Journal articles: 'Goddesses, Hindi, in art'

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Bühnemann, Gudrun. "The Goddess Mahā;cīnakrama-Tārā (Ugra-Tārā) In Buddhist And Hindu Tantrism." Bulletin of the School of Oriental and African Studies 59, no. 3 (October 1996): 472–93. http://dx.doi.org/10.1017/s0041977x00030603.

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It is well known that some goddesses are worshipped in both the Buddhist and Hindu Tantric traditions. A form of the Buddhist Vajrayoginī, accompanied by Vajravarṇanī and Vajravairocanī, is the prototype of the Hindu Chinnamastā accompanied by Ḍākinī and Varṅinī. Forms of Ekajaṭā and Mañjughoṣa were adopted from the Buddhist pantheon into the Hindu and worshipped by the same name. Usually it is not easy to trace how and when these adaptations took place. In the case of Mahācīnakrama-Tārā, a special form of Tārā, it has long been suspected that the goddess was imported from the Buddhist Tantric pantheon into the Hindu pantheon. In this paper I demonstrate, on the basis of clear textual evidence, how the goddess's description in a Buddhist sādhana was incorporated into the Hindu Phetkāriṅītantra, which was then quoted as an authoritative source regarding the goddess by later Hindu Tantras. I further examine representations of the goddess in art, and provide a new edition and translation of two sādhanas of Mahācīnakrama-Tārā.

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Dubey, Abhay. "MUSIC AND SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3390.

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In India, music is believed to be as eternal as God. Before the creation of the world —it existed as the all-pervading sound of "Om" —ringing through space. Brahma, the Creator, revealed the four Vedas, the last of which was the Sama Veda —dealing with music.Vedic hymns were ritualistic chants of invocation to different nature gods. It is not strange therefore to find the beginnings of Hindu music associated with Gods and Goddesses. The mythological heaven of Indra, God of Rain, was inhabited by Gandharvas (singers), Apsaras (female dancers) and Kinnaras (instrumentalists). Saraswati, Goddess of Music and Learning, is represented as seated on a white lotus playing on the Veena. The great sage Narada first brought the art to earth and taught it to men.

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Sapkota, Jiblal. "The Iconography of Divinity: Kali as a Power-Cluster of Ten Different Goddesses." Crossing the Border: International Journal of Interdisciplinary Studies 1, no. 1 (May 23, 2014): 11–20. http://dx.doi.org/10.3126/ctbijis.v1i1.10464.

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This article is an exploration of Kali, a Hindu deity, through Panofskian three-tiered meanings of a visual art: pre-iconographical description, iconographical analysis and iconological interpretation. It presents neither a dogmatic nor an erotic interpretation of Kali but a purely objective analysis of the Hindu deity. It is argued that Kali has layers of implications, associations and meanings as well as multiple forms, namely Kali, Chinnamasta Kali, Tara, Bhuvaneshwori, Bagalamukhi, Dhumbavati, Kamala, Bhairavi, Sodasi, and Matangi. Each form is also associated with different mythologies, allegories and allusions of their origin. It is assumed that this article has had great significance in the academia as well as for the academicians and academics who are interested in carrying out research works, with an objective description, analysis and interpretation of any visual art. DOI: http://dx.doi.org/10.3126/ctbijis.v1i1.10464 Crossing the Border: International Journal of Interdisciplinary Studies Vol.1(1) 2013; 11-20

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Zubko, Katherine C. "Christian Themes and the Role of the Nāyikā in Bharatanāṭyam." International Journal of Asian Christianity 1, no. 2 (September 11, 2018): 269–89. http://dx.doi.org/10.1163/25424246-00102006.

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Within the Indian classical dance style of bharatanāṭyam, performers traditionally embody the stories of Hindu gods and goddesses. This paper discusses selected examples of how Christian themes have been incorporated into the art form by both Hindu and non-Hindu participants, including the adaptation of the aesthetics of the nāyikā, a female heroine yearning for her absent beloved. In an extended case study, I examine the presentation of one such unique nāyikā, a Christian Indian woman who contracts HIV from her husband, in particular demonstrating how various gesture sequences draw upon the recognizable, empathetic foundation of the suffering heroine to depict the realities of the illness of HIV. The despair and pain of the nāyikā, and the role of a sakhī as sympathetic doctor, invite audiences into a familiar aesthetic framework that also creates receptivity towards a significant social critique.

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Islam, Sk Zohirul. "The Pair Lion Motif in Shiva Temple of Medieval Bengal: Its Source and Evaluation." American International Journal of Social Science Research 3, no. 1 (September 1, 2018): 1–12. http://dx.doi.org/10.46281/aijssr.v3i1.138.

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Lions, particularly male lions, have been an important symbol for thousands of years and appear as a theme in cultures across Europe, Asia, and Africa. The cultural significance of stucco pair lion motif in Shiva temples of Bengal and relates with various types of representation of the same motif found in others. The pair Lion used as stucco (Jora Shiva Temple, Muroli, Jessore district). Shiva is the braver among the all God and Goddesses in Hindu religion during the early period and still. Thus we have found many Shiva temple build in Bengal (present West Bengal(Paschimbango) and Bangladesh). This article try to analyses about how the pair lion motif is depicting of the Shiva temple and what is the relation between Shiva and lion under Mythology and Purana. Shiva is the second most important male deity of Hindu. The usual Shiva –lingam’s which were mainly worshipped in the temples and under trees or in an open space. We would have tried to decipher about Pair Lion Motif decoration of 18th – 19th century Shiva temple of Bangladesh. Those would have to help the history of evaluation of stylized art waves is coming out by its decoration motif with ritual, beliefs and faith of Bengal society. We may look at the artistic tradition of lion sculptures those are widely found from different parts of west Bengal and Bangladesh.

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van Brussel, Noor. "Tales of Endings and Beginnings: Cycles of Violence as a Leitmotif in the Narrative Structure of the Bhadrakāḷīmāhātmya." Religions 11, no. 3 (March 10, 2020): 119. http://dx.doi.org/10.3390/rel11030119.

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The asura’s demise at the hands of the goddess is a theme frequently revisited in Hindu myth. It is the chronicle of a death foretold. So too is the Bhadrakāḷīmāhātmya, a sixteenth century regional purāṇa from Kerala, that narrates the tale of fierce goddess Bhadrakāḷī and her predestined triumph over asura king Dārika. Violence is ubiquitous in this narrative, which was designed with one goal in mind: glorifying the ultimate act of defeating the asura enemy. In its course the story exhibits many kinds of violence: self-harm, cosmic warfare, murder, etc. This paper argues that (1) violence comes to serve as a structural aspect in the text. Reappearing consistently at key moments in the narrative, violence both frames and structures the goddess’s tale. Yet, it is not only the violent act that dominates, it is its accompaniment by equal acts of regeneration that dictates the flow of the narrative, creating a pulsating course of endings and beginnings; (2) these cycles, that strategically occur throughout the narrative, come to serve as a Leitmotif referring to the cyclic tandem of destruction and regeneration that has dominated post-Vedic Hindu myth in many forms. The pulsating dynamic of death and revival thus becomes a specific narrative design that aims to embed the regional goddess within a grander framework of Time.

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Halim, Andre. "THE MEANING OF ORNAMENTS IN THE HINDU AND BUDDHIST TEMPLES ON THE ISLAND OF JAVA (ANCIENT - MIDDLE - LATE CLASSICAL ERAS)." Riset Arsitektur (RISA) 1, no. 02 (July 17, 2017): 170–91. http://dx.doi.org/10.26593/risa.v1i02.2391.170-191.

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Abstract- As one of the relics of the Classical Era, temples and shrines have been known as a means of worshipping the gods and goddesses or one’s ancestors, especially in the religions of Hinduism and Buddhism. Observers often regard the ornaments of these temples as mere visual art objects, as eye candy that may beautify their outward appearance. However, when examined more closely, these ornaments carry a certain meaning in each of the temples. The aim of this research study is to explore the deeper significance of these ornaments and their location. This research can be classified as qualitative, using the descriptive-analytical method. Employing the Purposive Sampling method regarding ornamentation, eleven temples have been selected that meet the research requirements. Both Hinduism and Buddhism have been known to make a division into three worlds, namely the lower, middle and upper spheres. This division has also shaped the elements of temples into their respective head, body and legs/feet. Further categorization yields six motifs, all of which can be found in temples in various shapes, consisting of several types of ornament that embellish the three elements mentioned above. Each of the motifs carries a variety of meanings. In this research study, the relationship between the meanings and their exact location (placement) is analyzed, indicating that they are in keeping with the division into three worlds, but then again there are ones that do not follow that pattern, and still others that are not affected at all. Development of the physical shape of the ornaments has occurred in several ornaments, but the majority of the changes in their physical shape has left no impact on the meaning contained within these ornaments.Keywords: temple, ornament, meaning, placement, physical shape

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Findly, Ellison B., and David Kinsley. "Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition." Journal of the American Oriental Society 108, no. 2 (April 1988): 332. http://dx.doi.org/10.2307/603681.

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Ruff, Jeffrey C. "Modern Transformations of sādhanā as Art, Study, and Awareness: Religious Experience and Hindu Tantric Practice." Religions 10, no. 4 (April 9, 2019): 259. http://dx.doi.org/10.3390/rel10040259.

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“My first raising of the kuṇḍalinī was hearing Ma [her teacher] speak about art.” The experience of the awakening of śakti within practitioners in contemporary cultures occurs both in traditional religious settings and within novel circumstances. Traditional situations include direct transmission from a guru (śaktipāta), self-awakening through the practice of kuṇḍalinī-yoga or haṭhayoga, and direct acts of grace (anugraha) from the goddess or god. There are also novel expressions in hybrid religious-cultural experiences wherein artists, dancers, and musicians describe their arts explicitly in terms of faith/devotion (śraddhā, bhakti, etc.) and practice (sādhanā). They also describe direct experience of grace from the goddess or describe their ostensibly secular teachers as gurus. In contemporary experience, art becomes sādhanā and sādhanā becomes art. Creativity and artistic expression work as modern transformations of traditional religious experience. This development, while moving away from traditional ritual and practice, does have recognizable grounding within many tantric traditions, especially among the high tantra of the Kashmiri Śaiva exegetes.

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Milbrath, Susan. "Decapitated Lunar Goddesses in Aztec Art, Myth, and Ritual." Ancient Mesoamerica 8, no. 2 (1997): 185–206. http://dx.doi.org/10.1017/s095653610000167x.

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AbstractAztec images of decapitated goddesses link the symbolism of astronomy with politics and the seasonal cycle. Rituals reenacting decapitation may refer to lunar events in the context of a solar calendar, providing evidence of a luni-solar calendar. Decapitation imagery also involves metaphors expressing the rivalry between the cults of the sun and the moon. Huitzilopochtli's decapitation of Coyolxauhqui can be interpreted as a symbol of political conquest linked to the triumph of the sun over the moon. Analysis of Coyolxauhqui's imagery and mythology indicates that she represents the full moon eclipsed by the sun. Details of the decapitation myth indicate specific links with seasonal transition and events taking place at dawn and at midnight. Other decapitated goddesses, often referred to as earth goddesses with “lunar connections,” belong to a complex of lunar deities representing the moon within the earth (the new moon). Cihuacoatl, a goddess of the new moon, takes on threatening quality when she assumes the form of a tzitzimime attacking the sun during a solar eclipse. The demonic new moon was greatly feared, for it could cause an eternal solar eclipse bringing the Aztec world to an end.

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Bolle, Kees W., and William P. Harman. "The Sacred Marriage of a Hindu Goddess." Journal of the American Oriental Society 112, no. 3 (July 1992): 512. http://dx.doi.org/10.2307/603106.

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Belova, Darya Nikolaevna. "Light symbolism of female mythological images as a spiritual foundation of Japanese and Chinese cultures." Культура и искусство, no. 11 (November 2020): 75–92. http://dx.doi.org/10.7256/2454-0625.2020.11.34358.

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This article analyzes female principle reflected in the images of goddesses of Japanese and Chinese mythology associated with the solar cult and light symbolism. An attempt is made to trace the role of female principle in the mythological phenomenon of Sky and its connection with Earth. The subject of this research is the Japanese and Chinese myths and legends, iconographic images of goddesses and their resemblance in foxes (Kitsune) in the religious painting of the XIII – early XX centuries. In the course of this work, the author applies comparative-historical and iconographic methods of research that lean on scientific materials dedicated to philosophy, culturology and art history. The relevance of the selected topic is substantiated by the fact that in globalizing world, the countries of the Far East are more capable of retaining ideological paradigms and preserving their national cultural identity due to traditionalism and spiritual consciousness. The novelty of this work consists in examination based on the iconographic material and mythological themes of solar manifestations of goddesses as demonstration of the energy of female principle and its reflection in the phenomenon of Sky – Earth connection. The conclusion is made that for assessing Japanese and Chinese art, it is essential to consider multicultural interaction of these countries founded on the the harmony of existence of human nature. The goddesses of Sun, Moon and Earth seek to communicate with the Sky, as in particular the autochthonous deity Inari through their intermediaries, the foxes. The sun and moon goddesses and Earth goddesses seek communication with the Sky, as the autochthonous deity Inari through their mediators – foxes. The female principle, resembled in femininity of divine foxes, is described as the endless struggle for immortality and opportunity to be in Heaven surrounded by the steam light and reason. The light saturation of female images contributes to their spirituality.

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Beaumont, Lesley. "Mythological childhood: a male preserve? An interpretation of classical Athenian iconography in its socio-historical context." Annual of the British School at Athens 90 (November 1995): 339–61. http://dx.doi.org/10.1017/s0068245400016245.

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The birth and childhood of the Greek male gods and heroes are themes well documented in classical Athenian art and myth. By contrast, contemporary Athenian iconography and mythology are remarkably empty of references to the birth and infancy of the female heroes and female gods, or alternatively present the newborn goddesses as adult women. This article seeks to shed light on the apparently missing childhood phase of the goddesses and heroines, by examining the evidence of fifth-century Athenian iconography in its socio-historical context. Consequently, in the case of the goddesses, it is proposed that the female child figure represented a state of being incompatible with the nature and manifestation of divinity. It is further suggested that the mythological heroines enter classical Athenian art and myth only once they have attained puberty, because it is at this point that their potential for relations with the male gains significance. And just as was the case with their mortal female counterparts, it is this capacity for interaction with the male sex that makes them of interest to society.

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Thoa, Bui Thi. "Features in the beliefs in the mother goddesses in Lam Dong." Science & Technology Development Journal - Social Sciences & Humanities 3, no. 1 (August 9, 2019): 33–46. http://dx.doi.org/10.32508/stdjssh.v3i1.508.

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For a long time, Beliefs in the Mother Goddesses has become a topic that attracts many researchers in different fields of science. Especially after the Practices Related to the Viet Beliefs in the Mother Goddesses in Three Realms recognized by the UNESCO as an Intangible Cultural Heritage of Humanity the number of monographs and articles that mention different aspects of this worship is more diverse. In the mid-20s of the twentieth century, Beliefs in the Mother Goddesses appeared on Lang Biang plateau along with the process of migration, settling and forming Vietnamese community in this land. After nearly a century of introduction, shaping and development in the new land of the South Central Highlands, besides keeping the cognitive values, human values and traditional art and culture of Beliefs in the Mother Goddesses. In addition to preserving the cognitive values, human values and traditional art and culture of Beliefs in the Mother Goddesses in the Northern Delta, this worship of ethnic Viet group in Lam Dong had a process of interference, shaping and development with many differences. These characteristics are reflected in the diversity in the form of worship and religious activities. Using some main methods such as synthesis methods, analytical methods, qualitative research methods with the approach of ethnic minority fieldwork through two forms of observation and participation as well as conducting in-depth interviews ... the research will cover access to features in the Mother worshiping tradition in Lam Dong on the basis of comparison with the worship of the same name throughout the country. Besides, the article also points out some of the main reasons leading to the formation of these characteristics.

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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.

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Collins, Gabriel Silva, and Antonia E. Foias. "Maize Goddesses and Aztec Gender Dynamics." Material Culture Review 88-89 (December 9, 2020): 1–19. http://dx.doi.org/10.7202/1073849ar.

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This article provides new evidence for understanding Aztec religion and worldviews as multivalent rather than misogynistic by analyzing an Aztec statue of a female deity (Worcester Art Museum, accession no. 1957.143). It modifies examination strategies employed by H. B. Nicholson amongst comparable statues, and in doing so argues for the statue’s identification as a specific member of a fertility deity complex—most likely Xilonen, the Goddess of Young Maize. The statue’s feminine nature does not diminish its relative importance in the Aztec pantheon, but instead its appearance and the depicted deity’s accompanying historical rituals suggest its valued position in Aztec life. As documented by Alan R. Sandstrom and Molly H. Bassett, modern Nahua rituals and beliefs concerning maize and fertility goddesses add to the conclusions drawn from the studied statue and suggest that historical Aztec religion had a complementary gender dynamic.

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White, David Gordon, and Tracy Pintchman. "The Rise of the Goddess in the Hindu Tradition." Journal of the American Oriental Society 116, no. 2 (April 1996): 356. http://dx.doi.org/10.2307/605770.

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McDermott, Rachel Fell, and Elisabeth Anne Benard. "Chinnamastā: The Aweful [sic] Buddhist and Hindu Tantric Goddess." Journal of the American Oriental Society 116, no. 2 (April 1996): 357. http://dx.doi.org/10.2307/605771.

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Lubin. "Retrofitting a Vedic Origin for a Classical Hindu Goddess." Journal of the American Oriental Society 140, no. 1 (2020): 37. http://dx.doi.org/10.7817/jameroriesoci.140.1.0037.

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Zirpolo, Lilian H., and Annette Dixon. "Women Who Ruled: Queens, Goddesses, Amazons in Renaissance and Baroque Art." Woman's Art Journal 24, no. 2 (2003): 49. http://dx.doi.org/10.2307/1358793.

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Srinivasan, Perundevi. "Stories About Posts: Vedic Variations Around the Hindu Goddess (review)." Anthropological Quarterly 78, no. 3 (2005): 783–87. http://dx.doi.org/10.1353/anq.2005.0043.

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Patton, Laurie L., and Tracy Pintchman. "Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess." Journal of the American Oriental Society 124, no. 3 (July 2004): 563. http://dx.doi.org/10.2307/4132282.

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Podgorski, Frank R., and Alf Hiltebeitel. "The Cult of Draupadī 2: On Hindu Ritual and the Goddess." Asian Folklore Studies 52, no. 1 (1993): 231. http://dx.doi.org/10.2307/1178469.

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Lavigne, Julie. "La post-pornographie comme art féministe." Articles 27, no. 2 (January 5, 2015): 63–79. http://dx.doi.org/10.7202/1027918ar.

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Dans un contexte de pluralisation des stratégies féministes, le développement d’une pornographie féministe,queer, ou encore ce que les Européennes ou Annie Sprinkle appellent la « post-pornographie », peut-il être envisagé comme un projet féministe viable ou même souhaitable? L’auteure présente une analyse de cette création de pornographie critique et féministe, à la lumière du concept de post-pornographie, dans le champ des arts visuels, plus particulièrement des images en mouvements. Elle trace une généalogie de cette pratique à partir de trois oeuvres réalisées à trois moments clés de cette production : le film expérimentalFuses(1965), de Carolee Schneemann, la vidéoSluts and Goddesses Video Workshop or How to Be a Sex Goddess in 101 Easy Steps(1992), d’Annie Sprinkle, et le filmToo much Pussy.Feminist Sluts in Queer X Show(2010), d’Émilie Jouvet.

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Feldhaus, Anne, and Alf Hiltebeitel. "The Cult of Draupadī, 2: On Hindu Ritual and the Goddess." Journal of the American Oriental Society 115, no. 4 (October 1995): 692. http://dx.doi.org/10.2307/604741.

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Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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Kumar, Akshi, and Victor Hugo C. Albuquerque. "Sentiment Analysis Using XLM-R Transformer and Zero-shot Transfer Learning on Resource-poor Indian Language." ACM Transactions on Asian and Low-Resource Language Information Processing 20, no. 5 (June 23, 2021): 1–13. http://dx.doi.org/10.1145/3461764.

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Sentiment analysis on social media relies on comprehending the natural language and using a robust machine learning technique that learns multiple layers of representations or features of the data and produces state-of-the-art prediction results. The cultural miscellanies, geographically limited trending topic hash-tags, access to aboriginal language keyboards, and conversational comfort in native language compound the linguistic challenges of sentiment analysis. This research evaluates the performance of cross-lingual contextual word embeddings and zero-shot transfer learning in projecting predictions from resource-rich English to resource-poor Hindi language. The cross-lingual XLM-RoBERTa classification model is trained and fine-tuned using the English language Benchmark SemEval 2017 dataset Task 4 A and subsequently zero-shot transfer learning is used to evaluate the classification model on two Hindi sentence-level sentiment analysis datasets, namely, IITP-Movie and IITP-Product review datasets. The proposed model compares favorably to state-of-the-art approaches and gives an effective solution to sentence-level (tweet-level) analysis of sentiments in a resource-poor scenario. The proposed model compares favorably to state-of-the-art approaches and achieves an average performance accuracy of 60.93 on both the Hindi datasets.

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Chance, Jane. "God and the Goddesses: Vision, Poetry, and Belief in the Middle Ages by Barbara Newman." Arthuriana 14, no. 2 (2004): 100–102. http://dx.doi.org/10.1353/art.2004.0083.

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Morello SJ, Gustavo, Mikayla Sanchez, Diego Moreno, Jack Engelmann, and Alexis Evangel. "Women, Tattoos, and Religion an Exploration into Women’s Inner Life." Religions 12, no. 7 (July 8, 2021): 517. http://dx.doi.org/10.3390/rel12070517.

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In this article, we study women’s tattoos from a lived religion perspective. We describe how women’s tattoos express their inner lives, the religious dynamics associated with tattooing, and how they negotiate them with others. The sample used came from surveys and interviews targeting tattooed women at a confessional college on the East Coast of the United States. Women appropriate a prevalent cultural practice like body art to express their religious and spiritual experiences and ideas. It can be a Catholic motto, a Hindu or Buddhist sign, or a reformulated goddess, but the point is that women use tattoos to express their inner lives. We found that women perceive workplace culture as a hostile space for them to express their inner lives through tattoos, while they are comfortable negotiating their tattoos with their religious traditions. And they do so in a Catholic university.

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Suardana, Gede, I. Nyoman Darma Putra, and Nengah Bawa Atmaja. "“The Legend of Balinese Goddesses”: Komodifikasi Seni Pertunjukan Hibrid dalam Pariwisata Bali." Jurnal Kajian Bali (Journal of Bali Studies) 8, no. 1 (April 29, 2018): 35. http://dx.doi.org/10.24843/jkb.2018.v08.i01.p03.

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This article examines the commodification of hybrid performing arts in Bali tourism, especially the “Bali Agung - The Legend of Balinese Goddesses” performed regularly at Bali Safari and Marine Park, Gianyar. Data were collected by observation techniques, interviews, and literature review, then discussed with commodity theory and cultural tourism ideology.The study shos that hybridity in this performance is evident from the blended of cultural elements of Bali, China, and Western technology. Hybrid tourism performing arts produced can be communal and institutional in ownership. The hybrid tourism performing art is communal because it is created without copyright so it belongs to the people of Bali, while the hybrid performing arts is institutional because it is created with copyright so that ownership and pro t is only enjoyed by the industry that ‘recreated dan performed’ it. Although di erent, communal and institutional hybrid tourism performing arts have been able to become arts that give new color to the rich variety of Balinese art and culture.

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Solanki, Pratibha. "COLOR COMBINATION IN MEDIEVAL HINDI POETRY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–3. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3602.

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There is a close interplay of literature and painting. Through both, the deep objectives of life are fulfilled. If the words of a litterateur can elicit our feeling, then the lines and colors inscribed from the painter's paint also have a wonderful power to touch the soft side of our heart. Both poets and painters create beauty through their art talent. The beauty of words in poetry and the color and lines in pictures is present. साहित्य और चित्रकला का पारस्परिक घनिष्ठ अंतर्सबंध है। दोनो के माध्यम से जीवन के गहन उद्देष्यों की पूर्ति होती है। साहित्यकार के शब्द यदि हमारी भावना को उद्वेलित कर सकते हैं तो चित्रकार की तूलिका से अंकित रेखाएं और रंग भी हमारे हृदय के कोमल पक्ष को छूने की अद्भुत शक्ति लिए होते हैं। कवि और चित्रकार दोनो ही अपनी कला प्रतिभा के जरिये सौंदर्य रचना करते हैं। कविता में शब्दों का तथा चित्रों में रंग और रेखाओं का सौंदर्य मौजूद रहता है।1 एक कुषल चित्रकार की भाँति साहित्यकार भी शब्दों के माध्यम से सुंदर बिंब एवं रंग संयोजन प्रस्तुत करता है।

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Kumar, A., and R. K. Aggarwal. "Discriminatively trained continuous Hindi speech recognition using integrated acoustic features and recurrent neural network language modeling." Journal of Intelligent Systems 30, no. 1 (July 28, 2020): 165–79. http://dx.doi.org/10.1515/jisys-2018-0417.

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Abstract This paper implements the continuous Hindi Automatic Speech Recognition (ASR) system using the proposed integrated features vector with Recurrent Neural Network (RNN) based Language Modeling (LM). The proposed system also implements the speaker adaptation using Maximum-Likelihood Linear Regression (MLLR) and Constrained Maximum likelihood Linear Regression (C-MLLR). This system is discriminatively trained by Maximum Mutual Information (MMI) and Minimum Phone Error (MPE) techniques with 256 Gaussian mixture per Hidden Markov Model(HMM) state. The training of the baseline system has been done using a phonetically rich Hindi dataset. The results show that discriminative training enhances the baseline system performance by up to 3%. Further improvement of ~7% has been recorded by applying RNN LM. The proposed Hindi ASR system shows significant performance improvement over other current state-of-the-art techniques.

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Nayar, Sheila J. "Écriture Aesthetics: Mapping the Literate Episteme of Visual Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 140–55. http://dx.doi.org/10.1632/pmla.2008.123.1.140.

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The norms of art-cinema narration—evident in the work of such directors as Ingmar Bergman, Satyajit Ray, and François Truffaut—reflect noetic processes and expectations engendered by a culture of the written word. Such norms are absent from Hindi popular films, which have been historically contoured by the psychodynamics of orally based thought and by devices and motifs common to oral storytelling. By funneling art-cinema narration's norms—already meticulously (and impartially) cataloged by David Bordwell—through the prism of orality and through the orally inflected characteristics of Hindi popular films and by conjointly engaging with literary theory concerned with issues of textuality, this essay develops a novel conceptual matrix for understanding the epistemic pressures that weigh on visual storytelling as both a spectatorial and a generative act.

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Choi, Eun-Ah, and Soon-Young Chun. "An Autoethnography on the Exploration of Identity of Art Therapist through Greek Virginal Goddesses." Journal of Arts Psychotherapy 17, no. 1 (March 31, 2021): 23–50. http://dx.doi.org/10.32451/kjoaps.2021.17.1.023.

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Werner, Karel. "Hindu goddesses: visions of the divine feminine in the Hindu religious tradition. By David Kinsley. pp. viii, 281, illus., Berkeley etc., University of California Press, 1986. £29.75." Journal of the Royal Asiatic Society of Great Britain & Ireland 120, no. 1 (January 1988): 212–13. http://dx.doi.org/10.1017/s0035869x00164597.

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Jain, Chhaya. "OVERALL VIEW ON HINDI CINEMA." International Journal of Research -GRANTHAALAYAH 7, no. 4 (April 30, 2019): 141–46. http://dx.doi.org/10.29121/granthaalayah.v7.i4.2019.883.

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In today's era, cinema is such a genre, towards which a child of two years and an old man of eighty years is also attracted. Even a person from a small town to a small town is not untouched by its hypnosis. Cinema is a complete genre in itself, as it includes all arts like painting, theatrical art, poetry, fiction. The cinema that we see today has a developed and sophisticated form in front of us, a century of hard work behind it. In the present times, cinema has taken the form of industry but it has not only given us entertainment, but also education, so it has become a powerful medium to express the feelings of the public. Therefore, it would not be wrong to say that "Movies are not only the best medium of entertainment, but they are also the best medium for knowledge enhancement". आज के युग में सिनेमा एक ऐसी विधा है, जिसकी ओर दो साल का एक बच्चा और अस्सी साल का एक बूढ़ा भी आकर्षित है। एक महानगर से लेकर छोटे से कस्बे का व्यक्ति भी इसके सम्मोहन से अछूता नहीं हैं। सिनेमा अपने आप में एक सम्पूर्ण विधा है, क्योंकि इसमें चित्रकला, नाट्य कला, काव्य कला, कथा साहित्य आदि सभी कलाओं का समावेश रहता हैं। आज हम जो सिनेमा देखते है वह हमारे सामने एक विकसित और परिष्कृत रूप है, इसके पीछे एक सदी का परिश्रम है। वर्तमान समय में सिनेमा ने उद्योग रूप ले लिया है परंतु इसने हमें न केवल मनोरंजन ही दिया है, बल्कि शिक्षा भी दी है, इसलिए यह जनमानस की भावनाओं को व्यक्त करने का सशक्त माध्यम बन गया है। इसलिये यह कहना गलत न होगा कि “फिल्में मनोरंजन का उत्तम माध्यम तो हैं ही, साथ ही वह ज्ञानवर्धन के लिए भी अत्यंत बेहतरीन माध्यम हैं।”

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Joshi, Indu, and Jitendra Kumar Chaudhary. "THE INTERRELATIONS OF ART IN INDIAN RELIGION AND CULTURE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 265–67. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3750.

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English : By observing the historical background of Asia, the role of the individual, society, religion, culture and art is seen in an important role in each other. The history in which religion, culture and art is not important, then it becomes a blank history. Hindi: एशिया की ऐतिहासिक पृष्ठभूमि में अवलोकन करने पर व्यक्ति, समाज, धर्म, संस्कृति और कला की बेआवाज एक-दूसरे में महत्वपूर्ण भूमिका दृष्टिगत होता है। जिस इतिहास में धर्म, संस्कृति और कला का महत्व नही है तो वह कोरा इतिहास होकर रह जाता है।

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Blank, Jonah. "Questioning Ramayanas: A South Asian Tradition/Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess.:Questioning Ramayanas: A South Asian Tradition.;Seeking Mahadevi: Constructing the Identities of the Hindu Great Goddess." American Anthropologist 104, no. 4 (December 2002): 1228–30. http://dx.doi.org/10.1525/aa.2002.104.4.1228.

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Burns, John Barclay, and Othmar Keel. "Goddesses and Trees, New Moon and Yahweh: Ancient near Easter Art and the Hebrew Bible." Journal of Biblical Literature 119, no. 2 (2000): 338. http://dx.doi.org/10.2307/3268492.

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Elkins, James. "From Bird-Goddesses to Jesus 2000: A Very, Very Brief History of Religion and Art." Thresholds 25 (January 2002): 76–83. http://dx.doi.org/10.1162/thld_a_00382.

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Smith, Elizabeth. "Of fish and goddesses: using photo-elicitation with sex workers." Qualitative Research Journal 15, no. 2 (May 5, 2015): 241–49. http://dx.doi.org/10.1108/qrj-01-2015-0006.

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Purpose – Art-based research is about so much more than producing interesting, confronting, or pretty visuals: it is about the stories beneath, attached to, and elicited through the image. It is also about the experience of thinking about, capturing, and producing that visual. The purpose of this paper is to examine the use of participant-driven photo-elicitation interviews with six women working in sex work in Victoria, Australia. Design/methodology/approach – The author does this both through the women’s narratives and through a researcher autoethnography. From her current position, the author (re)writes her experiences of undertaking this research in 2009, in order to highlight the uncertainty and confusion that can accompany visual research methods. Findings – The multiple places that photos can take participants, researchers, and readers is explored including empathy and understandings of how a single phenomenon (such as sex work) intersects with all other aspects of people’s lives and cannot be explained through theory that does not take account of intersectionality. Originality/value – This paper is a unique exploration of two methods, one layered over the other. It contributes to learnings obtained through participant-driven photo-elicitation while also treating the researcher’s experience of using this interview technique as data as well.

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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (January 29, 2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle of liberation (Mokṣa) founded in the worship of deities such as Brahmā, Vishnu, Śiva, and Goddess Sarasvatī. Medieval Tantra and music texts introduced the concept of Nāda-Brahman as the source of sacred music that was understood in terms of Rāgas, melodic formulas, and Tālas, rhythms, forming the basis of Indian music today. Nearly all genres of Indian music, whether the classical Dhrupad and Khayal, or the devotional Bhajan and Kīrtan, share a common theoretical and practical understanding, and are bound together in a mystical spirituality based on the experience of sacred sound. Drawing upon ancient and medieval texts and Bhakti traditions, this article describes how music enables Hindu religious experience in fundamental ways. By citing several examples from the modern Hindustani classical vocal tradition of Khayal, including text and audio/video weblinks, it is revealed how the classical songs contain the wisdom of Hinduism and provide a deeper appreciation of the many musical styles that currently permeate the Hindu and Yoga landscapes of the West.

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Kesarwani, Sachin. "IN THE CONTEXT OF CONTEMPORARY INDIAN ART-CONTEMPORARY ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 281–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3755.

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English: The overall development of art is part of the historical, social process. The artist establishes new dimensions through innovative experiments. In present times, not only in India but in the whole world, experimentism can be clearly marked. As change is a continuous process that exists from time to time in which the prevailing beliefs go on being accepted by generations. But a thoughtful conscious community rejects those beliefs and leads the society towards a new direction and new values. This is where change starts, as fast as the meanings of life are changing, the art is changing as fast as possible. Hindi: कला का समग्र विकास ऐतिहासिक, सामाजिक प्रक्रिया का अंग है। कलाकार नित-नवीन प्रयोगों के माध्यम से नये आयाम स्थापित करता है। वर्तमान समय में भारत ही नहीं अपितु समस्त विश्व में प्रयोगधर्मिता को स्पष्ट रूप से चिन्हित किया जा सकता है। जैसा कि परिवर्तन एक निरन्तर प्रक्रिया है जो आदिकाल से आज तक विद्यमान है जिसमें प्रचलित मान्यताएं पीढ़ियों द्वारा स्वीकृत होती हुई आगे बढ़ती है। किन्तु एक विचारशील सजग समुदाय उन मान्यताओं को अस्वीकार करते हुए एक नवीन दिशा एवं नवीन मूल्यों की ओर समाज को ले जाता है। यहीं से परिवर्तन प्रारम्भ होता है जितनी तीव्रता से जीवन के अर्थ परिवर्तित हो रहे हैं उतनी ही तीव्रता से कला में परिवर्तन हो रहा है।

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Chowdhary, Ruchita Sujai. "THE TRANSITION SAGA OF MASCULINITY IN HINDI FILMS : THEN & NOW." International Journal of Research -GRANTHAALAYAH 9, no. 4 (April 30, 2021): 178–84. http://dx.doi.org/10.29121/granthaalayah.v9.i4.2021.3857.

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The cinema in India has its different mark upon the masses and has a huge fan following. Being the most popular art form in the nation it has been influencing the viewers with its magical effects. With its tremendous reach among the youths it not only depict the virtual image of the society but on the same hand it is creating a world which is juxtapose of realm. Since the beginning Hindi films are revolving around the set plots of the scripted feature films showcasing a hero, a heroine, a villain and a climax after which everybody has a happy ending. Accordingly, the Hindi films have defined the heroes in its own way with some set parameters i.e. muscular body, taller than heroine, a fighter, good looks and a never ending list of traits. However, some heroes have broken this myth that a filmy hero is always a MACHO MAN. They are again redefining the personality of the heroes on the silverscreen. Thus, the aim of this research paper is to examine the change in definition of the heroes in Hindi films over a period of time. The researcher will conduct the content analysis of ten purposively selected films from the Hindi Cinema.

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Bhardwaj, Kumkum, and Bhagyashree Kulkarni. "DRESSES BY SYMBOLS OF FOLK ART." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 181–84. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3732.

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Folk Art English Folk word refers to a human group living in one place, and Folk Art is used to refer to the traditional art of that group, in Hindi the folk word is used for this. According to Hazari Prasad Dwivedi, the word Lok means not a district or a village, but an entire public spread in cities and villages whose practical knowledge is not the basis of books. लोककला अंग्रेजी के फोक षब्द का अर्थ एक स्थान पर रहने वाले मानव समूह से है, और फोक आर्ट का अर्थ उस समूह की परम्परागत कला से लगाया जाता है हिन्दी में इसके हेतु लोक षब्द का प्रयोग होता है।डाॅ. हजारी प्रसाद द्विवेदी के मतानुसार लोक षब्द का अर्थ जनपद अथवा ग्राम नहीं है बल्कि नगरों और ग्रामों में फैली हुई वह समूची जनता है जिसके व्यवहारिक ज्ञान का आधार पोथियाँ नहीं है।

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Lange, Gerrit. "Cobra Deities and Divine Cobras: The Ambiguous Animality of Nāgas." Religions 10, no. 8 (July 26, 2019): 454. http://dx.doi.org/10.3390/rel10080454.

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In South Asia, cobras are the animals most dangerous to humans—as humans are to cobras. Paradoxically, one threat to cobras is their worship by feeding them milk, which is harmful to them, but religiously prescribed as an act of love and tenderness towards a deity. Across cultural and religious contexts, the Nāgas, mostly cobra-shaped beings, are prominent among Hindu and Buddhist deities. Are they seen as animals? Doing ethnographic fieldwork on a Himalayan female Nāga Goddess, this question has long accompanied me during my participant observation and interviews, and I have found at least as many possible answers as I have had interview partners. In this article, I trace the ambiguous relationship between humans, serpents and serpent deities through the classical Sanskrit literature, Hindu and Buddhist iconographies and the retelling of myths in modern movies, short stories, and fantasy novels. In these narrations and portrayals, Nāgas are often “real” snakes, i.e., members of the animal kingdom—only bigger, shape-shifting or multi-headed and, curiously, thirsty for milk. The article focuses on those traits of Nāgas which set them apart from animals, and on those traits that characterize them as snakes.

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Bhattacharjee, Partha, and Priyanka Tripathi. "Silhouetting the Shifting Perspective of Bollywood from ‘Machismo’ to ‘Metrosexuality’." Journal of English Language and Literature 8, no. 1 (August 31, 2017): 575–82. http://dx.doi.org/10.17722/jell.v8i1.323.

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“Machismo” and “Metrosexual” are two trending but contradictory terms that are used to fathom the portrayal of men in the visual art such as cinema, media, advertisements etc. Derived from the Spanish word ‘Macho’, ‘Machismo’ reflects strength, aggression and masculine pride whereas ‘Metrosexual’ is a portmanteau word combining– ‘Metropolitan’ and ‘Sexual ‘referring to men who are living in an urban society and investing a great deal on their appearance and lifestyle. The paper intends to focus on the transition of this portrayal of men in Hindi films, popularly termed as Bollywood. To elucidate further the paper will take its references from the films of the Sholay era till the contemporary times in which films like Ki n Ka changed the sketch, the set and the setting of the male word/world. In between these two films, one can truly demarcate the world of Hindi films in terms of how the audience will see their men. Therefore, the paper, broadly taking its references from Hindi Films, Advertisements and Daily Soaps will establish the men’s makeover over a period of time.

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Goldman, Sally J. Sutherland, and Kathleen M. Erndl. "Victory to the Mother: The Hindu Goddess of Northwest India in Myth, Ritual, and Symbol." Journal of the American Oriental Society 115, no. 4 (October 1995): 691. http://dx.doi.org/10.2307/604740.

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ABBAS, QAISER. "Morphologically rich Urdu grammar parsing using Earley algorithm." Natural Language Engineering 22, no. 5 (April 16, 2015): 775–810. http://dx.doi.org/10.1017/s1351324915000133.

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AbstractThis work presents the development and evaluation of an extended Urdu parser. It further focuses on issues related to this parser and describes the changes made in the Earley algorithm to get accurate and relevant results from the Urdu parser. The parser makes use of a morphologically rich context free grammar extracted from a linguistically-rich Urdu treebank. This grammar with sufficient encoded information is comparable with the state-of-the-art parsing requirements for the morphologically rich Urdu language. The extended parsing model and the linguistically rich extracted-grammar both provide us better evaluation results in Urdu/Hindi parsing domain. The parser gives 87% of f-score, which outperforms the existing parsing work of Urdu/Hindi based on the tree-banking approach.

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Journal articles on the topic 'Goddesses, Hindi, in art'

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