrit Numerals
12 Amrithavalli Panyam
Iconology of Shankh: Tracing its Antiquity in
Ancient Indian History
10
No.
Name
Topic
13 Anagha Joshi
A Note on KhaÆv°¨ga
14 Anand Kanitkar
Rock cut cave at Junnar as a Symbol of the Socioeconomic Struggle Between Patrons
15 Anand Singh
J°takas: Narratives and Symbolism through
Archaeological Landscape
16 Anita Rane-Kothare
Significance of the Scorpion as a symbol in Indian
Culture
17 AndrÈ J. J. Baptista
Prehistoric Icons and Indices: Archaeological
Indicators of early Symboling Activity during the
Early Palaeolithic.
18 Anil Kalamboor
Spatiality of exclusion: Symbolizing community
affiliations
19 Anjali Pandey
The Symbolic Representation of Nature in
Sculptural Art Bharhut
20 Anuja Milind Joshi
Symbolic interpretation of images with exposed
genital organs on the Amriteshwar temple at
Ratanwadi
21 Anurag Chauhan
Eliciting Desire: The Iconography of Present Day
Advertisements
22 Anusha Shakya
Buddhist Symbolism - The Wheel and Lotus: Its
Meaning and Significance
23 Aparajita Bhattacharya
Deities on the Doorway: A Reflection on the River
Goddess Symbolism in the Ancient Structural
Temples of Central India from Earliest Times to 6
th Century CE
24 Aparajita Morde
Power, Politics and Supremacy- The many
Meanings of Trampling in Indian Art
25 Arjun R.
Imagescapes and Soundscapes towards Ritualizing
and Symbolizing in ‘Personified Context' during
Southern Neolithic- Iron Age.
11
No.
Name
Topic
26 Arunchandra S. Pathak and Kandhar's Chamunda image - Reflection of
Rajas Vaishampayan
Rashtrakuta Art
27 Arunima Pati
The Changing Symbols of Ganjifa in India
28 Asif Mohiud Din
Understanding the Nature of Symbolism depicted
in Islamic Art of Northern India
29 Atul Kushwaha
Examining the development and significance of
the symbol ‘Vajra' in Ancient Buddhist Art
30 Avradeep Munshi
Marks and their Makers: A case study of
Champaner – Pavgadh; Gujarat.
31 Baba Mishra and
Ranvir Singh
Seals of Budhigarh, Odisha (Study of its Symbols,
legends and amp; Impact of Numismatics on
Sigillography)
32 Bharti
Patterns of Buddhist Architecture and Mutual
Cultural Entity
33 Bratati Dey
Symbolism of Art in Bengali Literature – Study
from Literary Geographical Perspective
34 C.B. Kamati
Intricacies of Abstract Symbolism in Vatapi
Chalukyan Iconography
35 C. S. Vasudevan
Matsya and Sarpa: As Symbols in the sculptures
of Hampi Environs
36 Chandima Bogahawatta and An explanation to the elephant-headed figure at
Koshalee Kakulandala
Mihintale Ka∞Æaka C®tiya: A comparative study
with Hindu Mythology
37 Chandra P. Trivedi
A New Approach on Inscribed Symbols on copper
plates from Indus Valley and Vedas
38 Chandrashekhar Paswan
Intricacies of Abstract Symbolism in Vatapi
Chalukyan Iconography
12
No.
Name
Topic
39 Chandreyi Basu
Matsya and Sarpa: As Symbols in the sculptures
of Hampi Environs
40 Choodamani Nandagopal
Symbolism of Kailasa the Sacred Space and the
Artistic Expression with reference to Early Dravida
Temple Architecture
41 D. P. Sharma and
Madhuri Sharma
Roots of Symbols - and Composite Forms in Sindh
Saraswati Art
42 Daljeet Singh and
Elora Tribedy
Symmetry Analysis of Painted Pottery from Two
Painted Grey Ware Sites: Madina and
Bhagwanpura
43 Debatri Ghosh
Restoration- A Technical Review on Buddhist
St£pa
44 Deepali Patil
Mara: Symbol of Evil in Indian Buddhism
45 Deepshikha Semwal
Nanda Raaj Jaat: A Symbolic Ritualistic
Manifestation of the Secret Nanda Devi Peek.
46 Digvijay Patil and
SaumitraKshirsagar
Kabir and Kumar Understanding the Symbolism
in Nirguni Bhajans Rendered by Pt. Kumar
Gandharva
47 Dipika Bhomkar
Lairai Devi the kalash deity of Shirgaon Goa and
modes of worship
48 Duli Ete
Umbrella of Serpent: A Portrayal of Divine
Kingship in Early Indian Art, up to c. 500 CE.
49 Garima Kaushik
The Swastika in Buddhism: its Gendered
Symbolism and Sinicisation
50 Gauri Moghe
“Symbolism and Bijamantras’’
51 Gomathi Gowda
Gandaberunda: Aesthetic Representation in the
Art of Karnataka
13
No.
Name
Topic
52 Gopal S. Joge
Obscure Ferocious Images and Faces on the Pillars
of Bhairavnath Temple at Pedgaon, Maharashtra:
Its Possible Symbolic Meaning
53 Harihar Padhan
Symbolism in Indian Literature, with special
Reference to Odia Literature
54 Harshada Wirkud
Ass-Curse Steles: Investigating Symbolism
55 Hemant Dalavi and
Symbols in the Rock Art, Karnataka with special
Mohana R.
reference to the Malaprabha Basin
56 Jason Johns
Ornamentations Around the Symbol of the Cross:
A Comparative Overview
57 Jasna K. and
Aswanth K. O. K.
Ballads: A Symbolic Journey through the Life of
North Malabar
58 Jayendra Joglekar and
Sushama G. Deo
Acheulian Artefacts as Symbol of Presence of
Early Hominin in the Deccan Trap Region of the
Upper Krishna Basin
59 Jyotsna Krishnan A.
Symbolic narration in Kathakali: A study with
reference to Ravanotbhavam
60 K. N. Hota
Purn?akumbha: A symbol of Auspicious Omen
61 Kanti Pawar
A Cognitive Exercise to Understand Rock Art
Tradition Through Past and Present Symbols
62 Karuna Milind Mohite
Doctrinal Symbolism in Tipi?aka with special
reference to Petavatth
63 Kakali Ghosh
Vrata and ¡lpan° of Bengal: Demystifying
Symbolic Art
64 Kirti Kulkarni
pikaº, i.e. Indian cuckoo - A symbolic element in
Sanskrit literature
65 Kishore Chandra Meher
The Bandha Art (Tie-dye) of Sambalpur (West.
Odisha)
14
No.
Name
Topic
66 Komal Pande
Symbolism in Indian Art: Exploring the imbedded
Symbolism in Indian Jewellery
67 Konika Mukherjee
Intertextual Symbols in Indian Culture
68 Kshirasindhu Barik
Faunal Representation in Rock Art of Western
Odisha: A Possible Symbolic Interpretation
69 Kumar Dipongkar Mondal
Poetry of Michel Madhushudhan Dutt:
Reconstruction of Indian Mythology in Early
Modern Bengali Poetry.
70 Kurush F. Dalal
The Gaay-vaasru image and its transition from a
subsidiary device to prominence and finally as a
Regnal Device
71 Kush Dhebar
Investigating Symbolism of Wrestling in Visual
Imagery of Ancient India
72 Lalhminghlua and
Amrita Sarkar
Symbolism Encoded in Megaliths: A Case Study
of Farkawn and Khankawn Villages, Mizoram
73 Lalit Gupta and
Navjot Kour
Gool Sculptures: Symbols Reconstructing History
74 Madhavi Godbole
Omk°ra: A Significant Upani∑adic Symbol
75 Madhulika
The Pithoro Painting: A Creative Symbolism.
76 Madhura Godbole
Æãfi, ™ãfi and oãfi or ™Ï¸Ás in tantric ritualistic worship
of åƒÁƒ∫múÓ\Á
77 Mamta Rai
Ganapati-Ganesha: A Symbol of Syncretistic
Indian Tradition
78 Manish Rajan Walvekar and Butterfly: Indian perception
Tanmay Jayant Bhole
79 Manisha Shete
K£rma (Tortoise) in Indian culture
80 Manjiri Bhalerao
The B°∞e∂ara Cave in Pune : A Contextual Analysis
15
No.
Name
Topic
81 Manmohan Sharma
Symbolism in The Folk Art of Haryana
82 Manu Sharma
Symbolism in Kashmiri Poetry: A Study of Select
Poems
83 Md. Iftekhar Alam Ansari
Symbolism in Mithila Folk Art: Representations
in the Context of Contemporary Folk Art
84 Meenal Kulkarni
subtle and mystical symbol E“ÊNˇÁ∫ in »yuƒ˘Á cult
85 Megna Carvalho
Mapping Metaphor in Indian Writing in English:
A Case Study
86 Milani Perera
Symbolic representation of Buddhism in Indian
Dalit movement and neo- Buddhism
87 Milind Paradkar
Fort Raigad - Findings of a Scaled Town Planning
88 Minnu Kejriwal
Symbolism- A Model developed as a
Methodology in Art Historical Studies showing
the Significance of Symbolism in Art Historical
Analysis.
89 Mohan S. Pardhi, Virag
Sontakke and
Pradip Meshram
Symbolic Significance of the Kar∞ave∑Æana
from Chandankheda, Dist. Chandrapur,
Maharashtra
90 Monbinder Kaur
Rain as a Symbol in the Select Short Stories by
Women Writers
91 Mohana R.
The Earliest Representation of Symbolism in Rock
Art at Ranganatha GuØØa, Peninsular India
92 Morakandegoda Ariyawansa The Influence of Buddhism on Sinhalese
Morphology
93 Mugdha Gadgil
Vedic symbolism through Microcosm and
Macrocosm
94 Munmun Mondal
Symbols in the Folk Art of West Bengal
16
No.
Name
Topic
95 N. Vinodh
Perspective on Baubo Terracotta figurines in the
Nagarjunakonda Valley
96 Nalini Avinash Waghmare
Symbolism in Virasaiva religion with special
reference to Ashtavarana
97 Neeraj Yadav
Mathura and its Great History of Buddhist Art
98 Neha Pande
Investigating Multiple Meanings of Symbolism:
An Analytical Study of the Kirtimukhas of
Koppeshwar Temple at Khirdapur, Maharashtra
99 Niharika K. Sankrityayan
Transformation in Myth: Merged Animal Forms
in Vaisnava Iconography of the Chalukyas
100 Nimisha Thakur
The jali and the farsh: A Study of Symbolism in
Mughal Art
101 Nimitha K.P.
Symbolic Representation of Colours and Lines in
Theyyam Performance of North Kerala
102 Nisha Sawant-Kulkarni
Mapping India: Symbolic Representation of
British Planning
103 Nitesh Narnolia and
Animal Symbolism in Buddhism
Mousam
104 Nitin Hadap
Symbolism and Representations of ‘Loka': the
Mythical Worlds in Ancient Indian Art and
Literature
105 P. C. Sahoo
Some Symbolic harmful rituals in the Br°hmanas
and S£tra texts
106 P. S. Joshi and
Kanchana Bhaisare
Sculptural Panel Symbolising the Event of
Formation of the Crater at Lonar
107 Prabha Shankar Dwivedi
Metaphysics of Boundary: Configuring the
Bhagavadg¢t° in the Modernist Paradigms
17
No.
Name
Topic
108 Pradnya Deshpande
Symbolization of Goddess Saraswati in Sanskrit
Literature
109 Pradnya Kulkarni
Symbolic fertility ritual: Oti
110 Priya Thakur
Zodiac signs in Indian art as Idea of Time
111 Priyanka Kamalakar Shinde Indian sculpture form communicate through
intangible lines
112 Rahul Chemburkar
Pillar in Indian Temples and Rock Cut Caves
Symbolic Expression and Structural Element
113 Rajaram Hegde and
Hero Stones in Medieval Karnataka and Changing
Prabhakar Rao
Perceptions of Afterlife
114 Rajasri Mukhopadhyay
Plant and creeper Symbols in Bengal Alpana
115 Rajkumari Barbina
Textile designs and patterns; reflection of
traditional symbolism of the Meiteis of Manipur:
a cultural behavioural approach
116 Ranjana
The symbols as the ultimate Buddha image: The
icons of Buddha's supreme reality and
Transcendental nature in Indian Buddhist
Sculpture
117 Ranjana Mishra
Evolution of Mithila paintings Motifs on time
Continuum
118 Remya V.P. and
Sreebarna Ghosh
From Symbols to Idols- An analysis of the
Transitions in Kanheri
119 Reshma Sawant
Symbols and Symbolism: A Case Study of
Decorated Legged Querns from Indian Subcontinent
120 Rucha Gadkari
Saubh°gyalank°r, symbolism of Mah°rshtrian
jewellery
18
No.
Name
Topic
121 Ruokuonuo Rose Yhome
Socio-cultural Implications of Body Tattoo Art in
Huts¸ Village (Nagaland)
122 Saili K. Palande-Datar and
Ambarish V. Khare
Jain°c° Dho∞Ø° (Jaina's Stone): A Jaina symbol
in Hindu Temples
123 Sana
Symbolism in Islamic Art: with Special References
to the Symbols of Taj Mahal
124 Sanchita Ghosh
The Symbol of ÷ara∂-cakra and Prabh°-Ma∞Øala
in Art, Religion and Philosophy of India
125 Sanjay Manjul
Anthropomorphic Figures of Copper Hoard :
Symbolised Vedic Gods?
126 Sanjay Paikrao
A New Light on Symbols in Ellora Buddhist Caves
127 Sarita Dash
Iconography of Lord Ganesha in temples of
Bhubaneswar
128 Satarupa Bal
A Study of Burial Patterns and Symbolism with
reference to Harappan Sites of India
129 Satvik Malipatil
Study of ma∞Øals for the aspects of science in a
hidden form.
130 Saurabh Singh
The symbolic representation of Prosperity in
Buddhist imagery: An Analytical Study
131 Sawani Rajan Shetye and
Arunkumar M S
Etymological roots of the word Panchjanya and
its symbolic association with the conch of Vishnu.
132 Shahida Ansari and
V.N. Prabhakar
Terracotta Art at Rupnagar, Punjab
133 Shambhoo Nath Yadav
and B. Gartia
Worship of Smart Lingas in South Kosala - A
Symbolical Worship in Brahmanical Pantheon
134 Shantanu Vaidya, Virag
Ritual Space or Memorials: Recent Findings from
Sontakke, Shrikant Ganvir, the Excavations at Nagardhan, Nagpur District
Rushal Unkule and Garima
Khansili
19
No.
Name
Topic
135 Sharad Goswami
Aspects of Symbolism in the Medieval Forts
136 Shashi Kala Singh
The transforming City of Light and arts now: a
study in the context of Symbolism in Art
137 Shikha Sonkar
Evaluating Symbol as metaphor in Indian
contemporary Art
138 Shilpa M. Chandran
Myth as a symbol: A study of the Theyyam myths
of North Malabar
139 Shilpa Hadap
Phenomenon Earthquake, its Mythical
interpretations and Rare Symbolic Depiction in
Plastic Art from Konkan
140 Shilpa Sumant
Symbolic Ritual Cleansing of the Bride: Some
Unique Atharvaedic Practices
141 Shivendra Kadgaonkar
A few lesser known small animal depiction in
Ancient Indian Art
142 Shobhna Meshram
Depiction of the Buddhapada in the Early Buddhist
Art of the Eastern Deccan: A study in its symbolic
significance
143 Shrikant Ganvir
Contextualising the symbolic meaning of
'Ramagrama Stupa' in Early Buddhist Visual Art:
An Act of Veneration?
144 Shrinivas V. Padigar
An Interesting Nidhi Sculpture from Koliwad,
Karnataka
145 Shripad Bhat
Apurva : A Conceptual Symbol
146 Shruti Sharma
"O Govinda" The Krishna's Prayer
147 Siddhi Deshpande
Radha as symbol of Bhakti -Earliest sculptural
depiction in Rajasthan
148 Smriti Agarwal
Study of the Symbolic Traditional Textile with
Reference of different state.
20
No.
Name
149 Sneha Kapote
Topic
The Mysterious identity of Serapis on Kushan
coins
150 Soumya Manjunath Chavan Symbolism of akshamala in the Iconography of
Dakshinamurti
151 Sovonlal Misra
œokr°: The Messenger of a Forgotten History of
the Santals Of Bengal
152 Sudhir Kumar
Darshan "The Vision of Invisible through Visible":
A Key Concept in Creation and Interpretation of
Indian Art
153 Suken Shah
Rationalizing the Mystery of the 'Gaja-Simha
Dhvaja' Symbol found on the Coins and Seals of
the Vrishni Gana.
154 Suraj A. Pandit
The Unseen Buddha at Mahakali
155 Swadhin Kumar Mandal
Regional Folksong (Bh°du and Œusu) of Bengal:
simplicity or symbolism- A quest?
156 Swagata Mukhopadhyay
'Cosmopolitanism in the Making in Early India:
Searching from the Numismatic and the Ceramic
Corpus'
157 Swapna Joshi, Siddhi
Deshpande and Shantanu
Subramaniam
Unseen Presence- The Architectural Symbolism
of an Early Shaiva Rock Cut Cave
158 Swati Mondal Adhikari
Gesture: symbol of expression used in Indian
temple sculptures
159 Tanashree Redij
Goddess Alakshmi: a symbol of impurity, unhygiene and immorality
160 Tinni Goswami
Revisiting Childhood in Colonial Bengal: Children
as Portrayed in the Vernacular Journals (18701930)
161 Trupti D. More and
Vijaya P. Valhe
Symbolic Significance of Sacred Nyagrodha Tree
Worship in Indian Religion and Traditions
21
No.
Name
Topic
162 Uduwila Uparathana
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
A Study of Beeds at Jethawanaramaya Buddhist
Monastery Complex
Umesh C. Chattopadhyaya Revisiting Symbolic Archaeology in Search for a
Theory of Connectedness
V.H. Sonawane
Symbolism of the Design Engraved on the
Chandravati Core
V.L. Dharurkar
Symbols in Ellora Jains Cave
Varsha Jha (Singh)
Art in Literature or Literature through Art:
Symbolism in Graphic Novels of Indian Epics.
Vibhavari Kumar
A study of Symbolism in Indian Temple
architecture: The Ancient Indian Grids
Vidula Pharate
Cary° N§tya: A ritual dance of Vajray°na
Buddhism, Symbolism Performed.
Vijaya P. Valhe
Symbolism involved in tree worship
Vikram V. Kulkarni
The Painted Wooden Mobile Shrines of
Peddamma and Its Iconography
Vinay Kumar
Symbolism and Transformation of Tree of Life
Motif in Early Indian Art
Vinay Kumar Rao
Buddhist Symbolism in Art of Arakan.
Vipul Tiwari
Inherent Symbolism in Tantric Buddhism: A
historiographical Analysis
Vipul Tiwari and Madhulika The Fundamental Elements of Early Buddhist
Symbolism
Vrushali Bhosale
Symbolism of coconut: with special reference to
Goddess K°nba¢ of Khandesh Region.
Wu Chen Ting
Ardhan°r¢∂vara, A Symbolism of Evolution from
Puru∑a and Prak§ti - An Examination from Two
S°¨khya Systems
Ziyadali B.
A study of Mihrabs and its Symbolism in Mosques
of Kerala
22
CONCEPT NOTE
Symbols are of an immense significance to comprehend socio-economic, cultural
and religious milieus of the past. The Symbol is an important mode of communication
since the Prehistoric times. The study of symbolism deserves an exceptional importance
to decipher contemporary human psyche to understand contemporary social structure,
economic setting and religio-cultural milieu. Religious symbolism facilitates to
understand interactions between different aspects of socio-cultural life, becoming an
essential part of cultural identity. Ritual symbols carry multiple meanings. Some of these
meanings are related not only to religious beliefs, but to socio-cultural settings. It is said
that the symbols have a primitive and naturalistic origin which can be associated to
simple ideas of early society. Since, the beginning of human civilization sets of beliefs,
myths shrouded with various psychological, emotional aspects of human behaviour
started to frame in the form of symbols. The purpose of the symbol is to signify a reality
or a truth and to divulge them either suddenly or gradually. Although, it is quite complex
process to trace the emergence, development, and distinction of a symbol, still, it is an
essential process to understand the past.
The present seminar aims at deciphering multiple functional paradigms taking into
account textual, art-historical, archaeological, religious, cultural, iconological and
historical perspectives.
23
ABSTRACTS
LORD DHANVANTARI: SYMBOL OF ANCIENT INDIAN MEDICAL
KNOWLEDGE
Aakanksha
Dhanvanatri is only Vedic deity of healing though he is a minor deity but this portfolio
of his makes him important. He is regarded as patron god of Physicians and surgeons
in ancient texts. He is also regarded as a minor incarnation of Vishnu. The development
of Dhanvantari as a god of medicines from one of the ratnas churned from ocean by
gods and demons goes hand in hand with development of Ayurveda in ancient India.
He is first mentioned in Kaushika sutra. All puranas and sutras mention him as creator
of Ayurveda. He has been regarded as master of all universal knowledge which
symbolises his importance in the then contemporary society and continues even today.
Keywords: Dhanvantari, Medical Knowledge, Symbol
THE CONCEPT OF MENSTRUATION OF WOMEN AND ITS SYMBOLISM
WITH MENSTRUATION
Aaryaa Ashutosh Joshi
Menstruation is a natural phenomena for women. In Hindu Tradition, most of the times,
during menstruation period; women are considered as impure or untouchable. At the
same time, In Hindu religious or other texts Rivers and The Earth are considered
untouchable during there menses. The Earth and Rivers considered as symbol of
women and there menstruation during rainy season considered helpful for the production
of crops and in folk tradition; it is celebrated as a festival of reproduction.Even Goddess
Kamakhyas Ambuvachi Utsav celebrated as auspicious event and many people gathered
there for the same.
24
During this Modern Era, women are pursuing achievements in different sects.
But when the question arises about the ritualistic approach towrads religious activities,
they are having lot of questions in their mind regarding their menstruation. Some women
in the society were not ready to perform religious acts during their menstruation.This
is a socio-religious problem within society. Our culture put forth the idea of menstruation
of The Earth and Rivers and interpreated it as a useful one for plenty of crops which
is needful to survive the society.
Here in this paper I want to discuss the symbolism of menstruation of women
with Rivers and The Earth which finally ends with the idea that; it is a natural phenomena
and people in the society can have approach towards this as a useful reproductive system
for women and do not consider women as inauspicious during her menstruation cycle.This
paper also deals with the ecological approach towards menstruation of The earth and
Rivers.
Keywords: Hindu Tradition, Religion, Women, Menstruation, Rivers
THE CHAUSATH-YOGINIS AND THE SYMBOLISM OF THEIR
RELATIONSHIP WITH BHAIRAVA
Abhiruchi Oke and Anuja Patwardhan
Mother goddess worship or the cult of the mother goddess has its deep roots in the
religious settings of the sub-continent. The roots of this cult can be traced back to the
Indus Valley Civilisation and the early Chalcolithic terracotta mother goddess figurines
from the pre-Harappan period. This cult gained in popularity in the Mauryan and SungaKushana periods.
The literary developments in the subsequent Gupta period added much value to such
worship and/or concepts thus reinforced the strong textual traditions which support such
rituals and religious activities. These texts include the Devibhagvat, Skandapurana,
Kalikapurana, Chaturvargiyachintamani and Brihadsamvita.
These religious cults developed in accordance with their times and were further
divided into multiple branches. The mother goddess cult was widespread. From these
25
varied practices Shakti as a concept gained the attention of people leading to the creation
of myriad Shakta pithas. These then became a place or platform to perform rituals related
to the various goddesses.
Amongst these the most enigmatic and dramatic was the rise of the cult of the
Chausath-yoginis. This cult can be traced from the 7th to the 12th centuries AD. Its impact
is seen today in the circular temples of Hirapur, Bedaghat and Mitaoli (amongst others).
The essential concept of syncretic Shakta worship is beautifully interpreted into the
religious symbolism and iconic perception of the female generic yoni. The yoni in its
turn is incomplete and inseparable from the linga. In its iconic form the linga is
represented by Shiva, most often in his avatarsRudra and Bhairava. Together the
‘goddess/yogini and Shiva’ and the ‘yoni and linga’ represent the coming together
of ‘Purusa and Prakriti’ thus completing the cosmic whole.
Bhairava is the god who balances andstands as the crucial male principle of
Shakta spiritual ideology and practices thus symbolising the masculine element of the
Shakta tantric sects. Texts like Devi Bhagwat, Markendeya Purana, Kalika Purana etc.
shed light on this element of Bhairava.
According to the Kalika Purana the one male god associated with the Yoginis
is Bhairava -popularly known as ‘Lord of Yogini(s)’. This is perhaps the first clue in
understanding the complex relationship between Yogini and Bhairava. Here the
confusion or question is who follows who?
The Yogini(s) and Bhairava(s) have very similar functions and identity clashes
i.e. both have 64 forms, both are often related to cremation grounds or death, both are
given similar propitiatory offerings during rituals, temples of both deities are situated
outside the habitation areas or villages, both practice ‘tantric’ rituals, both have strong
affiliations with folk/local traditions, both have individual identities in classical aesthetics,
both have independent positions in the religious setting as well as the social setting.
One therefore needs to ponder upon these similarities and consider a closer symbolic
link than that which has been hitherto considered. This paper is a preliminary attempt
to do so.
The following temples are taken as the main database because here the complex
symbolic relationship of the Yoginis and Bhairavas is physically manifested:
1. Hirapur, Orrisa
2.
Bheraghat, MP
3. Mitaoli, MP
4.
Bhuleshwar, Pune
Keywords: Chausath-Yoginis, Symbolism, Bhairava
26
THE SYMBOLIC CORPUS OF VINDHYAN ROCK ART
Ajay Pratap
The term symbolism assumes a typical or a preferred used of symbols and symbology.
This paper considers the symbolic corpus of Vindhyan rock art to discover if there is
any ‘ism’ in the use of symbols in Vindhyan rock art. Does the depiction and use of
particular animal symbols suggest messages and intentions over and above the functional
ones relating with hunting? Does the use of design symbols suggest relations of
production? Does the use of human symbology suggest social relations among the
Vindhyan populations of prehistory? Approached in this fashion the symbolism of rock
art can tell us much more.
Keywords: Vindhyan, Rock-Art, Symbolism
CITY AS ART: A STUDY OF KOCHI IN THE CONTEXT OF
INTERNATIONAL BIENNALE
Ajeesh Raj. A
Kerala has remained in limelight for past more than one decade, for its cultural and tourist
significance. While the god’s own country has been known for its ayurveda (traditional
health care), it has also been a site for the arts and archaeology. In 2012, for the first
time an international biennale was designed with an intention to open up a space for
global art Sinteraction and facilitate the local artists to initiate interface with the global
artists. Joined by many funding agencies, Kochi Muziris Biennale started taking shape,
amid lot of concern for its first edition. Following the success the second edition was
planned and with much more precision and outreach, this almost caught up the
imagination of the international art arena.
This biennale has many specifics, while being holistic in many ways; for
example, the unconventional gallery space was used and technology matched up the
traditional arts of the state in the singular exhibition halls. Thus, allowing a newly spirited
art activity to experiment and display before the public the second edition went beyond
27
just local concern, through its form, concept and symbology to address an international
audience. Not only in art, but in selection of location, the curator conceptualized the
entire city of Kochi as a studio, having art at almost every known and hitherto unknown
space in Kochi. This idea of converting the city as art, the curator not only surprised
the international viewers but also viewers form immediate neighborhood, who
rediscovered their space with different eyes. Now that was a fascinating character of
symbolizing city as art, which basically converted a common space symbolically to an
art place.
As an observer-participant for this Biennale edition, I have documented the sites
and artists engaged there, from a close perspective. In this presentation I will be trying
to present/show how the city symbolized an art gallery and individual artistís contribution
to this symbolic conversion.
Keywords: Kochi, City-Art, Biennale
POSSIBLE CONNOTATION OF LADDER AND LABYRINTH SYMBOLS
OBSERVED IN ART
Ajit Kumar
No semantic and hermeneutic appraisal of ancient symbols can be treated as final as
it is impossible to read into the intangible beliefs and the mind of its creators. Symbols
never get obliterated from human psyche. Their aspects may change and their functions
over time may become disguised or degraded and to understand their true meaning one
has to look behind their latest masks.
Ladder and Labyrinths have been found in art from prehistoric times and they
continue in the art of historic period as well. The ladder is a generally used as prop or
a means to ascend heights. In Hindu, Buddhist and Christian religious beliefs ladder
is symbolised as a means to ascend heaven. How this commonality of belief and
symbolism came about is difficult to address.
Similarly the symbol of labyrinth is observed from prehistoric period to medieval
times in art. This symbol has not only been reported from India alone but it has been
reported from various parts of the world. This symbol also appears to bear common
28
connotation. The exact origin and belief of the labyrinths are lost in obscurity. These
beliefs may be as old as mankind itself and its transmutation to a graphic creation was
an apparent actualisation of these long concurrent beliefs.There is however no debate
on the issue that labyrinth essentially belongs to the phenomenology of religion. Many
of the symbols related to religion have their origin in the cosmological range-the sky,
the celestial bodies and traffic between gods between heaven and earth. There sacred
nature and their association with sun and cosmos.
This paper tries to probe the connotation of the symbol of ladder and labyrinth
observed in art by examining literature and assessing ethnographic parallels observed
today.
Keywords: Ladder, Labyrinth
SYMBOLISM IN HUNTING PRACTICES AMONG THE AO NAGAS: A
CASE STUDY OF MANGMETONG VILLAGE, NAGALAND
Akiyala Imchen
The Humans began as hunter-gatherers hunted variety of animals for subsistence and
they made use of the animal parts to decorate the attire. Different types of traps and
techniques were used to catch an animal in the easiest way. Tools were simple and the
materials to make the tools were easily acquired. People hunted different types of
animals depending upon the environment they lived in. Ethnographic analogy is an
important tool to study hunting in prehistoric societies. This study provides us with the
vital information required to reconstruct the hunter-gatherers of the past and their
hunting techniques. In Nagaland, though hunting has been officially restricted and
banned, many communities still continue to hunt for games and as a source of food
and income. A very few number of old folk are now left who know the intricate ways
of hunting and trapping animals without using guns or other modern weapons. Hence,
it was decided to conduct ethnographic survey of traditional hunting practices among
the Ao Nagas. This study is based on data obtained by formal and informal interviews,
questionnaires and independent non-participatory observer method during the year
2013-2014. The present study was undertaken in Mangmetong village of Mokokchung
29
District, Nagaland to document various aspects of traditional animal hunting methods.
The present work is based on interviews with 65 people of Ao Naga tribe of Mangmetong
village. The pre-hunting rituals, the hunting process and the post-hunting practises will
be discussed further.
Keywords: Hunting, Rituals, Practices
ARUN JOSHI’S CITY AND THE RIVER: RIVER SYMBOLIZING
SIGNIFICANCE AND SALVATION TO MANKIND
Alpana Awasthi and Neeta Lalwani
River, a lifeline of man’s life has been mentioned in various art forms since time
immemorial. Arun Joshi’s ‘‘City and the River’’ depicts the essence of human life which
if led to wrong channel may bring destruction to him physically, psychologically and
spiritually. The present paper is a venture to unfold the aspects of rationality, strength,
hope and energy veiled in the form of river. Published in 1990, ‘‘City and the River’’,
Joshi’s fifth and last novel is structured on the city erected on the bank of a river. It
remarks the poles a part difference between the ruler and the common man representing
the snobbish attitude, hollowness and rootlessness of man in the modern society. In
the present society man’s heart is dried of love, passion and sharing and he has turned
mechanical. He struggles to find peace but in vain and is lost in labyrinthine of robotic
world. His selfishness and ruthlessness towards his fellow beings multiplies his sorrows.
He wanders for his identity but falls into the ditch of atrocities.
Keywords: Symbolism, Rationality, Hollowness, Rootlessness, Agony
30
ONCE DONE IS SUFFICIENT: SYMBOLIC ACTIONS IN VEDIC RITUALS
Ambarish Khare
Vedic sacrificial system is supposed to be one of the oldest religious systems in the world.
The synchronization between the actions being performed and the mantras being recited
is expected in the performance of all the Vedic rituals. Many times, the rituals are also
considered as rigid and never changing and they are supposed to be conducted in the
same way as prescribed in the ritual manuals. They are considered to be never changing,
although the ages have passed since their inception. However, if one observes the
sacrificial actions keenly, (s)he may notice that many times the short-cut is being used
while performing the sacrifices. Instead of repeating the actions for many times, the
action is performed only once and it is deemed fit that single action can be considered
sufficient, instead of performing it many times. Thus, single performance symbolically
represents all the intended performances.
WORSHIPPING DEPARTED: INVESTIGATING THE SYMBOLIC
SIGNIFICANCE OF THE MEMORIAL STONES AT MAHAGAON,
MAHARASHTRA
Amit Pendam
This paper examines the symbolic significance of the memorial pillars at Mahagaon,
in Chandrapur district of Maharashtra. There are around 70 memorial stones, which
are installed in dense forest varying in size and shapes. Some of the memorial stones
are inscribed with the name of hero at the top and are decorated with the various artistic
motifs. These memorial stone are completely different from rest of the memorial stones
of Maharashtra in the form and themes of depiction. These Memorial stones are still
under worship by the Gond community. However, they consider these memorial stone
as their ancestor and God. This paper further makes an attempt to investigate the
symbolism of this memorial stonestaking into account the study of architectural motifs,
rituals associated with the memorials and ethnographic survey of the site.
Keywords: Memorial stones, Maharashtra, Motifs
31
SYMBOLISM IN SANSKRIT NUMERALS
Amogh Prabhudesai
Number is an abstract term while numeral is a symbol used to express the number. ‘3’,
‘three’, ‘III’ are all the symbols which express the same number or the concept of
‘threeness’.
Various cultures have developed variety of numerals to express numbers in their
languages. In Sanskrit, there are many ways of writing numerals. Like other languages,
numerals can be written in Sanskrit using digits (1, 2, 3 etc.) and special words meant
for particular number (ekam, dve, tr¢∞i etc.) But, there is one more uncommon way of
writing numerals in Sanskrit. Various objects from nature or concepts from different
∂°tras are used as symbols to express particular number. For example, Arka (the Sun)
being only one in the nature, the word Arka is used as a numeral to express ‘one’. Locane
(eyes) is the wordused to express ‘two’. Puru∑°rtha is the word used to express ‘four’
and so on. A single number can be expressed by various symbols at different places.
For example, instead of Arka, the word Candra can also be used to express ‘one’.
Numbers having more than one digit can also be expressed by this method.
This method of writing numbers in Sanskrit has been followed in classical
literature as well as technical literature including the texts specially written for
mathematical science. One has to have thorough knowledge of Indian Sanskrit tradition
to decode exact number out of these numerals. The problems faced otherwise will be
explained in details in the paper. The present paper aims at tracing the roots of this
method, finding reasons behind the popularity of such symbolism amongst Sanskrit
authors, its impact on colloquial languages and translated literature from Sanskrit.
Keywords: Sanskrit, Numerals, Symbolism
32
ICONOLOGY OF SHANKHA: TRACING ITS ANTIQUITYIN ANCIENT
INDIAN HISTORY
Amrithavalli Panyam
The religious iconography of ancient India can be broadly categorised into Symbolic
and Anthropomorphic. Symbolic being representation of a deity, his/her power and
character, in the form of a symbol. These symbols include objects, animals, plants,
abstract shapes, etc. Symbols used usually contain a feature that is similar to the feature/
power they represent. Some symbols are pretty clear in their character and their meaning
e.g. lotus is a as sign of prosperity. A bull is an apt representation of virility, strength
and fertility. However there are many objects and symbols that are very unique and
unlikely objects to be chosen as a symbol. One such object is the conch or Shanka as
it is known Indian iconography. This paper traces the antiquity of this unique object
in ancient Indian iconography and how it came to become an important symbol amongst
various religions.
Keywords: Shanka, Conch
A NOTE ON KHAŒV¡ÃGA
Anagha Joshi
Language is a social phenomenon as through language we exchange information and
ideas with others. It can be defined as the process of meaningful interaction among
human beings. It is of two types: Verbal and Non-Verbal. Nonverbal communication
can be communicated through symbols, gestures, postures, and also facial expressions.
Moreover, they are more powerful than spoken words. It is interesting to note that
varieties of symbols evolved and used from the ancient time through Literature. It is
known to all that the Sanskrit word Khafiv°¨ga denotes a club or staff with a skull at
the top considered as the weapon of ∂iva especially bhairava. But in the Manu Sm§ti
it is stated as:
QbΩƒÁÊTy Yy∫ƒÁÃÁ ƒÁ ≈™»Ï¬Áz uƒ\åz ƒåz@ ú¿Á\ÁúnÆÊ Y∫znNwˇXZ~™£t™zNˇÊ ÙÁu“o: @@11.105@@
It is described as the murderer of a learned person must wander without rest
33
holding this weapon in his hand and beg his food in a human skull every day and perform
for the year the k§cchra penance of Praj°pati.
In this paper an attempt is made to understand the concept of KhaÆv°¨ga in
the Sm§ti literature.
Keywords: Language, Information, Ideas, Verbal
ROCK CUT CAVE AT JUNNAR AS A SYMBOL OF THE SOCIO-ECONOMIC
STRUGGLE BETWEEN PATRONS
Anand Kanitkar
Junnar situated in Pune District, Maharashtra, has been considered as the seat of
Satavahana Dynasty by many scholars. Apart from being an important archaeological
site, Junnar is famous in Western India for having more than 100 Buddhist rock cut
caves. With the flourishing Indo-Roman trade in the first century CE, many traders
along with householders provided patronage to Buddhist Monasteries in Western India.
The chronology and architecture of the Western Indian Rock cut caves and its various
aspects have been studied by many national and International scholars in the past 200
years.
In this paper an attempt has been made to understand the architecture of the
cave at Junnar which in itself depicts one of the stages of development in rock cut cave
architecture in western India. A study of texts, inscriptions, religious sources, and art
and architecture can help shed light on the socio-economic scenario in Western India
in 1st century CE. Thus this cave at Junnar with the architectural development turns out
to be a symbol of this socio-economic struggle between different patrons in the Buddhist
context.
34
J¡TAKAS: NARRATIVES AND SYMBOLISM THROUGH
ARCHAEOLOGICAL LANDSCAPE
Anand Singh
The J°taka stories are considered to be one of the major narrative literature in Buddhism.
It is interesting to visualize that how these stories were evolved, communicated, and
disseminated. Whatever the real domain but one of the most striking aspects of the
J°takas are that these stories are immortalized on stones, medallions, and other objects
to convey the messages of these stories to the followers of the Buddhist faith. In plethora
of evidences scattered in the Indian subcontinent, J°taka stories were carved out on
rocks, st˚pas and painted on walls of caves. It virtually symbolized the Buddhist ideas
on different themes and were supposed to be for learning and practice. My paper will
work on such ideas and disseminations, especially in S°nchi, Bharhut and Northwest
part of the Indian subcontinent.
Keywords: J°takas, Narratives, Symbolism, Archaeological landscape
SIGNIFICANCE OF THE SCORPION AS A SYMBOL IN INDIAN
CULTURE
Anita Rane-Kothare
Scorpion as an insect first appears as a pre-historic painting at Bhimbetka , Madhya
Pradesh, the reason behind its representation may be fear .Scorpion has been depicted
in many ancient civilizations like Mesopotamia, Egypt, etc mostly in the form of
symbols on goddesses.The fear of this poisonous insect made them revere it as a form
of energy .The representation of this symbol in Indian art is seen from the post Gupta
period , wherein one of the Ashta Matrikas, Chamunda who in skeletal form bears a
scorpion on her chest or stomach .Another representation can be that of the Surasundari
with a scorpion on her thigh .In the Chausath yogini cult we find a unique representation
of a goddess on a scorpion vahana or Vruschika Vahana.Focus will also be given to
the literary and astrological aspect of the scorpion symbol.In the following paper the
researcher will try to trace the significance of the scorpion in Indian art and culture ,
35
and also make a comparative study with other civilization .The trend of showing a
scorpion with female forms as emphasised through the various evidences will be
highlighted by the researcher.
Keywords: Scorpion, Vruschik, Goddess, Symbol, India
PREHISTORIC ICONS AND INDICES: ARCHAEOLOGICAL INDICATORS
OF EARLY SYMBOLING ACTIVITY DURING THE EARLY
PALAEOLITHIC
Andrú J. J. Baptista
Symbols are considered to be an inextricable part of modern human culture and society.
Archaeologists endeavour to document and understand the evolution of cognitive
systems capable of symboling activity by juxtaposing objects from the archaeological
record remnant of such intent against models prescribed by cognitive science. While
there exists ample evidence of ‘artistic’ representation and symboling activity for the
late-middle Pleistocene (~150k.y.r) onwards in the form of beads, rock paintings, etc.,
investigations into symbolic culture for the Early Palaeolithic period have proven to
be a tedious exercise, since the vast expanse of Early Palaeolithic cultures aren’t
associated with modern humans. The application of theories of semiotics and language
to understand these cultures could therefore be inaccurate. However, a review of select
Early Palaeolithic objects, with neither discernible utilitarian value, nor whose modified
form enhances functional output provides an interesting alternative.
These objects seem to facilitate the explication of hypothetical stages for cognitive
and cultural development. This inquiry draws from structures of mental modularity
propounded by cognitive science to postulate the possible existence, and thereby
attempt to take into consideration the presence of aesthetic sensibilities in our study of
lithic industries contemporary to the Early Palaeolithic.
The processes of tool production are considered to have adhered to a defined
set of rules (procedures) rooted in neuro-muscular memory, and formed a part of a
mimetic culture. However, the variations reflected in reconstructing ChaÍne Opõratoire
are not only indicative of general patterns involved in stone tool production, but the
36
possible existence of high-levels of individual variability. This consideration could
dictate a fresh perspective to the processes that drive stone tool production. In the light
of archaeological evidence representative of aesthetic sense, these technologies should
be examined from not only the situational (environmental, raw material availability,
requirement), but also the immediate (individual action and input) influences. This
micro-level examination of individual knapping episodes would in turn signal the rich,
albeit quiet, expressions of the diversity in stone tool quality.
Keywords: Aesthetics, Modification, Cognitive systems, Metal modularity
SPATIALITY OF EXCLUSION: SYMBOLIZING COMMUNITY
AFFILIATIONS
Anil Gopi
The people Anchunadu Vellalar community in south India lives exclusively in five
hamlets located in Kerala and Tamil Nadu and follows strict customs and codes of
behavior. Anyone who breaches the codes of conducts and customs of the community
are subjected to various forms of sanctions by the customary political body of the
villagers. Customs and codes related to marriage is one of the most significant and strict
for the people and any deviations from the codes of marriages invite serious punishments.
The religiosity of the community is also very important and there exists a strong inter
relations between the internal cohesion of the community, religiosity and institution of
marriage plays a crucial role in this due to its character of affinity and potential chances
of inviting a foreign entity to the community which could dilute or alter the ethos of
the people. The work analyzes how a community living in a restricted space with marked
boundaries restricts persons who breach the codes of the community. The study proposes
that in the people develops a space of ‘significance’ -in a Geertzian sense, in and around
the space where the people live in dealing with the deviation from the customs and codes
of the people through marriage relations.
Keywords: Anchunadu Vellalar, Religiosity, Religious symbolism, Customary laws,
Marriage
37
THE SYMBOLIC REPRESENTATION OF NATURE IN SCULPTURAL ART
BHARHUT
Anjali Pandey
In all Indian art whether Buddhist, Jain or Brahmanical we see a persistence of sensuous
acceptance of nature and a common symbology resulting from this, even if they interpret
it differently. These symbol start in relative simplicity but in association with various
religious notions, gather in sophistications.
The roots of cultural heritage are connected with daily activities; environmental
and physical surroundings. The environmental inspiration gives them the ideas and
views. Nature animates the environmental richness which plays a significant role in the
art. Various moods, seasons and traditions execute to maintain relationship of the human
in specific style and technique. Lok-akhyan or Lok-kathaye is the inheritance of
symbolic and specific racial sensibilities.
Art has no boundaries. In Buddhist art, the Vedic deities represents the
manifestations of nature, which can be seen both in human and symbolic form. Buddha
was also one of the Avatars in Vaishnavism who came to re-establish the law of Dharma.
The sculpture of Bharhut presents the nature as a symbol of growth and continuity. The
Sal tree is associated with Buddhaís birth. The depiction of dryads or Yakshis suggested
their motherhoodness, ‘essential role of woman.’ Dr. Coomarswamy pointed the Yakshis
as a tree buoyant naturalism which is yet untouched by the deep introspection. Yakshas
and Yakshis were fertility spirits and associated with forest, trees, and lakes. The figures
have distinctive definite meaning. Animals and birds are also in symbolic form. Horse,
elephant, monkey, deer, swan symbolize as a spirit, hero or as an ancestor. Lotus is
a symbol of purity and suggested a supernatural or miraculous origin. Depiction of trees
are also symbolize in decorative and stylized forms. The whole system, including not
only the organism-complex, but also the whole complex of physical factors what we
call the environment can be seen together in art of Bharhut.
The art of Bharhut seems free from idealism, it has an elaborate language
of symbols and characterized by decorative fantasy.
Keywords: Symbology, Lok- Kathaye, Avtars yakshis
38
SYMBOLIC INTERPRETATION OF IMAGES WITH EXPOSED GENITAL
ORGANS ON THE AMRITESHWAR TEMPLE AT RATANWADI
Anuja Milind Joshi
The temple of Amriteshwar situated at Ratanwadi in Ahmednagar district of Maharashtra
is an important temple belonging to the early medieval period and is known for its wellpreserved roof of Bhumija variety. The temple is renowned for its notable architectural
features. In addition, it also has interesting icons and images. This paper deals with
certain images on the exterior part of this temple wherein the major visual focus is on
their genital organs. This includes both male and female images. While some of these
images seem to depict certain rituals, the others hint at exhibitionism. The aim of this
paper is to understand possible meaning and symbolism of these images with the help
of available literary sources. It also explores the purpose and function of these images
with respect to the particular temple.
Keywords: Temple Art, Iconography, Genitals, Ratanwadi
ELICITING DESIRE: THE ICONOGRAPHY OF PRESENT DAY
ADVERTISEMENTS
Anurag Chauhan
Many of the present day advertisements, though works of art, unlike Hegalian concept
of art, are shorn of spirituality or moral content. The form is sensuous, however, any
appeal to the sense of utility regarding the commodity being advertised is cleverly
eschewed or is downplayed. This is especially true in case of certain advertisements
of cars and paints. Such advertisements, therefore, work as icons. The response to these
already short-circuits the longer process of involving cognition via the notions of utility.
On the one hand, these advertisements can exert peer-pressure and status-consciousness,
both of which establish the commodity per se as requirement, not need. The phrase ‘This
is what you want’ is not uncommon. Another way these advertisements promote a
39
commodity is by denigrating an advertisement-insider who is a proxy of the reluctant
spectator/reader unwilling to shell out money for the commodity advertised. This way,
a subconscious commodity fetishizing results. This is made possible by the commodity
becoming a symbol for a certain notion of privileged equality and power, while retaining
the surface sheen of art. Questions such as whether the value of a thing is to be decided
by its worth or by the perception of worth along with the comfort and the placebo-effect
come up. Certainly, such advertisements create an oeuvre which, within the prevailing
ideologies and discourses in our society, has an iconography with symbolic overtones.
The proposed paper attempts to examine these using various theories, particularly,
reader-response theory and semiotics.
Keywords: Advertisements, Commodity, Icons, Value, Fetishizing
BUDDHIST SYMBOLISM - THE WHEEL AND LOTUS: ITS MEANING
AND SIGNIFICANCE
Anusha Shakya
Indian culture and civilization can be clearly witnessed at various historical sites in India.
One can even have its glimpse at museums located throughout India.
Buddhist symbolism which began in 4th century BCE, is the Buddhist art which
represents certain aspects of Dharma. Anthromorphic symbolism appeared around 1st
century BCE with the arts of Mathura and Greco-Buddhist art of Gandhara, and were
combined with the previous symbols. Various symbolic innovations were later introduced
especially through Tibetan Buddhism.
The first archeological evidence of ornamental stone carvings can be witnessed
from the times of the Emperor Ashoka who embraced Buddhism and made it a popular
religion of India. Among the earliest and most common symbols of Buddhism are the
Stupa, Dharma Wheel and the Lotus flower. With the advent of Buddhist Tantra around
the 6th century new artwork and symbolism appeared.
Mahayana and Vajrayana Buddhist art frequently utilizes a particular set of eight
auspicious symbols termed as ASHTAMANGALA. These symbols are-Lotus, Endless
knot, Golden fish pair, Victory Banner, Wheel of Dharma, Treasure Vase, Parasol and
40
Conch Shell. These symbols spread along with Buddhism to the art of various cultures,
including Indian, Tibetan, Nepalese and Chinese art.
The Dharmachakra symbolizes the Buddhaís turning of wheel of truth. The
wheel on His image depicts His enlightenment. The Dharma Wheel generally represents
the historical process of teachings of Buddha. The eight spokes refers to the noble eight
fold path.
The lotus as well often referring to the quality of compassion and subsequently
to the related notion of the inherently pure potential of mind. The lotus flower
representing ‘‘primordial purity of body, speech and mind’’, floating above the muddy
water of attachment and desire; represents the full blossoming of wholesome deeds in
blissful liberation.
Keywords: Buddhism, Wheel, Lotus, Symbolism
DEITIES ON THE DOORWAY: A REFLECTION ON THE RIVER
GODDESS SYMBOLISM IN THE ANCIENT STRUCTURAL TEMPLES OF
CENTRAL INDIA FROM EARLIEST TIMES TO 6TH CENTURY CE
Aparajita Bhattacharya
From the very inception of human kind natural resources have always been venerated
and worshipped. Rivers acted as cradle for ancient civilizations and water being a live
giving component of nature was always valued and deitified across cultures as motherly
divinities nurturing and ensuring the proliferation of human race. In the agrarian
economy of the subcontinent fluvial deities are still part of the lived experience of faiths
often transcending narrow boundaries of religion building a loving relationship between
Man and Nature. The relationship of Man and Nature is conceptualized in Samkhya
philosophy as an interaction of two complementary principles represented by Purusha
as masculine conscious self and Prakriti symbolizing mystical forces of nature as a
feminine force. The symbolisms and meaning of the river goddesses as free standing
images or as part of early structural temples of Central India can only be conceptualized
in the historical trajectory of their emergence and purpose. Though representation of
41
river goddesses became standardized on the entrance of the temples in the 5th century
CE, the beginning of the river goddess symbolism can be traced much earlier in time
rooted in the Buddhist context of the worship of the yakshas and yakshis conceived
as auspicious diverse anthropomorphic images of magical deities who bestow protection,
assure fertility and benevolence to the devotee.
The purifying and nourishing faculty of water fused with the notions of fertility,
prosperity and abundance symbolizing feminine prowess synchronized into the
formation of the river goddess cults and their representations in early Indian art. The
present research paper attempts to study the origin of river goddess imagery in ancient
Indian art and strives to locate major iconographic developments up till 6th century of
the Common Era with particular focus on the meaning and symbolisms of river goddesses
Ganga and Yamuna on temple doorways from Central India.
Keywords: Cult, Iconography, River Goddess, Temple, Central India.
POWER, POLITICS AND SUPREMACY- THE MANY MEANINGS OF
TRAMPLING IN INDIAN ART
Aparajita Morde
War followed by defeat and subjugation of the enemies has always been a potent theme
in the Indian epics and Pur°∞a. The images like the Mahish°suramardin¢ trampling
on Mahi∑a, ÷iva on the apasrmarpurausha , Varaha trampling on the Naga at Eran
are images which depict conquest. Here trampling is represented as an expression of
humiliation, defeat, subjugation and in certain case even seen as a political allegory.
In Buddhism the images like Apar°jit° trampling on Ga∞e∂a, Trailokyavijaya on ÷iva
and Um°, ÷ambara upon ÷iva and K°lar°tr¢ are popularly seen as depicting the
religious animosity. But, do the work of art mean what its author really intended it to
mean? And would it be appropriate to always read the images at face value. The paper
here looks at the depiction of trampling in Indian art and subsequently questions its
symbolism. It would look at the different meanings attached with trampling and further
look at the myths, stories behind the genesis of these images. Further it would re-examine
42
the meaning of trampling as associated with certain images and provide an alternative
reading for the same.
Keywords: Trampling, Symbolism, Face value
KANDHAR’S CHAMUNDA IMAGE - REFLECTION OF RASHTRAKUTA
ART
Arunchandra S. Pathak and Rajas Vaishampayan
The study of Indian sculptural activities cannot be complete without the elaboration of
Verul. The sculptural activity occurring here during the times of Rashtrakutas shows
the evidence of prosperity and glory enjoyed by the dynasty. According to Dhavalikar
it was this economy which enabled the Rashtrakutas to bring and patronize the sculptors
and artists from Pallava and later Chalukyas for the creative activities at Verul; and all
over their empire. Thus according to Jamkhedkar and Dhavalikar, the sculptural activities
of Rastrakuta times show a kind of symbiosis of Chalukya and Pallava schools of art.
Yet this symbiosis reached its own zenith and uniqueness which resulted in the
characteristic ‘Rashtrakuta Art’. This phase of development in the artistic symbolism
can be said as the Rashtrakutaís their own. It was the wisdom which took up and adopted
the living traditions and improvised the same into a glorious epoch.
We in this paper are going to study the same phenomena which is not an alien
to Indian ‘psych’ which believes in beautification through unification. For our paper
we are taking into consideration the art of symbolism of Pattamahishi / Devi image in
the Verul Yój≠as°la and its reflection in the 10th century C°munda – Lakshmi image
of Kandhar which undeniably show its relation to the former artistic representation.
We will elaborate in this paper, the continuation of sculptural styles and
sustenance of these artistic activities with developments and improvements/additions
throughout the Rashtrakutas period. Kandhar the secondary capital of Rashtrakutas and
their military base became the centre of this patronization during the later Rashtrakuta
kings like Krishna II and Krishna III. This paper also tries to prove the mindset of Indian
king as a supportive patriarch who though suffering at the hands of fate tries to protect
its subjects with all his capacities till the end.
43
Kandhar shows other Matruka images as well, yet the one taken for this paper
is one Chamunda – Lakshmi image, all these images comprising of Kshetrapala and
Matruka denote the spread of Shaiva-Shakti cult at this place.
Keywords: Chamunda, Rashtrakuta, Art
IMAGESCAPES AND SOUNDSCAPES TOWARDS RITUALIZING AND
SYMBOLIZING IN ‘PERSONIFIED CONTEXT’ DURING SOUTHERN
NEOLITHIC- IRON AGE.
Arjun R
All images in the rock art are not necessarily to be ‘symbolic phenomenal’, but the
explicit cattle images bruised during the Southern Neolithic (3rd – 1st millennium BCE)
would have progressively turned towards aritualizing and symbolizing inventions
through the sound appealing rock gong technology. Such developments can be sited
in number of hill dwelling Neolithic sites like Sangankallu-Kupgal, Piklihal etc., and
including Bilamarayanagudda (all in North Karnataka) on which this presentation is
focused on. So far, we have a certain level of understanding of the functional and
influence of these compound evidences from the site of Sangankallu-Kupgallu. In
continuation of such understandings, further there is a need to get into the multifunctional
activities as that how these two evidences of image and sound attracted and engaged
the members of the community, and further how such micro landscapes could have
turned into a symbolicscapes.
Spatially well-defined and positioning of the rock bruisings of cattle in distinct
forms and dimensions over the boulders of the middle and upper terraces of the
Bilamrayanagudda (granodioritic inselberg) are indicating towards a process of artcognitive- culture, and production and audience. Recurrent cattle images over the
comprehensive space, seems to have made an impact among the Neolithic habitants
to getting into ritual believes and social gatherings, and probably continued even among
the Iron Age inhabitants who were a new occupants of the site. Images are positioned
in such a way that they contribute towards visual manifestation for the audience of onhill and foothill, and the micro landscape observations have indicated that such locations
of imagescapes and soundscapes have engaged the inhabitants in dissimilar activities
44
ranging in the forms of corn crushers, axe grinding grooves and water pools. Suggesting
creation of such multifunctional micro landscapes within the site landscapes throughout
the site span marked by the cattle images and rock gongs playing focal role in creating
a ritual and symbolicscapes in the society.
Keywords: Imagescapes, Soundscapes, Southern Neolithic- Iron Age
THE CHANGING SYMBOLS OF GANJIFA IN INDIA
Arunima Pati
The cards of Ganjifa, which were being played in India before the modern, European
ones took over the market, are believed to be brought to India by the Mughals. The
Mughals had only one theme of painting the decks, the court theme, which had treasury,
coins, crown, regal music, etc. as its suits. The symbol for each suit in the court cards
directly represented the theme of the suit. But as the game started seeping into the local
Hindu courts and to the common people, the themes were Hinduised. From secular,
they became religious. Though the themes changed drastically in the cards, the
representative symbols did not change completely. Rather, some of the symbols in the
Hinduised cards were just distorted versions of the initial Mughal court symbols and
some symbols were made to match the distorted names of the Mughal Ganjifa suits.
Various factors triggered this evolution. This paper is an attempt to analyse them.
Keywords: Mughal, Hindu, Ganjifa, Symbols
UNDERSTANDING THE NATURE OF SYMBOLISM DEPICTED IN
ISLAMIC ART OF NORTHERN INDIA
Asif Mohi ud Din
Islamic art and architecture is not characterised by pictorial representation of animals
or human figurines because Islam does not allow usage of either any symbols or
representation of animals or human figures. However, it is very cumbersome to subdue
45
the creative behaviour of an artist. Same was the case with artists in India. They depicted
their creative instincts in the form of more precise channel, i.e. Miniature Paintings,
Geometric designs and Calligraphy. If we ascertain the Calligraphic works watchfully,
there is unapparent meaning behind each line. Same was the case with Miniature
paintings and geometric designs. An attempt will be made to provide a concise outline
of symbolism reflected in Islamic Art of Northern India.
Keywords: Symbolism, Miniature paintings, Calligraphy, Islamic Art, Northern India.
EXAMINING THE DEVELOPMENT AND SIGNIFICANCE OF THE
SYMBOL ‘VAJRA’ IN INDIAN BUDDHIST ART
Atul Kushwaha
The word ‘Vajra’ is a Sanskrit word which means thunderbolt, or lightening, and it
symbolises enormous power and potentiality. In early Buddhist art, yaksha Vajrapani
is shown holding Vajra, who mostly accompanied the Buddha and his depiction has
frequently been noticed in Buddhist art of Gandhara. The ‘vajra’ not only influenced
the symbolism of Buddhism but also its pantheons too. Many Buddhist deities were
named after the word ‘vajra’. This can be authenticated by the presence of numerous
Buddhist deities such as Vajrapani, Vajradhara, Vajrasarrvamika, Vajradhatvishvari etc.
many Buddhist deities are seen holding ‘vajra’ as their one of the emblems, which
include Dhyani Buddha Vajrasattva, Vajrapani, Vajragarbha,Heruka, Vighnantaka,
Acala, Sumbharaja etc. This symbol frequently depicted as one of the symbols of many
Buddhist deities as it power and holds onto the nature and only deities would have
acquired that kind of supremacy. The study of Buddhist imagery also reveals the
development of this symbol through the ages. This paper aims at investigating the
significance and development of this important symbol by examining iconographic and
sculptures features of representative Buddhist icons of ancient period on Pan-Indian
level. An attempt will also be made in this paper to comprehend its exceptional
significance in Buddhism as it has been reflected through Buddhist visual imagery.
46
MARKS AND THEIR MAKERS: A CASE STUDY OF CHAMPANER –
PAVGADH; GUJARAT
Avradeep Munshi
Marks, Symbols and human cognition, these three aspects have always been associated
with each other. From the primeval times, we have tried to gain perspective on the
ancient mind with these highly subjective factors, whether in the times of cave –
dwelling, in open –air sites or via engraving marks over structures. Taking this theme,
the present study will be an attempt to find out how we can go one step further, to trace
the untold facts behind a story of a medieval settlement of Champaner – Pavagadh of
Gujarat. .
The limitations for historical documents have been to admire the upper strat’s
of contemporary societies. Like the primary documents related with the Sultanate history
of Gujarat (India), among many other events also narrates one of the occurrence where
Mahmud Begada, the ruler in 1484 C.E defeated the Patai Rawals of Pavagadh and
laid down a new city later turned out as a capital of Gujarat. But who built the city or
how did they do? Questions like these have never been answered.
Therefore, this study will focus on finding out the reason behind the afore-mentioned
quarries, with the help of the recent findings of symbols and marks over Champaner
– Pavagadh Archaeological Park of Gujarat, India. It will be focused to draw a connection
between the ‘agents’ and ‘space’ in a given time and also attempt to trace its possible
links in present days
Keywords: Marks, Space, Architecture, Champaner – Pavagadh
SEALS OF BUDHIGARH, ODISHA: STUDY OF ITS SYMBOLS, LEGENDS
AND IMPACT OF NUMISMATICS ON SIGILLOGRAPHY
Baba Mishra and Ranvir Singh
Four seals of red Jasper are obtained from the early historic site Budhigarh, Dist, Kalahandi, Odisha. All are surface findings. Present paper intends to interpret their
47
Symbology and legend. Next, seal legends and symbols in the exercise are organised
and cognated with one another on the backdrop of ancient Indian polity and Agrology.
On the basis of symbols, legends and its meanings, these seals are grouped under
two types, Type – I and Type – II.
Type – I, consists of two seals having symbols (tree – in – railing and parasol) and
legends. ( Kharosthi – brahmi scripts, deciphered as Janadhapeta in
Prakrit, Yajna Sthapayita in Sanskrit or founder of Sacrifice in English)
–
Type II, comprises two other unreported Seals carrying symbols on its reverse.
(sun, crescent moon, taurin,tree, rabit, ploughs and grains or cloudes)
It appears that the symbology and legend of the Seals stand for mittraksara vak(
abridgeed code) or guhya language.
Thus, Type – I, symbols are interpreted in the sense of loyalty, for the tree
– in – railing and parasolcan be interpreted as Kalpavriksa and umbrella or chhatra.
Legend,on the other seal can be interpreted, viz - religious performance in the hinterland
of eastern India to legitimize kingship.
Type - II, Taurin symbol on the seal is a hydraulic device to lift water. Tree,
rabbit, sun, crescent moon, ploughs, grains or cloud on the other, signifies vegetative
Fertility.
These motifs and symbols are noted on the Punch marked coins. Some are entrenched
in Harappan Culture too. These seals can be dated to 2nd to 5th century CE.
Keywords: Seal, Symbol, Legend
PATTERNS OF BUDDHIST ARCHITECTURE AND MUTUAL
CULTURAL ENTITY
Bharti
Buddhism always gives a proper feedback for repairing and civilizing unethical practices,
it never removes any kind of practices from the society which may have been constructive
at any level. The preferable question is assured for a deterministic thinking process
especially in Buddhism. Can Buddhism practice survive in the society without preaching?
On the first hand, an operational approach suggest us ‘‘Buddha was taught by the experts
48
of Sankhya and Vaisheshic practitioners, he never satisfied by followed them’’. Buddha
himself meditation any looked for a path that was really different at some levels. On
the other hand, no one can refuse his teacherís teachings must not be base of his
contemplation.
This topic is related to architectural impact in continuation and beyond the
religions. A number of examples are lying in the world which denote, after losing
Buddhist significance, it was followed by the king and the kinglets in restructuring the
movements and the building. Perhaps repetitive approaches proved the two ways: First,
the Buddhist art and architecture might have been effective and attractive. Second, it
may be possible that the creativity of the proceeding generation’s would have loosing
that’s why, for making fascinating them, they must adopt the old art. This kind of
Buddhist identity can make a history but real Buddhism never cares for the past and
waits for future. So this topic is being reframed on the basis of history and philosophy
with mutual entity.
Keywords: Buddhist, Architecture, Pattern, Cultural entity
SYMBOLISM OF ART IN BENGALI LITERATURE – STUDY FROM
LITERARY GEOG
Bratati Dey
Literature and its interpretation are the prime resources and ways to narrate the cultural
landscapes and their distinct and varied characteristics. The dynamic and complex
nature of cultural landscapes allow geographers to conceptualize art form as text, which
like a book, can be read and written by individuals for very different purposes and
with many different interpretations. Art form and symbols both produce and
communicate meanings which one attempts to read and understand in all its complexities
and contradictions. There had been a continuous quest to understand the geography
behind literature, where literature is examined in the context of the physical processes
involved in its formation while comparing the regional reality. Literary Geography has
emerged as one of the fascinating fields of practice where landscape, image and text
are integrated to describe the geographicality of the region. Deconstruction of Bengali
49
literature of ‘Raj Kahini’1 has drawn multiple layers of social references and as well
as art symbols in context of local regional cultural landscape.
On the basis of literary geography this paper has distinct research question. One,
this study tries to understand regional multiplicity of art symbols in literature and second,
understand its philosophical version in the context of society and time.
As a methodological purpose this study has taken Abanindranath Tagore’s ‘Raj
Kahini’ for critical statement. He is a famous artist in India and as well as story teller
of Bengali literature. Abanindranath Tagore- the writer self and the painter self, merge
together and become equally important in giving his thoughts entirety. In‘Raj Kahini’tale
based on the history of the kings of Rajasthan, Abanindranath’s way of depiction helps
the readers to visualise the history of Rajasthan through a series of pictures; characters
like Bappaditya, Goho, Shiladitya, Rani Padmini become alive in the authorís hand.
This symbol of art from has developed real space of society.
Keywords – Bengali literature, Cultural landscape, Literary geography, Regional
symbolism
INTRICACIES OF ABSTRACT SYMBOLISM IN VATAPI CHALUKYAN
ICONOGRAPHY
C. B. Kamati
The term ‘symbol’ is derived from Greek word ‘symbolon’ synonymising contract,
token, insignia and means of identification. Symbolization is a universal human process.
Symbols are indicative of cultural prosperity. Culture in true sense itself is a symbol.
In reality, the entire structure of civilizations is built upon these multifarious symbolic
structures; Symbols are in disguised as well as reveled in form. Symbols are universal.
They transcend history. There is unanimity in tracing the beginning of symbolist thought
to Pre-historic era to the latter part of the Paleolithic Age. Ananda Coomarswamy says
that ‘Symbolism is the art of thinking in images’. Diel considers the symbols to be ‘a
precise and crystallized means of expression.’ Marc Saunier points to an important
characteristic of symbols when he states that they are ‘the synthesizing expression of
50
a marvelous science, now forgotten by men’ but that ‘they show us all that has been
and shall be in one immutable form’.
The Vatapi Chalukyan Iconography is a complex embodiment of symbolism.
It manifests socio-cultural and spiritual insights of the Pre-Chalukyan and Chalukyan
era. The Research paper has explored the Intricacies of Vatapi Chalukyan Iconography
through the lense of Structural Historiography.
(i) Evolution of Symbolism in Chalukyan Iconography
(ii) Ideological and Aesthetic Aspects of Chalukyan Symbolism
(iii) Amalgamation of Symbols in Chalukan Sculpture
(iv) Textual Substantiation of Chalukyan Symbolism
(v) Implications of Symbols in typical Chalukyan Iconography
(vi) Influence of Chalukyan Symbolism on ensuing Schools of Iconography
Keywords- Iconography, Symbolism, Zoanthropic Figures, Tapakrida, MithunaSilpa,
Trinity Nexus
MATSYA AND SARPA: AS SYMBOLS IN THE SCULPTURES OF
HAMPI ENVIRONS
C. S. Vasudevan
The use of symbols in the depiction in the plastic art in India has a hoary past and its
antiquity can be traced since prehistoric times. The use of symbols has developed itself
with its own hue and has carved a separate niche in Indian art. This paper attempts to
focus on the two faunal representations, viz Matsy (Fish) and Sarpa (Snake) that are
found sculpted on various monuments in and around Hampi.
The present day Hampi, in Bellary district of Karnataka, was the medieval
capital of the Vijayanagara empire which held sway over the entire southern part of
India during its’hey days. There are over one thousand architectural vestiges spread
over in about 40 square kilometers. And on all these architectural vestiges different
flora and fauna are depicted and they narrate a story. It is to be recalled here that there
are a number of animals like fish, tortoise, boar, lion, tiger, camel, elephant, swan, eagle,
monkey, giraffe, crow, duck, scorpion, bear, pig, rain deer, deer, pig, cattle, buffalo,
51
cow, stag, horse, etc are represented in different contexts in the sculptures of Hampi
region. Out of all these animals mentioned, the present paper attempts to cull out the
significance of Matsya and Sarpa sculptures taking into account the art, culture,
vernacular texts, socio-religious aspects besides mythological importance with spatial
and temporal context.
The folk tradition and legends that are in vow in the present day Hampi is also
considered in evaluating the symbolic representation of these two faunal representations
in the sculptures.
Keywords: Matsya, Sarpa, Hampi, Vijayanagara
AN EXPLANATION TO THE ELEPHANT-HEADED FIGURE AT
MIHINTALE KA–ŒAKA C»TIYA: A COMPARATIVE STUDY WITH
HINDU MYTHOLOGY
Chandima Bogahawatta and Koshalee Kakulandala
The first Sinhalese literary evidence of Gan∞apati can be identified in a verse of
Sasad°vata, a poetry work composed in 12th century AD during the Polonnaruwaera.
Ga∞apati or Ga∞esha, who is one of the most worshiped gods in Hindu society, was
somehow unknown to literature till the medieval period of the country. Interestingly,
a sculpture of an elephant-headed figure belonging to the 2nd century AD has been found
on the cornice below the topmost one of frontispiece of Mihintale Ka∞Æaka C®tiya among
the frieze of dwarfs, literary gan∞as. Since the figure has been identified by some
scholars as the Hindu god Ga∞apati owing to the elephant head, this interpretation has
been the subject of much debate among archaeologists. In comparison to Indian
sculpture, the figure found in Mihintale can be righteously identified as an early
depiction of Ga∞apati. This interpretation, however arises a number of subsequent
questions to be answered, such as: What are the elements which symbolise the elephantheaded figure as Ga∞apati? Is it a representation of Ga∞apati cult in Sri Lanka at the
time? Therefore this study intended to identify the symbolism of the figure comparatively
with Hindu Mythological evidence, and to understand the figure within its archaeological
context. Arising from the facts available, this figure can, thus, be identified as an earliest
depiction of the Hindu god Ga∞apati, as the head of the ga∞as, in the form of Ekadanta
52
who has only one tusk. The consciousness among the people of the Ga∞apati as a divine
being is evident from the archaeological context of the sculpture.
Keywords: Ga∞apati, Ekadanta, Elephant-headed, Head of ga∞as, Mihintale Ka∞Æaka
C®tiya
A NEW APPROACH ON INSCRIBED SYMBOLS ON COPPER PLATES
FROM INDUS VALLEY and VEDAS
Chandra P. Trivedi
The Inscribed Copper Plates from Indus Valley (Harappan) Civilisation (c. 2600 - 2000
BC), One of the plates bears 34 characters, which is the longest known single Indus
script inscription. Prof. Shinde and Willis 2014 hypothesized that the copper plates have
consistent with use in copper plate printing as earliest known printing devices. It has
inspire to search the use of copper tablet with one, two or longest 34 character. It suggests
that the text may be descriptive or instructive, and has a special purpose.
It has been searched with deep study with above reference that the copper tablets
may have been used for demonstration and teaching with symbolism. In this sense the
longest inscription with man in yogic posture is like a text book. The other tablets with
one or few symbol with different figure are like different chapter/ lectures, to teach the
students about the origin and evolution of the creation and life on the earth, with its
text in Vedas.
The script and languages change with time, but symbols remain the same. The
Indus Valley was most advance and scientific Civilization, now we have touched their
height and can interpret the symbols.
The inscription with 34 character symbols explores origin and evolution
of the creation and life from
a fundamental energy with energy transformation
2
Einstein’s equation E=Mc . The life has evolved from single DNA with genetic
recombination and cell division. The Photosynthesis by the plants is source of life on
the earth.
It has been expressed on the copper plates with Vedic symbolis and may be
distributed in large number with printing devise.
Keywords: Indus Valley, Vedas, DNA, yogic posture
53
CHARACTERISTIC AND SYMBOLISM IN SAKTI CULT OF TARA: AN
INTROSPECTION
Chandrashekhar Paswan
Tara is well-known goddess in the Buddhist and Hindu mythologies. Let us see first
of all how Tara is represented in Hindu or Buddhist mythology. Brahminical mythology
knows of several Taras, but here we are concern with the goddess of ten Mahavidya
, this name who is known as the second Mahavidya. Her chief forms are three namely,
Ekjata, Nilasarswati and Ugra. Taking the various representations or dhyanas of
Tara as found in works like that Tararahasya, Taratantra, Tantrasara,
Mantramahodadhi etc. Tara is a very important and popular deity in the tantric literature
in Northern, Eastern and North Eastern India especially Mithila, (Kali,Ugratara,
Chhinnmastika , Chinachara, etc. Bengal, Assam. Tara hold the same place in Buddhism
which has the goddess Duga, Kali as Brahamnism.She figures as the counterpart or
Sakti of Avalokiteswara as Durga or Kali is the Sakti of Siva. The later, namely Durga
is depicted as mother of the gods –the highest in the Brahminical mythology. Similarly
the Buddhist or Mahayana pantheon, Tara is represented as the mother of Buddhas as
well as Bodhisattvas. Still her form may be considered to be two-fold, the pacific and
angry one, according to the aspects or she may have five to seven forms, in accordance
with the separate colours namely the white, the blue, the green, the yellow and the red.
Her pacific forms will be either white or the green in colour but the angry forms will
be represented either red or yellow or blue. The Buddhist took some from the Hindu
and adapted them to their worship or beliefs, and so did the Hindu also.
Keywords: Symbolsim, Shakti cult, Tara
YOUNG MALE CHILDREN AND NAIGAME?A IN MATHURA ART
Chandreyi Basu
This paper studies representations of children and their caregivers in early Mathura art
(1st –6th centuries) in order to explore the ways in which children during this period
54
might have been socialized and educated through religion, mythology, and family
structures. In what contexts do children appear in art and what do these images tell us
about gender roles, health, parenting, and resource management? What roles (didactic,
symbolic, marginal, or central) did children’s figures play in Mathura’s religious art?
The sculptures examined come mainly from Buddhist and Jain sites in Mathura and
my paper draws on inscriptions and relevant texts to supplement the archaeological and
art historical evidence.
Mathura sculpturesprimarily foreground male children at different stages of
development (infants at and after birth to older children). Their caregivers and mentors
include animal-headed male and female deities as well as fully anthropomorphic yak∑as
and goddesses. Separate gender roles related to parenting by male and female elders
in the social group seem to be embedded in the worship of these male and female animalheaded caregivers. Thus the male ram-headed demi-god Naigame∑a gained popular cult
status as a mature male mentor and guardian of young boys in Mathura during the 2nd3rd centuries C.E. He is portrayed on independent stone plaques with many young wards
under his stewardship. By contrast, animal headed female deities are mainly shown
cradling or nursing newborn infants. My paper examines what these gendered divine
roles might tell us about ancient Mathura’s society, particularly in terms of family
structures and the relationship between children and adults. In addition to portrayals
of Naigame∑a, the mature mentor of youth, representations of Skanda, the youthful male
warrior deity also shed light on what it meant to be growing up male in Mathura.
Keywords: Gender roles, Children, Mathura art, Jainism, Buddhism
SYMBOLISM OF KAILASA THE SACRED SPACE AND THE ARTISTIC
EXPRESSION WITH REFERENCE TO EARLY DRAVIDA TEMPLE
ARCHITECTURE
Choodamani Nandagopal
Sacred structural form and space meet the needs of ritualistic and spiritual traditions
that translate into metaphysical heights in ancient architecture expressing sacred
relationship between man and cosmos. Richness of contents of sacred architecture
55
provided scope for exploring space in many ways. This conception and thought
process integrated with space in Dravida architecture originates from the garbha – the
Sanctum.
Greatness of structure reflects in the shikhara, grand ensemble captivating the
entire temple architecture, conceived and employed at Kailasanatha Temple,
Kanchipuram and Kailasa Ellora. Stella Kramrisch while observing refers to the concept
of superstructure of the temple symbolising Kailasa. Piled up structure over sanctum
resembling mountain has attracted the names of lofty mountains. Meru, Mandara and
Kailasa are the first three names amongst the twenty types of temples described in the
early texts, Brhat Samhita and Matsya Purana: all three are the names of the mountain,
which is the axis of the world: that is Meru, the pole of this earth, Mandara as churning
rod planted on Vishnu, the tortoise during the Satya Yuga, and Kailasa as seat of Siva
in the Himalaya. In these names rises the temple, the image, and sacred space.
Creation of Kailasa caught the fancy of builders, as a result we have two
magnificent structures one at Kanchi and the other at Ellora. Saivism is well defined
in the south of Vindhya mountains. Kapalika is one of the main tantric cults of saivism.
All Sanskrit sources claim that the Kapalikas worship Bhairava-Siva and his consort.
Literary works describe them as solitary peripatetic ascetics, carrying a kapala, the skull
bowl. wielding a trident, smeared with ashes from cremation ground. Bhairava tantra
mentions kapalikas as the worshippers of Unmatta-Bhairava. This paper explores the
artistic expression of the above temples with the symbolism of Kailasa, the abode of
Shiva
Keywords: Kailasa, Sacred Space, Saivism, Shikhara, Bhairava
ROOTS OF SYMBOLS AND COMPOSITE FORMS IN SINDH
SARASWATIART
D.P. Sharma and Madhuri Sharma
Sindh Saraswati civilization is dated 3000 – 2000 BCE, was Bronze Age urban civilization
in South Asia. Today we have some 3769 harappan and its influence sites in northwest south Asia and we have done excavation on 220 harappan sites in Souih Asia
56
Kalibangan, Rakhigarhi, Mohenjodaro, Bhirana, Mehargarh, Harappa, Dhaulavira and
Lothal were excavated on larger scale. Rakhigarhi is a largest early and mature Harappan
site and it was covering total 380 hectares area. Recent excavations done at Harappa,
Mohenjodaro confirms existence of composite form of terracotta figurines. This paper
deals with few such figurines and Symbol discovered from Mohenjodaro, Harappa,
Naushero and other sites. Roots of ancient Indian art and religious is present in Harappan
art. We have mythical lions, mythical fish, back to back lions, back to back animals
and various other figurines in Harappan art. Some rituals and symbolic objects like triratna, Nandi pada, double knot or Multiple Knot swastika, cross, lotus etc. are present
in this civilization.Mahisasur Mardani Kiling Buffalo Was Reported From Mohan
Jodaro. Silver and depicting multiple know design like logo of I.G.N.C.A. was reported
from Mohenjodaro now in national museum collection New Delhi. Kalibangan located
on river Saraswati was excavated In 1917-1918 by Lp Teresstori Who died In 1919later on Mohenjodaro and Harappa were excavated in 1921.
Keywords: Symbolism, Art, Sindh-saraswati
SYMMETRY ANALYSIS OF PAINTED POTTERY FROM TWO PAINTED
GREY WARE SITES: MADINA AND BHAGWANPURA
Daljeet Singh and Elora Tribedy
Symmetry analysis is one of the major tools in ceramic sociology to understand ceramic
decoration, identify and describe the patterns, rotations, reflections and transitions. In
this paper the first aim is to analyse major patterns and compositions applied in the
ceramic decorations of two Painted Grey ware (PGW) sites Bhagwanpura and Madina
in the Ghaggar (Sarasvati?) plain. Both sites present an interlocking phase between Late
Harappan and PGW culture. In the present paper has tried to show Madina to be the
first PGW site to present a structural evolution of motifs from simple to complex,
pointing to an earlier existence from Bhagawanpura. Present paper has highlighted on
symmetrical complexity and structural composition of motifs from both sites to present
a comparative analysis. It has aimed at identifying political or social connotation of
57
particular symbol or symbols and their place and position in a given region or locality.
Lastly the paper will seek out ways which can identify particular spatial arrangement
pattern of any motifs and shapes of painted grey ware while looking into possible
continuity and change.
Keywords: Painted Grey Ware, Symmetry Analyses, Motifs, Pottery and Symbols
RESTORATION- A TECHNICAL REVIEW ON BUDDHIST ST√PA
Debatri Ghosh
After the death of great King A∂oka arising ÷u∞gas had written the future of that
world which carried on the beauty of its past glories. This glorified past enhanced
the charm of the futurevthrough those kings who were very fond of art and
architecture. Not only their philosophy but also their concerns about their thoughts
help a step ahead to create such beauties like st£pas, caves, temples, etc. St£pa is
merely the oldest form of Buddhist architecture. These are actually nurtured by the
great king A∂oka. It carries enormous history of that era in different name. Kali¨gabodhi
J°taka Buddha describes three types of Caitya namely - S°r¢rika (physical),
P°ribhogika (pleasantry) and Audde∂ika (purposive). Motive of this paper is just a
review on the technical terms related to St£pas and how these St£pas took places
in our history for the sake of restoration of our history through their glorious
existence. Some of them are - Bh°rahuta St£pa, S°≠c¢ St£pa, Dh°meka St£pa,
S°ranatha St£pa, Taxila Dharmar°jika St£pa. The stone pillar inscription of
Mahip°ladeva states the restoration of Dharmar°jika and S°∞gadharmacakra: tau
dharmar°jik°Ì s°¨gaÌ dharmacakraÌ punarnavaÌ (3) So, here the journey begins
from our history for our history.
Keywords: Buddhist, Stupa, Restoration
58
MARA: SYMBOL OF EVIL IN INDIAN BUDDHISM
Deepali Patil
Many supernatural creatures populate Buddhist literature, but among these Mara
is unique. He is one of the earliest non-human beings to appear in Buddhist
scriptures. He is a demon, sometimes called the Lord of Death, who plays a role in
many stories of the Buddha and his monks. But here I am trying to see theEssence
and necessity of such concept and at second point i will show here the ‘Pre-Buddhist
Concept of Míra as a evil symbol,’ looks at what kind of Míra concept existed
in ancient India; its nature, and the beliefs of the people towards it. And at third point
i will discuss here the symbol of evil ‘Míra in the Canonical Texts,’ shows how the
concept of Míra is referred to, developed and discussed in canonical texts.
The many-sidedness of Buddhism is well illustrated in the Buddhistic conception
of evil and of a final escape from evil, which is taught to the thinker in the shape of
a philosophy, and to the un educated masses in the garb of a poetical myth, affording
the artist a good opportunity for representing deep thoughts in allegorical form.
The purpose of this study is to show how the four Maras function as a summary formula
for the diverse ways in which the term ‘‘Mara’’ came to be used, and following that,
to consider the meaning this plurality of Mara symbols has for the Buddhist understanding
of evil (papa).
Keywords: Evil, Death, Mara
NANDA RAAJ JAAT: A SYMBOLIC RITUALISTIC MANIFESTATION OF
THE SECRET NANDA DEVI PEEK.
Deepshikha Semwal
Nanda Devi is the chief patronizing Goddess of Uttarakhand, as she is said to be a
daughter of Himalaya. Several shrines are devoted to her all across the central Himalayas.
The goddess is worshipped at several places in Kumaon and Garhwal, but the region
around Mt. Nanda Devi and sanctuary, which falls in the Pithoragarh district, Almora
59
district, and Chamoli district, is the prime area related to Nanda Devi.The three-weeklong Nanda Devi Raj Jat is a pilgrimage and festival of Uttarakhand. The total distance
covered during the yatra/pilgrimage is approximately 290 km; of which 230 km is
covered on foot or by trekking while the rest 60 km is motorable. The Nanda Devi fair
is usually held in the month of late August or early September depending upon the date
of the lunar calendar after every 12 years. The recent Yatra of Nanda Raaj Jaat was
held in the year 2014. However, a fair is held annually (The small Raaj Jaat Yatra) at
the time of ‘‘Nanda Ashtmi’’ in memory of the Goddess Nanda. The fair is said to have
started in the Kumaon region during the reign of Raja Kalyan Chand in the 16th century.
This paper is an effort to explain the myths, rituals and traditions in Nanda Devi Raj
Jat which is celebrated by the people of Uttarakhand. The paper consists of folklores
related to the celebration of 21 days Yatra and also describes different types of traditions
which are celebrated during the Yatra such as group - dance with Dhol-Damaun,
religious ceremony, etc.
Keywords: Nanda Devi, Symbolic, Ritualistic manifestation
KABIR AND KUMAR: UNDERSTANDING THE SYMBOLISM IN NIRGUNI
BHAJANS RENDERED BY PT. KUMAR GANDHARVA
Digvijay Patil and Saumitra Kshirsagar
In the middle of fourteenth century, Nirguna Bhakti tradition started off with its pioneer
saint poet Kabir and his followers. They composed hundreds of verses which refer to
divine Nirguna, literally meaning the one without any form and material attributes,
which sharply contrasts with popular Saguna Bhakti tradition. This poetry emphasizes
mainly on the transitory nature oflife, non attachment, inevitability of death and devotion
to teacher etc. Ultimately these songs are richly embedded with allegorical examples
drawn from nature and day to day mundane life which helped the listeners to comprehend
the philosophy.
Pandit Kumar Gandharva or Shivaputra Siddharamayya Komkali (1924-92)
was a Hindusthani Classical vocalist. The maestro is well known for the i
60
diosyncratic style and his refusal to be bound by any traditional musical school or
Gharana.
He experimented with many classical music forms including Bhajans
which resulted into musical compositions deeply rooted into the symbolic
meaning, philosophy and aesthetics inherent to the verses. His musical renditions
of Nirguni Bhajan are widely known and popular among amateur listeners and
connoisseurs alike.
This paper is a preliminary attempt to understand the unique and thoughtful use
of melodic framework, pronunciation, tempo, rhythm cycles, volume and silence etc
in his musical renditions and their contribution to enhance the symbolism of philosophy
in Nirguni Bhajans.
This paper will also try to include the observations made by different personalities
who were contemporary to Pt. Kumar Gandharva, his disciples, musicologists, vocalists
who sing his compositions and his ardent followers.
Keywords: Kabir, Kumar Gandharva, Nirguni Bhajan, Hindusthani Classical Music,
LAIRAI DEVI THE KALASH DEITY OF SHIRGAON GOA AND
MODES OF WORSHIP
Dipika Bhomkar
Lairai Devi is a mother goddess and gramdevata of the Shirgaon village in North Goa
Bicholim taluka. Temple dedicated to Lairai is built in the centre of the village. She
is worshipped in the form of ‘kalash’ (pot) which is made up of five metals i.e. gold,
silver, and copper, iron and zinc called as ‘Pancdhhatu’. It is considered sacred in India.
Kalash or the pot also has ritualistic symbolic meaning.When a pot is filled with water
or other nourishing liquid, along with leaves or flower or fruits or grains then it is called
‘Kalasha’. This Kalasha indicates the womb of the goddess that gives the life in the
form of leaves flowers etc. .The pot has much ritualistic symbolism- it is a symbol of
plenty, a symbol of life. It symbolizes the expression of a wish that the recipient enjoy
wealth health and long life. This paper deals with the origin, worship pattern, and
representation of the deity.
Keywords: Lairai Devi, Deity, Worship
61
UMBRELLA OF SERPENT: A PORTRAYAL OF DIVINE KINGSHIP IN
EARLY INDIAN ART, UP TO C. 500 CE
Duli Ete
In India, serpents are not merely a class of reptile which crawls on the ground and
endangers lives but are considered powerful supernatural beings, which possess humanly
qualities, could assume the status of a god and yet remain distinct from both. This
common animal has been viewed with such ambivalence that the n°gas, the supernatural
counterpart of earthly cobras are an embodiment of polarities, bestowed with numerous
meanings and symbolism. The n°gas symbolize life giving water, but they also represent
death. They are believed to be the denizens of the aquatic paradise, but they breathe
fire, control atmosphere and could haunt heaven and earth. They are believed to be
the most generous beings, but they could also annihilate prospering cities. These
ambiguities of the n°gas that abound in the Buddhist, Brahmanical, and Jaina art and
literature have led many scholars, since the nineteenth century, to view serpent worship
in ancient India unsympathetically from the lens of ‘the great tradition,’ as ‘folk,’ ‘local,’
‘mere ornaments’ and ‘never an object of worship.’ Such approach simplifies the
religious dynamism and rules out the possibility that a sacred landscape and visual
vocabulary were shared between many contemporaneous faiths.
This paper focuses on the N°gar°ja iconography, a sacrosanct serpent
iconography, in which a serpent canopies a deity with an umbrella of its multiple headsa motif shared by Buddhism, Brahmanism, Jainism and independently affiliated images
of serpent deities. By moving across four inter-related sources, namely, art,
archaeological, inscription and textual, this paper not only traces the antiquity and
symbolism of this iconography but also illustrates, that Buddhism, Brahmanism and
Jainism consciously adopted this iconography to portray the divine kingship of the
Buddha, Vi∑∞u, and P°ˆvan°tha, respectively. By emphasizing on iconographic
transference, this paper highlights the dynamic religious interaction in the symbol laden
visual culture of early India (up to c. 500 CE).
62
THE SWASTIKA IN BUDDHISM: ITS GENDERED SYMBOLISM AND
SINICISATION
Garima Kaushik
The Swastika symbol in Buddhism has been extensively reported and documented from
a number of Buddhist sites in South Asia like Bharhut, Sanchi and many others. It occurs
as a decorative art motif represented on sculptures and architectural members. Swastika
is an early symbol appropriated by the Buddhists that predate the iconic representations
of the Buddha and very often was used to represent the Buddha aniconically. It is
conspicuously present even in the architectural scheme at Buddhist monuments. A
number of stupas from sites like Nagarjunakonda and Pedda Ganjam in Andhra Pradesh
have been reported to have bases that are shaped like swastikas. More recently from
sites like Vadnagar in Gujrat and Sirpur in Maharastra, viharas have also been reported.
whose ground plan are shaped in the form of a swastika. This paper examines the
possible gendered and sectarian affiliations of this symbol, keeping in view the various
archaeological and spatial contexts in which it occurs. The symbol is also known to
have a marked presence in Chinese Buddhism. This paper also traces the diffusion and
sinification of the symbol and its association with the Chinese deity of Compassion,
Kuan Yin.
Keywords: Swastika, gender, stupa, monasteries
SYMBOLISM OF BIJAMANTARAS
Gauri Moghe
B¢jamantra is a peculiar type of Mantra, found in Tantra literature. Mantraˆ°stra is the
main theme of Tantra. It is most important as well as most difficult subject in Tantraˆ°stra.
Tantra is a significant and an occult school of philosophy and it deals with Tattvas,
Mantras and specific symbols. Typically B¢jas are of one letter with ‘Candrabindu’ (sign
of nasal) like ‘KaÌ’ as the seed-form which the mantra springs. Popularly other unetymological vocables such as Hr¢Ì, ÷r¢Ì etc. are also called B¢jamantras. According
63
to the ordinary use of language B¢jmantras have no meaning or they appear as
mystic words. With the help of the Tantra∂Ìstra it can be said that B¢jas are
symbols which stand for specific and significant meaning and concepts. In
Tantra∂Ìstra, every letter conveys some meaning. Therefore when some
consonants and vowels come together in a B¢jamantra, they collectively convey specific
meaning. Each deity has its own B¢jamantra and the primary meaning of B¢jamantra
is that particular deity.
This is an effort to find symbolism of B¢jamantras. For this study the Nav°r∞amantra, ‘‘Aum AiÌ Hr¢Ì Kl¢Ì C°mu∞Ø°yai vicche’’ is taken into consideration.
Nav°r∞amantra is a significant mantra of ÷°kta cult of Tantra and it is widely known
and worshipped.
As a part of language, it is essential to define the linguistic status of B¢jamantras.
Semiotics is a sub-branch of Semantics. Semiotics deals with the signs which stand for
something else. It is noteworthy to analyze the study of symbolism of B¢jamantras in
the light of Semiotics. This research paper is an effort to analyze symbolism of B¢jas
in the light of Tantra∂°stra and to put forth the discussion about the linguistic status of
B¢jamantras.
Keywords: Tantra∂°stra, B¢jamantra, Symbols, Nav°r∞amantra, Semiotics
GA–œABERU–œA: AESTHETIC REPRESENTATION IN THE ART OF
KARNATAKA
Gomathi Gowda
Indian Art is predominantly decorative in character and birds occupy an important
position in plastic and pictorial representation. Birds such as the Garuda, Peacock and
others are connected with important mythological stories and in the stories of J°taka,
most other birds are carved, painted as an integral part of the design.
Of the mythical birds, Garuda, the vehicle of Vishnu, is well-represented in
medieval records. In south, another kind of mythical bird is noticed in the inscription
known as ga∞Øabheru∞Øa. In Sanskrit the word bheru∞Øa means terrific, frightful,
terrible, a species of bird while ga∞Øa is understood to imply a warrior or hero. The
64
term ga∞Øabheru∞Øa was adopted as a title by the Chalukyas, Kadambas and the
Vijayanagara rulers.
There are numismatic representations, literary references, sculptural and artistic
portrays of this unique symbol in Vijayanagara art. The ceiling of the V¢Órabhadra shrine
at Keladi, and the Bherundeshwara temple at Balligavi have the most exquisite
representations of the ga∞Øabheru∞Øa .The ga∞ØabheruØa is alsothe logo of Karnataka
State Government and was the royal insignia of the Wadiyars.
The paper attempts to analyse the significance of the ga∞Øabheru∞Øa in
Karnataka and bring forth the artistic and aesthetic representation of the motif.
Keywords: Ga∞Øabheru∞Øa, V¢rabhadra temple, Bherundeshwara temple
OBSCURE FEROCIOUS IMAGES AND FACES ON THE PILLARS OF
BHAIRAVNATH TEMPLE AT PEDGAON, MAHARASHTRA: ITS
POSSIBLE SYMBOLIC MEANING
Gopal S. Joge
Motifs and symbols are played vital role in an architectural embellishment of
temples. These motifs are not merely a decorative motif but successfully conveyed
the strong propagative abstract ideas and thoughts which was inherited in that
socio-religious set up. Some of the motifs quite familiar to the art historians such as
kirtimukha, vyala etc.
However, sometime fairly uncommon motifs, images also can be observed.
In such a case scholar needs to outlook and examined in different way to decode
the motifs. Which would be helpful to him to understand the particular temple. One
such temple noticed by the author at Pedgaon a tiny village in Shrigonda taluka
of Ahmednagar district in Maharashtra. The site is located on the left bank of Bhima
river. There are group of around seven structural temples inside the premise of late
medieval fort ‘Bahadurgarh’. Stylistically these temples are dated around 13th century
CE.
This paper discusses the possible symbolic aspects of these motifs and images
which is displayed on the pillars of Bhairavnath temple. These motifs and images are
65
depicted on middle (stambhmadhya) and upper (stambhshirsh) portion of the
pillars.Most of these motifs and images are obscure and enigmatic which is not there
in other temples at site. These motifs and images can be classified in three types
Kirtimukha, ferocious faces and therianthropomorphic images.
Keywords: Motifs, Obscure Ferocious, Temple, Maharashtra
SYMBOLISM IN INDIAN LITERATURE, WITH SPECIAL REFERENCE
TO ODIA LITERATURE
Harihar Padhan
Alike many other forms of literary technologies like imagery, allegory, objective corelative etc. related to style matters, symbolism in its new and prevalent form is also
influenced to westernised art and literary movements despite its age old existing formats
and trends. In literature and particularly in Indian literature, along with art, music and
archaeology in post mid-nineteenth century era we notice that trend of western influence
rampantly. The utmost positivity of a symbol is to stimulates a sharp feeling by means
of its expression irrespective of the ground that whether it is collected from a local
scenario or imported from far distant localities, and there is a chance of negativity if
the symbols creates any hurdles in understanding the sense immediately. In the
perspectives of Indian literature, the creations in prose form and the creations of verse
in a new experimental style often relies more upon symbolism in comparison to Old
and medieval literature. The literatures of Tagore, Najrool, Tarashankar and
Bibhutibhushan of Bengali literature, Premchand, Jaishanker, Nirala and Fanishwarnath
of Hindi literature or Fakirmohan, Sachi rout, Gangadhar, Gopinath and Shantanu
Achaya etc of Odia literature are the burning examples of literary expressionism by
means of symbolism. In this study I propose to present a glimpse of Symbolism in Odia
literature by means of analytical mode.
Keywords: Modernity in literature, Symbolism, Indian literature, Odia literature.
66
ASS-CURSE STELES : INVESTIGATING SYMBOLISM
Harshada Wirkud
Ass-curse steles are a unique type of land or such grant stones or simply edicts bearing
inscription which is inclusive of the Gaddhegaali i.e. the ass curse and have a sculptural
panel that usually depicts copulation between a donkey and a woman. It is from this
panel and the, usually accompanied, presence of a curse in the inscription which states
that ‘the miscreant’s mother/wife will be copulated with a donkey as a punishment’ is
the reason that they are so termed. The Ass-curse steles are thus extant proofs of
corroborative cogent evidence in the form of archaeological and epigraphical data. The
coherent persistence of the nearly defined typology of these steles is probably only
second to religious iconography though there are certain permutations and combinations
involved. The depictive panel which pictorially represents the curse in toto, is perhaps
a phenomena observed for the first time in case of direct correlation with the inscription.
They were issued from 10th - 11th century onwards.
The stele is generally divided into three panels, viz; the sun-moon panel, the
inscription panel and the graphic panel depicting the curse. The sun and moon panel
is usually accompanied by a Kalasha or some other design/figure altogether and is
always carved at the top of the stele. The inscription panel and the graphic panel are
interchangeable.
This paper deals with the iconography of these steles by trying to conceptualize
the entirety of the symbols and the graphic visualizations used. The aim is also to take
into consideration the current cognizable meaning attributed by the people to these
symbols and graphics used on the basis of their current perceived notions and impacts,
thereby helping us understand continuity if any and other beliefs with regards to
perception of these symbols from the past to the present. It is also to evaluate and
understand, if as well as any, previous theories with regards to the donkey-woman
symbolism considering that Ass-curse is very much a pan Indian phenomenon though
with variations and the fact that different kinds of curses were being used in the grant
steles earlier though not so much as in a graphic sense.
Keywords: Ass-curse steles, Typology, Symbolism, Conceptualization
67
SYMBOLS IN THE ROCK ART, KARNATAKA WITH SPECIAL
REFERENCE TO THE MALAPRABHA BASIN
Hemant Dalavi and Mohana R
The present paper deals with symbols through the study of art sites in Karnataka. It
gives better understanding of geographical distribution of rock art sites along with
the rivers and their tributaries. Description of Rock Art in Karnataka has been classified
into three categories i.e. Pictograph and Petroglyph.The rock art sites are located in
archaeologically rich areas noted for significant Palaeolithic deposits as well as varied
Holocene sites, habitation and burials of hunter-gatherer, Neolithic and Megalithic
communities as for instance in Karnataka.
The symbol is a sign of language i.e. expression of feelings and emotions of
human being. The authors have been noticed such symbol in the rock art of Karnataka.
Those help us to understand the past mind an aspect of cognition. The symbols like
rhombus, knot designs, mandala, criss-cross, hand and foot prints etc.
Keywords: Symbols, Rock-Art, Malaprabha basin
ORNAMENTATIONS AROUND THE SYMBOL OF THE CROSS : A
COMPARATIVE OVERVIEW
Jason Johns
The symbol of the cross from its origin in a pre- Christian phase to its Christianization
has gone through a long period of evolution spanning hundreds of years. The cross
which was a symbol of shame and punishment for criminals became a Christian symbol
in the Holy land representing the passion, death and resurrection of Jesus Christ .It is
to be noted that this symbol became popular once Christianity became a popular religion
and began to spread with the believers either under patronage or threat. The cross as
a symbol itself began evolving with elongation, curves, equalization and ornamentation
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either on its surface or around it. The evolution of the cross and its ornamentation
changes with region, group or sect of Christians and the meaning they gave to it. The
ornamentation also represented various facets of Christian theology and philosophy as
professed by these various sects.Furthermore one observes that with the regionalisation
of the symbol of the cross - local elements like vegetation, fruits , fauna and cultic
symbols get incorporated , as seen in the cases of India , Armenia, etc .Thus the resultant
combination of the cross symbol with its evolving and distinguishing ornamentation
serve as a window into the coming of Christianity into those respective localities, how
the two communities interacted, the level of their religio- intellectual interaction, etc.
In the following paper the researcher aims at making a cross cultural comparison
between few of the ancient crosses like Nestorian Crosses, Armenian Khachkar, Persian
Crosses in India , etc. Here along with the examination of the cross itself the ornamentation
will be studied and put into context of the locality where these crosses are found , while
making an attempt to separate what was originally brought by the early missionaries
either in tangible or intangible form.
Keywords: Cross, Symbol, Evolution, Christianity Ornamentation.
BALLADS: A SYMBOLIC JOURNEY THROUGH THE LIFE OF NORTH
MALABAR
Jasna K and Aswanth K O K
The history of Malabar is inundated with significant historical incidents and happenings
and any reading of it will be incomplete if Vatakara is not mentioned. Vatakara (also
known as Badagara) is the capital of old Kurumbanadu, which was inhabited by a tribal
folk known as Kurumbrar. The name Kurumbranadu has its origin in the name of this
tribe. A Nambiar Lord known as ‘‘Vadakara Vazhunnore’’ was the former ruler of this
area. This is the third largest town of North Malabar. This paper revolves around the
ballads of North Malabar and so Vadkara becomes the heart of that.
Vadakara is known as the birthplace of Unniyarcha, Aromal Chekavar, Thacholi
Othenan, the legendary heroes of the Vadakkanpattu (ballads of North Malabar). These
ballads of oral tradition are considered to be of great literary and aesthetic value.[citation
69
needed] Thacholi Tharavadu (the original Thacholi family home) is still preserved and
the birth anniversary of Thacholi Othenan is celebrated. Lokanarkavu is one of the
famous temples in this area. Also the temple for the memory of legend Thacholi Othenan
is located at Vadakara. This temple is named as Thacholi Manikkothu Kavu temple.
The martial art form Kalarippayattu has the largest number of exponents in Vatakara.
Also a temple resides near to Vatakara town named as Kalariyullathil Temple.
Keywords: Ballads, North Malabar, Vadakara, Folk Culture
ACHEULIAN ARTEFACTS AS SYMBOL OF PRESENCE OF EARLY
HOMININ IN THE DECCAN TRAP REGION OF THE UPPER
KRISHNA BASIN
Jayendra Joglekar and Sushama G. Deo
Studies in stone-age cultures began in the Indian sub-continent with the discovery of
a handaxe by Robert Bruce Foote in 1863 at Pallavaram, near Chennai (erstwhile
Madras). Later on comprehensive explorations were carried out and almost whole
mainland of Indian sub-continent was surveyed by various scholars, missions, Institutes,
Universities. By the time India became independent nation, signatures of early hominin
presence were discovered in most parts of the country, except few parts like Deccan
trap region, Ganga-Yamuna doab, North-Eastern region and few other pockets. In the
absence of hominin fossils or not being able to discover hominin fossils, Acheulian
artefacts are the main component which symbolizes the early hominin presence. Stones
survive for millions of years, these stones when modified by hominin turn into artefacts,
which is the best source for studying early hominins. In 1952, for the first time Lower
Palaeolithic artefacts made on basalt were discovered at Gangawadi, on the Godavari
river in Nasik district of Maharashtra by Prof. H.D. Sankalia. Until this discovery it was
believed that the basalt was not a good raw-material and hence this region was avoided
by the early hominin as no sites were discovered till then. After discovery by Sankalia
at Gangawadi and further explorations in the Godavari basin it became evident that the
Deccan trap region was also occupied by the early hominin. In 1960’s Dr. R.S. Pappu
was able to find few Lower Palaeolithic artefacts in the Deccan trap region of the upper
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Krishna basin. Further research in same region by other scholars brought to light few
more Acheulian sites, confirming the early hominin presence through the artefacts they
have left behind. This paper deals about the Acheulian sites in the Deccan trap region
of upper Krishna basin and also about few interesting artefacts discovered till date.
Keywords: Upper Krishna Basin, Acheulian artefacts, Early hominin presence
SYMBOLIC NARRATION IN KATHAKALI: A STUDY WITH
REFERENCE TO RAVANOTBHAVAM
Jyotsna Krishnan A
The paper evolves from the understanding that symbols and symbolism become
dominant trait in the discourse of all Indian arts. The symbols enable the artist to analyse
and interpret the context through emotions and techniques. The thoughts and the
metaphors are put together for a visual effect in the arts which make it visual delicacy.
When you look at the classical arts forms of India the plot does not play considerable
relevance. The way of telling the story makes the art forms different. The use of the
symbols and the narration are the two methods that give prominence to an art form.
Symbols are cultural produce of a society. It clearly states the culture and life of that
particular society. The idea of symbolism in art can be analysed in three ways:
1. Literary symbolism where there is a strong presence of symbolism in the literary
text
2. Theatrical symbolism where the performance contains strong symbols
3. Philosophical symbolism where a philosophical backdrop like comparing the
dancer’s body to the panchbhootha.
The Indian classical art forms differ itself in the variety of symbolic narration where
the plot remain the same. Without the presence of the props it expresses narration
effectively and clearly through symbols. Here the non-literary elements are communicated
through various techniques apart from the linguistic richness.
I here try to analyse the theatrical symbolism which is also called symbolic
narrative. The techniques and methods of depicting a situation is analysed in the light
of a play Ravanotbhavam, The Birth of Ravana. The characters like Ravana, Narakasura
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became relevant which focussed on the anti-heroic narration. The relevance was given
to the symbolic narration of a particular situation as different from depicting a plot.
The analysis carries different elements like mudras, body language, facial expressions,
in which how symbolism is represented.
Keywords: Narration, Symbolism, Kathakali Theatre, Anti-heroism, Ravanotbhavam
P√R–AKUMBHA : A SYMBOL OF AUSPICIOUS OMEN
K. N. Hota
When we look into the society and culture particularly of the Hindu community,
generally people have a strong feeling or attachment towards each and every cultural
element which they come across in their day-to-day life. Omen either good or evil is
highly linked to this society and culture. The omen has an indication of auspiciousness
or inauspiciousness. Everybody wants to see a good omen of auspiciousness. Thus one
leaving for a journey expects to pass through a good omen which may indicate success
of his journey. In other words, it is an indication of happening of something good. This
omen element could be called as a symbol which indicates or connotes something
auspicious of being desirable and inauspicious of not being so. There are hundreds of
omen both good and evil found in Sanskrit literature. P£r∞akumbha or a jar with full
of water is assumed as good omen indicating auspiciousness. This alone is believed
an abode of fortune (ma¨galaikanilayaº p£rakumbhaº, Tri∑aPuCa.2.2.30). The sight
of such a jar indicates one acquiring merit (BrahmaVaiP. 4.76.9). A jar with full of paddy
grains on southern direction is a very good omen of being auspicious. But an empty
jar is never auspicious particularly on one’s journey (AV19.8.4). Matsyapur°∞a (2387-11) records empty jar as an evil omen. It states that a jar with full water if becomes
empty, it is an indication of definite destruction of country or death of its sovereign.
This paper aims at knowing what P£r∞akumbha symbolizes or indicates based on the
sources available in Sanskrit literature.
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A COGNITIVE EXERCISE TO UNDERSTAND ROCK ART TRADITION
THROUGH PAST AND PRESENT SYMBOLS
Kantikumar A. Pawar
It is one of the significant component in archaeology which is considered as creative
imagination and powerful executions of our ancestors. Behavioural approach into these
studies mainly focused on the multifarious relationship of material culture and its
reflection into human behaviour which can be studied by minute observation of different
symbols and mind mapping of some of the present day ethnic societies. These symbols
have certain The use of ethnographic analogy to fathom aspects of human behavior
in the distant past of our species, and even that of previous hominian species, has been
a tool of Pleistocene archaeology for all the discipline’s history. Among the main
concerns of the scientific study of the rock art is the question of the origin and
development of this art. Relating to the cognitive evolution, this question has long been
the subject of discussions including the psycho and neuro-physiological aspects of the
rock art. Here the author has dealt with symbolic aspects of doodles and human visual
system and cognitive functioning as such.
This paper is about the link between rock art and pre-Historic ritual human behavior.
It employs a landscape perspective and communication during existing rock art ritual
among the Gond community of central India. Present paper has been focused mainly
upon understanding of socio-behavioral pattern in the region by studying its past and
present cultural traditions through symbols related to the rock art.
Keywords: Tradition, Symbols, Cognitive archaeology
DOCTRINAL SYMBOLISM IN TIPIŒAKA WITH SPECIAL REFERENCE
TO PETAVATTHU
Karuna Milind Mohite
Symbolic form of teaching is rooted in Indian culture since long and it plays very
important role in learning and remembering the things easily. Buddha taught his doctrine
73
with the help of various similes, metaphors and narratives. The teaching of the Buddha
is compiled in various texts of TipiÆaka according their subject matter. Petavatthu is the
seventh book of Khuddakanik°ya of Sutta PiÆaka. It deals with the stories of the beings
who took birth in the Peta world due to their past unwholesome acts. The law of cause
and effects is seen in Petavatthu in symbolic form. The effects of the three types of
actions like actions performed by speech or by body or by mind are shown with the
help of various similes and metaphors. In this way, Petavatthu presents the specific type
of kamma and its vip°ka2 in symbolic form.
There is a belief that a strong group of wrong view holders were prevalent in
the society at the time of Buddha. Most of the narratives are dedicated to teach how
the micch°diÆÆhi (wrong view) is harmful on the path of liberation. This research paper
is a small attempt to throw light on the symbolic study of the Petavatthu with the help
of selected episodes from Petavatthu. Therefore, the present research article will answer
the following questions.
1. What type of symbolism used to denote a various types of kamma and its vip°ka?
2. Was the symbolism seen in the Petavatthu meant for the specific class of the
society?
3. How symbolism helps to understand the law of cause and effect taught by the
Buddha at the best.
Finally it can be said that the narratives of Petavatthu explore the doctrinal symbolism.
Doctrinal symbolism is the best method to teach the moral values. The symbolic form
of teachings can be remembered for long period of time. It can also be passed on from
one generation to the next easily.
Keywords: Doctrinal, Symbolism, Petavatthu, Kamma, Vip°ka,
VRATA AND ¡LPAN¡ OF BENGAL: DEMYSTIFYING SYMBOLIC ART
Kakali Ghosh
1.0. A symbol is either a subtle or tiny expression of a subtler or titanic event, idea,
aspiration and experience or a grossreplica of a subtle concept. It may appear as
visual, audial or audio-visual art form.
74
2.0. Symbolismisthe soul of the entire Indian cultural heritage.Innumerable rituals
perhaps occupy the bulk of Indian culture. Vrata is a form of sacred practice,
which is performed usually by several folks and largely by women either to
express some desires, or to welcome the expectedoutcome.Although most of the
vrataspresuppose neither the prescription of scholarly scriptures nor the
supervision of priests, they never lack theirfigurative approach.
3.0. Bengal has a long and gorgeous tradition of performing vratas. Vratas often are
accompanied by several aesthetic practices, like construction of image of deities,
preparation of ceremonial stuffs, designing°lpan°s, musical and dramatic
performances etcetera. Thus vratas of Bengal are rich inseveral forms of creative
art.
4.0. ¡lpan° is often designedby women of Bengal as an auspicious symbol in vratas
and other ceremonies.It is an amazing form of symbolic art which presupposes
no extraordinary talent or training for being designed. A cotton piece is soaked
in diluted rice dust and is taken within the finger-tips and then is gently pressed
to direct the toner through the ringor middle finger for crafting the °lpan°-design.
Since the symbols are highly suggestive and abstract, an in-depth inquiry may be
undertaken towards the comprehension of the content of the implicit suggestions
therein. Philosophy being the soul of Indian culture, each of these vratas and ‚lpan‚s
is pregnant with the pearls of philosophical wisdom. Therefore, the present paper has
ample scope to delve deeper into the core of the symbolic art as reflected in the tradition
of vrata and ¡lpan°of Bengal.
Keywords: Symbol, Vrata, ¡lpan°
PIKA‹, i.e. INDIAN CUCKOO – A SYMBOLIC ELEMENT IN SANSKRIT
LITERATURE
Kirti Kulkarni
In Sanskrit literature, many birds and animals have been used as the symbols to reveal
the human nature. pikaº, i.e. Indian cuckoo has some specific symbolic features in
Sanskrit literature. The word pikaº has many synonyms like kokilaº, t°mr°k∑aº,
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parabh§taº, etc. which have significant etymologies and meanings thereupon. Having
considered these meanings, the bird cuckoo is used as a symbol for revealing various
kinds of human nature, emotions. It reflects symbolic importance from both – positive
and negative – aspects. It also reveals the importance from the point of view of good
or bad omen, particularly in the Ayurvedic texts.
The present paper intends upon to deal with all these aspects of symbolism
regarding pikaº, i.e. the bird cuckoo, in Sanskrit literature.
Keywords: pikaº, i.e. Indian cuckoo, Etymologies, Omen
THE BANDHA ART (TIE-DYE) OF SAMBALPUR (WEST ODISHA)
Kishore Chandra Meher
Bandha is one of the most versatile and tedious form of textile designing in
handlooms. Amongst the various form of tie dye techniques employed in the
designing of textiles the tie-dye technique employed by the weavers of western
odisha is known as Bandha.
The word Bandha in colloquial language means ‘to tie or to knot.’ The techniques
is called Bandha since tying of the yarns in a systematic well coordinated and in perfect
proportion according to a preconceived design before dyeing is essential to produce
the desired pattern or designs when the yearn is woven in to textiles. Bandha can be
defined as ‘‘A length of systematically arranged yarn, dyed according to a preconceived
design in such a manner so as to enable a weaver to potray the design when the yarn
is converted to a fabric through the process of weaving. This form of textile designing
is also called Ikat.
At least four districts of western odisha viz Bargarh , Sonepur, Samblapur,
Boudh are reputed for textile production. Thousand of weavers in hundred of
villages are engaged in weaving the handloom textiles. The textile of western Odisha,
otherwise known as ‘Sambalpuri Textilesî is famous for its Bandha Art or tie-dye.
Thousands of trditional designs of tie-dye patterns are woven in handlooms. Sarees,
furnish materials, handkerchief etc. are manufactured in various craft-villages of the
region.
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The present article is an attempt to make an ethno-histrorical study of the Bandha
art of sambalpur region. The main objective is to examine the symbols of art woven
in the textile. The motifs of flora and fauna carry symbol of tradition and culture.
Besides, the study also examines how a traditional craft had played an important role
in changing the world of a weaver community during the early decades of 20th century.
It also gave an identity to the region.
SYMBOLISM IN INDIAN ART: EXPLORING THE IMBEDDED
SYMBOLISM IN INDIAN JEWELLERY
Komal Pande
Indian jewellery is a miniscule representation of the journey of civilization starting from
the prehistoric period till date. On the one hand, it holds in its external form the evolution
of various techniques while on the other hand it keeps in its heart the identity markers
of region, religion, caste, gender, age, social status. From a single flower used for
adoration of hair to elaborate north Indian sarpech (turban ornament) and crowns; and
from a single threaded bead to exquisite paddkkam (pendants) of south Indian jewellery
exhibit symbolism. No matter how far and further we go in history, at all the sites that
are unearthed jewellery is found as an evidence of civilization which constitutes of
elaborate jewels or beads or sometimes ornamented figures and figurines.
The dynamics of Indian Jewellery is such that it displays forms and materials,
brought together to conceive and then deliver a specific symbolic meaning. Sometimes
the symbolisms remained rigid, while at the other times these symbols changed their
meanings with time. With respect to symbolism, Indian Jewellery also gives us examples
of secret symbolism to be known by a few and also examples of universal unconcealed
symbolism. Thus, understanding origins, meanings and concerns of symbolism in
Indian Jewellery offers itself as an intriguing subject of research.
Jewellery in India was worn by men, women and children and also cattle and hence
served the purpose beyond mere visual fulfillment. The precious and semi precious
metals and stones used to craft it, various designs and motifs made on it, the act of
wearing it on a specific body part and sometimes suggested days and time of wearing
imply symbolical relevance of jewellery. Thus, the paper will explore traditions of
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Indian Jewellery as it contains in itself evolution of many such signs and motifs, codes
and symbols that form a part of the language of the jewellery which has symbolic and
metaphorical renditions.
Keywords: Jewellery, Amulets, Precious and semi precious stones, Nine gems, Tiger
claw
INTERTEXTUAL SYMBOLS IN INDIAN CULTURE
Konika Mukherjee
Cultures, all across the world, require a body of texts to provide for the community’s
symbology. The texts, as symbols in condensed forms, serve to represent the dimensions
of a culture. Interestingly, texts have a unique feature: that of maintaining their semiotic
and structural independence. This duality, of the text existing as both: a literal as well
as a metaphoric body, appendages it with double-fold representative responsibilities.
When a body of texts attain a cultural symbol, they become the object of representation
from being just the means of representation. In symbolism, the semiotic situation is
hidden as a pure possibility.
A.K. Ramanajum, in his‘‘Where Mirrors Are Windows’’ (1989), and ‘‘Three
Hundred Ramayanas’’ (1991), discusses the ‘‘intertextual’’ nature of Indian literature,
written and oral. Intertextuality, i.e. the constant referring to works composed in the
past due to their historic or literary importance or relevance, is a commonly witnessed
element in Indian literature. This element is frequently employed in mainstream literature
and regional folklores, both. Intertextuality, thus, serves as a potent metaphor, in terms
that it offers its characters as well as its text as a figure up for representation. Occasionally,
the author, too, is fictionalized and renders metaphoric service; for instance, Kalidasa
in Mohan Rakeshís famous play, ‘‘Aashadh ka ek Din’’.
In my paper, I propose to study the factors that permit certain texts the
responsibility of representing the Indian culture. Furthermore, and centrally, my paper
would attempt to understand how the social-literal symbols function in representing a
society’s culture, employing instances of intertextuality. This would also clarify the
importance of the text, as a literary body, apart from the metaphoric.
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FAUNAL REPRESENTATION IN ROCK ART OF WESTERN ODISHA: A
POSSIBLE SYMBOLIC INTERPRETATION
Kshirasindhu Barik
Art is the creation of Human. It has multiple functions including communication,
memorization, interpretation, commemoration and self- expression. Art is the mirror
of mind, and constitutes a precious record of human’s conceptual and psychological
matrix. It implies specific abilities of synthesis, abstraction, mental associations and
logic. Prehistoric Rock art occupies a significant place in the genesis of art. Pre-historic
rock art sites are found in Odishan highland region comprising district of Mayurbhanj,
Keonjhar, Sambalpur, Bargarh, Sundergarh, Dhenkanal, Jharsuguda, Nuapada,
Suvarnapur, Kalahandi. The rock art of Odisha has special significance because of the
presence of a large number of animal or faunal Motifs, Fertility cult symbol and it rarely
depicts human figures. The fauna represented in these rock shelters need to be interpreted
in its contextual meaning, which possibly reflect thewhole environment, climate of that
age and the relationship of the man with the contemporary environment. The possible
symbolic interpretation of these faunal representation will not only shed light the
contemporary human and animal association but will also explore the multiple layers
of interaction between them. The present study will also try to find parrallels theanimal
motifs which are depictedin the rock shelter and the present day faunain the region.
Keywords: Rock Art, Faunal depiction, Western Odisha
POETRY OF MICHEL MADHUSHUDHAN DUTT: RECONSTRUCTION OF
INDIAN MYTHOLOGY IN EARLY MODERN BENGALI POETRY
Kumar Dipongkar Mondal
Michael Madhusudan Dutt (1824-73) is one of the different poet of Bengali literature.
He is the pioneer of modern poetry in Bengali literature. He wrote two Epic (Meghnad
Bodh Kavya) and another Epic (Tilottama Sambhava Kavya) in Bengali language. He
took the subjects of two epic from ancient religious epic Ramayana. He explored several
79
poetry subjects and verse in Bengali literature. He used Indian Mythological theme and
characters in his poetry but he reformed those theme and characters with his poetic merit.
In the poetry of Madhusudan, the popular characters of Indian Myth and epics are can
discovered from different representation. In Bengali literature ‘Verse Epistle’ was
successfully introduced by ‘Madhu Kobi’ in the year of 1861. The subject of ‘Verse
Epistle’ is originated from Indian myth but after reading the poetry we realize they are
not same as known as described in Indian myth. In his poetry, reconstructing of
mythological characters- we observe those characters are like human. Humanitarian
ideology is the core theme of Madhusudan’s poetry, in spite of mythological subjects
and spirit. In this contemporary time different literary criticism is available in literary
periphery. After 155 years later why Michael Madhusudan Dutt and his poetry is
important to discuss in this twenty first century from the side of Indian Mythology and
how we can correlate his conception in this time to discover the Humanitarian mythical
characters and subjects.
Keywords: Bengali Poetry, Reconstruction, Epic, Verse Epistle.
THE GAAY-VAASRU IMAGE AND ITS TRANSITION FROM A
SUBSIDIARY DEVICE TO PROMINENCE AND FINALLY AS A REGNAL
DEVICE
Kurush F Dalal
The Gaay-vasru (cow suckling a calf) image has a long life from very early coinage
to the inscriptions of Southern India where it finds a permanent place on the pediment
of inscriptional stelae of the Rashtrakuta dynasty.
This symbol is perhaps one of the most simple symbols with a very great degree
of acceptability ever adopted to tell a complex story. It is not merely symbolic but is
also narrative. It is the physical/symbolical representation of the land grants being
referred to on these stelae. It starts of as a small symbol seen most often on the left hand
margins of the pediment. It moves over time and space increasing in size as it travels
north and west. Ultimately it becomes (in all probability) the regnal device of the
Shilahara king Anantadeva II (1198AD).
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This paper attempts to trace the journey and to understand and explain how this
subsidiary/marginal symbol achieved regnal status.
INVESTIGATING SYMBOLISM OF WRESTLING IN VISUAL IMAGERY
OF ANCIENT INDIA
Kush Dhebar
Wrestling, known as Mallavidyain the ancient text played a very important role in the
ancient India. It was a great part of the physical culture of the contemporary people
and was also used as a form of unarmed martial combat sport. When one looks at the
monuments of the ancient periods like the temples, cave structures and forts one finds
various scenes of wrestling depicted on them. These scenes can be a part of the epic
narratives like the duel between Vali and Sugriv or the wrestling match between Krishna
and Chanuror they can be a part of the isolated secular imagery like the composite
images at the Badami Caves. What is important to note is the reason behind the use
of these wrestling sculptures on the monuments. It can be deduced that these sculptures
were used to symbolize the strength and prowess of the King of that particular era and
region.
SYMBOLISM ENCODED IN MEGALITHS: A CASE STUDY OF
FARKAWN AND KHANKAWN VILLAGES, MIZORAM
Lalhminghlua and Amrita Sarkar
Symbolic studies have shed light on the way we understand the past when script(s) did
not exist. The representations on the different types of material shows how people
understood their environment, utilized natural resources to meet their needs and their
thought process. Symbols are the representations of human abstract thoughts into
physical form. It provides a route through which human past can be revealed without
the so called script.
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Megalithic art in various forms is an international phenomenon. Carvings on
megalithic stones, practiced in Northeastern India with reference to Mizoram have been
studied only by few scholars. The lesser known megaliths of Champhai from the villages
of Farkawn and Khankawn have symbolic representations which manifests the social
and cultural milieu of the pre-Colonial Mizo society. Mizos in the pre-Colonial period
having no script of their ownresorted to carving different kind of symbols on stones
and rocks which clearly shows the material culture, emotions and thoughts. They are
the yardstick of achievement in art which is a clear marker of cultural progress.
Keywords: Symbolism, Mizo, Megaliths, Farkawn, Khankawn
GOOL SCULPTURES: SYMBOLS RECONSTRUCTING HISTORY
Lalit Gupta and Navjot Kour
The region of Jammu geographically connecting the Hilly region of Kashmir with the
Plains of Punjab and rest of India has an importance of its own. There are shrines, living
and old; sites of great archaeological importance which are relegated to such a position
that the whole history of the area remains under shadow. One such important site is
the site of Gool in Ramban District, approximately 150 kms from Jammu. The small
to large size equestrian sculptures with intricate designs lie in the area scattered. The
local legend associates these sculptures with the Mahabharata period when the Pandavas
lived in exile. However little is known about the actual period of these sculptures. This
paper therefore aims to trace out the antiquity of these sculptures based on their
iconography.
Keywords : Jammu, Archaeology, Equestrian sculptures, Iconography.
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OMK¡RA: A SIGNIFICANT UPANI◊ADIC SYMBOL
Madhavi Godbole
Upani∑ads always use stories and symbols to put the philosophical theorems. Omk°ra
is one of the significant symbol used in Upani∑adic literature.
The time span of upani∑ads is very vast, i.e. near about 6 century B.C. to
th
19 century A.D. Entire upani∑adic literature uses this symbol to put forth its
philosophy. Hence this symbol represents complete span of upani∑adic literature,
as well as the philosophical conceptual development in this literature. This paper
studies these reflections of the philosophical conceptual development through the
symbol of Omk°ra.
THE PITHORO PAINTING: A CREATIVE SYMBOLISM
Madhulika
In the present paper I have endeavoured to disclose the inherent creative symbolism
in the Pithoro painting. This ritual and votive painting is the essential part of social,
cultural, and religious life of Rathva tribes of central-eastern Gujarat. In Gujarat, 29
groups come under the protected category and the Rathavas are one of them. Through
the analytical study of ‘‘Pithoro Symbolism’’ I have delineated the ‘‘ethnic strand’’ of
the Rathva community and their ability of transforming the ‘‘Mundane’’ to the
‘‘Mythical.’’ The mythical world of the Rathvas centres around the characters of Pithoro,
Pithori, BaboInd, Rani Koyal and Rani Kajal. At surface, it appears to be a story of
a forsaken child, his real mother, his foster mother, his uncle, and a wedding; but deep
analysis disclosed that it is a universal myth in which these characters become archetypal,
almost symbol of Primordial Creation. The first concern of the Rathva tribe is with
creation. The Rathvas like their counterpart in the ancient world invoke Earth of four
continents as Mother Earth and Indi Raja who resides in Heaven. This is a restatement
of the centuries old relation of Mother-earth and Father-sky. Again echoes of ‘‘PanIndian Tradition’’ cutting across level of society are perceived without any doubt and
ambiguity. The reflection of an universal model with slight variations in the matter of
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demarcation of sacred space, identification of directions installation of deities and
the placement of gods, heroes, animals and plants. Other aspects of ‘‘juxtaposition’’,
‘‘transposition’’ and ‘‘superimposition’’ are also discussed in the present scenario
of new facts and survey. Similarly, each and every symbolic aspects of Pithoro
Painting is studied and demonstrated with power point presentation in the research
paper.
Æãfi, ™ãfi AND oãfi OR ™Ï¸ÁS IN TANTRIC RITUALISTIC
WORSHIP OF åÁƒÁƒ∫múÓ\
Ó Á
Madhura Godbole
oãfi is a systematic quest for salvation or for spiritual excellence by realizing and
fostering the bipolar, bisexual divinity within one’s own body. This is methodologically
striven after by specific kinds of ÃÁáåÁs, which include recitation of ™ãfi or §y\, the
construction of YN¿ˇ, and making of appropriate ™Ï¸Á, the assignment of laying down of
powerful sounds or syllables on the body (ãÆÁÃ), and the meditation of the deity’s
concrete manifestation.
∆{ƒ and ∆ÁOˇ are two éütÁÆ, the central position is occupied by the twofold
doctrine of »yYN¿ˇ and the »yuƒ˘Á. The »yYN¿ˇ is an intricate figure or Æãfi resembling
the abode of ufiúÏ∫ÃÏãt∫y.
Present paper deals with the prescribed ritual of »yYN¿ˇúÓ\Áin accordance with
Æãfi,™ãfi and oãfi or ™Ï¸Ás.
Keywords: Æãfi, oãfi, »yYN¿ˇ, uånÆÁ, §y\, ™Ï¸Á
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GANAPATI-GANESHA: A SYMBOL OF SYNCRETISTIC
INDIAN TRADITION
Mamta Rai
Starting as the ‘trouble making’Ganapati and becoming the ‘trouble ending’ Ganesha,
the ‘Ganapati-Ganesha’deity is the embodiment of the entire Indian tradition which
ranges from lesser folk belief systems to higher philosophical thoughts. As a result, the
study of the development of this deity allows one to understand some aspects of the
gradual development of Indian religious scenario. Whereas, at one level, the ‘concept’
of this deity manifests the glimpse of ancient tribal society, (with a therioanthropomorphic form and magico-religious practices); at another level it also caters
to higher needs of the society such as commerce, trade, agriculture, intelligence and
intellectuality. Due to these qualities Ganeshaalleviated itself from the group of secondary
gods and became supreme. Hence over the period not only various religious traditions
assimilated the deity into their pantheon but it was also successful in maintaining its
relevance and presence in modern times.
Present paper attempts to analyse these qualities of Ganesha and tries to
understand various cultural processes of the deity’s acceptability across disparate
religious faiths which resulted in Ganesha becoming a symbol of the syncretistic
tradition.
BUTTERFLY: INDIAN PERCEPTION
Manish Rajan Walvekar and Tanmay Jayant Bhole
Each and every living thing has its own role in any culture. But there are certain living
things that bear special significance, for instance butterfly. Butterfly has special
importance in the Indian culture. According to some it is related to the death and
according to some it is related to the birth. Though it is important in our culture we cannot
find any references of butterfly in the Sanskrit literature. Isn’t it surprising? On the other
hand folk culture and folk literature give special importance to this butterfly. Cultural
85
diversity and diversity of thoughts in India paved a way of its different interpretations.
Such diversity needs proper interpretation.
Let us take two examplesE.g. 1) Nagas of Assam consider that dead people take the form of butterfly
2) Nagas of Manipur do believe that butterfly is an incarnation of Prajapati!
Such kinds of variations we find in many literatures in our cultures. This paper will
try to find out WHY this diversity exists. The main focus will be on its diversity and
its interpretations.
Keywords: Butterfly, Death symbol, birth symbol
KURMA (TORTOISE) IN INDIAN CULTURE
Manisha Shete
Kurma( Tortoise) is a famous reptile who plays a very unique role in Indian culture.
Kurma, kasyap, Kamerath, Kacchap are Sanskrit names for tortoise. These words
express qualities of tortoise. For e.g. Kamerath means one who lives in the water.
Biologically this reptile belongs to Chelonian family and basically it is differentiated
in three types 1. Turtle ñ strictly aquatic 2.Terrapins ñ with hard shell and can be found
in sweet water as well as on the land also 3. Tortoise ñ strictly land dwelling. There
is a wide variety of this reptile in India and land dwelling tortoise is quite famous.
Many habits and qualities of this reptile reflect in culture of India. This is so
amazing, that We can find symbolism of ‘Kurma’ i.e. tortoise in Mythology, Local
traditions and beliefs , Folk lore’s, Vedic Literature, Epics, Puranas , philosophy as well
as in the art and architecture.
Tortoise is famous for its Kurma avatar of the Visnu from the
Samudramanthanstory of purana , it is famous as ‘Devak in tribal societies. In Philosophy
it symbolises stability, Tortoise in the temple before deity is quite famous so At the
one point we can find it is elevated to a semi divine position and on the other end we
meet a very nice and friendly, wise or mischievous tortoise in Isap fables,Jatak katha.
We can find literary as well as archaeological evidences of tortoise as a part of the daily
diet or delicacy.
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The tortoises in Indian culture express the wider view which is very interesting.
Tortoise is one of the oldest reptile on the earth and it carries so many beliefs and faiths.
It has become friend and philosopher as well as supporter of human being.
Keywords: Stability, Longevity, Spirituality, Fertility
THE B¡–E÷WARA CAVE IN PUNE: A CONTEXTUAL ANALYSIS
Manjiri Bhalerao
The rock cut ÷aiva cave known as B°∞e∂wara is located at the foot of the Tuk°i hill
in a suburb called as B°ner in Pune. The existence of this rock cut cave was not known
to many people till a few years ago. However the recent attempts of conservation and
renovations by the temple trust have given a lot of publicity to this cave temple. Further
the construction of the Tuk°i temple on the hill has made has helped in increasing the
footfall at B°∞e∂wara. Considering the plan and elevation of this cave it is generally
dated to the 8th century CE. There are a few peculiar archaeological remains like
memorial stones as well as ritual objects kept in the vicinity of the cave. They belong
to various periods. This paper would attempt to study the various archaeological remains
found near the cave and try to analyze the land use pattern over a period of time.
SYMBOLISM IN THE FOLK ART OF HARYANA
Manmohan Sharma
Every society has a natural feature to express the social and other aspects of life by
means of symbols.This practice is continuous from very primitive societies to modern
scientific society. The aspect of using symbols varies from scientific symbols to religious,
social, political and other fields. Symbolism is the earliest way to convey different ideas.
Symbols are found on coins, stamps, sculptures, rocks, walls bhojapatras, animal skin
and papers etc. The region of Haryana has a long history of use of symbols and itís
folk women specially invented many religious symbols which are continuously used
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on different occasions to celebrate various festivals and public beliefs. These are created
on ground, walls and other materials using a variety of objects like cow dung, white
clay, red ochre, wheat flour, charcoal turmeric powder mud and sand etc.Some of the
symbols used by women are Sanjhi, Gogaji, Ahoi, Govardhan, Chhathi and Swastik.
Thapa, another symbol [literally meaning hand print] of many types is made and used
at many occasions like Goganavami, Dashehara, Dhanterasa, and Devauthani Akadashi
and in marriage rituals.
All of these are not mere symbols but have many latent impacts. A fusion and
continuity of different cultures is noticed and composition and singing of songs with
dance and dramatic performances is also it’s out come. Their role in religious unity
among different faiths and cults can be observed by analyzing the methodology and
philosophy of worship .Their esthetic values can be seen in the use of variety of fashion
and ways and in new ideas of performing arts . The social value attached with these
symbols and celebrations is of utmost importance. They contribute to better
understanding, co-operation, mutual discussion of the personal family and social
problems and release of tension. Searching of local talent of the folk is possible. Some
symbols cross the state boundaries and contribute to national integration. The aim of
this paper is to elaborate this symbolic folk art of Harayana and its implications.
Keywords: Sanjhi, Goganavami, Govardhan, Chhathidevi, Swastik
SYMBOLISM IN KASHMIRI POETRY: A STUDY OF SELECT POEMS
Manu Sharma
The literary world contains countless symbols drawn from universe, nature, mundane
world and myths. These symbols through the interplay of words and suggestions add
an aesthetic taste to the literary works and distinguish them from other artistic creations.
The poetry is one such genre of literature which is more figurative than other genres.
It is more embellished with imagery, symbolism and figurative language. Such rich
imagery impregnated with symbols is the mark of Kashmiri poetry. This technique has
been fully harnessed by the Kashmiri poets to express their inner contention. This paper
88
endeavors to locate various symbols used by Kashmiri poets in their poetry. The paper
also attempts to illustrate vibrancy of these symbols in the contemporary context of
Kashmiri life.
Keywords: Symbols, Allegory, Imagery, Kashmiri Poetry
SYMBOLISM IN MITHILA FOLK ART: REPRESENTATIONS IN THE
CONTEXT OF CONTEMPORARY FOLK ART
Md. Iftekhar Alam Ansari
In this research paper, I will discuss about the history of Indian Art, Signs and Symbols
in detail. Icon and Symbols are known as the alphabet of Indian Art. All icons and
symbols have been featured in art styles. As far as Indian Art is concerned, Religion,
Philosophy, Culture can be seen clearly in Indian Art. And Mithila folk art is a valid
famous folk art. In Mithila (Madhubani) folk art, different symbols have been used,
which includes the portraiture of religious, social and natural object, like Kohbar,
Bamboo, Latpatia Suga (Parrots in Union), Bid-Bidhata, Naag ñNagin. Mithila folk art
is characterized by the symbol of ‘‘Betel Leaf House’’.
This paper aims to explore, the critical description in, symbols of prosperity and
fertility, such as Elephant, Horse, Lion, Fish, Bamboo, Lotus Flower, etc, depicting
pictorial conceptualization of Purain Leaf, Swastikas Betel Leaf, etc.
In the last segment, I will also discuss about the work of Artists like, Ganga
Devi, Santosh Kumar Das, Shantanu Kumar Das, their paintings of contemporary times
in the form of fish, animals and birds, and plants and trees. And also I will explore the
use of traditional symbols in contemporary Mithila Folk Art with their new meanings.
Keywords: Mithila Painting, Folk Art, Kohbar, Symbol, Contemporary.
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SUBTLE AND MYSTICAL SYMBOL
E“ÊNˇÁ∫ IN »yuƒ˘Á CULT
Meenal Kulkarni
The NˇÁ™Nˇ¬Áuƒ¬Áà by úÏlÆÁåãtåÁs is an important work in the »yuƒ˘Á cult. Around
the period of EußåƒTÏõo, there was a åÁs cult in Kashmir, who followed the ∆ÁOˇ tradition.
They used to follow ∆ÁOˇ cult in ÃÁáåÁ but Kashmir ÷aivism astheir philosophical view
point. Among the works of these åÁss, NˇÁ™Nˇ¬Áuƒ¬Áà by úÏlÆÁåãtåÁs and a commentary
on it called uY˚®y by åbåÁåãt was quite popular in Kashmir region.
úÏlÆÁåãtåÁs was an adherent follower of “ut™o. »yuƒ˘Á is the ™ãfi of ™“ÁufiúÏ∫ÃÏãt∫y.
The ™“ÁufiúÏ∫ÃÏãt∫y™Ó¬™ãfi is of fifteen letters and is called úØÁt∆y. There are two versions
of this ™ãfi namely NˇÁutuƒ˘Á and “utuƒ˘Á. The ™ãfi which begins with letter Nˇ, is called .
NˇÁutuƒ˘Á. Thus the NˇÁut™ãfi is: Nˇ L F| ¬ Ÿy™Ω@ “ à Nˇ “ ¬ Ÿy™Ω@ à Nˇ ¬
Ÿy™!
The ™ãfi, beginning with letter “, is called “Áutuƒ˘Á. Thus the “Áut™ãfi is: Nˇ L F|
¬ Ÿy™Ω@ Ã Nˇ ¬ Ÿy™Ω@
The followers of Nˇut™ãfi are said to be u∆ƒ, tσÁ|à “ÆT¿yƒ etc. “Áut™ãfi is said to
beled by ¬ÁzúÁ™Ï¸Á, the wife of ETÀnÆ.
The NˇÁ™Nˇ¬Áuƒ¬Áà means the spreading or emanation or evolution of the NˇÁ™Nˇ¬Á.
NˇÁ™Nˇ¬Á is one of the prominent names of the goddess ™“ÁufiúÏ∫ÃÏãt∫y. NˇÁ™Nˇ¬Áuƒ¬ÁÃ
extensively deals with this concept. NˇÁ™Nˇ¬Á is the supreme triangle which emerges by
the union of üNˇÁ∆ and uƒ™∆|, or u∆ƒ and ∆vOˇ.
The word E“ÊNˇÁ∫ has very subtle andmystical meaning in »yuƒ˘Á cult. In
NˇÁ™Nˇ¬Áuƒ¬ÁÃ, úÏlÆÁåãtåÁs and åbåÁåãtåÁs have elaborately explained this concept and
its relation with the entire manifestation.
Present paper tries to discuss this symbol and its relevance with NˇÁ™Nˇ¬Á.
Keywords: üNˇÁ∆, uƒ™∆|, E“ÊNˇÁ∫, u§ãtÏ, ufiNˇÁzm, NˇÁ™Nˇ¬Á
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MAPPING METAPHOR IN INDIAN WRITING IN ENGLISH:
A CASE STUDY
Megna Carvalho
Metaphor has traditionally been treated as a rhetorical device or artistic figure of speech.
It is said that everyday language has no metaphors. Metaphor uses mechanisms outside
the realm of everyday conventional language. But research in Linguistics has brought
to light the fact that metaphor is central to ordinary natural language semantics, and
the study of literary metaphor is an extension of the study of everyday metaphor. This
paper is an attempt to study metaphor in Indian Writing in English in order to understand:
- the source domains that frequently get mapped
- the direction of the mapping
- how central is the theme of embodiment in the emergence of
metaphorical meaning
The methodology used in order to study metaphor is based on the Conceptual Metaphor
Theory framework given by George Lakoff in Metaphors We Live By, Lakoff and
Johnson 1980 and 2003. In their view, metaphor is not simply a matter of words or
linguistic expressions but of concepts, of thinking of one thing in terms of another.
Metaphors can perspectivise a concept or conceptual domain for instance ARGUMENT
IS WAR and AN ARGUMENT IS A JOURNEY. Some source domains for metaphorical
mappings found in the data include domains relating to
FOOD
(Pillai had two sons and both of them turned bad)
PLANTS
(I have taken roots)
HUMAN BODY
(the sun from whose mouth the fiery breeze came)
The two writers whose short stories I have used to collate my data are Raja Rao and
Mulk Raj Anand. Both of them are pioneers in Indian Writing in English. Their stories
are short and crisp yet so vivid, artistic and real to the reader.
Conceptual Metaphors in English language have been previously studied but
not from the perspective of Indian English writing. This paper attempts to look at
metaphor as symbolic from a Linguistic view point and closely examines whether the
concept of embodiment does or does not govern Indian writings.
Keywords: metaphor, Indian English, source domain, mapping, conceptual metaphor
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SYMBOLIC REPRESENTATION OF BUDDHISM IN INDIAN DALIT
MOVEMENT AND NEO- BUDDHISM
Milani Perera
Dalit movement towards a political, social and economic liberation has turned to many
philosophies for its inspiration which are religious in nature but political in practice.
The main reason is that, in India, religion is not just a practice of faith but a way of
life and thought. Therefore, religion becomes the deciding ground for social, economic
and political identity of its occupants. Some of these influences were home grown while
others were introduced either through political or trade interventions. In this research,
importance of Buddhism as an inspiration and the nature of the influence on neoBuddhism towards the respective socio-political movement are investigated. In analyzing
the findings, two symbolic representations were discovered. Buddha’s biological, social
and political importance is discussed as he both challenged the contemporary society
through example and practice. The second is the teaching and covenant he found that
protested against Hindu social values. In a strong segregated background, Buddhist
covenant accepted and upheld individuality sans one’s caste. In the latter part of the
research, Dr. Ambedkar’s influences on political and social spheres are reviewed. Dr.
Ambedkar also works has a strong influence as he actively challenged the dogma by
conversion of himself and paving the path for 600,000 of his followers to inversion
into Buddhism ; and secondly he works as a symbol whose birth and life he chose to
led ,both challenges and ignites positivity in the Scheduled castes. Thus, as the last part
of this research, a brief comparison and contrast is done on the social circumstance and
choices that were made by Buddha and Dr. Ambedkar in liberation of Dalits in their
movements towards equality and marginalized free social classes.
Keywords: Dalit, neo Buddhism, schedules castes, symbolism
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FORT RAIGAD A FINDINGS OF ASCALEDTOWN PLANNING
Milind Paradkar
Raigad Fort located at Mahad in the Raigad district of Maharashtraand is considered
as one of the finest fortsof all time. Well known for its strategic locale and impregnable
cliffs it isa perfect example of a centre of medieval military activity.
During the course of my research I decided to get a detailed block diagram of
the citadel part of Raigad as an annexure to the thesis.Based on these measurements
and drawings and architectural study of the said site, I have observed and have arrived
at some conclusions which have not been observed or stated so far by any individual
or by any institutions in their studies of Raigad or any other fort in the country.
Based on these measurements and drawings and architectural study of the site
at Raigad Fort, I have concluded that the planning and construction of all the buildings
on Raigad Fort are built to a scale.
This paper intends to draw the attention and to highlight the findings of this
particular phase of the research and open up avenues for further research on the subject.
SYMBOLISM- A MODEL DEVELOPED AS A METHODOLOGY IN ART
HISTORICAL STUDIES SHOWING THE SIGNIFICANCE OF
SYMBOLISM IN ART HISTORICAL ANALYSIS.
Minnu Kejriwal
Symbolism plays a significant role in understanding the theoretical and aesthetic construct
of art. While reviewing various types of visual analysis, it gave an understanding that,
through the approach of symbolism with supportive thinkers and their approaches
towards symbolism, an independent model can be structured. With this thought process
back in mind, the model which have been developed has a relevance and potential to
position itself as a method in art historical studies, giving Symbolism an independent
status. The model gives a methodology to analyse the process in a holistic manner with
the tool of symbolism, where all the aspects of analysis can be done under a single chart.
Also a deeper interpretative multiple meanings can be drawn through the model so
developed.
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The inclination of studying art objects as cultural objects show a deeper
understanding towards the visual culture and material culture; to interpret them to benefit
for broader community understanding; and to expose to the range of cultural perspectives
in the growing visual culture around the world, symbolism plays a significant role.
Symbolism as a method of artwork analysis is a promising new approach to
the future as it aids our understanding of visual art. This model has the scope and gives
a holistic approach to handle the complexities of the contemporary art. To face and solve
the problems and complexity of visual world which also comes under visual culture,
symbolism becomes suitable tool which can resolve the process of analysis.
This paper will explain the five different stages of the Model- Preliminary,
Primary, Secondary, Interpretative, Analytical/?Holistic Stage developed as a
methodology for analyzing the works of art by taking into account the various aspects
and approaches of symbolism deployed, thereby giving symbolism a significant,
independent status and a new dimension for interdisciplinary analysis to the art historical
studies.
Keywords: Symbolism, Methodology, Model, Analysis, Art Historical.
SYMBOLIC SIGNIFICANCE OF THE KAR–AVE◊ŒANA FROM
CHANDANKHEDA, DIST. CHANDRAPUR, MAHARASHTRA
Mohan S. Pardhi, Virag Sontakke and Pradip Meshram
The present paper aims at investigating symbolic significance of a unique Kar∞ave∑Æana
found in the archaeological exploration from Chandankheda in the district Chandrapur
of Maharashtra. The excavation at Chandankheda was carried out jointly by the
Department of Archaeology and Museum, Government of Maharashtra, RTM Nagpur
University and INTACH. The terracotta object Ka∞ave∑Æana is embellished with
numerous symbols and images. It is significant to mention here that such decorative
ear ornament has been reported from early Buddhist sites such as Bharhut, Sanchi,
Amaravati, Kaushambi etc. which is rare in context of Vidarbha. An attempt will be
made in this paper to comprehend meaning and significance of various symbols and
94
images depicted on the Kar∞ave∑Æana. Further, the paper will also endeavor to analyze
the religious-cultural aspects for the depiction of different symbols. The depiction of
semi-divine figures on the Kar∞ave∑Æana deserves a special mention. Finding of such
ornate Kar∞ave∑Æana from early Buddhist sitesfurther confirms its significance in the
contemporary religious-cultural setting.
Keywords: Kar∞ave∑Æana, Chandankheda, Terracotta, Buddhist sites, Semi-divine
figures
RAIN AS A SYMBOL IN THE SELECT SHORT STORIES BY
WOMEN WRITERS
Monbinder Kaur
Rain holds a delicaterelationship with different stages of life. Its countless forms and
associations have been discovered and celebrated through the medium of art and
literature. When we talk of literature, rain serves as a dominant narrative tool. A
refreshing miracle of nature, rain had the power and prospective of relating entirely
different facets of life, emotions, feelings, situations etc. into one. It is through symbolism
only rain has entered into literature. Symbolism heightened the significance of the
meaning of art and literature, and writers, by using certain imagery, assigns a meaning
to his/her work which goes far beyond than what is obvious to the reader. Rain is often
used metaphorically in literature to represent discontent or to invoke a forlorn mood.
Indian women writers have used rain as a metaphor in numerous ways. In the
short stories in English by women the symbol of rain or rainy season can be seen used
extensively. This paper will analysesa few short stories like - ‘Rain’, ‘The Rainmaker’,
‘Twilight Storm’, and ‘The First Rains’ in which rain is used as all diffusive metaphor.
One of the significant characteristics of these writers is the use of symbolic language
in their works. As the language tool and main thread of the short stories, symbols not
only reinforce the artistic effects of the work, but also contribute meaningfully to the
exploration of its deep themes and dense implications. They tried to use the symbolism
of rain to connect it with different feelings, emotions and with passion of their main
characters. Rain sometimes symbolised as death, sorrow, as desolation and sometimes
95
with wild passion, with sexuality and with inner turmoil.By capturing the beauty of rains
with the delicacy of their words, these writers are creating all together a different world
of the women who are not afraid to explore the power of sexuality.This paper is an
attempt to analyse thesymbolic meanings of the governing image of rain in their works.
Keywords: Symbol, Rain, Fertility, Sexuality, Psyche
THE EARLIEST REPRESENTATION OF SYMBOLISM IN ROCK
ART AT RANGAN¡THA GUœœA, PENINSULAR INDIA
Mohana R
Rock art plays a vital role in the study of human beliefs and practices, especially of
prehistoric people. In fact, it is a global phenomenon throughout the ages. It is wildly
known that rock art was one of the mediums to communicate and represent their
understanding of their surroundings and it also reflects their ritualistic beliefs and ideas
in symbolic way.
The Site is located on the right bank of Malaprabha river basin, aAbout a km
southeast of B°d°mi. In the hill range, there is a shelter with paintings of humans and
wild boars which are several in numbers. The pictures on the vertical surface of a huge
rock shelter represent the most vivid Upper Palaeolithic/Mesolithic rock art composition
in South India. The paintings being on the cliff, are well-protected from human or animal
interference, but open to the vagaries of the weather. It is protected by a grey-translucent
patina, which renders the paintings faded. In an area of 3.64 m x 2.46 m, the panel
has 69 pictures of animals, human and geometrical designs including miniature figures.
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THE INFLUENCE OF BUDDHISM ON SINHALESE MORPHOLOGY
Morakandegoda Ariyawansa
Sinhalese culture has a long and continuous history, deep rooted traditions and
highly differentiated social norms. Sri Lankan society is broadly divided into two
groups, secular/layman(g§hasth@ > gihi) and mendicant/clergy (pr?vrajit? > pÊvidi).
According to this situation the Sinhalese language shows very significant usages among
Indo-Aryan languages. The Buddhism is the main factor for this differentiation. This
paper mainly based on the religious terms and their usages in Sinhalese. These terms
show the hierarchical structure of the common Sri Lankan society, specially among
layman and clergy. Some characteristic features which have been taken into account
in this research paper are as follows: The separate set of nouns as well as verbs which
are used to represent the clergy and secular in Sinhalese and usages of different
morphemes with the same meaning (semantically same usages are identified here with
the different morphemes). Therefore some nouns as well as verbs are found in Sinhalese
with different morphological realizations and similar semantic value. The selection of
relevant data from modern Sinhalese language and analysis of them are the research
methodology of this paper.
Keywords: Buddhist, Hierarchy, Layman, Mendicant, Sinhalese
VEDIC SYMBOLISM THROUGH MICROCOSM AND MACROCOSM
Mugdha Gadgil
Indian civilization is one of the ancient civilizations in the world. Vedic literature is
commonly accepted as an important means of exploring history of ancient India.
Various social, cultural and religious facts about ancient India could be observed
through pages of Vedic texts.
Vedic literature mainly consists of ritualistic texts because ritual was an
inseparable part of the life of Vedic Indians. According to Vedic imagination, rituals
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represented actual life of the humans. Therefore it was believed that actions performed
in the ritualistic sphere symbolize happenings in the actual world and components of
ritual have an effect on the real world. Thus Vedic ritual stood for microcosm and the
cosmos stood for macrocosm.
The concept of microcosm and macrocosm was applied to various sacred elements like
mantras, offering materials etc. Sacrificial place was one of them. It was a representation
of sanctity. According to Heesterman, ‘‘..On the place of sacrifice the cosmic drama
of death and rebirth, integration and disintegration, ascension and descent, is enacted
and reversely, through the same code of connections brought to bear upon the
macrocosmos’’ (The Ancient Indian Royal Consecration, p. 76).
Various parts of the ritualistic place could be enumerated in this matter. E.g.
Vedic ritualists esteemed the sacrificial altar nothing less than the earth itself (‘‘et°vat¢
vai p§thiv¢ y°vat¢ vediº’’ Taittir¢ya SaΩhit° 2.5.4.3). Similarly ¡havan¢ya fire was
equated with heaven (‘‘brahmav°dino vadanti....kva suvargo lokaº ity°havan¢yo...’’
Taittir¢ya SaÌhit° 2.6.5.5).
Present paper attempts to understand Vedic symbolism through the concept of
microcosm and macrocosm with the help of usage of some ritualistic places.
Keywords: Vedic ritual, microcosm, macrocosm, ritualistic place.
SYMBOLS IN THE FOLK ART OF WEST BENGAL
Munmun Mondal
Symbolism is used as a vehicle of conscious expression to enforce meaning and to
make the emotional content of the subject more vivid and intense. Folk art is the art
of the common people where simple joys and sorrows, ritual beliefs, social customs
are depicted. It is an indigenous art of folk people with great artistic persuasions. Certain
folk beliefs are manifested through this symbolism.
Folk art of West Bengal is mainly consisting of Patachitra, Alpana, Katha work,
Terracotta work, wall painting, wood curving etc. It is very interesting to note that
different symbols or motifs have been used in these art forms with a definite religious
or social association, that is, the kinds of painting either directly or indirectly connected
with religious or socio-economic context. Some of these motifs are footprint, stalk of
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paddy, Purna kumbha, Cat with fish on mouth, fish etc. These are, therefore, visualized
as pictorial representation of the desired objects in symbolic form. So, most of these
folk art are having rich cultural values and significance aspect which help us to
understand the prevailing certain religious faith and social condition of rural people of
Bengal.
My paper intends to throw light on some of these commonly found symbols
in the folk of the concerned region with it significant traits.
Keywords: Symbolism, Folk Beliefs, West Bengal, Socio-religious aspect.
PERSPECTIVE ON BAUBO TERRACOTTA FIGURINES IN THE
NAGARJUNAKONDA VALLEY
N. Vinodh
Indian art representing life through the ages speaks an eloquent language of vast and
varied symbolism. Terracotta figurine stands out in the history of Indian Art as the only
type of object that was a continuous archaeological record. It bears testimony to the
varied and ancient traditions of its practice in India. It can be seen as a material having
utilitarian, aesthetic and ritual importance. The fertility cult was most prominent religious
belief in this wide region before the advent of culturally advanced religious systems
like Buddhism and Brahmanism. It is amazing that it continued even after the advent
of established religions and enters royal palace. It is evident from an inscription at
Nagarjunakonda which mentions that a queen of Ikshvaku family who was avidhava
and jivaputa (with her husband and sons alive) in connection with this type of figurine.
The nude goddess, call ‘personified yoni type’ or Baubo and locally known as LajaGauri, who sits in the frog or Baubo style with legs wide apart and raised (uttarapada)
exposing her yoni and who is often head-less and has a lotus in place of the head is
seen in Terracotta and stone plaques of the Deccan at TER, Nevesa, Pathan, Bhokardan,
Kondapur Yelleswaram and Nagarjunakonda.
Keywords: Baubo, Lajja Gauri, Mother Goddess, Vamachara/Naked/Fertility Cult/
Clay figurines.
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SYMBOLISM IN VIRASAIVA RELIGION WITH SPECIAL
REFERENCE TO ASHTAVARANA
Nalini Avinash Waghmare
In India many religious teachers appeared on the scene and worked for the upliftment
of the masses on moral and spiritual planes. The religious faith and philosophical school
that came to prominence through the teachings of Basaveshwara is known as
Lingayatism, also called Virasaivism. The ultimate goal of a Lingayat is to acquire the
‘Nature of Divine’ which technically called ‘Sunya Sadhane’. To attain this stage, a
devotee or Bhakta will have to follow three integral Sadhanas, which are technically
called ‘Ashtavarna, Panchachara and Shatsthala’.
The goal of human life is the union of the individual soul with the supreme.
This can be achieved by the rules of Ashtavarana, Virasaivism expresses its basic tenets
through the Vachana literature the contents of which emerged from the discussions held
at the Anubhava Mantapa.
The eight supportive devices have been designed specifically for the
identification of the Lingayat ethical and moral code, which is at once action-oriented,
relativistic and universal.
The Ashtavarna constitute the religious (Dharmic) tenets of Virasaivism. It is
by these doctrines that the Virasaivas are distinguished from the follower of other
religions. The eight protective aids of worship are: 1) Guru-spiritual guide 2) Linga (the
symbol of Shiva) 3) Jangama-ltinerant religious teacher 4) Padodake –the sacred water
after washing the feet of the Jangama or Guru 5) Prasada-the sacred offering of the food.
6) Vibhuti-the holy ash 7) Rudrakshi-the sacred beads 8) Mantra-the sacred six syllable
formula or prayer i.e. Om Namah Shivaya. These represent both the external and internal
symbols of Lingayat religion.
Ashtavarana eight fold covering which are involved in spiritual practice. Even today
many Virasaiva followers practiced these in their life.
Keywords: Virasaiva, Religion, Ashtavarana, Vachana Sahitya, Spirituality
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MATHURA AND ITS GREAT HISTORY OF BUDDHIST ART
Neeraj Yadav
Early in Indian and great part of the world received a strong impact of Indian culture
history, which became clearly manifest in the field of state organization, literature and
religious as well as in that of the visual arts which expressed and glorified religious ideas.
A.K. Commaraswamy also credited Mathura School of Art for the origin of the Buddha
Image. The importance of Mathura as a metropolis is due to only its rich religious and
cultural background is unfair because with the rich religious, cultural background the
trade and economic factor was also responsible for it.The holy city Mathura played a
unique role in art history. Its multi-religious quality makes it special. The literary
traditions are great sources to trace the history of Mathura, as well as archaeological
sources also played an important role to trace the history. It is not possible to leave the
records of travelers, while talking about history.The Buddhist texts and Jaina texts are
also important to trace the history of Mathura. Divyavadana and Lalitvistara, both
Buddhist texts refer to the visit of the Buddha to Mathura. Other Buddhist texts which
give information are: Ghatajataka, Majjhimanikaya, Mahavatthu, Petavatthu,
Vimanavatthu, Attakatha etc. Jain literature also traces the socio-religious condition of
Mathura.This paper highlights the importance of Mathura and its glorious Art. And some
findings and great Art pieces will be discuss in the paper.
INVESTIGATING MULTIPLE MEANINGS OF SYMBOLISM: AN
ANALYTICAL STUDY OF THE KIRTIMUKHAS OF
KOPPESHWARTEMPLE ATKHIRDAPUR, MAHARASHTRA
Neha Pande
The kirtimukha is an intriguing motif found gracing most of the early medieval Indian
Temples. Its earliest representations can be traced back to the Early Historic period. The
word ‘Kirtimukha’ bring forth the picture of a monstrous face, often resembling a lion,
propelled high upon the lintel of the temple or on top of pillars, or any other part, bearing
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a fierce expression sculpted by the artist to instil fear and caution among the visitors.
But actually,thekirtimukha boasts of many variabilities in its style, size, expression,
orientation, place of establishment, resemblance to animals and many other attributes.
This auspicious symbol underwent different phases of development and it became a
multifaceted motif in early medieval period keeping its original form intact. The various
motifs of imagery associated with this motif will facilitate the comprehension of its
significance in the contemporary religio-cultural setting. Yet despite all these differences,
there still exists one holistic understanding or meaning behind the Kirtimukha. This
paper aims at exploring the significance of multiple motifs, symbols and imagery
associated with the kirtimukhas of the Koppeshwar temple atKhirdapur, in Maharashtra
to understand the multiple layers of meaning of this motif.
Keywords: Kirtimukhas, Koppeshvar temple, religio-cultural setting, auspicious symbol
TRANSFORMATION IN MYTH: MERGED ANIMAL FORMS IN
VAISNAVA ICONOGRAPHY OF THE CHALUKYAS
Niharika K. Sankrityayan
The sDeccan in the early medieval period witnessed significant transformations in
economic, social and political spheres leading to the emergence and establishment of
powers like the Chalukyas of Badami from the sixth to the eighth centuries CE. The
temples built by the Chalukyas were richly carved with divine imagery and often a
parallel between the godly images and the kings were made. The figure of Vishnu in
his Varaha and Narasimha avatara is the most celebrated sculpture in the history of
Indian art. Animal motifs occur with great frequency in Indian art. This is perhaps due
to the importance attributed to animals in the brahmanical pantheon. In this paper, I
will focus on how projection of Vishnu as Varaha and Narasimha was a way through
which the Chalukya kings tried to ascertain theirauthority and power. In the case of
the Chalukyas, depiction of Varaha takes a significant position as the rulers adopted
the Varaha as part of their royal emblem called Varaha lanchana. The selection of
Varaha as their motif emphasizes the allegory between Varaha and the ruler’s occupation
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with the earth. It can be seen as a transmission of an idea through the visual medium,
to strengthen an image which had already gained currency in oral and literary narratives.
On the other hand, a significant aspect of Narasi?ha is his non involvement with the
Vedic concept of the solar-universal deity traversing the universe like Varaha. It appears
to have incorporated the folk traditions of a custodian deity of the forest and rural areas
into Puranic Vaisnavism. The paper tries to build arelationship between visual
representations and the expression of power and authority.
Keywords: Varaha, Narasimha, Chalukyas, Vaisnavism
THE JALI AND THE FARSH: A STUDY OF SYMBOLISM IN
MUGHAL ART
Nimisha Thakur
This paper aims to understand whether power relations in the form of gender and the
divinity bestowed on the ruler is depicted in Mughal art. The focus is on two artistic
elements: One, the architectural element of the jali or the latticework used in Mughal
buildings and two, the carpet or farsh which became a medium for miniature paintings
and a symbol of a king’s power. The question asked is how much of a role did Mughal
art forms play in shaping the image of the king and in establishing the hierarchies of
gender.
The paper aims to trace the evolution of the jali from indigenous forms used
by the Rajputs before the advent of the Mughals. The idea of spatial and visual
segregation on the basis of gender is seen in the context of the jali. The role that the
jali played in separating the divine from the wordly is also elaborated.
The paper then elaborates on the development of the carpet manufacturing
industry along the lines of Persian carpets. The representation of Mughal miniature
paintings in the carpet making industry is dwelt upon as is the artisanal organization
of the period which saw the emergence of the farrashkhana or the carpet house. The
farsh is brought into the picture as it works on similar lines of symbolism as the jali.
It began to indicate the grandeur of the king and the divinity that was attached to him.
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The significance of geometry in the artistic idiom of the Mughals is finally
explored. It is shown as to how geometry is used to represent the ideals of divinity and
power through the medium of the jali and the farsh.
SYMBOLIC REPRESENTATION OF COLOURS AND LINES IN THEYYAM
PERFORMANCEOF NORTH KERALA
Nimitha K. P.
Art history provides knowledge and understanding of the past. The history of art is the
history of any activity or product made by human beings in a visible form for either
aesthetical or communicative purposes. Through an art form the artist try to expressing
the ideas, emotions and the existing social and cultural background of the then society.
So in reconstructing the past events in history arts forms had important roles. Art is the
manifestation of human creativity. History is the study of human actions in the past.
The study of past events through art forms is very important. Art history includes
different forms of creativity but this study mainly focusing on facial and body paintings
of Theyyam performance.
In Kerala folk arts flourished under the shadow of feudalism. The facial and
body paintings of the performing arts were very interesting. In this paper I propose to
examine the use of lines and colures as symbols in Theyyam.Through this art form we
can understand the history of the lower caste people and the history of one region. It
also attempts to analyze how women body and sexuality representing in paintings. The
aesthetic part of women in painting is also discussed here.
Mukhamezhuthu (facial painting) of the ritualistic arts shows all the qualities
of the painting tradition in Kerala. Colors are applied on the face in different ways for
the art forms like Mudiyettu, Theyyam, Kalikettu, etc. Chutti is a major component of
Theyyam. Meyyezhuthu (Body painting) is another special feature of the folk arts of
Kerala. It is Theyyam that uses different types of Meyyezhuthu. Here the chest and
stomach of the There are many different make-up design categories. For each category,
there are a number of Theyyam characters.The permutations or combinations of these
primary design result in more than four hundred types of Theyyam characters. Masks
are prevalent. Natural and readily available ingredients such as turmeric paste, rice paste,
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the black collected from the smoke of the sesame oil lamp and quick lime are used for
face and body make-up.
Keywords: Ritual art, Make up, Social history, Oracle and Painting
MAPPING INDIA: SYMBOLIC REPRESENTATION OF
BRITISH PLANNING
Nisha Sawant-Kulkarni
Cartography is an art commonly divided into General Reference Maps and Thematic
Maps. Its orientation is influenced not only with contemporary technological innovations
but with socio-cultural changes. Mapping Indian landscape was normally begun after
1st century A.D, however it was strongly supported and activated in colonial Era. Since,
1500 A.D. till the end of the British rule large number of maps were made and published;
contributed by British, Portuguese, Dutch, French, and others. They all were intended
to serve the purpose their masters. Hence, the mottos and intentions of these masters
can identify through gradual shift in ideas of making maps. Thus, the present paper
is aimed to find significant objectives of British Cartographers and Administrators
behind mapping India.
ANIMAL SYMBOLISM IN BUDDHISM
Nitesh Narnolia and Mousam
The early Buddhist art divides the universe into several distinct categories, although
all categories are inter-related yet distinct in their nature. These are the kingdoms of
the gods and divine beings, the world of humans, the animal kingdom and vegetable
life. These four categories are treated as sub-divisions in huge range of sentimental life.
The animals are the most frequently occurring imagery in the Early Buddhist Literature
and some of the animals that come again and again are the lion, the elephant, the horse,
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the bull, and the monkey. The major aim of the present paper is to examine the
literary evidences from Early Buddhist literature. It is important to look at the animal
symbolism in Early Buddhist Literature where Buddha tells stories about his
earlier births. The Jatak tells also talk about animal symbolism, so it can also be
referred to understand the role of animal symbolism in the Early Buddhist
Literature. The present paper raises two questions and tries to find the answers of
these: a) what is the importance of the animal symbolism in the Early Buddhist Literature
and; b) is it possible to interpret animal symbolism satisfactorily and meaningfully as
an integral part of the Early Buddhism?
Keywords: Animal symbolism, Early Buddhism, imagery, metaphor, Jatak tales.
SYMBOLISM AND REPRESENTATIONS OF ‘LOKA’: THE MYTHICAL
WORLDS IN ANCIENT INDIAN ART AND LITERATURE
Nitin Hadap
The Lokamay denote ‘place’ or ‘room’, the position, situation, sphere and a mythical
world in Indian culture. In literature the word ‘‘Loka’’ appears as; Paraloka, Pitrraloka,
Yamaloka, Punyaloka, Indraloka, Antariksaloka, Marutloka, Ahrloka, Jivaloka DivyaLoka, Papaloka, Swargaloka etc.
The aim of the present paper is to trace the tradition of symbolic representation
of the concepts of mythical ‘‘Loka’’ in ancient Indian visual art. The paper also covers
the relevant metaphors and metaphoric representation of the ‘‘Loka’’ from plastic art
of ancient India.
Keywords: Loka, the mythical world, symbolism, heaven, mythical under world
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SOME SYMBOLIC HARMFUL RITUALS IN THE BR¡HMANAS AND
S√TRA TEXTS
P.C. Sahoo
Since the dawn of human civilisation symbolism has been playing an important role
in the field of communication. Symbolic rituals are simply another form of
communicating one’s ideas through the performances. Vedic ritualists were the old
masters of conveying their intrinsic ideas, desires and purposes through several such
performances and one of the purposes is to harm their enemies. One finds a number
of short or long rites included under various ÷rauta sacrifices or under some non solemn
performances known as domestic rituals which aim at destroying or harming the so
called enemies of the Vedic people. In this paper there will be a discussion on few ÷rauta
as well as G§hya rites highlighting their symbolic character and the baleful effects for
which they stand. In this process it would be interesting to note that ° lot of magical
elements were introduced inside the sacred performances.
SCULPTURAL PANEL SYMBOLISING THE EVENT OF FORMATION
OF THE CRATER AT LONAR
P.S. Joshi and Kanchana Bhaisare
Lonar crater (Buldana district, Maharashtra State, India), a gem of craters, is one of the
biggest and well-known craters of the world. The cause of the formationof the crater
is still debated among the scholars from astronomical and geological fields over a
century. The formation of crater at Lonar has regarded by S.N. Rajguru and B.C.
Deotare, paleoenvironmentalist and paleobotanist respectively, as ‘‘an extraterrestrial
catastrophic event of Maharashtra State’’.
There are manyBrahmanical temples of medieval period along the bank of the
crater/lake as well as in the town of Lonar. In one of the temples at Lonar proper, namely
Daitya-Sudan temple, the sculptural panel narrates last act of the episode in the myth
related to demon named Lavanasura and Vishnu. The panel is located at the ceiling
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of antechamber of the temple. It depicts a killing of Lavanasura by one of the less known
incarnations of Vishnu, namely Daitya-Sudan. The posture of Vishnu while killing a
demon as well as helpless demon Lavanasura and his bodily contours symbolise and
suggest that the Lonar crater was formed owing to ‘impact of outside body’. In other
words, the panel and the carving of the myth very well support the theory of meteorite
over volcanic eruption. And in course of time the crater turned into present-day saltlake, subsequentlya pilgrimage centre of more than one religious beliefs.
It is said that the ‘‘Myths have messages, lasting for thousands of years’’. It seems
to be very much true in case (if, for when) of Lonar crater too. This paper is trying toshed
light on multiple aspects of symbolism of myth and tradition including the sculptural
narrative panel at Lonar, and relate them to natural phenomenon that was responsible
for the creation of crater at Lonar.
Keywords: sculptural panel, myth, traditions, Lonar crater, Vishnu, demon Lavanasura
METAPHYSICS OF BOUNDARY: CONFIGURING THE BHAGAVADG¬T¡
IN THE MODERNIST PARADIGMS
Prabha Shankar Dwivedi
This paper seeks to unveil the truth of boundary/border as expounded symbolically and
overtly in the Bhagavadg¢t° in innumerable contexts, and its transcendence and
concretization in the modernist paradigms. A boundary is always a constructed entity,
it is never born with that whole, which it divides or separates after coming into existence.
It is actually a violation of the wholesome organic being of anything that is material
in form. The Bhagavadg¢t° holds the view that boundary cannot make any essential
change in the true form of a being; its transcendence should be treated as a state of
development. The beginning and the end of a material life is no more than the different
stages of growth to the soul, having crossed the frontier of mortality it resumes
immortality, its true state. Here, the emphasis is on the fact that the state after the end
is the perpetuation of the state before the beginning of that temporal state, which was
confined by the boundary of the end. The Bhagavadg¢t° doesn’t see the end (death
of a body) as an end but as a perpetuation of the ever-ending beginning, or, in other
words, it sees the beginning of eternity in the end of temporality, which T. S. Eliot in
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his East Coker of Four Quartets communes as ‘‘In my beginning is my end.’’ The
Bhagavadg¢t° stresses on the transcendence of body to the level of soul, breaking all
the boundaries of material needs. Body itself is perceived in both Indian as well as
Western philosophies, as a means of confinement; it is the service of the body that the
soul is engaged with. W. B. Yeats in his famous poem, The Tower, considering the body
irrelevant to the soul, writes‘‘ What shall I do with this absurdity – . . . that has been
tied to me /As to a dog’s tail?’’, and therefore, the transcendence of this confinement,
insisted upon by Bhagavadg¢t°, is followed by Yeats, who metaphorically transcending
this detention in the body, says, ‘‘ . . . I have sailed the seas and come/ To the holy
city of Byzantium.’’ in his poem, Sailing to Byzantium. The Bhagavadg¢t°’s concept
of dissolution of boundary has very much been prevalent in all the ages but in the
modernist ideals it very explicitly gets revealed through appropriate symbols in the
literary productions of the time.
Keywords: Bhagavadg¢t°, Metaphysics, Modernism, Symbolism
SYMBOLIZATION OF GODDESS SARASWATI IN
SANSKRIT LITERATURE
Pradnya Deshpande
Goddess Saraswati, is a multi faceted figure in Hindu mythology and in Sanskrit
literature representing river, wife of Lord Vi∑∞u, wife of Brahma etc.. It is a deity of
elegance and grace
In Atharvaveda and Pu°∞a literature it is considered as divine mother. Goddess
Saraswati, who has been worshipped before any intellectual activity, is assumed as
symbol of wisdom. It is depicted as V°gdev¢ or V°gvaisaraswati, i.e. power of speech
and knowledge. She is symbolized as m°tr° in tantra texts. Her physical figure and
accessories are interpreted differently by different literature.
In this paper the attempt will be made to study symbolization of this female deity
according to Sanskrit literature.
Keywords: Goddess Saraswati, Symbol of Wisdom, Power of speech, Hindu
Mythology
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SYMBOLIC FERTILITY RITUAL: OTI
Pradnya Kulkarni
The Custom of giving otito a girl or a married woman whose husband is alive is a
very common practice in Maharashtra which is also observed by people from other
parts of India. This custom symbolizes fertility rite. On every important occasion,
celebration and festival related to women, this custom is followed.When the origin
of this custom is traced back, a ritual which shows connection with this custom
is found in G§hyas£tras. The rite prescribed by G§hyas£tras has got a connection
with fertility. The study of the progression of this ritual to present day custom,
tracing the variations, changes and different aspects could be very interesting. In
present society, tremendous variation is observed when this custom is practiced.
In spite of the variations found in present society, the purpose seems to be almost
the same. During the process of development from ritual to custom, it is observed
that the custom is followed to get some additional benefits.The researcher intends
to study these things in detail and some aspects of this topic will be discussed in
present paper.
Keywords: Fertility, Oti, Custom
ZODIAC SIGNS IN INDIAN ART AS IDEA OF TIME
Priya Thakur
The present paper is an attempt to discuss the representation of Indian Zodiac signs in
India temple art through various mediums of relief works and to understand whether
such representations were only part of astrological emphasis given to the zodiac signs
in Hindu religion or if it was a continuation of some idea and understanding related
to the passage of time and movement of stellar bodies affecting the seasons. The
methodology is based on description of such examples collected by the author during
field work from temples in Tamil Nadu and Karnataka as well as museum exhibits.
The iconographical and architectural discussions will be based on historical and textual
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contexts available on the subject under study and will highlight the cognitive aspects
of rhetorical reckoning of time in early India.
Keywords: Zodiac, Iconography, Relief, Karnataka
INDIAN SCULPTURE FORM COMMUNICATE THROUGH IN
TANGIBLE LINES
Priyanka Kamalakar Shinde
This is a study of the visual element used in the Indian Temple Sculptures. Focus to
the expression, human beings has excellent ability to express through which one tries
to communicate in terms of message, narration, dialogue etc. while research suggests
that art of Indian Sculpture reached to the highest pick of aesthetics and spirituality.
Over here spiritual in terms of its ability to evoke viewer through its visual impact. In
addition, although some archaeological studies found various traces of communication
in very earlier form of cave painting, coins (numismatics), artifacts, architecture and
sculpture evidences. Apart from its beauty this article presents an outline for thinking
about how visual perception in the relations to forms physiology are likely affect human
psychology to tickle viewerís visual perception towards the Indian temple sculpture
which triggers cognitive sense. The finding highlights the cognitive, social and personal
domains contributing to creation of design.
Keywords: line, Form, sculpture, Communication
PILLAR IN INDIAN TEMPLES AND ROCK CUT CAVES SYMBOLIC
EXPRESSION and STRUCTURAL ELEMENT
Rahul Chemburkar
History of symbolism In Indian architecture shows that everything can assume symbolic
significance. Indian temples and rock cut caves wear their geometry on their face.
Sometimes a desire to realize a particular formal idea led to new geometrical patterns.
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Temple constructed in natural materials like stone and brick is designed on the
basic principles of structural engineering. Similarly any rock cut cave is a space carved
out of an Rock terrain. These then are transformed into cultural expressions through
the embellishment adorning the Interiors and exteriors.
Looking beyond the aesthetics and ornate expression, we see basic structural
elements such as the post and beam being used to support the edifice. These become
the canvas for the artisans to showcase their art which is not merely superficial but is
an integral part of the architectural design. Structural elements are decorated in context
to utility factor and attributed iconography related to it. This transforms the whole
structural form into a live architecture marvel.
The Pillar (Stambh) is the most profoundly and extensively elaborated structural
element in the Indian temple and rock cut cave architecture. It varies in shape,size and
material in context to the structure in which it is used.
The pillar hence can be studied as representation of how ‘‘Symbolism’’,
‘‘artistic expression’’,‘‘architecture’’ and Structural engineering’’ create a strong
confluence thus transforming the simple structural element into an cultural expression.
The research paper is an effort to explore the various typologies of this important
architectural feature of Indian architecture in context to various aspects of socio-cultural
and structural factors.
Keywords: Architectural element, Structural engineering, Load bearing structures,
rock cut caves
HERO STONES IN MEDIEVAL KARNATAKA AND CHANGING
PERCEPTIONS OF AFTERLIFE
Rajaram Hegde and Prabhakar Rao
Karnataka has a rich heritage of hero stones, especially of the Medieval period. These
stones are in the form of oblong stone slabs with multiple panels of sculpture representing
the event leading to the hero’s death and ideas about his afterlife. Many of these
sculptures try to convert such ideas in visual forms meticulously. These stones also
consist of inscriptions providing us the details of the historical event, personalities, the
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gift deeds and several other socio-cultural information which are extremely valuable
in reconstructing the regional and local history. As proper analysis of such sculptures
and inscriptions would enable us reconstruct the beliefs of those people about the
afterlife of these heroes. Present paper is one such attempt specially based on the hero
stones in and around the modern Shimoga district of Karnataka.
The present review of the hero stones reveals several interesting facts and
questions. A hero stone usually consists of one or two bottom panels depicting the battle
scenes, next one shows him being carried by flying heavenly damsels, and the top one
his ultimate destiny. Curiously enough, as the top panels reveal, the ideas of afterlife
underwent lot of changes after 11th century ACE. One of the most crucial factors of
influence was the rise of different temple and devotional cults like Shaivas, Vaishnavas,
Jainas etc. Of these the Shaiva tradition, led by Kalamukhas seem to have played a
predominant role in the Medieval hero cult since it was a predominant temple building
tradition in this area in that period. The ideas of afterlife were closely connected with
the funeral rituals as well as the absorption of hero cult into the temple rituals. Such
Heroes were invariably followers of different traditions, or were brought into the fold
of different traditions after death. The respective temples traditions absorbed these
memorials into their ritual practices and, at times, the memorial stones were placed in
the temple premises as a part of the temple complexes. The depictions in the top panels
enable us to identify hero stones as belonging to Shaiva, Jaina and Vaishnava traditions.
Texts of inscriptions carved on these hero stones also provide supportive evidence to
derive such conclusions.
Keywords: Hero cult, Afterlife, Bhakti Tradition, Temple ritual, Kalamukha, Shaiva,
Vaishnava, Jaina.
PLANT AND CREEPER SYMBOLS IN BENGAL ALPANA
Rajasri Mukhopadhyay
Alpana or Alpona is the ritualistic, decorative floor art of Bengal. It is derived from the
Sanskrit word alimpana, which means ‘to plaster’ or ‘to coat with’. Alpana can be
compared to the art of Rangoli found more or less all over the sub-continent and the
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South Indian Kolam. Passed down from mother to daughter, the folk art of Alpana is
essentially a domestic art. Traditionally always white, since it is made of rice powder
and water, Alpana is drawn during celebrations and festivities, mainly – semi religious
cults or Vratas and weddings. Alpana has a varied repertoire of designs. It ranges from
floral to geometric, from animal figures to abstracts. Among the floral designs, various
plants and creepers form a major part of the Alpana motifs. Some symbols are inspired
by real life plants like lotus and paddy, but others are imaginary and ideated versions
like Khuntilata. This paper while looking at the art historical development of Vrata
Alpanas, analyse the reasons behind the depiction of such vegetation symbols, linking
them to the hidden aspirations of human heart and the socio – cultural ethos of Bengal.
It also shows the intimate connection these plant symbols have with fertility cult and
the folk religions of Bengal.
Keywords: Floor-Art, vegetation symbols, fertility cults
TEXTILE DESIGNS AND PATTERNS; REFLECTION OF TRADITIONAL
SYMBOLISM OF THE MEITEIS OF MANIPUR: A CULTURAL
BEHAVIOURAL APPROACH
Rajkumari Barbina
The Meiteis are a traditional people who still continue to use textiles, ornaments and
decorative items specific to different occasions, rituals, and cultural functions. The
traditional textile weaving still continues to support these socio-cultural and religious
beliefs and manifests various symbols associated with various functions carried out by
them. Each symbol woven to the textile has a meaning associated with the cultural past.
The combination of such designs and motifs reflect their social status and the nature
of function where these dresses are worn. They also reflect the sex and age of the wearer.
The present research focuses on the symbolism associated with these textiles, motifs
and designs.
Keywords: Meiteis, Textiles, Designs, Motifs
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THE SYMBOLS AS THE ULTIMATE BUDDHA IMAGE: THE ICONS OF
BUDDHA’S SUPREME REALITY AND TRANSCENDENTAL NATURE IN
INDIAN BUDDHIST SCULPTURE
Ranjana
This paper broadly explores the important events from the life of the Buddha through
Theravada symbols and images which have been depicted in sculptures and monuments
by Indian artists from the time period of King Ashoka to the Pala dynasties.Religious
symbolism is the use of symbols, including archetypes, acts, artwork, events, or natural
phenomena, by a religion. Religions view religious texts, rituals, and works of art as
symbols of compelling ideas or ideals. Symbols help create a resonant mythos expressing
the moral values of the society or the teachings of the religion, foster solidarity among
adherents, and bring adherents closer to their object of worship. Symbols frequently
have been used in different art media. They occupy significant position almost in every
kind of artistic expression. Art is visual expression of human mind and portrays both
the sensory and the abstract feelings about life. The purpose of such expression was
to produce a form which may be aniconic, anthropomorphic or theriomorphic. Indian
art visually embraced the totality of life. Through the visual forms many aspects of the
Indian deities, such as the Buddha, Mahavira, Vishnu, Shiva,etc, though belonging to
different faiths, we find expression of the mind and heart of the contemporary people.
The Buddhist symbols were basically aniconic and did not have anthropomorphic
images of Buddha. It was only in the 1st century BCE that the Buddha was started to
be represented in human form. In Thervada there are some specific symbols was used
to represent Buddha and his life such as; The Lotus represents Buddha’s birth, the Bodhi
tree signifies his enlightenment, the Wheel represents his first sermon. The eight events
or Ashta-Maha-Pratiharya of buddha’s life have been frequently represented in all
sculptural reliefs in the form of symbols and images and these relief composition and
monuments constitute a biography of the Buddha depicting his spiritual journey from
his sheltered life of worldly pleasures to the final state of Mahaparinirvana. The primary
Buddhist symbols throughout all Buddhist countries are depending on biographical
scenes preceding the Buddha Enlightenment and his entry into nirvana. Aniconic
symbol of the Buddha and images which is represented in the early Buddhist monuments
such as the stupa balustrades and gateways at Bharhut and Sanchi, the sculptures at
Mathura, Bhaja, Amravati, Nagarjunakonda, Bodhgaya, and Sarnath gives a artistic
representation of as a supreme reality of immanence and which propounded an idealized
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person or state of Buddhahood completely. In Buddhist art, images and symbols are
performed in such a way that it conveys certain religious ideas, and capable of
representing the philosophy of Buddha and showing also interconnection with
supernatural world, which at the same time gives a spiritual quality. The theory of
aniconism has been universally accepted in the interpretation of early Buddhist art. The
Buddha image was first created during the Kusana period around the first or second
century A. D. Recently a number of sculpted Buddha images belonging to the preKusana period have been identified. The existence of these pre-Kusana sculpted Buddhas
undermines the theory that Kusana patronage was responsible for the introduction of
anthropomorphic Buddha images. Eventually, the Buddha image became one of the
most popular representations in Buddhism, but these early symbols remain important
and are frequently used to this day. They are especially important in STheravada
Buddhist countries like Sri Lanka and Thailand. As Buddhism spread, Buddhist
symbolism was enriched by the cultures it came into contact with. This is especially
true of Buddhism in Tibet, which has developed a rich symbolic tradition In Buddhist
art, the artistic treatment of the human body is performed in such a way that it conveys
certain religious ideas, that of the Buddha and also certain other principles, of arrangement
and construction in architecture as well as in pictorial compositions capable of
representing the Buddhist view of the terrestrial and supernatural world, which at the
same time gives a spiritual quality. The doctrinal and geographic dimensions have
revealed much in regards to the nature of artistic representation of Buddha. However,
it is only through the culminations of both that the sociocultural dimension can arise
to have any effect on the significance and emergence of the anthropomorphic Buddha.
Keywords: Transcendental, Anthropomorphic, Aniconic, Immanence, Buddhahood
EVOLUTION OF MITHILA PAINTINGS MOTIFS ON TIME CONTINUUM
Ranjana Mishra
The capital of VidehKingdom,Mithila, was known for its exceptional art and craft.
Mithila or Madhubaniartare synonymous as they encompass congruent ethos of the
same people. They are practiced till date by women, in the northern Bihar and bordering
southern states of Nepal on the internal and external walls of houses, courtyards,
compounds and floors.The most skilled, yet simplest form of living art in the world
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blends together a beautiful narration of mythology, tradition, culture, history, geography
and society of that area. These paintings are ritualistic and symbolicand is called
‘‘Likhiya’’ aswomen don’t paint but write their feelings, emotions and ideas. The motifs
include animals like elephants, peacock, horse, parrot, fish, turtle and blooming trees,
lotuswhich signifyprosperity, good fortune, energy, love, fertility respectively.
Historians Swaroop Vat and Prof.Gudrun Buhnemann aver that mandalas have
pre-Vedic and Vedic origin respectively. W G Archer in 1949, expounded this artpaled
into oblivion to the worldbut till today it is in obscurity.This Qualitative research paper
presents non-quantitative type of analysis which is exploratory and open ended based
on literary data sources, review of records, interviews, observation and surveys. The
paper has traced the genesis of the paintings through various ancient scriptures, Mithila
literature of various periods,the anthropological approaches of Katherine Luomala,
Levi-Strauss, Messenger Erika Moser, Raymond Lee Owens etc. The visit to
Chandradhari museum in Darbhanga,the Institute of Industrial Designs at Digha,
Patnaand interaction with artists of Brahmins, Kayastha and the Harijansheritage provided
in-depth information and enabled author to see the art in its living surroundings. The
paper also focuses on various measures to continue this age old art of more than 2500
years.
Keywords: Mandalas, Yantra, Kohbar art, PattaChitra, BhittiChitra, Aripan, PurharPatil- Naghar, Salesha heritage
FROM SYMBOLS TO IDOLS - AN ANALYSIS OF THE TRANSITIONS
IN KANHERI
RemyaV. P. and Sreebarna Ghosh
Execution of belief in artistic form is the main reason behind the religious art and
architecture. Changes in religion, modes of worship, contemporary socio cultural and
political scenario and aesthetic sensibilities have brought corresponding changes in
these expressions. According to belief, Buddha was represented through symbols in
early phase of the religion and as beliefs changed, the representation of Buddha turned
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into human form. Case study of a specific site would reveal the changes of belief, their
expression andthe stage of transformation. Kanheriin Maharashtra was an active and
exclusive Buddhist centre from c. 1st century to 10th century CE.While Buddhism was
facing steady decay in India and sites like Ajanta andEllorawere either onthe verge of
decay or adopting new religions, Kanheri continued as exclusively Buddhist. This site
has more than 100 caves with characteristically simple architecture. The chaityagrihas
and viharas associated with Hinayana and Mahayana traditions display ample evidences
for the religious aesthetic works with significant variations. Kanheri’sability to assimilate
and adaptwith changing milieu and religious ideologies helped it to remain active for
so long. This philosophical acceptability is also reflected in the art.Transformation from
Stupa representing Buddha to anthropomorphic figure as object of worship was the
result of adaptability to changing trends. This paper attempts to trace and contextualise
the gradual transition from symbolic to figural representation of Buddhain Kanheri with
the aid of iconographic and inscriptional evidences. The process of transition is focused
to understand the factors behind the change and its execution. The paper argues that
location of Kanheri in the orbit of trade route and its interface with the contemporary
political economy had largely influenced itsadaptability and choice of religious changes
in the site
Keywords: Kanheri, Symbols, Anthropomorphic, transition, belief, icons
SYMBOLS AND SYMBOLISM: A CASE STUDY OF DECORATED
LEGGED QUERNS FROM INDIAN SUB-CONTINENT
Reshma Sawant
The legged quern is very common artifact that generally comes from Early Historic
horizon in India (also a few have been reported from Megalithic sites). However
decorated legged querns forms an interesting category in this assemblage. These
decorated legged querns carry abstract designs, auspicious symbols and in rare cases
inscribed letters too. Present paper focuses on the distribution (spatio-temporal) as well
as functional aspects of these decorated legged querns.
Keywords: Decorated legged querns, Indian Sub-continent, auspicious symbols,
functional aspect
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SAUBH¡GYALANK¡R, SYMBOLISM OF
MAH¡RSHTRIAN JEWELLERY
Rucha Gadkari
Jewellery is regarded as a traditional form of wealth, but it is also used for personal
decoration both by men and women. Apart from their decorative value, ornaments have
been worn as charm and amulets from ancient days and their study leads us to the sources
of various beliefs current among men. An investigation of ornament symbolism in
various parts of the world goes more to confirm than deny the magico-religious value
of the jewellery.
Throughout Maharashtra, jewellery designs and patterns reveal a continuation
of traditions which have been recorded in innumerable sculptures and paintings for over
two thousand years. Still, most of the Mah°r°shtrian jewelleries are derived from the
legacies of Mar°th° and Peshw° dynasties. During Pe∂aw° period there were some
specific ornaments designed only for married women and those were known as
Saubh°gyalank°r (Ornaments which denotes an auspicious and excellent state of
wifehood for the Mah°r°shtrian ladies). These ornaments gives an idea about the
symbolism attached to it, which in turn also helps us to understand the beliefs and
practices current among the people of this period.
Keywords: ornaments, charms, amulets, Mah°r°shtrian, Mar°th°, Peshwa,
Saubh°gyalank°r
SOCIO-CULTURAL IMPLICATIONS OF BODY TATTOO ART IN
HUTSë VILLAGE (NAGALAND)
Ruokuonuo Rose Yhome
The art of body tattooing is an integral aspect among various tribal communities in India.
It provides an insight of their socio-cultural behaviour. The art reflects not just the design
but also social status of the bearer. This paper focuses on the Huts¸ village of Pochury
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Nagas (Nagaland) where tattoos were still considered to a very recent time as an
important element for the females as it was believed to enhance their beauty. It was
a sign of dignity and designs worn reflected their socio-economic status in the society.
Elaborate procedure of body tattooing is documented along with the artistic significance
and their meaning. The technique of making tattoos and the related social taboos will
be discussed. With coming of the colonial rule this form of traditional art slowly began
vanishing due to advent of Christianity.
Keywords: Body Tattoo Art, Socio-cultural, Nagas.
JAIN¡C¡ DHO–œ¡ (JAINA’S STONE) : A JAINA SYMBOL IN HINDU
TEMPLES
Saili K. Palande-Datar and Ambarish V. Khare
Religious traditions of Hinduism, Jainism and Buddhism in India share a common
cultural fabric. However, the myth and rituals in all the three traditions are mostly
exclusive and follow the scriptures of respective traditions.
Contrary to this, however, a unique icon is deified and worshiped in many Hindu
temples across Southern Maharashtra (Sindhudurg and Kolhapur district) and is called
‘‘Jain°c° Dho∞Ø’’ meaning a stone of a Jaina. Often, such stones are also found in open
space outside the Hindu temples or in the separate small shrines and are venerated by
the local Hindu community. The Jaina attribution is difficult to understand and local
priests or villagers cannot offer plausible explanation for prevalence of such practice.
There is no reference to such stones either in the ancient religious texts or in the texts
related to Indian architecture. However, an explanation based on the quasi-historical
narratives can be found in the later mediaeval literature.
This paper aims to explore the diverse forms of Jainaís Stones in Southern
Maharashtra in general and districts, Sindhudurg and Kolhapur in particular. The
exposition traces symbolism of Jain°c° Dho∞Ø in Hindu temples, in the context of
Jainism in South Maharashtra with the help of textual and historical references. Paper
also attempts to present the previously unknown evidences of Jaina art from the area.
Keywords: Jain°c° Dho∞Ø°, South Maharashtra, Jain art
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SYMBOLISM IN ISLAMIC ART: WITH SPECIAL REFERENCES TO
THE SYMBOLS OF TAJ MAHAL
Sana
The term Symbolism, in actual, seems to have undertaken a revolution from being highly
significant to being mostly decorative in Islamic Art. Symbols have been used in artfrom
the very earliest times. Nature was an important source of arts motifs. The patterns used
were inspired by the flora and fauna of the landscape and they frequently represent an
idea or quality.Symbols are not only used for decoration but also as a means of
communication tool with the symbolism in its designs, because art work doesn’t usually
include words, symbols are used to understood the spectator a meaning or even a
story.Main point of the study is to highlight the significance of the various symbols
which are adorn the surface ofthe Taj Mahal.Arabesque decoration, geometrical patterns,
and calligraphy is an element of Islamic art† usually found decorating the walls of Taj
Mahal. These are an elaborative application of echoing artistic motifs that often repeat
the forms of designs. This paper mainly deals with the Arabic script of Quran as also
with other Muslim sacred abstract symbolsof the letters and the qualities that are
attributed to the Divine. Symbolsoccupy significant position almost in every kind of
artistic expression.This paper concludes the main symbols of inlay art in Agra and
discussed the conversation with academic workers, artists, craftsmen in industry of inlay
art.
Keywords: Symbols, Taj Mahal, Islamic Art, Inlay, Symbolism, Work, Patterns,
Motifs.
THE SYMBOL OF ÷IRA÷-CAKRA AND PRABH¡-MA–œALA IN ART,
RELIGION AND PHILOSOPHY OF INDIA
Sanchita Ghosh
Many epithets have been used for the Sanskrit words ÷ira∂-Cakra and Prabh° Ma∞Øla
in the different languages within and without. In the Prakrta-Jainagama the word Lesya
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in Tamil, the word Tiruvasi, in Greek the word Nimbus , in English the world Halo,
and in theosophical philosophy the word Aura, and another Sanskrit or Hindi words
like Prabh°vali communicate one and the same concept which has been denoted by
the Sanskrit word ÷ira∂-Cakra and Prabh° Ma∞Øala. Psychological researchers have
revealed the meaning of ‘‘aura’’ as an astral-body or shadow-body which is visible to
a person who has cryptaesthesia or mystic experience. It is used as giving the meaning
of subtle emanation from flowers also. As far as the word ‘‘Halo’’ in English concerns,
it gives the meaning of coloured-light round the luminous body, disc of sun and the
moon. The Sanskrit words ÷ira∂-Cakra or Prabh° Ma∞Øala or Prabh°vali, rather gives
the different meanings which are related to religious and meta-physical experiences then
the meanings given by the word ‘‘aura’’,‘‘halo’’ and ìnimbusî of the foreign languages.
It is true, if I deal with its meaning as a student of Art- History, then these sanskrit words
would express the meanings as conveyed by the word ‘‘aura’’,‘‘nimbus’’ and ‘‘halo’’.
But beyond its restricted meaning and phenomenal meaning, which is used in the
universal arts as a decorative motif, there is something more which India imparts through
its religions and philosophies to the concept of ÷ira∂-Cakra and Prabh° Ma∞Øala, and
here, in this paper all the religious and philosophical concept about halo are shown
besides its significance in the plastic and pictorial arts of India.
Keywords: ÷ira∂-Cakra, Prabh° Ma∞Øala, Tiruvasi
ANTHROPOMORPHIC FIGURES OF COPPER HOARD: SYMBOLISED
VEDIC GODS?
Sanjay Manjul
As we know copper anthropomorphic figures of copper hoard are still enigmatic among
the scholars. The cultural context, time and its uses†needs re-interpretation in the light
of recent findings, scientific dates and new archaeological evidences.
In this paper authors try to correlate the anthropomorphic figures and its physical
forms, symbols depicted on the figures, cultural affinities, and archaeological context
with the notion of Vedic Gods and its continuity in Hindu iconography during historical
periods.
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A NEW LIGHT ON SYMBOLS IN ELLORA BUDDHIST CAVES
Sanjay Paikrao
Symbols provide cultural messages of ancient time. In Ellora Buddhist cave symbols
are well reflected in both phases. These caves were built during the 5th-7th century.
It was initially thought that the Buddhist caves were one of the earliest structures, created
between the 5th and 8th centuries, with caves 1-5 in the first phase (400-600) and
6-12 in the later phase (mid7th-mid 8th) centuries.The Ellora Buddhist cave have used
different symbols such as Chaitya, Campa, Cintamani, Danda, Dhvaja, Ghanta,
Jambhara, Kalasa, Khadga, Mala, Mayurapiccha, Naga, Padma, Patra, Pustaka,
Utpala and Vajra.This symbols are culturally rich and they have reflected exchange
of peaceful life and cooperation in the society. R.S.Gupte has observed that, ‘‘The
development of a pantheon is followed by a rise in the number of symbols and
cognizance, their permutations and combinations. These symbols are also used in Hindu
and Jain caves. They are symbols of peaceful life reflecting exchange of ideas and
values.
ICONOGRAPHY OF LORD GANESHA IN TEMPLES OF BHUBANESWAR
Sarita Dash
Pursuits of all men are directed towards achieving their goal. But very often people find
that in spite of the best efforts, they do not achieve their goals. It is then their minds
turn towards god. But in the path of devotion, the devotee’s mind is changed to and
engaged in the pleasure pursuit of the fascinating world. So it is essential to wean away
his mind from all its continuous engagements. Since our mind cannot conceive the truth,
the contemplative sages have given us a number of symbolic representations of that
higher being in form of deities. And thus gave rise to different religion that is formed
expression of collective experience. They take definite shape in the most highly
developed and the most sensitive minds which capable of taking part in super individual
life of humanity. India, which the anthropologists believe to be the strains of the Austric
and proto Australoid race bringing in new culture, that came in contact with other preexisting culture that form a synthesized culture that was essentially local. This culture
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became most pronounce in India gave rise to different religion which lasted long at
different time period as the dynasties that ruled the area were all long lived and strongly
maintained the integrity of this geographical unity. Buddhism, Jainism, Saivism,
Shaktisim, Vaisnavism etc and other religious cults with their belief, iconography,
cultural traditions made its impact on the land from the very beginning and spreaded
all over the country. And, Orissa otherwise known as Utkala, Odra etc was no less
profoundly influenced by all these religion and contributed the finest cultural heritage
in field of art and architecture. With the growth and development of Brahmanical religion
in Orissa number of temples grew through out the land. Orissa has rich heritage in the
form of beautiful temples which are notable alike for their wealth of architectural
excellent workmanship of their carving. A significant feature of religious life is that,
she has five Brahmanical Kshetras, of which Bhubaneswar, the capital of Orissa is well
known as Saiva Kshetra. Famous as the temple city, Bhubaneswar is filled with temples
dedicated to lord Shiva. With few exceptions, the acolyte or subordinate deity (parshva
devata) who occupied in the niches of the Shiva temple are Ganesha on the south niches,
Kartikeya on the break (east or west niches) and devi on the north niches. Iconography
is a concrete science and it helps us to determine the identity of a particular deity in
the various scriptures. In my proposed study an attempt to trace the development of
Orissan architecture with special reference to symbolic representation of lord Ganesha
as seen in the iconography in temples of Bhubaneswar. My subject will also try to context
the various forms of Ganesha with its mythological stories and also highlight its
representation in other art forms of Orissa other than iconography.
Keywords: Kshetras, Acolyte, Wean
A STUDY OF BURIAL PATTERNS AND SYMBOLISM WITH REFERENCE
TO HARAPPAN SITES OF INDIA
Satarupa Bal
The present area of study deals with the evidence of different forms of burial patternsin
the Harappan context. A number of Harappan sites like Rakhigarhi, Farmana, Ropar,
Kalibangan, Lothal, Dholavira etc. have produced evidences of burials and burial
structures. The study has been done, keeping in mind a question, as to whether the burial
practices followed in these sites induce any aspect of symbolism or not. Symbolic burials
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in a few of these sites, reflect burials in memory of the deceased, as a symbol of
remembrance, in absence of the body of the dead. Apart from these symbolic burials,
an effort to deduce aspects of symbolism will be attempted in the other prominent type
of burial patterns,which would help in enhancing our knowledge about the Harappan
burials. Going by the vastness of the sites and the number of structures encountered
in excavations, the variation in burial practices would help in identifying a pattern of
symbolism followed in those times. Hence a general overview of the Harappan burial
sites in India, from their early to mature periods, has been taken into consideration in
this study.
Keywords: Symbolism, burial, mortuary, Harappan, India
STUDY OF MANDALS FOR THE ASPECTS OF SCIENCE
IN A HIDDEN FORM
Satvik Malipatil
Temples in India was centers of art, places of religious exposition, cultural and educational
centers. Since temples also played a role in educating the students in the field of Vedic
studies, grammar and science related subjects, other than the cultural subjects like dance,
music, and the art of carving sculptures, temples got evolved. But when we see temples
In the aspects of science and technology like mandals which has beautiful art and science
hidden under it- mandals in temples, as each one appeared like model for cosmic
diagram, concealing vast knowledge of science in the organizational structure of life.
Mandals of the navaranga hall of temples like flashes, bring to light the hidden truth
exiting around the governing laws of nature, recording the scientific achievements as
we advance and dwell in this field- so also both in science and spirituality. Mandals
were probably like the medium, to fill the ignorance gap by explaining the concepts
that everyone needs to understand. It is intended to encompass the mainstream fields
of not spirituality but also sciences like physics, mathematics, architecture, biology and
so on. So it feels that the complex scientific details are to be considered, mandals indicate
some aspects of the science as understood during that period, because in ancient times
the study of physical science was neither formalized nor separated from other branches
of history as traditional knowledge.
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THE SYMBOLIC REPRESENTATION OF PROSPERITY IN BUDDHIST
IMAGERY: AN ANALYTICAL STUDY
Saurabh Singh
Religious imagery of all major religion copiously depict multiple symbols of prosperity,
protection and fertility. The nature of symbol modifies in different deities, although it
represents a particular aspect. This paper examines how different symbols held by
Buddhist deities symbolise prosperity. Various symbols such as bijapuraka (citron
fruit), corn, a stalk of grain,purnaghata, nakuli (money bag) are shown holding Buddhist
deities such as Hariti, Vasudhara, Jambhala etc. The paper aims at studying functional
aspects of these symbols and how various symbols were adopted in specific context
by examining different Buddhist deities and associated symbols representing the concept
of prosperity. The representative Buddhist deities have been selected to comprehend
contextual meaning.
Keywords: prosperity, religious imagery, Buddhist deities,
ETYMOLOGICAL ROOTS OF THE WORD PANCHJANYA AND ITS
SYMBOLIC ASSOCIATION WITH THE CONCH OF VISHNU
Sawani Rajan Shetye and Arunkumar M. S.
In the Hindu pantheon, the popular concept of Vishnu among the trinity is as the
sustainerof the universe and hence is associated with RajasikGuna. His familiar attributes
are shankha (conch), chakra (wheel), Gada (mace), Padma (lotus). These attributes
are of significant importance in the deification process of Vishnu. In most of the icons,
attributes are personified in the form of an AyudhPurush. Important attributeoften has
their own name and possess some peculiar features. These features convey the inherited
ideas of Vishnu in general and Vaishnavism in particular. Hence, it is necessary to
examine these attributes individually. The present paper attempts to study the conch,
one of the prominent attribute of the Vishnu. The representation of the conch is seen
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as an important attribute in the iconography of Vishnu in all the periods. The conch
of Vishnu Is called as Panchjanya.
The word Panchjanya can be traced in early textual tradition. i.e.Rigveda
,Atharvaveda, TaiteriySamhita, etc. The survey of the meaning of this word has
suggested multiple cultural aspects of the society. Study of these aspects can lead to
the understanding of transformation process of the ideas in symbolic representation.
Considering the abstract meaning of the word Panchjanya and its portrayal as a conch,
the cognition of the artisans of thethen period also plays an important aspect of thestudy.
This paper aims to study the journey of the word Panchjanya in its historical
perspective. The execution of Panchjanya in the form of conch and its association with
Vishnu. An attempt will be also made to study co-relation of the myths and legends
to the iconographic representation of the conch.
Keywords: Panchjanya, Vishnu, iconography, etymology
TERRACOTTA ART AT RUPNAGAR, PUNJAB
Shahida Ansari and V. N. Prabhakar
Rupnagar, earlier known as Rupar or Ropar (30° 57' 59.04’’ N 76° 31' 59.16’’ E) is
a town in Rupnagar district of Punjab, lying on the left bank of the Sutlej, where the
river emerges into the plains from the Siwaliks. The strategically located protected
ancient mound was first excavated by Y.D. Sharma from 1952 to 1955, yielding six
fold cultural sequence from the mature Harappan culture to the modern period.
The site was re-excavated by the authors during 2011-12 with one of the primary
objectives being to understand fully the cultural transformation and specimen of art.
The present paper evaluates the rich findings of terracotta figurines during the excavation.
Majority of the terracotta finds are from Kushana to British Period. 300 terracotta objects
which are analysed include figurines of animal, bird, male and female and, other objects
like sling balls, spindle whorl, hopscotch, gamesmen, lamps, fingering, perforated disc,
and miscellaneous objects. These objects are made with casting, single and double
moulding techniques, some are hand and wheel made too. An attempt is made to
understand the different styles of these artefacts, techniques of manufacture, terracotta
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craft and its development at the site. The symbolism behind the art represented through
terracotta is been attempted.
Keywords: Rupnagar, Sutlej, Kushan, Terracotta art objects
WORSHIP OF SMART LINGAS IN SOUTH KOSALA - A SYMBOLICAL
WORSHIP IN BRAHMANICAL PANTHEON
Shambhoo Nath Yadav and Bhagirathi Gartia
Fanaticisms as well as cult supremacy prevalent in ancient India opposed in various
level. Evidence of such activities has been observed both in archaeological and historical
records. The rock inscriptions of Mauryan ruler Asoka also vehemently opposed the
religious disputes between Brahmans and Sramanas. Subsequently during the Kushana
and Gupta age the rulers put emphasis on religious tolerance. In addition to this,
Advaitavad concept of Adishankar and Panchdevopasana (worship of five deities in
equal status) during post-gupta period accelerated its faster development. As a result,
sanghat murti or composite sculptures were carved to worship various deities at a single
platform and concept of religious tolerance or fraternity took its inception. Taking into
account of such beliefs it may be mention that smart lingas by carving four circular
pindas (Solid mass in circular shape) superimposed by another one pinda on a common
pedestal, sometimes encircled by snake started worship by the devotees. Though there
is no facial depiction of any deity, the smart Lingas were worshipped symbolically with
the expectation of blessings from the brahmanical deities like Vishnu, Siva, Surya, Devi
and Ganesh.
Such artistic specimens were retrieved from many archaeological sites located
in South Kosala region (modern Chhattisgarh) which is the prime concern in the present
paper.
Keywords: Panchdevopasana, Religious tolerance, Pindas, Sanghat murti
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RITUAL SPACE OR MEMORIALS: RECENT FINDINGS FROM THE
EXCAVATIONS AT NAGARDHAN, NAGPUR DISTRICT
Shantanu Vaidya, Virag Sontakke, Shrikant Ganvir, Rushal Unkule and
Garima Khansili
The site of Nagardhan, Taluka Ramtek, Nagpur district was recently excavated by Virag
Sontakke of the Maharashtra State Department of Archaeology in collaboration with
Shantanu Vaidya and Shrikant Ganvir of the Deccan College, Pune. The site yielded
remains stretching back from the Early Iron Age to the medieval period. The excavations
yielded evidence of a large number of public and domestic architecture of the Early
Historic times, especially of the Vakataka period. In one of the localities, i.e. Loc No.
4, an interesting structure and space was found. The small brick pavement was enclosing
a huge urn-kind pot kept in an inverted position. Another similar pot and three large
basins were also found. All these seemed to form an alignment north-east to south-west.
The antiquities recovered for e.g. v-shaped bowls, shell bangles, antlers, terracotta
figurines, also showed ritualistic affiliation. Excavations at lower levels in the same
space also yielded similar artefacts. This suggests that the place had some kind of a
ritualistic importance from the beginning of occupation at the place. The entire space,
therefore, seems to have been a ritualistic space. The paper aims at highlighting and
understanding this ritualistic space unearthed.
ASPECTS OF SYMBOLISM IN THE MEDIEVAL FORTS
Sharad Goswami
Humans started creating some sort of structure for their day to day usage initially. But
as they began to live in groups and clans, a battle of supremacy originated, and each
group or clan began to create strong structure (fortification) for protecting themselves
from their enemies. During the Harappan period we come across structures not only
meant for usage but also as part of monumental architecture. During Mauryan,
Satavahana and Gupta phase, the aspect of architecture, used to define power of ruler,
can be seen as in the case of huge fortification walls, places which are not only a part
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of defence architecture but also mostly to create a sense of fear in the enemies mind.
The rulers of Delhi Sultanate and Mughals built huge forts, fortification walls
and monumental architecture, which was meant to portray the power and wealth of the
rulers in the contemporary period as seen in the case of Daulatabad, Kumbalgarh,
Sahajanabad (Red Fort).
This Presentation will therefore to try to focus on architectural features and
builders of such structures, which was used as symbol to show power to other
contemporary rulers in ancient and medieval India. Alongside, the various symbols
found in the architectures that reveal religious tolerism shall also be focussed, so as to
deduce aspects of secularism followed by the rulers.
Keywords: Symbol, Forts, Fortification, Monumental architecture
THE TRANSFORMING CITY OF LIGHT AND ARTS NOW: A STUDY IN
THE CONTEXT OF SYMBOLISM IN ART
Shashi Kala Singh
Varanasi has been a center of cultural activity from ancient times. Over a period of time,
several amalgamations have taken place swiftly into the cultural practices, including
the visual arts. The city has been favourite for many visual artists, photographers and
actors because of its character and antiquity. The city has a numerous traditions and
visual art is one of them. During the British period, Banaras was a prominent art centre
of company art and also it has its own art form in water colour, which is rendered on
the walls and on paper. We also have an artist like Alice Boner, who visited Varanasi
and later settled here to practice her academic and visual arts. Banaras Hindu University
has been a prominent centre of art activity since 1950s and many artists, both traditional
and contemporary have practiced and taught the skills in the art school. From exponents
like KS Kulkarni to Balbir Singh Katt, the journey has been eventful and thus the
continuation in the arts practices in the city.
During my research on the contemporary art in Varanasi of the 21st century, I have come
across a number of artists and their art works that have derived several symbolic elements
from the texts, in order to identify with the tradition of Varanasi. This has been
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fascinating for the reason, that the artists are not much adventurous in executing their
art in a radical way but dwell within the area of uncertainty. It will be nice to understand
and research how the symbols that are existing or/and adopted/adapted and innovated
symbols employed in art has marked a difference in the art practice.
The paper is proposed to address the practicing artist of Varanasi and their art
in the context of changing situation by evaluating their approach to symbolism as a
major factor. The artists would include, besides a brief note on the artists of late 20th
century, the current artists like Pranam Singh, Dipti Prakash Mohanty, Bijay Singh,
Madanlal, Mrigendra Pratap Singh, Santosh Kumar Singh and others who have
contributed significantly to the art of Varanasi.
EVALUATING SYMBOL AS METAPHOR IN
INDIAN CONTEMPORARY ART
Shikha Sonkar
Contemporary Indian Art has been an interesting area of inquiry whereupon, the studies
related to the recent developments has thrown open a new paradigm of symbolism,
which were hitherto used in typical traditional sense of art making. The reinterpretation
and contextualization of such symbols have become more intriguing and derivative of
new meaning ascribed to art. As a student of art history working in the area of Installation
art in the Indian context, the imaging of symbols has become more significant. While
Installation as a ritual has been very much in practice in India, the contemporary
evaluation needs a separate understanding.
Installation art in the contemporary field of art has been mostly reflective
of the issues facing the society and methods making a laudable presentation. This
makes the art more meaningful and deliberative and challenging to identify and i
nterpret with every new situation, it is presented with. Thus the common understanding
of art undergoes a significant change in order to make it more categorical and sensitive.
The symbols in these types of works become more metaphoric than identical to past
practice.
This paper would address some questions related to the contemporary
artists practicing today, through their work of art, as to how they keep up to making
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use of the existing symbols, while creating the new ones. The paper would address the
artists in question like, Vivan Sundaram, Atul Dodiya, Natraj Sharma, Riyas Komu,
Sudarshan Shetty , L.N. Tullur and many more through their specific installation art,
which has set a new trend for the contemporary art and developed a new symbolic
language.
MYTH AS A SYMBOL: A STUDY OF THE THEYYAM MYTHS OF
NORTH MALABAR
Shilpa M. Chandran
Symbolism refers to the use of symbols to suggestconcepts and possibilities by
attributing to them symbolic connotations that are dissimilar from their literal
meanings. Symbolism takesdiverse forms.Symbolism supplementsdouble levels
of implications to a work: a literal one that is irrefutable and the symbolic one
whose meaning is far more intense than the literal one. Symbolismmakes the
plot, characters and the motifs of literature universal. The paper is an attempt to
analyse the myths underlying Theyyam as symbols of the travails of the lower
caste people.Theyyam is a pattern of hero worship performed in the Kolathunadu
region of the North Malabar area of Kerala, India, as a living culture with several
thousand years of tradition, rituals and customs. The art is performed by the
people of the lower class community.Theyyam rituals mostly take place either
within the precincts of a small shrine which is usually called Kavu or in the courtyard
of an ancestral house, or in a wide space with a temporary shrine called pathi.
There are various myths underlying each Theyyam performance. These myths tell us
the story of a lower class man/woman who was subjected to the cruelties of the
upper caste society and its after effects and how these men/women are deified. Therefore
these myths are stories justifying the deification of the downtrodden people which
is an uncommon occurrence. At the same time, they act as symbols representing
the sufferings of these people and how they function as resistance narratives. These
myths can also be read as weaved stories that can act as a shield to protect the oppressed
community from the tortures of the aristocratic groups.
Keywords: Myth, symbolism, story, resistance narrative
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PHENOMENON EARTHQUAKE, ITS MYTHICAL INTERPRETATIONS
AND RARE SYMBOLIC DEPICTION IN PLASTIC ART FROM KONKAN
Shilpa Hadap
The aim of the present paper is to trace the possible iconographical interpretation of
the newly discoveredimage as plastic depiction of phenomenon earthquake. The present
paper will discuss the traditional interpretation of earthquake from Puranic tradition.
It will also discuss the local belief from Konkan Region of Maharashtra. Paper will show
the newly discovered small relief pillar sculpture from village Nerur, Sindhudurga
District, Maharashtra and its metaphoric connection with phenomenon earthquake.
Keywords: Indian Art, Konkan, Symbolism of earthquake, Nerur
SYMBOLIC RITUAL CLEANSING OF THE BRIDE: SOME UNIQUE
ATHARVAEDIC PRACTICES
Shilpa Sumant
This paper focuses on some unique symbolic rites in the nuptials of both the Atharvavedic
traditions, ÷aunaka and Paippal°da. The existance of these rites can be surmised even
in from the mantras in the Wedding hymns of both Atharvavedic SaÌhit°s. The rites
have been elaborated in the Kau∂ikas£tra and later prayoga-texts. These rites include
the bridal bath in the preiminaries of wedding ritual and a unique rite performed with
the yoke. The paper tries to find and explain the symbolism behind the performance
of these rites. While tracing the symbolism, I will also try to compare these rites with
similar rites seen in premitive socities.
Keywords: Atharvaveda, Wedding ritual, ÷aunaka, Paippal°da, Kau∂ikas£tra
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A FEW LESSER KNOWN SMALL ANIMAL DEPICTION IN ANCIENT
INDIAN ART
Shivendra Kadgaonkar
In Ancient Indian Art big animals or birds always given importance depicting as a
symbol in various aspects. Animals like Elephant, Horse, lion, tiger etc or birds like
goose, parrot, peacock, crow, owl etc depicted has there own importance in different
ways. But small or lesser known animals, insects have also given respect in ancient
Indian art. Some of them are centipede, crab, scorpion, snail etc. There depiction on
painted pottery, sculpture, or shape of a bead shows that in ancient society, culture they
had some importance and respect.
In this article effort is made to collect the periodically data of lesser known small
animal depiction between time frame of Indus civilization (2500 B.C.) to Gupta (4th
cen .A.D) period. Which comes in different mediums, context and there connection with
every day life of ancient society may be as a symbol. The quantity and quality of
depiction of big animals and birds will not be match with these small animal depiction
but there presence in ancient Indian Art is Important. Ancient Indian artist or society
give respect small animals or insects depicting them in art even they have come in very
few times or only in once but they are not neglected because of there size , quality or
any negative points.
DEPICTION OF THE BUDDHAPADA IN THE EARLY BUDDHIST ART OF
THE EASTERN DECCAN: A STUDY IN ITS SYMBOLIC SIGNIFICANCE
Shobhna Meshram
The Buddhapada was become one of frequently worshipped Buddhist symbols in
early Buddhist art. This symbol depicts various other Buddhist symbols such as
triratna, dhammachakra, svastik, padma etc. The symbolic representation of
the Buddha was depicted through this symbol in the Buddhist art of the eastern
Deccan. This paper aims at examining the symbolic significance of the Buddhapada
and associated symbols, portrayed in Buddhist visual art of the eastern Deccan.
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It is proposed in the present paper to study specimens from important art centres of the
eastern Deccan such as Amaravati, Nagarjunkonda, Goli, Chandavaram,
Jaggayapettaetc taking into account stylistic, iconographic and sculptural features. This
study also aims at comprehend the significance this Buddhist symbol in the contextual
framework of time and space.
CONTEXTUALISING THE SYMBOLIC MEANING OF
‘RAMAGRAMASTUPA’ IN EARLY BUDDHIST VISUAL ART:
AN ACT OF VENERATION?
Shrikant Ganvir
The present paper aims at investigating the symbolic meaning of the depiction of
Ramagrama Stupa in early Buddhist visual art. The episode of the Ramagrama Stupa
is known form Buddhist texts such as Mahavamsha, Ashokavadana and this episode
is seen depicted in early Buddhist art. The depictions of this episode are known from
Amaravati, Sanchi, Mathura, Dupadu, Ter, Dhulikatta, Kanaganahalli and Gandhara
region.
The present paper deals with certain questions: the religio-cultural and socioeconomic settings behind gaining immense popularity this episode in early Buddhist
art of the Deccan, what was the symbolic meaning of this episode the narrative vocabulary
in the contemporary society? Was this an act of veneration? and how the visual art was
functioning to communicate the message to the contemporary society through the
symbolic representation of this episode. An attempt will also be made to examine
significance of this episode in temporal and spatial contexts based on the study of early
Buddhist visual art and Buddhist texts.
Keywords: Ramagrama Stupa, Veneration, Ashoka, Buddhist Visual Art
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AN INTERESTING NIDHI SCULPTURE FROM KOLIWAD, KARNATAKA
Shrinivas V. Padigar
The paper brings to light a very unusual Padma Nidhi relief stone slab from Karnataka.
Padma Nidhi and Sankha Nidhi sculptures are common in the art of Karnataka at least
from the time of the Chalukyas of Badami. A good number of them, large and small,
are noticed from 6th Century Chalukya caves at Badami and Aihole and from the early
8th Century structural temples at Pattadakal. They are found to flank the entrances of
the monuments. During a recent visit to Koliwad, a village near Hubli in Karnataka,
the author noticed a carved stone slab set up near a temple. The carving depicts in relief
in three panels Padmanidhi, Padmanidhi anointed by elephants, and purna-kalasa
surrounded by pair of chauris, kalpa-vriksha, tortoise, double fish and mirror. No such
sculptural depiction of a Nidhi had been discovered so far.
APURVA: A CONCEPTUAL SYMBOL
Shripad Bhat
Apurva is a transcendental agent through which a sacrifice gets results of performed
sacrifices. This is an assumption of the Mimamsakas that it has its own significance.
Although this is invisible, it plays a vital role in getting the fruits of acts. It works with
its four kinds. There is no means of cognition which proves the existence of Apurva.
Therefore it is a purely conceptual symbol. This paper deals with the concept Apurva,
its kinds and functions as well as its usefulness.
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‘‘O GOVINDA’’ THE KRISHNA’S PRAYER
Shruti Sharma
‘‘No Hindu ever reads the Mahabharata for the first time’’ In this statement A.K.
Ramanujan holds true, for the various tellings 3 of the ancient epic of Mahabharata
available often remain unread and the stories pervade the hindu consciousness through
oral narrations. It can be the reason that in an attempt to codify and assimilate this ‘literary
unthing’ii in the BORI Critical Edition (CE) of the Mahabharata by the team of scholars
led by V.S. Sukthankar omitted one such ‘interpolation’ of Draupadiís prayer of ‘‘O
Govinda’’ and Krishna’s intervention in the dicing scene in the Sabhaparva in lieu of
its absence in manuscripts taken under consideration while creating this telling of
Mahabharata. The deliberate omission comes within the framework of the western
scholarship applaud it and believe that it ‘‘implied that cosmic justice automatically...
prevented the chaste Draupadi from being stripped in public.’’ (Edgerton, xxix) Indeed
the CE is felt to be original text of Mahabharata in which the Bhakti element was added
upon in the second perimeter, which rather than enhancing takes away from humanist
values embodied in the original nucleus (Van Buitenen, ii). Draupadi’s prayer becomes
symbolic of the religious verbosity from which the venerated text must be rescued within
the critical edition. But this act of removal does not authenticate the CE as an original
as Alf Hiltebeitel reminds us, rather this episode becomes the site of contention between
the two conflicting ideas in Mahabharata scholarship wherein the it symbolically
represents the bhakti element within the epic. It symbolizes the danger in interpreting
the ancient epic without the elements which have evolved over generation of revisions
within the manuscripts, which if ignored may lead to inaccurate scholarship within the
field of Mahabharata.
Keywords: Mahabharata, Draupadi, BORI Critical Edition
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RADHA AS SYMBOL OF BHAKTI
EARLIEST SCULPTURAL DEPICTION IN RAJASTHAN
Siddhi Deshpande
The literary antiquity of Radha can be traced back to Hala’sGathasaptasati composed
around first century C.E. There is some evidence thatNappinnai of Tamil text
Silappadikaram is southern form of Radha. Vakpati’sGaudavahokavya refers to Krishna
and Radha. However it cannot be denied that it was Jayadeva who gives Radha the
first definitive presence as a woman in love with Krishna. The importance of Gita
Govinda cannot be over emphasized for it is there that we come face to face with the
texture and nuance of Radha’s love for Krishna, a love so pure and perfect, so abiding
and self-effacing, that it could become a theology for Chaitanya in Vaishana bhakti
(Dehejia). Among the puranas, Harivamsa describes the Rasalila briefly without any
reference to a special Gopi while VisnuPurana definitely shows that one Gopi was loved
by Krishna more dearly than the rest. The BhagavataPurana gives a more graphic picture
of this Gopi’s mental conditions- her rage, her love, her lamentation and so on. But
following the lead of Vishnu Purana remains silent about the name of the Gopi.
Earliest sculptural representation of Radha is perhaps the figure on the left of
Krishna at the mandapa at Mahabalipuram. K. N. Dikshit identifies one of the sculptures
from Paharpurwith Radha and Krishna; due to the close proximity with river Yamuna
and Balarama and also the presence of halo around her signifying her divine character
(Majumdar). Interestingly there is one image of Radha and Krishna surrounded by
Nagas on the ceiling of Surya Temple No.3 of Sachiyamata temple complex, in Osian,
Rajasthan. According to Handa it is among the earliest extant of temple in the Osian
temple complex. The ceiling panel is identified as Radha and Krishna by D.R. Bhandarkar
and R.C Agrawala. Considering the above example, this paper attempts to trace the
antiquity of Radhaís sculptures in Rajasthan in correlation with the development of
bhakti rasa.
Keywords: Radha, Krishnalila, Bhakti, Rajasthan, Sculptures, Narrative Panels.
138
STUDY OF THE SYMBOLIC TRADITIONAL TEXTILE WITH
REFERENCE OF DIFFERENT STATE
Smriti Agarwal
Indiantextiles, with their excellent execution, vibrant colors and hidden interpretation
have lured many a people .Their texture and motifs, whether woven or embroidered
have always aroused interest. The objective of the study is to understand the symbolic
significance of motifs and designs used in Traditional Indian Textile interpretation of
these motifs may be discovered from sources that have nothing to do directly with
textiles but the development of a particular motif is undoubtedly is the result of religious,
customs, natural surroundings and social beliefs of that particular area to which its
creator belongs. Traditional textile is symbolic, represent status of wearer, and impart
power to the craftmen or user. Most of the famous Indian textile like Kantha,
Kasuti,Chamba rumals,Picchvais,Gujrat embroidery ,as well as woven textile ,like Ikat
and Paithani employ the different motif as the main motif ,full of meaning and significance
indicate to a great deal about their belief, culture and relationship with the environment
particular region . Color, shape, and their arrangements have different meaning different
motifs used in different purpose but the symbolic meaning of various motifs remains
same wherever they are applied.
THE MYSTERIOUS IDENTITY OF SERAPIS ON KUSHAN COINS
Sneha Kapote
The proclivities of the Kushans are well known with their adaptation of Gods from
various pantheons. One such pantheon was the Graeco-Roman which consisted of
Hellenic deities like Herakles, Zeus, Helios, Hephaistos and Serapis.
Serapis or Sarapis was introduced during 3rd century B.C. by Ptolemy I in Egypt
to unify the Egyptians and Greeks under his reign. A syncretised deity derived from
the worship of Osiris (God of the underworld) and Apis (sacred bull), Serapis is
interpreted as equal to Hades and is generally shown enthroned with a modius on his
head. He is also shown holding a sceptre. Alexandria boasted of a ‘Serapeum’ where
139
Serapis was venerated. He is also depicted on Roman coins and the Kushans
adopted this deity to indicate openness to contemporary ideas from the Mediterranean
world.
Serapis is depicted only on the gold coinage of Huvishka and its percentage
of dies which employs this deity forms to be only 1 percent. Though Serapis is still
an exotic figure, we should not ignore the fact that the previous dynasties in the Indian
sub-continent did not employ this deity in their coinage. It is interesting to note that
though this God did not gain popularity earlier, it could possibly be interpreted that
Huvishka employed Serapis on his gold coins to mark unification or fortification of
the Kushan territories which spread far and wide from Central Asia to northern India.
It should also be observed that though Kanishka offered patronage to Buddhism,
Buddha is depicted very meagrelyon his reverses.Serapis as a Hellenic deity therefore
needs to be understood well in the realm of Kushan numismatics.
Keywords: Iconography, Kushan numismatics
SYMBOLISM OF AKSHAMALA IN THE ICONOGRAPHY OF
DAK◊IN¡M√RTI
Soumya Manjunath Chavan
The concept of Dakshinamurti mentioned in the Rig Veda was the transformation of
Rudra into the giver of gifts. The Dakshinamurti Upanishad elaborates on the aspect
of medha Dakshinamurti imparting knowledge to the rishis. The root daks meaning,
to be able or strong and Daksin° means able, clever, straightforward, donation to the
priest, to place anyone on the right side as a mark of respect, south and southern. The
Daksin°m£rti Upanisad, which is in a dialogue format between ÷avanaka sages and
M°rkandeya, gives a clear imagery and salient features of Daksin°m£rti.
May the milk-white three-eyed Primal Being grant us purity of thought
He who, seated at the foot of a fig tree, surrounded by ÷uka and other sages
Holding in the hands the rosary, the blessed wisdom, with axe and deer
One of the hands resting on the knees, the lion girdled round by a mighty serpent,
A digit of the moon enclosed in His clotted hair
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The term Dakshinamurti means ‘‘that divine power of subtle perception which is
generated in a fully integrated pure intellect’’. He is seen seated on a raised platform
placed under a banyan or fig tree, his left leg bent and rested upon the seat and his right
one rests on the Apasm°ra-purusa; the back right hand holds a snake and the front right
hand holds an aksham°l° or the rosary and is in the chin-mudr°; He is seen surrounded
by sages and disciples sitting around him. The present paper attempts to analyze the
symbolism of the akshamala as an attribute in theiconographyof Dakshinamurti.
Keywords: Dakshinamurti, Iconography, Akshamala, Symblolism
œOKR¡: THE MESSENGER OF A FORGOTTEN HISTORY OF
THE SANTALS OF BENGAL
Sovon lal Misra
Among the Indian Tribes, Santals are still alive with their art and culture. The word
‘Santals’ is used here to denote the Santals from Purba and Paschim Medinipur,
Birbhum, Bankura and Purulia districts of West Bengal. Most of them are the Astrik
speaking part of Pre-Dravidian family.1 Like other tribes, some of them are ambitious
about Øokr° art.
Generally Øokr° means Øh°l°i or casting. It is not merely casting but also a
highly artistic and fine aesthetic casting or better to say clay moulded investment
casting. It is supposed to be continued since the age of Sindhu Civilization.
Art is not a copy-paste system because it comes naturally from the core of
heart. That is why, art plays a role of an orator of historical, cultural, social, ritual,
economic and emotional episodes of a time or a nation or a cast or a society or a
person. œokr° art bears untold stories about these Santals.
One relevant example can be shown here. Sal leaves ornamented mask,
neckless or earring with locket like Sal leaf is a very popular one. Sal tree bears rituals
significance of Santal community. According to their myth, s°ri, the path of virtue was
established beneath the Sal tree.
Sal leaves also very precious for their economic background because they
earned enough by supplying green and dry Sal leaves for various purpose.
Likewise many other hidden philosophic thoughts or socio-economic truth
about Santal community of Bengal can be unveiled through a thorough survey of their
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Øokr° art. This paper is a humble attempt to disclose those rituals, social, cultural, and
economic chapters of Santals of Bengal which are hiding behind the symbols used in
Øokr°.
Keywords: œokr°, Santal, Sal
DARSHAN ‘‘THE VISION OF INVISIBLE THROUGH VISIBLE’’: A KEY
CONCEPT IN CREATION AND INTERPRETATION OF INDIAN ART
Sudhir Kumar
Is it appropriate to claim for an artwork that it is what it visually appears? Or, is it
something that totally differs from what the artist wanted to make it visually appear?
In both the cases it is quite possible that the absolute answer could be found not so
easily. We find ourselves in the same situation when we try to analyze the works from
Indian art. Yet, there should be a key so that at least we may find a way through to
reach the nearest possible point to this absoluteness. Among others the most acute key
to enter into the depths of interpreting Indian art, I would argue through this paper, is
the concept of ‘darshan’. It is the key that opens the doors to the vast world of
symbolism that an Indian work of art is most often found to be enwrapped into.
Darshan, which literally means ‘seeing’, in the Indian cultural context is held to be a
reciprocally two way act; that is, it is an act that needs to occur from both the ends
simultaneously. If ‘darshan’ literally means ‘seeing’ then apprehending it figuratively
will lead to ‘being seen’ too. Thus the ‘reversal of gaze’ or the ‘reversal of the stance’
of the seer I find to be one of the methods for analyzing the Indian arts, and the
visuality or the physicality of an artwork is just to hint that reversal. Darshan in the
sense of ‘vision’ is the act of expanding out that may finally lead to seeing what is
unseen. These are some of the aspects associated with the concept of darshan that this
paper taking few examples from Indian arts intends to discuss in the context of its
symbolism and the analysis.
Keywords: analyzing an artwork, analyzing Indian Art, darshan, iconography,
symbolism in Indian Art
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RATIONALIZING THE MYSTERY OF THE ‘GAJA-SIMHA
DHVAJA’SYMBOL FOUND ON THE COINS AND SEALS OF THE
VRISHNI GANA
Suken Shah
Culture has always been reflected through symbolic representations that have hidden
meaning within it. These symbols play a vital role to decode the ancient human past.
It gets travelled, conceived, developed and also imitated and during the course of time
and space, symbols decide its meaning according to its context. At many instances a
particular set of symbols cannot be assigned to a particular group, dynasty, religion or
sect. One such instance are the group of symbols (Triratna, ‘Gaja-Simha Dvaja’,
Chakra and Chakra standard) that appear on the coins and seals of Vrishni Gana.
V§ish∞is existed in Punjab-Haryana area and issued coins in silver and copper
st
from 1 century BCE to around 3rd century CE. Vrishnis borrowed and conceived
symbols from the coins of neighbouring dynasties such as Indo-Greeks and guilds at
Taxila. While conceiving these symbols they also considered popular symbolic
traditions of other faiths that were concurrent in their own and neighbouring region.
Borrowed symbols were given the indigenous meaning. Out of these symbols ‘GajaSimha Dvaja’ is highly unique and has no parallel in Indian art traditions. Their
symbols were exactly imitated by early rulers of Kshaharatas who ruled in Kachchh
area in around 1st Century CE, but by then the original meaning of the symbols was
lost. The present paper traces the journey of these symbols in general and ‘Gaja-Simha
Dhvaja’ in particular and discusses the various factors of borrowing and development
of this symbol. Paper also focuses on understanding the Vrishni symbols from various
perspectives and deals with its political, religious, social and economical aspects.
Keywords: Gaja-Simha Dhvaja, Vrishni Gana, Kshaharatas.
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THE UNSEEN BUDDHA AT MAHAKALI
Suraj A. Pandit
Mahakali or Kondivate is a group of Buddhist caves located in the metropolitan city
of Mumbai. Very often the chaitya at the site is discussed while narrating chronological
evolution of Chaityas in western India. Stupa in this chaitya is not the only symbolic
representation of the Buddha at site. The paper intends to discuss not early symbolic
representations at site but the complex symbolism seen reflected in art in the Mahayana
period.
Caves 1, 2 and 3 at Mahakali are stylistically dated to early 6thcentury CE. They
can be treated as one ritual complex due to their proximity and form. Cave 2 is the small
hall for rituals and may be for congregation. A small stupa in relief is seen representing
Buddha on the back wall of the hall. In front of this relief stupa, a high raised peetha
can be seen with the provision for an image to install. This evidence is unique and needs
special attention. The paper intends to discuss the manifest and un-manifest form of
the Buddha represented in this ritual complex at Mahakali.
REGIONAL FOLKSONG (BH¡DU and ŒUSU) OF BENGAL: SIMPLICITY
OR SYMBOLISM- A QUEST?
Swadhin Kumar Mandal
A single emotion or feeling when expressed orally through musical form mostly by the
underprivileged rural society, it is called folksong.
Folksongs of Bengal are rich in theme, colour and tone. Most importantly, it
i
s
not confined to any cultural group; rather it is open to all. As a result, diverse forms
can be classified depending on occupation, ceremonies, rituals, love, separation, social
activity etc.
Regional Folksongs are notable due to their peculiarity in language and
presentation. Among those folksongs, here we are going to focus on the rituals and
songs of Bh°du and Œusu, mainly found in the western part of Bengal (R°§ba¨ga).
These women centric rituals and songs indeed talk about some daily episodes
of life but behind those tones, a fine line of significance can be traced. A Bh°du song
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bh°dur(a) vih° diva kise... denotes the crisis of marriage of Bh°du as bridegroom
demands car and money. Simple, still profound because dowry system, which is
supposed to be abandoned but somehow exists in the underprivileged rural society,
reflected through phrases. Even during the rituals of Œusu, two cow dung balls named
‘Æus°’ and ‘Æusi’ are placed inside a chaudal. Simple, but profound in this way that it
represents the union of male and female and thus leads to the idea of reproduction.
Here comes the question of symbolism. As these regional folksongs, although
significant, are performed by most of the illiterate or so-called uneducated person of
the rural society, literary metaphor is not expected from their phrases. So, depending
on the significance, the present paper is a humble approach towards the quest of
symbolism, exist incognito in the songs and rituals of Bh°du and Œusu.
Keywords: Regional folksong, Bengal, Bh°du, Œusu
COSMOPOLITANISM IN THE MAKING IN EARLY INDIA: SEARCHING
FROM THE NUMISMATIC AND THE CERAMIC CORPUS
Swagata Mukhopadhyay
Well ahead of the Macedonian anabasis into the subcontinent, two crucial
developments were on their way to lay the keystone for cosmopolitanism to culminate
more than half a millennium later. The synchronic formation of stamped and
commodity money, trade relations, protestant philosophies and knowledge system and
a resultant shift in demography centring in the fertile middle Ganga plain around the
6th century BCE anticipate the cosmopolitan culmination in premodern South Asia that
may be taken to become most conspicuous in connection with the trans-Eurasian
maritime and Silk Route trade. In absence of writing system in the pre-Mauryan phase,
the symbols in the earliest uninscribed punch-marked coins happen to represent the
zeitgeist of the epoch it conditions. Coexistence of various symbols denotes not only
disparate belief systems but astronomical observations too. While the sun may stand
for food-producing society or, as is expressed by Prof. Kosambi, the metal itself; the
emblem ∑aØacakra (six-spoked wheel) may as well be associated with the concept of
time aside from its usual association with cakravart¢n. Because, according to ƒg Veda,
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the twelve-spoked wheel represents the annual course of the sun – an enumeration
found furthered by Var°ha Mihira in his S£rya Siddh°nta. Heliacal observations are
found in Chinese and Egyptian agricultural traditions too. The symbolical readings of
Prof. Kosambi will be studied in relation with symbolical and calendrical observations
of Sir Alexander Cunningham. The various social and historical implications of symbols
on PMC will further be combined with another hallmark agent in this overall
development, viz. Northern Black Polished Ware. These will be studied as indigenous
categories of the 6th to the late 2nd centuries BCE in the middle Ganga plains to
understand the transition from lineage based society to the supreme statehood of
Magadha, South Asian pattern of urbanism and the grounds of premodern
cosmopolitanism.
Keywords: Numismatics, Archaeology, Ancient and Early India, Zeitgeist
UNSEEN PRESENCE- THE ARCHITECTURAL SYMBOLISM OF AN
EARLY SHAIVA ROCK CUT CAVE
Swapna Joshi, Siddhi Deshpande and Shantanu Subramaniam
Ancient Indian architecture is embodied with deep symbolism and this is manifested
in all its aspects including its planning, design and detail. This symbolism may be
ritualistic, political, a response to certain physical or socio-cultural paradigms or an
amalgam of these. Traditionally, the history of architecture is a history of styles and
forms, of details and features and seldom dwells on the symbolism and spatial
experience.
This paper, which is part of a larger ongoing research on the Rock Cut
temple of Jogeshwari attempts to put into perspective the symbolism evident within
the architectonics at this ancient cave shrine. Arguably amongst the earliest
largecave temple in India, second only to the Ellora Kailasa in its wide spread size,
Jogeshwari presents the genesis of the Sarvatobhadra type of plan in its shrine.
It also acts as a progenitor to later cave temples of a similar conception. The architectural distinction of the cave temple indicates different stages of architectural
experiments.
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This paper traces the possible symbolism of the Cave’s architectural and
iconographic scheme, drawing from a rich palette of comparisons- both literary and
material culture.It also argues that Brahmanical Rock cut cave temples are creations
of a distinct ritualistic and religious requirement, vastly differing from those which led
to the emergence of Buddhist and Jain rock cut architecture.
Keywords: Jogeshwari; Architecture; Rock-cut cave; symbolism, spatial
GESTURE: SYMBOL OF EXPRESSION USED IN INDIAN
TEMPLE SCULPTURES
Swati Mondal Adhikari
Indian temple sculptures are noted for vibrating appearance and power of silent
communication with the viewer. This to a great extent depends on the posture, turn and
twist of the limbs, crystallized glance and mudr°s. Though accessory is never denied
in Indian temple sculptures but even an isolated creation without any accompanying
accessory can convey the message to the observer. This is due to the gesture. The
gesture works as an outcome of the thought or the mental state supposed to be
conveyed by the figure sculpture to the viewer.
The ÷ilpa∂°stras and especially the N°Æya∂°stra prescribed various kinds of
gestures as symbol of expression for different type of mood for the visual art form.
Among the four types of expression, i.e. °∞gika (expression conveyed by movement
of limbs), v°cika (expression conveyed by speech), °h°rya (expression conveyed by
dress and accessories) and s°ttvika (expression of the pure mental state) only the first
one can be applied in crystallized form to the human figures which help to convey the
meaning to the observer. This is applied in execution of temple sculptures as well as
also in performing arts in ancient India. These are the symbols which gave the silent
human figures embellished in temple its language.
The symbol of power of a male divinity or a proud hero or king is symbolically
expressed by his v§∑askandha or stout shoulder like of a bull and si¢hakaÆi or slender
waist as a lion. These are symbols of male power used in the execution of male figures.
This shape of the body used to be intertwined with some specific body language or
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gesture. As for example, the grace of NaÆar°ja or the compassion of Buddha or the
sublime calm of Vi∑∞u is expressed by the gesture. The mighty Pallava rulers or the
Chola rulers embodied their bravery and courage by the execution of royal figure
sculptures in the panels carved on temple walls. These endeavours got its vivacity due
to the aid of proper gestures of the figure sculptures.
The fixed standard of female beauty is unanimously presented in both secular
and divine female figures in Indian temples. A female figure has to be madhye
k∑¢∞° or of slender waist and of stokanamra stanabh°ra or with full round breast.
This beauty interwoven with some specific gesture takes crystallized form of
expression in temple sculpture. The destructive mood of Durga or the bashful
but voluptuous beauty of a damsel depends on its gesture for getting the right
expression. Flexion of limbs and °sana and mudr° are the symbols used with minute
complexity to appeal the viewer with its right meaning. So, gestures are symbols of
expression to be studied minutely which help us to realize the culture and society of
ancient India.
Keywords: gesture, mudr°, °sana, navarasa or nine fervors of expression
GODDESS ALAKSHMI: A SYMBOL OF IMPURITY, UN-HYGIENE
AND IMMORALITY
Tanashree Redij
NˇÁ©ÆÊ Æ∆ÀÆ™ÁÆÏ…Æ™¬fl™yUåÊ ü“ |m™Ω@»y™núÁu∫ tÊ ∆ÀoÊ uå™|¬Á©§∫áÁ∫m™Ω@@(Caraka 1.5.95)
Translation- By wearing clean cloths, fame and life of one gets increased. Ugliness of
body is removed. Mind of a person gets pleasant and he gets good status in the public
meetings.
ƒw…ÆÊ ÃÁ{SÆãÜÆ™ÁÆÏ…ÆÊ NˇÁ©ÆÊ úÏu…b§¬üt™Ω@ ÃÁ{™åÀÆ™¬fl™yUåÊ Tãá™Á¡Æuå zƒm™Ω@@ (Caraka 1.5.96)
Traslation - by wearing fragrant paste on body and wearing garlands, reproductive
strength of a person gets increased. Beauty, benefits, fragrance, strength of body also
increases and ugliness of a body gets destroyed.
148
™zÜÆÊ úuƒfi™ÁÆÏ…Æ™¬fl™yNˇu¬åÁ∆å™Ω@úÁtÆÁz™¬| ™ÁTÁ|mÁ ∆Á{YÁáÁå™ßyflm∆:@@(Caraka 1.5.98)
Translation - Continuous cleanliness of legs and other body organsgives purity and
strength to body; increases the life and removes the alakshmi (poverty and ugliness of
body) and kali (diseases).
All above cited verses from caraka samhita have one common word ëAlakshmií. It
is translated as ugliness of body and poverty. Basically Alakshmi is a goddess of
poverty, ruin and misfortune. Purana literature has given her the status of an elder
sister of Lakshmi. (Padma Purana. Brahma khand 9.9) It is belief that her worship
turns misfortune into fortune. She bestows the blessings of Lakshmi in oneís life. It
is also said in Padma Puranas that she resorts to the places where there is abnormal,
unholy and immoral behaviour. For example,
ƒÁ¬ÏNˇÁ¬ƒmÁÊTÁ∫{: NÏˇƒ|uão tãoáÁƒå™Ω@ oz ÁÊ Tz“z ÃtÁ uo…eÁ tÏ:QtÁ Nˇu¬åÁ Ó@@(Padma P. Brahma
khand. 9.15)
Traslation - (O Alkshmi) you stay with kali who gives sorrow at the homes of
people who brush their teeth with sand, salt and charcoal.
As a result it is noticed that in Caraka Samhita and Purana literature,the goddess
Alakshmi is referred as the symbol of impurity and unhygienic elements which are
closely connected to immorality or the taboos for society. Hence present research
paper is a focus on the goddess Alakshmi as a symbol of impurity, un-hygiene and
immorality. How her worship helps an individual to achieve the moral behavior in the
life. Additional how ancient Indian scriptures have used Alashmi as a sugar coated
medicine to control the immoral and corrupt behaviour in the society.
Keywords: Alakshmi, Lakshmi, Morality, Hygiene
REVISITING CHILDHOOD IN COLONIAL BENGAL: CHILDREN AS
PORTRAYED IN THE VERNACULAR JOURNALS (1870-1930)
Tinni Goswami
The essential theme of this paper is to highlight the vernacular writings on children
in journals during the last decade of the 18th and the first half of the 20th century. Most
149
of these writings aimed to teach the mothers regarding child care and also the methods
to tackle a difficult child.
Many journals published articles on child psychology, where the authors wrote
on the growth and development of a child’s brain. In the Bamabodhini Patrika, a series
of articles were regularly published with the title of ‘Shishujibon o Kindergarten’
(Child life and Kindergarten), which were basically translated from contemporary
English literature.
There were numerous women writers who through their pieces advised the readers on
the duties and responsibilities of an ideal mother and wife. They also highlighted the
importance of proper diet to keep the child healthy and free from the ailments.
The present researcher wants to critically assess the above-mentioned discourse,
which will surely explore a new avenue in the socio-cultural history of 19thand 20th
century Bengal.
Keywords: vernacular journal, children, colonial Bengal
SYMBOLIC SIGNIFICANCE OF SACRED NYAGRODHA TREE WORSHIP
IN INDIAN RELIGION AND TRADITIONS
Trupti D. More and Vijaya P. Valhe
From ancient times trees have played important and varied roles in human civilization.
In India too trees are considered as sacred, may be because of their medicinal as well
as environmental values. Religion as a faith is a system of practices and rituals, which
are depicted by the way of tree symbolism. Trees have been worshipped sometimes
in the form of symbols of different deities with a belief that God or unseen power
resides in them. Many trees have been praised and worshipped symbolically as divine
entities in Indian tradition and religions; one among these is the Nyagrodha (Banyan)
tree or the Vat-vriksha.
The present paper deals with the nature and importance of this cult of
worshipping sacred and medicinal trees. It traces the origin of this religious symbol
and explores the traditional ideas about worshipping the Nyagrodha tree.
Simultaneously it looks into the primitive and popular ideas, thoughts and conceptions
150
about trees. It analyses the different aspects of symbolic worship of sacred Nyagrodha
tree and its significance in religious rituals. It depicts the mythological stories tied up
with it, utilizing the data from ancient literature and archaeological findings. Finally,
it attempts to identify Nyagrodha tree cult as a sacred and medicinal tree and its
significance in Indiaís religious and philosophical thought.
Keywords: Tree Symbolism, Sacred Tree, Nyagrodha, Banyan, Tree Worship,
Religion, Indian Tradition
A STUDY OF BEADS AT JETHAWANARAMAYA BUDDHIST
MONASTERY COMPLEX
Uduwila Uparathana
By the researchers and explorations done at the Jethavanaramaya Buddhist monastery
complex so far it had been reported a multitude of beads had found above all other
remains of archaeological interest. It is in number nearly four lacks of beads according
to the studies already done although they have not been counted accurately. According
to the archaeological researches which had been carried out so far it is at Jethavanaramaya
where the highest quantity of beads had been found. When considering the places where
these beads had been enshrined the following places associated with Jethvanaground
could be named.
l Four stupa ayakas. ( North, East, South, West)
l Four squire (Hathareskotuwa).
l Pesa coils. (Pesawalalu).
l Stone compound. (Salapathalamaluwa.)
l The areas associated with buildings.
l The areas associated with ponds.
Among these places the largest number of beads had been found at the places
associated with the out of those stupa ayaka holds the first place. The north ayaka in
the place where the largest number is being reported upto now. It is nearly three lacks
in number.
151
The economic, religious and social background of the ancient people and the
technology of formation of such a huge collection of beads, especially raw materials
used and shapes of formation and colors illustrate us an important and an interesting
story.
Key words. Buddhist monastery, beads, economic, religious, social.
REVISITING SYMBOLIC ARCHAEOLOGY IN SEARCH FOR A THEORY
OF CONNECTEDNESS
Umesh C. Chattopadhyaya
Indian art tradition is replete with symbols of hoary antiquity whose original meanings
underwent transformation in course of history; some of them are now reduced to mere
‘auspicious’ symbols. Post-processual archaeology with emphasis on ‘symbolic
archaeology’ can be applied, with some modifications, to data from India and wider
regions of Asia with a view to widening the scope of archaeology by – a) incorporating
inter-culturality, b) introducing ‘connected’ history as opposed to fragmented one, and
c) treating archaeology as a gateway to areas like philosophy, psychology, literature,
enquiring issues of deeper human experiences – trauma and suffering, for example,
that constitute one of the forgotten sources of Western historical consciousness.
The call for ‘Theory for Future’ in recent WAC-8 conference with a world-vide
appeal has been a welcome development in theoretical archaeology. I suggest that it
should address the issue of unity in difference (‘connectedness’) that necessitates intercultural perspectives to complement Western modernist approaches. This presentation
tries to incorporate ideas on routine human experiences since prehistoric past –
operating in periodicity (outgoing-homecoming; action-rest) – which got reflected in
a simple symbol of crossroads (+) in prehistoric paintings/engravings world over. This
powerful symbol with four arms having spatio-temporal dimensions meeting at a
dimensionless ‘point’ of intersection (symbolizing centre, home, cradle of rest/
creativity) is dynamic in nature and involves periodicity of to-and-from movements
between centre and peripheries within a topology of horizontality. This perception of
horizontality is complemented by verticality in search for a ‘mystical’ world represented
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by an orthogonal axis passing through the same point of intersection (Axis mundi). It
will be argued that a combination of horizontality and verticality of total world
perceptions has been the foundational idea or ‘archetype’ behind the architectural
shrines of Buddhism, Jainism, Hinduism and other religions, thus showing the common
prehistoric roots of apparently diverse sets of belief systems.
Keywords: Symbolic archaeology, Crossroads, Archetype, Sacred Shrines,
Connectedness
SYMBOLISM OF THE DESIGN ENGRAVED ON THE
CHANDRAVATI CORE
V. H. Sonawane
‘‘Symbolism’’ is a term closely intertwined with communication. Human beings think
and communicate by†using symbols. In a society, devoid of phonetic writings, all
forms of graphic representations are very†meaningful for the preservation and
communication of thoughts and ideas. Rock art is also viewed as a†means of
communication system and any symbol depicted thereupon is understood to be
conveyingsomething. It certainly reflects on the aesthetic taste developed by the
prehistoric community. Symbols are often considered as material representations of
the abstract concepts. There is no visually obvious†association between the symbol
and the entity which it represents. Typical non-iconic art is for more†likely to be
symbolic than their iconic counterparts. The latter is only symbolic when a depiction
of†the object refers to an abstract concept. The above understanding is partly based on
archaeological†artefact recovered from Chandravati (Dist. Sirohi, Rajasthan), in the
form of an engraved core of Upper Palaeolithic period as a surface collection.
Therefore, the present paper proposes to bring out†significance of the design engraved
on the core and how important it is in the understanding of the†Upper Palaeolithic art
of India.
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SYMBOLS IN ELLORA JAINS CAVE
V. L. Dharurkar
Symbols play an important role in cave temples of India. Ellora is not expiation to this
phenomenon. A symbol is a person or a concept that represents, stands for or suggests
another idea, visual image, belief, and action or material†entity. Professor Niharranjan
Ray has described that, in Ajanta Ellora caves exchange and interaction of symbols
largely prevails. In Ellora Jain caves various symbols such as Lotus, Kalash, Chakra,
Ambra, Ghatplav, have been used. The Astamagalas carry significant meaning. The
Jains belive in tradition of 8 auspicious symbols such as Minayugula, Swastika
Srivastsa,Prnaghat, pushpa padlag, Vimana, Pothi.
All these symbols carry significant meaning in the socio-cultural interactions,
reflecting socio-cultural realities of life. They also explain peace, harmony andcohesion.
16 dreams of mothers of Thirthankaras revels symbolism regarding the birth of
Thirthankaras. Smavasarn is the process of enlightens is reflected by describing Lotus
on seal. Sarvatobhdra pratima in Indrasabha and Manstabh are also symbols of Cultural
Communication.
ART IN LITERATURE OR LITERATURE THROUGH ART: SYMBOLISM
IN GRAPHIC NOVELS OF INDIAN EPICS
Varsha Jha (Singh)
The title of my paper can be read as having two distinguishable parts: the one which
refers to a workable relationship between art and literature, which would necessarily
require problematizing the conventional ways of look at both art and literature, and the
other which seeks to trace lisible marks made by art symbolism in Graphic novels of
the Ramayana and the Mahabharata.
Indian epics belong slightly to history and overtly to mythology. In fact no
literary works but Indian epics, stand amid the difficult inter-zone of religion, history
and mythology; and mythology of all, belongs to the world of images, not reducible
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by the functional systems of language and history. Myth denies the inherent distinction
between the real and the ideal. Myth is a function of both thought and feelings,
creativity and intelligence, ritual and reason. It has language of its own, its mytheme
or the smallest unit being the symbol, the image, the archetype. Therefore myth is to
be taken symbolically and never literally.
The Indian epical tradition has always found ways of pluralistic expressions,
in the Classical and the popular, alike. From centuries’ old sculpture to modern day
avatars in three-dimensional films, the Ramayana and the Mahabharata, never seem
to tire out. What characterizes this supernormal self-sustainability, this self-surpassing
durability? My Article attempts to address the question of the epicsí innate adaptability
into the visual narrative tradition. Studying the vital ways in which these epics speak
to a contemporary audience, I shall probe how the relatively new genre of graphic
novels uses symbolism to retell epics. To put it succinctly, this paper shall be a critical
examination of how the logo-centric ‘literary’ genre of the ‘epic’ uses art and
symbolisation to cross over to an image-centric genre of the ‘graphic novel’.
Keywords: Myth, Art, Images, Symbolism, Epics, Culture.
A STUDY OF SYMBOLISM IN INDIAN TEMPLE ARCHITECTURE:
THE ANCIENT INDIAN GRIDS
Vibhavari Kumar
Symbolism is a movement that represents ideas or qualities.Architecture is a key clue
in understanding the symbolism and cultural values of ancient Indian people. Intricate
buildings such as temples, houses of worship and government buildings were adorned
with art classified as Secular and Religious art.This paper talks about symbolism,
geometry and relevance of Grids in ancient Religious Indian architecture.
The universal expression of shapes is the foundation of geometry. Different
geometric shapes give rise to a unique vibrational resonance and pattern within the
greater whole. While it is undeniable that there is an elegant wisdom and logic behind
the geometric forms that create our world, the divine blue print is not one that can be
systematically deducted and reduced and indeed was not created to evoke logical
155
understanding only. The synchronicity of the universe is determined by certain
mathematical constants which express themselves in the form of ‘patterns’ and ‘cycles’
in nature.
Sacred geometry has existed in many forms across the ages.According to the
Sthapatya Veda, the temple and the town should mirror the cosmos and are related in
their conception.The Harappan cities have a grid plan, as recommended in the Vedic
manuals.Vastupurusamandala is drawn as a grid, but read as a concentric series of
square shapes. The grid provided a basis for locating the correct deities. The grid only
functioned as a means of zoning the different deities in the temple.The blending of
square, triangle and circle geometric shapes creates a more complex symbol meaning
heaven and earth brought into a balance of harmony and perfection representing
alchemy and attainment.
The aim of this inquiry is to try, using specific examples, to create cohesion
and coherence in the vast design heritage of India and integrate this knowledge into
schools of design along with Western philosophy.
Keywords: Symbolism, Indian temple, Architecture, Ancient Indian, Grids
CARY¡ NƒTYA: A RITUAL DANCE OF VAJRAY¡NA BUDDHISM,
SYMBOLISM PERFORMED
Vidula Pharate
It is no surprise that the symbolic language of dance has been used for worshipping
deities for ages. Cary° N§tya is a living example of this connection which bridges the
gap between old and new, ancient and modern.
Cary° N§tya, also called as Vajran§tya is a ritual dance form of Vajray°na
Buddhism. As we all know Nepal was the entrepot to transmit Tantric Buddhism in
Tibet, this dance then conserved by Vajray°na priests in the Kathmandu valley which
ultimately became a part of esoteric tantric rituals of monasteries. Practitioners claim
that the origin of this ritual dance is in India. Once a secret practice, it has now entered
the proscenium stage, for the world to see and seekers to learn!
156
Apart from the basic ritual motive behind this dance, which is quite known and
has been studied by a few western scholars, this dance follows its own technical code,
which includes hand and feet positions, body postures and most importantly hand gestures
or Mudr°s. This paper attempts to shed light on theoretical and performing aspect of this
ritual art, understood through related Vajray°na texts. It will also emphasis on how this
dance symbolizes Vajray°na philosophy on the level of performance by looking at its
iconographic nature.
This approach aims to provide new perspective in understanding Cary° N§tya
and its pivotal presence in the Vajray°na tantric tradition. Further it will also provide
methodological inputs in interpreting dance as worshipping medium in other tantric
traditions of India.
Keywords: Cary° N§tya, Vajran§tya, Vajray°na Priests
SYMBOLISM INVOLVED IN TREE WORSHIP
Vijaya P. Valhe
Tree worship is famous in India. Various sacred trees occur in Ancient literature. In
ancient India trees like A∂vattha, Nyagrodha, Bilva, Tulsi, Nima, Mango etc. are
worshipped by people of various castes, communities, and groups. They believe that
trees like A∂vattha, Nyagrodha are the dwelling place of the Trinities and other gods
for goddesses. By worshipping these trees they feel pleasure of worshipping the gods
residing in these trees. In this process it seems, they consider these trees as the symbols
for various gods.
Various rituals in connection with the tree worship also include different
symbolic activities which are found in some ancient Indian Literature. Here is an
attempt to discuss on the role of symbolism through the textual descriptions on Indian
tree worship and at the end some logical conclusions will be given.
Keywords: Bilva symbol of ÷iva, Nima, N°rikela, A∂vattha, Nyagrodha
157
THE PAINTED WOODEN MOBILE SHRINES OF PEDDAMMA AND
ITS ICONOGRAPHY
Vikram V. Kulkarni
The present paper intended to describe various aspects of the paintings on mobile
shrines of ‘Peddamma’ in Telangana. The word Peddamma in Telugu means elder
mother. She is popular as a village deity in Andhra. These village deities comprise of
Pottu Razu (Potraj) and his seven sisters. G. S. Ghurye refers these sisters as
‘Saptmatrukas’ or seven mothers. A nomadic tribe wandered with their painted mobile
shrine of Peddamma. This tribe called as ‘Peddamma lollu’ in Telangana and Andhra,
‘Jogappa’ in Karnataka and ‘Potraj’ in Maharashtra. The deity is called Peddamma
in Telugu, Marikamba and Durgmurgi in Kannada and Kadaklaxmi in Marathi. The
wooden idol of Peddamma is installed in the mobile shrine. This idol follows the
specific iconography. The style and technique of the Peddamma idol is similar to the
idols of Kul-Puran of Yadav community of Andhra. Various scenes are depicted on
the Peddamma shrines. Scenes from Ramayana and Mahabharata are pained on the
shrines. The hell torment scenes from ‘Yamapuri’ are shown on Peddamma shrines.
Farming scenes and the pictures of the process of making local liquor are depicted on
the shrines. An intermingle of the folk deities and Vaishnav goddesses can be traced
through the Peddamma shrine paintings. Social and political relevance can find in the
paintings. The Peddamma shrine paintings are considered as iconographical rather
than narrative. These paintings are painted by the traditional painter community called
‘Nakkash’. Today few families of Nakkash in the village ëCheriyalí near Hyderabad
are practicing the art. Therefore this art is known as Cheriyal art. The similar stylistic
features can be found between the Peddamma shrine paintings and Cheriyal Patchitra
(Scroll Painting). The form of Peddamma shrine has drawn inspiration from the painted
wooden mobile shrines of Vishnu, found in Tirupati from 18th century.
Keywords: Painted wooden mobile shrine, Peddamma, Kul-puran, Patchitra (Scroll
Painting), Cheriyal
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SYMBOLISM AND TRANSFORMATION OF TREE OF LIFE MOTIF
IN EARLY INDIAN ART
Vinay Kumar
Several kinds of plants have been transformed in Indian art in the arts of other countries
because of the symbolism associated with it. As we know trees and flowers are natur’s
greatest gift to humanity, endowed with beauty, sanctity and utility and they form an
integral part of our socio-cultural life from time immemorial. As among all other early
people, it was in his natural surroundings that the Indian saw his gods. The trees and
springs, the stones and hill-tops, the birds and beasts, were creatures like himself, or
possessed strange and uncanny powers of which he was not master. Ancient human
civilizations like Mohenjo Daro and Harappa, depended upon nature for their
sustenance and venerated the tree motif as a tribute to nature’s benevolence.
Sacred trees are mentioned in the literature of the worldís major religions as
the Tree of Knowledge or the Tree of Good and Evil. In the Book of Revelation (22:12) and in Genesis (2:9) the Tree of Life in Paradise is associated with the rivers of life.
The Koran (13:38) mentions the Tuba Tree in Paradise. The Cosmic Tree is depicted
in an inverted position growing downward toward the earth with its roots in heaven
in the Upanishads of ancient India. Over the centuries, various civilizations worldwide created their own ‘Divine Trees’ and gave them an artistic personality to express
their faith. The banyan, the Pipal or fig tree, the oak, the bamboo, the Christmas tree
and many others represented concepts like self-realization, knowledge and benevolence
or fulfillment of dreams.†In India, many trees – real and mythical – were given this
honour through the millenniums. The mythical heavenly Kalpavriksha or Kalpavallari
(the tree or creeper that grants boons) which appeared from the ocean in the legend
of Samudra Manthan (churning of the cosmic ocean) was the third. Through the ages,
these trees and creepers inspired sculptors, painters, weavers and folk artists to create
a rich and varied plethora of magical designs in which the Tree of Life became the
focal motif. Religious faith and artistic inspiration combined to immortalize this
beautiful, ever-changing design. Tree of life, the West Asian motif has been transformed
as Sri-Vrikksha in Indian art. It is found in Nordic mythology as the Tree of Existence,
Yggddrasil and also in Egypt and Western Asia. A treeoflife is a mystical concept
alluding to the interconnectedness of all life on our planet, a metaphor for common
descent in the evolutionary sense, and a motif in various world theologies, mythologies
159
and philosophies. Hence, in the present paper an attempt has been made to find out
various symbolism associated with Tree of life motif and subsequently its
transformation in to other art symbols/motifs in Indian art.
Keywords: Symbolism, Tree of Life, Architecture, transformation
BUDDHIST SYMBOLISM IN ART OF ARAKAN
Vinay Kumar Rao
Lord Buddha was strictly against the practice of image worship and restricted his
disciples to do so. In absence of any provision of image worship, the important
incidents of his life were depicted in art in form of certain symbols like st£pa, bodhiv§k∑a, throne etc. It was first century CE during Kushana period when Buddha was
started to be represented in anthropomorphic form. But still in Art the representation
of depicting certain aspects of dhamÌï in symbolic manner were not discontinued
moreover some other new symbolic innovations are introduced in art. The introduction
of various mudr°s and °sanas in art indicates towards practicing of symbolism in art.
D¢gha Nik°ya, in its discourse titled Lakkha∞a Sutta elaborates 32 divya-lak∑a∞as of
a mah°puru∑a which is further supplemented by another 80 Secondary Characteristics.
Mah°y°na adopted Buddhist figures and sacred objects in changed manner.
Here the inclination of art is more towards esoteric and symbolic gestures. The mudr°s
are a series of symbolic hand gestures and °sanas. Many images also function as
man∞Øalas. Mah°y°na and Vajray°na form of Buddhist art frequently makes use of
a particular set of auspicious symbols like padma, the† man∞Øalas, matsyayugma,
dhwaja, dhammacakra, kala∂a, chatra, ∂a¨kha etc.Further the adoption of esoteric
symbols and erotic representation in art are also made to affirm a kind of symbolism.
The north eastern part of India provided an easy access to Mah°y°na which
was deeply influenced with Hinduism to the western part of Myanmar. Arakan is a
region in Myanmar where Mah°y°na reached before H¢nay°na. The number of
sculptural representations of ma∞dØals, motifs like lokap°la and vasundhar° and
160
erotic sculptures performing mithuna and maithunas affirms the Mah°y°na elements
with artistic symbolism.
In the proposed paper the scholar is intend to trace the origin and growth
Buddhist symbolism in western part of Myanmar especially in Arakan. The scholar is
also committed to trace various symbolic representations in art of Arakan and the
impact of north-east region of India. The paper is based on field study performed by
scholar in various parts of India and Myanmar.
Keywords: ma∞Øala, lokap°la, vasundhar°, maithuna, mithuna
INHERENT SYMBOLISM IN TANTRIC BUDDHISM: A
HISTORIOGRAPHICAL ANALYSIS
Vipul Tiwari
This research paper is a critical study of ‘‘inherentcreative symbolism’’ in Tantric
Buddhism.In order to study Symbolism of Tantric Buddhism in totality, we have to
trace the ‘‘dialectic’’ in ‘‘Hermeneutical inquiry‘‘ concerning the historiography of
Indian art chronologically. With the discovery of the sites connected with Buddhism
and Buddhist Sculptures in the nineteenth century, a systematic study of Buddhist art,
iconography and symbolism started. But by and large Buddhist art and its symbolic
representation remained practically unknown in Europe until in the last decade of the
nineteenth century some museum acquired sculptures specimens of Gandhara art.
Although early writers like Ritter (1838), Cunningham (1851), Sykes (1854) etc., had
started writing on the Buddhist art but true and real meaning of symbolism inherent
in Tantric Buddhism remained untouched by them. After Fergusson work’s (who
slightly touched the Buddhist structures only) with J. Burgess Study of Buddhist art
and iconography got real prominence. And now the stage was set to encounter the first
and foremost problem of Buddhist art and iconography regarding its nature and origin.
Its early and simple solution was sought by Albert Grunwedel in his work
‘‘BuddhistischeKunst in Indien’’ (1893) which remains even today the first early
standard work on the topic. Similarly, Alfred Foucher’s ‘‘Elide Sur Iconographic
boudhique de I’Inde’’ (1906) was the first systematic work on Buddhist Iconography.
161
Despite bulk of materials used by these scholars they failed to surface the essence of
Buddhist art and inherent creative symbolism in Tantric Buddhism, especially in the
post –Gupta Tantric Buddhist cult. Similarly Swell’s ‘‘Early Buddhist Symbolism’’,
V.A. Smith’s and W. Hoey’s ‘‘Ancient Buddhist Statuettes’’ and L.A.Waddell’s ‘‘The
Indian Buddhist cult of Avalokita and Tara’’ etc. were some good effort in the same
direction. But all have the shortcoming because the writers perception were purely
archaeological and historical and they lack philosophical and religious background
which was essential for understanding any Indian art and its symbolism in totality.
Although the work of Coomaraswamy, Stella Kramrich and Strzygowski had much
changed the perception of Buddhist art and symbolism but even in their works Tantric
Buddhism (Vajrayana, Kalacakrayana and Sahajayana) occupied less prominent place.
No discussion on Mahayana Buddhism can be a complete study unless it takes account
of Tantric Buddhism. In the light of the above account I have endeavoured to trace the
inherent creative symbolism in Tantric Buddhism; its nature origin and problem, which
was an ancient way of Indian life.
THE FUNDAMENTAL ELEMENTS OF EARLY BUDDHIST SYMBOLISM
Vipul Tiwari and Madhulika
This research paper is an analysis of the Early Buddhist Symbolism in its historical
perspective. In other words, the Buddhists symbols used in Buddhist art and religion
were part and parcel of the main current of Indian religion and art. Therefore for the
proper perception and understanding of these early symbolisms it must be studied in
that particular con (text). We know that the early Indian art is essentially the
continuation of an ‘‘aniconic style’’ which is comprehensible only within the Vedic
notions. With this theme in nutshell we have studied the fundamental elements of the
few Buddhist symbols. These had greatly influenced the early aniconic art of India and
were never dropped in the later imagery although they occupied less prominence in
‘‘anthropomorphic’’ presentations. The four important symbols such as: WorldWheel, Tree of Life, Earth-Lotus and Lotus-Thronewith other cognates have been
analysed in this paper. We have had the specimens of the Buddhist art in India from
2nd Century before Christ with a well-developed symbolism in its iconographic set-up.
162
Again, it is impossible and illogical to separate Buddhist art completely from Brahmanic
religion and art. In the light of this proposition early Buddhist symbols were not a new
creation in strict sense of the term. Its roots could be traced in the Vedic literature
because in many obscure and mystical stanzas of the Vedas we find the similar concepts
vaguely hinted. And these were later on expressed in more perfect form in Buddhism
and Brahmanism. Therefore, these set of early symbols can be traced back to the
Brahmanical Vedas.
Keywords: Early Buddhist Symbolism, Perception, con(text), aniconic style,
anthropomorphic
SYMBOLISM OF COCONUT: WITH SPECIAL REFERENCE TO
GODDESS K¡NBA¬ OF KHANDESH REGION
Vrushali Bhosale
Khandesh, a historical region of Maharashtra comprising Dhule, Jalgaon and North
Nashik District, has a very different perspective of culture. People of Khandesh are
very staunch about their festivals, rituals and traditions. Khandesh was a matriarchal
state of K°nba¢, the great Queen. So Khandesh is named after K°nba¢. Goddess
K°nba¢ is said to be avat°ra (incarnation) of goddess P°rvat¢. She is widely worshiped
goddess in Maharashtra as well as the places where Maharashtrians lived. She is said
to be wife of K°nher, incarnation of God ÷iva. Goddess K°nba¢ is worshipped by
Maharashtrian Ahir°∞¢ people as she is deity of many communities in this region.
According to Hindu calendar, the first Sunday after N°ga-pa≠cham¢ festival in†the
month of ÷r°va∞a, is celebrated as the festival of K°nba¢.
Goddess K°nba¢ is represented by a coconut. In this region, a coconut is placed
and decorated with various ornaments, and is worshipped as Goddess. The present
paper aims to highlight this symbol of coconut representing Goddess K°nba¢ in the
tradition of Ahir°∞¢ people of Maharashtra.
163
ARDHAN¡R¬÷ARA, A SYMBOLISM OF EVOLUTION FROM PURU◊A
AND PRAKTƒTI – AN EXAMINATION FROM TWO S¡ÃKHYA SYSTEMS
Wu Chen Ting
Ardhan°r¢∂vara, a prevalent deity image of Hindu as Lord ÷iva and P°rvat¢ share
within a human-form body, is known for the symbolism presenting two opposing but
joined primordial masculine and feminine energies which create world as well as
indicating all their creations have male and female traits. This concept has been referred
in Pur°∞as by numerous pairs of masculine and feminine terms. Some of them involve
in various schools of Indian philosophy and religion. Of which, Puru∑a and Prak§ti are
the pair designations associated with S°¨khya’s evolution theory (tattvas).
However, S°¨khya is of two systems, Proto-S°¢khya (claimed by Early
Upani∑ads, Epics) and Classical S°∞khya (S°∞khya K°rikas of ¬∂varak§∑∞a and the
commentaries are main doctrines), which share alike theory of evolution in terms but
dissimilar approaches. The previous one holds theistic, non-dualistic, embraces that
Puru∑a and Prak§ti are primordial cosmic consciousness and energy for world creation.
The principles (tattvas) in evolution process are their manifested residues as well as
partial limited energies, functions or instruments for creation. The latter system is of
atheistic, dualistic, asserts that Puru∑a is an independent individual pure consciousness
and, by contacting to independent Prak§ti, the worldly evolution outwardly begins
from buddhi, indryas, tanm°tras and mah°bh£tas.
Apparently, Ardhan°¢∂vara’s evolution is followed by Proto-S°¨khya. But
Pur°∞as often but vaguely suggest Ardhan°r¢∂vara is also individual Puru∑a and Prak§ti.
By this, our first question arises – is it right to regard Ardhan°r¢∂vara as symbol of
individual evolution based on Classical S°∞khya? Pur°∞as also remark pair relative
words such as cit and acit, ∂uddha and a∂uddha, para and apara for Ardhan°r¢∂vara
without fine definitions. However, we find these words have been clearly expounded
in both S°¨khya systems. As having different approaches, the second question arises
- What are the differences in definitions, domains and natures explained of these pair
terms in two systems?
This article attempts to examine these philosophical questions based on the
concepts of Pur°∞as, Proto-S°¨khya and Classical S°¨khya. It expects to grasp the
deeper ideas behind the gorgeous image of Ardhan°r¢∂vara.
Keywords: Ardhan°r¢∂vara, Pur°∞as, Proto-S°∞khya, Classical-S°∞khya
164
A STUDY OF MIHRABS AND ITS SYMBOLISM IN MOSQUES
OF KERALA
Ziyadali. B
The present paper is extract from my MPhil Research carried in the part of Kerala on
mosques art and architecture. The architecture style of early Mosques, Temple as well
as churches is inindigenous in nature. The roof of mosques is tiled. Timber is
exclusively used for the construction and huge wooden Pillars support the structure.
Thus study throws light on some aspect of Mihrabs of mosques and how they are
different from rest of India. The study Discuss about the symbolic motifs of Mihrabs
of Mosques of Kerala.Mihrabs is a semi-circular niche in the wall of Mosques that
indicates theqibla. The Mihrabs of the mosques in south India have some motifs from
Persian Gulf and some of them have traditional Indian motifs.
165
LIST OF PAPER PRESENTERS AND E-MAIL CONTACTS*
(*only of the corresponding authors)
No.
Name
E-mail
1 Aakanksha
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2 Aaryaa Ashutosh Joshi
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3 Abhiruchi Oke and Anuja Patwardhan
[email protected]
4 Ajay Pratap
[email protected]
5 Ajeesh Raj. A
[email protected]
6 Ajit Kumar
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7 Akiyala Imchen
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8 Alpana Awasthi and Neeta Lalwani
[email protected]
9 Ambarish Khare
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10 Amit Pendam
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11 Amogh Prabhudesai
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12 Amrithavalli Panyam
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13 Anagha Joshi
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14 Anand Kanitkar
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15 Anand Singh
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16 Anita Rane-Kothare
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17 André J. J. Baptista
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18 Anil Kalamboor
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19 Anjali Pandey
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20 Anuja Milind Joshi
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21 Anurag Chauhan
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22 Anusha Shakya
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23 Aparajita Bhattacharya
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24 Aparajita Morde
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25 Arjun R.
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166
No.
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E-mail
26 Arunchandra S.Pathak
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27 Arunima Pati
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28 Asif Mohiud Din
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29 Atul Kushwaha
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30 Avradeep Munshi
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31 Baba Mishra and Ranvir Singh
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32 Bharti
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33 Bratati Dey
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34 C.B. Kamati
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35 C. S. Vasudevan
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36 Chandima Bogahawatta and
Koshalee Kakulandala
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37 Chandra P.Trivedi
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38 Chandrashekhar Paswan
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39 Chandreyi Basu
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40 Choodamani Nandagopal
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41 D. P. Sharma and Madhuri Sharma
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42 Daljeet Singh and Elora Tribedy
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43 Debatri Ghosh
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44 Deepali Patil
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45 Deepshikha Semwal
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46 Digvijay Patil and SaumitraKshirsagar
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47 Dipika Bhomkar
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48 Duli Ete
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49 Garima Kaushik
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50 Gauri Moghe
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51 Gomathi Gowda
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52 Gopal S. Joge
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167
No.
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53 Harihar Padhan
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54 Harshada Wirkud
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55 Hemant Dalavi and Mohana R.
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56 Jason Johns
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57 Jasna K. and Aswanth K. O. K.
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58 Jayendra Joglekar and
Sushama G. Deo
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59 Jyotsna Krishnan A.
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60 K. N. Hota
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61 Kanti Pawar
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62 Karuna Milind Mohite
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63 Kakali Ghosh
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64 Kirti Kulkarni
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65 Kishore Chandra Meher
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66 Komal Pande
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67 Konika Mukherjee
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68 Kshirasindhu Barik
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69 Kumar Dipongkar Mondal
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70 Kurush F. Dalal
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71 Kush Dhebar
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72 Lalhminghlua and Amrita Sarkar
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73 Lalit Gupta and NavjotKour
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74 Madhavi Godbole
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75 Madhulika
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76 Madhura Godbole
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77 Mamta Rai
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78 Manish Rajan Walvekar and
Tanmay Jayant Bhole
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168
No.
Name
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79 Manisha Shete
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80 Manjari Bhalerao
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81 Manmohan Sharma
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82 Manu Sharma
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83 Md. Iftekhar Alam Ansari
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84 Meenal Kulkarni
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85 Megna Carvalho
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86 Milani Perera
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87 Milind Paradkar
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88 Minnu Kejriwal
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89 Mohan S. Pardhi, Virag Sontakke
and Pradip Meshram
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90 Monbinder Kaur
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91 Mohana R.
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92 Morakandegoda Ariyawansa
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93 Mugdha Gadgil
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94 MunmunMondal
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95 N. Vinodh
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96 Nalini Avinash Waghmare
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97 Neeraj Yadav
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98 Neha Pande
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99 Niharika K. Sankrityayan
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100 Nimisha Thakur
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101 Nimitha K.P.
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102 Nisha Sawant-Kulkarni
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103 Nitesh Narnolia and Mousam
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104 Nitin Hadap
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105 P. C. Sahoo
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169
No.
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106 P. S. Joshi and Kanchana Bhaisare
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107 Prabha Shankar Dwivedi
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108 Pradnya Deshpande
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109 Pradnya Kulkarni
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110 Priya Thakur
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111 Priyanka Kamalakar Shinde
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112 Rahul Chemburkar
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113 Rajaram Hegde and Prabhakar Rao
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114 Rajasri Mukhopadhyay
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115 Rajkumari Barbina
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116 Ranjana
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117 Ranjana Mishra
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118 Remya V.P. and Sreebarna Ghosh
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119 Reshma Sawant
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120 Rucha Gadkari
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121 Ruokuonuo Rose Yhome
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122 Saili K. Palande-Datar and
Ambarish V. Khare
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123 Sana
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124 Sanchita Ghosh
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125 Sanjay Manjul
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126 Sanjay Paikrao
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127 Sarita Dash
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128 Satarupa Bal
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129 Satvik Malipatil
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130 Saurabh Singh
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131 Sawani Rajan Shetye and
Arunkumar M S
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132 Shahida Ansari and V.N. Prabhakar
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133 Shambhoo NathYadav and B. Gartia
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134 ShantanuVaidya, Virag Sontakke,
Shrikant Ganvir, Rushal Unkule
and Garima Khansili
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135 Sharad Goswami
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136 Shashi Kala Singh
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137 Shikha Sonkar
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138 Shilpa M. Chandran
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139 Shilpa Hadap
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140 Shilpa Sumant
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141 Shivendra Kadgaonkar
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142 Shobhna Meshram
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143 Shrikant Ganvir
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144 Shrinivas V. Padigar
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145 Shripad Bhat
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146 Shruti Sharma
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147 Siddhi Deshpande
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148 Smriti Agarwal
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149 Sneha Kapote
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150 Soumya Manjunath Chavan
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151 Sovonlal Misra
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152 Sudhir Kumar
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153 Suken Shah
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154 Suraj A. Pandit
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155 Swadhin Kumar Mandal
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156 Swagata Mukhopadhyay
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157 Swapna Joshi, Siddhi Deshpande and
Shantanu Subramaniam
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171
No.
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158 Swati Mondal Adhikari
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159 Tanashree Redij
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160 Tinni Goswami
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161 Trupti D. More and Vijaya P. Valhe
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162 Uduwila Uparathan
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163 Umesh C. Chattopadhyaya
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164 V.H. Sonawane
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165 V.L. Dharurkar
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166 Varsha Jha (Singh)
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167 Vibhavari Kumar
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168 Vidula Pharate
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169 Vijaya P. Valhe
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170 Vikram V. Kulkarni
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171 Vinay Kumar
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172 Vinay Kumar Rao
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173 Vipul Tiwari
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174 Vipul Tiwari and Madhulika
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175 Vrushali Bhosale
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176 Wu Chen Ting
[email protected]
177 Ziyadali B.
[email protected]
172