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Journal articles on the topic 'Indian religious art'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous k

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Dr., Seema Tiwari. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research - Granthaalayah 7, no. 11(SE) (2019): 146–49. https://doi.org/10.5281/zenodo.3585116.

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Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous k

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3

Dr., Komal. "Colors of Devotion: The Role of Drawing and Painting in Indian Religious Art." SIDDHANTA'S INTERNATIONAL JOURNAL OF ADVANCED RESEARCH IN ARTS & HUMANITIES 1, no. 4 (2025): 115–25. https://doi.org/10.5281/zenodo.15516895.

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This paper explores the integral role of drawing and painting in Indian religious art as expressions of devotion and spirituality. Indian art is deeply interwoven with religious traditions, where visual forms transcend aesthetic value to serve as tools of worship, instruction, and divine presence. Focusing on their use in temples, festivals, and rituals, this research highlights how paintings and drawings, from intricate temple murals to ephemeral ritual designs like <em>kolam</em> and <em>alpana</em>, convey religious narratives, invite divine blessings, and cultivate spiritual consciousness.

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Royo, A. L. y. "Indian Classical Dance: A Sacred Art?" Journal of Hindu Studies 3, no. 1 (2010): 114–23. http://dx.doi.org/10.1093/jhs/hiq008.

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Vikrant, Dr Vikrant Shah. "“SANJHYA” THE GODDESS TRADITIONAL ART FORM OF INDIAN ART." International Journal of Research -GRANTHAALAYAH 9, no. 9 (2021): 51–54. http://dx.doi.org/10.29121/granthaalayah.v9.i9.2021.4227.

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If there is any priority for mankind with bread, cloth and house then it will be said to be an expression of his art, his feelings. This is the reason why pre-historic man has also painted on the walls of caves, which today help historians to understand that ancient civilization are the center of interest of tourists. "Sanjhya" is a very ancient and the goddess traditional art form of Indian. Perhaps it is a spiritual image to connect the divine to the earth. Apart from Madhya Pradesh, "Sanjhya" is spread in the terrain of Punjab, Rajasthan, Uttar Pradesh, and Haryana etc. Most of the women an

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Karmakar, Goutam. "A Theological Study of Nissim Ezekiel’s Religious Outlook." Asian Journal of Humanity, Art and Literature 2, no. 2 (2015): 71–76. http://dx.doi.org/10.18034/ajhal.v2i2.296.

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As the centuries passed by, the galaxy of Indian English Poetry become increasingly crowded. But the scenario was not like this during the early years. It is because only a few stars shine there, and Nissim Ezekiel is the pole star. His poetry contains so many aspects, themes, motives and symbols that sharpen and shape his poetic world. His poetry often shows irony, emotion, love, man-woman relationship, self- consciousness, a sense of discipline and self – criticism. He shows his concern for both modern and urban art and culture with the touch of Indian ethos and local colour. But as an India

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Ahmad, Nehaluddin. "An International View of Surgically Assisted Conception and Surrogacy Tourism." Medico-Legal Journal 79, no. 4 (2011): 135–45. http://dx.doi.org/10.1258/mlj.2011.011029.

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Modern medicine, specifically assisted reproductive technology (ART), has overtaken the law in many jurisdictions around the world. New technologies and practices open a Pandora's Box of ethical, religious, social and legal questions, and may present a variety of significant legal problems to the courts and legislators. Surrogate motherhood and pregnancy through ART have both attracted controversy. Some groups condemn ART and want it banned while its supporters acknowledge there is a need for legislative guidelines and regulations. A proposed statute, the Assisted Reproductive Technique Servic

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Yang, Yue, and Ensi Zhang. "Cultural thought and philosophical elements of singing and dancing in Indian films." Trans/Form/Ação 46, no. 4 (2023): 315–28. http://dx.doi.org/10.1590/0101-3173.2023.v46n4.p315.

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Abstract: Art is the embodiment of national culture and spirit. Singing and dancing are one of the earliest and richest forms of human art. It is not only the product of experience and emotional experience but also the transcendence of vulgar daily life. As the most distinctive feature of modern Indian films, the art of singing and dancing inherits the traditional Indian aesthetic ideas and religious philosophy in the modern audio-visual environment can be found. It maintains a distinctive national impression in the tide of internationalization. This kind of art form is of great significance t

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Rajarajan, R. K. K., and S. Palanikumar. "KHMER ART SAMPLINGS: IDEOLOGICAL INFLUENCE OF INDIAN KNOWLEDGE THROUGH HINDU DIVINITIES." International Journal of Research -GRANTHAALAYAH 11, no. 1 (2023): 66–82. http://dx.doi.org/10.29121/granthaalayah.v11.i1.2023.4980.

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The importance of the medieval art history of Southeast Asia is still a virgin site, which needs to be explored with multi-disciplinary approach and methodology. The transcultural aspects between India and Southeast Asia from ancient to late medieval period cannot be contemplated through a single medium, it need to be analyzed from various angles through religious sources, philosophical materials and visual contents. The main focus of the present study is on interlinks of religious arts. Few iconographical sample forms from the various monuments of Angkor are taken for critical analysis, such

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Kumari, Roshni, and Dr Om Prakash Mishra. "Analytical Discussion of Indian Aesthetic of Contemporary Art." REVIEW JOURNAL PHILOSOPHY & SOCIAL SCIENCE L, no. 1 (2025): 110–15. https://doi.org/10.31995/rjpss.2025.v50i01.015.

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Rasa is the essence of every work of art like dance, music and Literature that can only be suggested and not articulated. It is a type of thoughtful abstraction in which the world of physical forms is permeated by the interiority of the human feelings. However, the word may seem magical at first but it is not so in actuality because to experience rasa one does not need any magical spell but has to be sensitive enough to connect with the emotions of the work. It is the concept of emotions, connections and feelings, Indian art is the legacy of traditional skills, creativity and culture. Indian a

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Margarita, Smirnova, and Vasilenko Elena. "Features of transformation and synthesis of national art of India in contemporary design." SHS Web of Conferences 69 (2019): 00111. http://dx.doi.org/10.1051/shsconf/20196900111.

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The article examines the influence of the national culture of India on modern design. The reflection of ethnic features in different types of art is considered. At the present stage of design development it is important to preserve the age-old traditions of art and culture, synthesis with modern life, materials and technologies. In this regard, of particular interest is the national culture, formed under the influence of economic and geographical (crossing the most important migration and trade routes of Eurasia), climatic conditions, artistic traditions and ancient religious beliefs. Empirica

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Baruah, Sudarshana. "Indian Devotional Music: Its Relation with the Religious Concept of People and Iconography." BL College Journal 4, no. 2 (2022): 129–34. http://dx.doi.org/10.62106/blc2022v4i2e5.

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Religion is the driving force behind the evolution of society. Human religious believers have interpreted music as the utterances of gods and lauded it as the purest expression of spirituality. Throughout the majority of human history, religious texts have been sung rather than written, and religious behavior has been expressed through prayer or devotional melodies or music in almost all religious traditions. The values, functions, and genres of religious music are culturally diverse and varied. Religious musical forms can transcend cultural barriers. Some religions, such as Buddhism, use musi

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Chaudhary, Avadhesh Kumar. "Study of Terracotta Art with Special Reference to Shiva." RESEARCH REVIEW International Journal of Multidisciplinary 7, no. 11 (2022): 78–83. http://dx.doi.org/10.31305/rrijm.2022.v07.i11.013.

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Under ancient Indian art, man's desires and imaginations also include his religious and spiritual beliefs. The artist's art is influenced by nature, inner impulse, social traditions and cultural heritage. The religious social system here is completely reflected in Indian art. Religion and art have been a strong part of human life and they complement each other. Art has been the medium of religion since ancient times, often art has been used for the purpose of clarifying religion and religious beliefs. The devotee attains self-satisfaction by worshiping his deity only through architecture and s

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Kumar, P. M., and G. J. Leema Rose. "PHYSICAL FITNESS FOR BHARATANATYA DANCERS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 6 (2024): 37–42. http://dx.doi.org/10.29121/shodhkosh.v5.i6.2024.1053.

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Bharatanatyam is an Indian classical dance that originated from Tamil Nadu in southern India. It is a tradition steeped in Indian history and culture. Today, Bharatanatyam is a dance style that encompasses religious and non-religious themes, as well as fusion styles. Characterized by precise movements, sharp edges, and expressive body language, this tradition has delighted audiences for generations. Like many other aspects of Indian tradition, this art form has struggled through times of oppression. However, with the efforts of teachers and students all over the world, Bharatanatyam has been r

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Wang, Fang. "The Wall Painting of “Siddhārtha Descending on the Elephant” in Kizil Cave 110." Religions 14, no. 5 (2023): 677. http://dx.doi.org/10.3390/rel14050677.

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The mural scene under discussion illustrates Bodhisatva Siddhārtha’s descent into Māyā’s womb, a scene that is also named Māyā’s Dream in art historical studies. Painted as the start of the Buddha’s life sequence in Kizil Cave 110, it is the sole extant case of this story motif in Kucha. Its significance rests on the fact that it bridges Indian and Chinese pictorial traditions in its representation of the miraculous conception of Buddha’s last life. This article analyses the mural’s narrative elements in terms of Indian archetypes, as well as local innovations. The portrayal of Siddhārtha ente

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Majumdar, Ananda. "The Art, Culture and Religious Views of Indian Diaspora: A Promotional Concept." SOCIAL SCIENCE DEVELOPMENT JOURNAL 6, no. 24 (2021): 165–73. http://dx.doi.org/10.31567/ssd.340.

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Belderbos, Stefan. "Jyoti Sahi's Synthesis Between Western Christianity and Traditional Indian Art." Exchange 31, no. 2 (2002): 157–70. http://dx.doi.org/10.1163/157254302x00263.

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Joji John Panicker, Ancy Elezabath John, and Nair Anup Chandrasekharan. "A tapestry of tradition: Revitalization of Indian Heritage and Folk Art." Scientific Temper 15, spl-2 (2024): 35–39. https://doi.org/10.58414/scientifictemper.2024.15.spl-2.07.

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The study investigates the importance of Indian heritage and folk art, outlining their origins, development, and present-day significance. Indian folk art, profoundly entrenched in tradition, reflects the varied socio-cultural structure of the nation, from Madhubani paintings to Warli art. These art structures, influenced and molded by religious and philosophical behavior, face challenges owing to globalization and urbanization, intimidating their conservation. The study highlights the significance of restoring these art forms to reinforce cultural individuality, endorse economic progress, pro

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Kesaboina, Venkata Murali, Peeyush Kumar Gupta, and Srutinwita Roy. "INDIAN CRAFTS AND SUSTAINABLE NATURAL DYES." ShodhKosh: Journal of Visual and Performing Arts 4, no. 2CDSDAD (2024): 151–61. http://dx.doi.org/10.29121/shodhkosh.v4.i2cdsdad.2023.596.

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Indian crafts reflect the most commonly from different parts of the country practice several art forms and crafts, and their identities are associated with where they carry a significant part of their culture and tradition. Most of these art forms are practised for ages and passed from generation to generation. Most of these are folk and traditional, and regional art forms have local religious themes, community values, cultural practices, and various traditional beliefs. Our country has several distinct folk and traditional arts in different regions of India. Among these most popular are Madhu

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Pardeshi, Prof. Raju Chatarsing. "Classical Art Forms and Culture through Temple Architecture." International Journal of Advance and Applied Research 6, no. 1 (2025): 1–4. https://doi.org/10.5281/zenodo.14637895.

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<strong>Abstract: </strong> Temple architecture in India has always been a manifestation of the country’s rich cultural and artistic heritage. As sanctuaries of both religious practices and classical art forms, temples have played a pivotal role in preserving the visual and performing arts. This article delves into the intricate relationship between classical art forms and temple architecture, highlighting how architectural elements reflect the culture of the time. By examining the evolution of temple design, sculpture, painting, dance, and music associated with temples, we explore how t

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Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING”." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3534.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1. Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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Stewart, Mary. "Imaging Wisdom, Seeing and Knowing in the Art of Indian Buddhism. Jacob N. Kinnard." Buddhist Studies Review 17, no. 1 (2000): 101–3. http://dx.doi.org/10.1558/bsrv.v17i1.14570.

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Patil, Dinkarrao Amrutrao. "Scientific History of Some Alien Plants In India: Origin, Implications And Culture." Plantae Scientia 1, no. 05 (2019): 66–75. http://dx.doi.org/10.32439/ps.v1i05.66-75.

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Indian subcontinent has a rich heritage of biodiversity because of its variable geo-climatic conditions. Several exotic plant species survived since ancient period and became an integral part of Indian flora. Nay, they now seem to be iconic plants and are being venerated. They are valued by the Indians for their esteem, culture and welfare. Select 20 exotic notable species are studied from the standpoint of their origin, distribution, culture and ancient Sanskrit literature. Diverse information about them is adduced from architecture, art, archaeological sites, etymology (philology), anthropol

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Singh, Amarjeet. "The Symphony of Red Colour in Indian Art and Advertising: An Aesthetical Approach." Think India 22, no. 3 (2019): 1030–35. http://dx.doi.org/10.26643/think-india.v22i3.8441.

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Red is not only a colour but is a language of art and creativity from the dawn of civilization. The aroma of the red colour has the extravaganza of life with its fullest energy. In India art and architecture, variety of application of colour red can be seen as having multiple associations. Consequently, the approach can be seen in the art and architecture, the folk and tribal art practices too. This very genesis of red colour has been adopted in Indian art and advertising too. The symbolic association of red and its religious values which are usually associated with deities and ritualistic per

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Kosykhin, Vitaly G., and Svetlana M. Malkina. "On the Influence of Translations of Religious and Philosophical Texts of Buddhism on the Literature and Art of Medieval China." RUDN Journal of Philosophy 24, no. 4 (2020): 601–8. http://dx.doi.org/10.22363/2313-2302-2020-24-4-601-608.

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The era of the Tang dynasty (618-907) was a period of great flourishing of all aspects of Chinese culture, when changes covered the most diverse spheres of philosophy, art and literature. The article examines the role played in this cultural transformation by translations from Sanskrit into Chinese of the religious and philosophical texts of Indian Buddhism. The specificity of the Chinese approach to the translation of Indian texts is demonstrated, when, at the initial stage, many works were translated in a rather free style due to the lack of precisely established correspondences between Sans

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Chandraiah, P. "Art of Storytelling: A Study of R. K. Narayan's Short Stories and Their Reflection on Indian Culture." International Journal of Research 11, no. 1 (2024): 309–15. https://doi.org/10.5281/zenodo.12635438.

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<em>R.K Narayan is one of the most popular writers in the history of Indian English Literature. His short stories are representations of various cultural circumstances of contemporary Indian society. His characters not only represented various personalities but also inspired others in several ways. He has used various mythological concepts in his short stories to reflect Indian culture in various contexts. By incorporating Indian myths and legendary characters, Narayan portrays religious rituals as credible practices in the Indian context. This blending of myth and the real lives of common peo

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Zitzewitz, Karin. "Turning to the Goddess: Anachronism, Secularity, and the Late Style of Tyeb Mehta and K. G. Subramanyan." ARTMargins 3, no. 3 (2014): 45–67. http://dx.doi.org/10.1162/artm_a_00092.

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At nearly the same late-1980s moment, two of the most important artists of India's twentieth century, Tyeb Mehta (1925–2009) and K. G. Subramanyan (b. 1924), turned to the goddess as a subject for painting. Although Mehta and Subramanyan represented different strands of Indian modernism, they had both hitherto largely limited themselves to secular subject matter. This essay accounts for the significance of their goddess turn by discussing it as an example of late style, as theorized by Edward Said. It finds in these paintings the intransigence, anachronism, and negative intervention championed

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Cort, John E. "Gods in the Bazaar: The Economies of Indian Calendar Art – By Kajri Jain." Religious Studies Review 34, no. 1 (2008): 50. http://dx.doi.org/10.1111/j.1748-0922.2008.00251_2.x.

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Haghighy Seyghalani, Zahra, Seyed Ali Akbar Abbaspour, and Ramazan Seyghal. "The Status of Islamic Art and Architecture in the Ghaznavid Era." Comparative Studies in Jurisprudence, Law, and Politics 5, no. 4 (2024): 147–60. http://dx.doi.org/10.61838/csjlp.5.4.11.

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The Ghaznavids (1206-962 AD), a Turkic dynasty that ruled vast parts of eastern Iran, are named after their capital and the formation of their state in Ghazna (Ghaznin/Ghazni, located in present-day Afghanistan). After Sebüktigin (ruled 996-977 AD), the primary founder of the Ghaznavid state, his son Mahmud (ruled 1030-997 AD), who, by defeating the last Samanid ruler and conquering Sistan, Turkestan, Khwarazm, Makran, Sistan, and Kerman, elevated the state to its peak of glory. The Abbasid caliph al-Qadir (caliphate 1031-991 AD) confirmed his rule and granted him the title "Yamin al-Dawla." M

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Wenlu, Yang. "The interaction of secular and religious aspects in sculpture of China from the Northern Wei period." Vestnik of Saint Petersburg State University of Culture, no. 2 (63) (2025): 150–54. https://doi.org/10.30725/2619-0303-2025-2-150-154.

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The study of secular sculpture in China during the Northern Wei Dynasty (4th–6th centuries AD) opens new horizons for understanding cultural transformations and synthesis of traditions. The study thoroughly touches upon the significant influence of Buddhism on the formation of Chinese visual arts during that period. The author’s attention is focused on the dynamics of the development of the art of sculpture, reflecting the smooth infusion of Indian and Gandhara styles and culminating in the establishment of a unique Chinese style by the end of the dynastic reign. The article reveals the techni

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Mr., Nikethan T. C., and Naveen Bhat Dr. "SURASUNDARIS IN TEMPLE ART: THE ETERNAL CHARM OF GRACE AND DEVOTION." INTERNATIONAL EDUCATION AND RESEARCH JOURNAL - IERJ 10, no. 12 (2024): 222–23. https://doi.org/10.5281/zenodo.15598217.

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Indian temple architecture stands as a monumental testimony to spiritual and artistic prowess, where every carving and motif weaves a tale of cultural richness, religious depth, and aesthetic finesse. Among the myriad elements that adorn temple sculpture, the <strong>Surasundaris</strong>, or celestial nymphs, hold a unique and profound place. These divine figures, celebrated for their ethereal beauty and grace, transcend mere ornamentation, offering deep symbolic insights into the spiritual and philosophical ideals of the time. Found in temples across India—from Khajuraho to the Bh

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HORBACHOVA, Valeriia. "CHOLAMANDAL ARTISTS’ VILLAGE: AN INTERACTION BETWEEN THE TRADITION AND MODERNITY (INDIA, THE MADRAS SCHOOL)." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (2023): 32–43. http://dx.doi.org/10.33625/hudprom2023.02.032.

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Based on the analysis of scientific literature, a successful example of an independent and self-organized community of Cholamandal artists was studied as a continuation of the artistic searches and experiments of the Madras school during the second half of the 20th – early 21st centuries. The prerequisites for the emergence and development of the Cholamandal commune headed by K. Paniker are analyzed. The activities of individual artists of the art association – painters (K. Paniker, R. Pooviah, T. Tarani), graphic artists (K. Haridasan, K. Ramanujam), sculptors (C. Patnaik, S. Nandagopal) and

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Sinha, Shanti Swaroop. "Commonality of Indian Tradition and Art (with special reference to the story of Shibi and Megharatha)." Journal of Heritage, Archaeology & Management (JHAM) 1, no. 1 (2021): 78–83. https://doi.org/10.5281/zenodo.5035227.

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Abstract The present paper aims at discussing a rare episode, which is commonly found in all the three traditions (Vaidik-Puranic, Buddhism and Jainism) and which originated from the Mahabharata (Vana-parva, 131. 1-31). The main objectives of the present study are:- 1. How the traditional story makes a trend for other traditions and becomes core of Indian culture. 2. What message is transmitted through art depictions? Usually such core spirits of non-violence and truth become the Pan-Indian and Pan-Religious concept. 3. Through the study we shall try to underline how a concept or trend, shared

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Menyaev, Badma V. "Ancient Indian Stories in the Oirat Collection “The Tale of the Nectar Teaching." Проблемы исторической поэтики 22, no. 2 (2024): 7–24. http://dx.doi.org/10.15393/j9.art.2024.13704.

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Questions about the similarity of the plots of Oirat written monuments with ancient Indian ones still remain insufficiently studied. Most of the Oirat works have not yet been introduced into scientific circulation or translated into Russian and other European languages. The article examines the origin of the plots of 17th and 18th century Oirat religious and didactic collection. “Aršān nomiyin tuuǰi” (“The Tale of the Nectar Teaching”), dating back to the literary monuments of Ancient India. The collection consists of sixty-four short Buddhist stories. It is framed by a diagram of the Tibetan

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Gupta, Dr Akanksha, and Dr Archana Gupta. "India’s Archaeological Tapestry: From Prehistoric Settlements to Buddhist Monasteries." International Journal of Research in Social Science and Humanities 06, no. 04 (2025): 148–57. https://doi.org/10.47505/ijrss.2025.4.12.

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Indian archaeology is a multidisciplinary field that unveils the profound cultural, religious, and historical heritage of the subcontinent. From prehistoric settlements to colonial-era discoveries, it spans a wide range of studies including ancient civilizations, religious monuments, inscriptions, coins, and architectural developments. The Indus Valley Civilization exemplifies early urban planning, advanced trade networks, and sophisticated governance systems. The Buddhist period significantly enriched Indian archaeology, leaving behind monastic complexes, stupas, and rock-cut caves that offer

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Dr., (Mrs.) Sonika. "RAINBOW OF COLOURS – THE PAHARI MINIATURE PAINTING"." International Journal of Research - GRANTHAALAYAH Composition of Colours, December,2014 (2017): 1–4. https://doi.org/10.5281/zenodo.887559.

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Indian miniatures are in the art world a class by themselves. ‘Miniature’ generally refers to a painting or illumination, small in size, meticulous in detailing and delicate in brushwork1 . Indian Miniature Painting has a long history of over thousand years and presents a comprehensive record of the religious and emotional feelings of the Indian people. These paintings show the Indian genius in its pure form. Its inspiration is rooted in the people’s hearts, keeping close to their poetry, music and drama. The great merit of this art is the exquisite delicacy of drawing with decorative details.

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Singh, Ahanthem Homen. "Manipuri Ramkatha through Wari Leeba: A Dialogue between Text and Oral Renditions." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 6, no. 2 (2017): 156. http://dx.doi.org/10.21013/jems.v6.n2.p2.

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<div><p><em>The paper seeks to highlight the dynamism of Indian Literary traditions which blurs the strict compartmentalization of written and oral traditions. Taking an instance from the Manipuri Ramayana in written text and its oral rendition through the narrative art of Wari Leeba, the paper tries to delineate the </em><em>negotiation and interaction between the various forms of expressions in Indian literary scenario. From a detailed study of how the Manipuri Ramkatha tradition develops in Manipur to the way how Wari Leeba as a narrative art evolves and associ

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فتحـــــى محمد فرغلى, آيـــــة, محمد ثابت بدارى та سحر بطرس نجيب. "العقائد الدينية و تأثيرها على فن التصوير الهندى Religious beliefs and their impact on Indian art". حوار جنوب جنوب 2, № 4 (2019): 28–44. http://dx.doi.org/10.21608/hgg.2019.341460.

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Meng, Shuangqiao, and Peining Li. "From the Malay Peninsula to the Shandong Peninsula: The Transmission of Buddha Statues with Tight-Fitting Robe in the Sixth Century." Religions 14, no. 1 (2023): 84. http://dx.doi.org/10.3390/rel14010084.

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Within the cultural integration of Indian Buddhist art and Chinese Buddhist art, standing Buddha statues carved in-the-round with thin, tight-fitting robes require special attention. Unlike other types of Buddha statues found in China, they are depicted wearing robes of a foreign style, while displaying the facial and body features of East Asians. These statues, which were excavated on the Shandong Peninsula in the last century, are believed to have been carved during the Northern Qi Dynasty (550–577). After years of academic exploration, the transmission route, transit point and reasons for t

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Pandey, Anjali. "SOME REPESENTATIVE FOLK ART OF INDIA." International Journal of Research -GRANTHAALAYAH 8, no. 3 (2020): 348–56. http://dx.doi.org/10.29121/granthaalayah.v8.i3.2020.169.

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Indian folk art has its own recognition in universal context. It transmits from generation to generation having their own experience. Religious ceremonies and ritual acts are necessary for achieving psychological refinement. The folk culture moves around the elements of nature. The shapes are often symbolic and come out from their observations in simple pictorial language. The ritual paintings are generally created on wall, paper, cloth, and floor. The figures of human beings, animal, along with the daily life scene, mythological and rituals are created in rhythmic pattern with regional essenc

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Dr, Anjali Pandey. "SOME REPESENTATIVE FOLK ART OF INDIA." International Journal of Research - Granthaalayah 8, no. 3 (2020): 348–56. https://doi.org/10.5281/zenodo.3742954.

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Indian folk art has its own recognition in universal context. It transmits from generation to generation having their own experience. Religious ceremonies and ritual acts are necessary for achieving psychological refinement. The folk culture moves around the elements of nature. The shapes are often symbolic and come out from their observations in simple pictorial language. The ritual paintings are generally created on wall, paper, cloth, and floor. The figures of human beings, animal, along with the daily life scene, mythological and rituals are created in rhythmic pattern with regional essenc

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Mace, Sonya Rhie, and Phyllis Granoff. "Introduction to the Special Issue: Seeing and Reading: Art and Literature in Pre-Modern Indian Religions." Religions 12, no. 1 (2021): 57. http://dx.doi.org/10.3390/rel12010057.

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Bose, M. "From Craft to Art: The Aesthetic Ends of Technique in Sanskrit Texts of Classical Indian Dance." Journal of Hindu Studies 4, no. 1 (2011): 42–53. http://dx.doi.org/10.1093/jhs/hir001.

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S, Prabavathi. "Devotional Theory in Comics." International Research Journal of Tamil 3, S-2 (2021): 213–17. http://dx.doi.org/10.34256/irjt21s240.

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Vedic and non-Vedic religions spread their ideas directly, through songs and sermons. A sense of devotion was sown by making a connection between God and Human. In particular, devotional literature is designed to convey the flexibility of the structural definitions of religions. This can be seen by examining the background of all the devotional literatures and religious epics. The reading method, which was in the state of “Telling – Listening” have been changed into the state of “Seeing – Reading”. Thus, there was a significant place for paintings and pictures in journalism. Paintings and pict

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Chowdury, Saeyd Rashed Hasan. "The Reflection of Sufi Influence on the Mughal Empire (1526-1857): A Spiritual and Cultural Analysis." Bilimname, no. 53 (April 30, 2025): 697–736. https://doi.org/10.28949/bilimname.1582161.

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This article examines the role of Mughal emperors in promoting Sufism and their contributions to the religious, social, and economic development of the Indian subcontinent during their nearly three-hundred-year reign from 1526 to 1857. The Mughal Empire, founded by Babur, a Turkic descendant from Central Asia, began in 1526 after defeating the Sultan of Delhi, Ibrahim Lodi, in the first Battle of Panipat. Babur laid the foundation, which was solidified during the reign of his grandson Akbar and expanded under Akbar’s great-grandson Aurangzeb. Under Aurangzeb’s reign, the Mughal Empire reached

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Bhattacharya, Abira. "Manifestations of Tārā, Colour Symbolism and Her Association with Uṣṇīṣavijayā". Izvestia of the Ural federal university. Series 2. Humanities and Arts 27, № 2 (2025): 251–68. https://doi.org/10.15826/izv2.2025.27.2.035.

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This article is dedicated to the Buddhist saviour-goddess Tārā and discusses the metaphysical grounding and numerous iconographic forms of the deity. The cult of Tārā became widely popular in the Indian religious panorama from the seventh century CE onward under the influence of Vajrayāna practices. The discussion focuses on the evolution of the manifold manifestations of Tārā and her ascendency from the rank of mahāvidyārajñī to the supreme embodiment of universal compassion and as the female consort of the Tathāgatas. The author also explores the underlying theories on colour symbolism, maṇḍ

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Maity, Abhijit. "LEGACY OF PATRIARCHAL GOD AND THE POLITICS OF MYTH-MAKING: LOCATING THE GENDERED POSITION IN RELIGIOUS VISUAL ART." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (2022): 7–14. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.66.

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This essay discusses how the imagination of women in India is framed up by the gender-biased mythical representations. By looking at the mythical representations that are circulated through centuries in many popular mages, paintings and calendar-portraits, a discursive pattern can be found that has positioned women in a secondary level, belonging to men. The family itself becomes a political site in the process of normalizing women’s submissiveness to men by comparing their actions with the Goddesses. By interrogating the gendered position of Goddess like Lakshmi and her male counterpart Lord

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Singh, Dr Sushma Kumari. "Urbanization and Economic Structure: Development of Cities in the 17th Century." International Journal of Research in Social Sciences and Humanities 14, no. 1 (2024): 39–55. https://doi.org/10.37648/ijrssh.v14i01.005.

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The 17th century was a pivotal period for urbanization and economic structure in the Indian subcontinent. During the Mughal Empire, cities such as Delhi, Agra, Fatehpur Sikri, and Lahore experienced significant growth. These urban centers became hubs of administration, trade, industry, and cultural activities. The expansion of Indian trade routes during this time strengthened commercial ties with European countries, boosting the prosperity of Indian cities. Urbanization also reshaped the economic structure, leading to the development of urban economies. The social and cultural impact of urbani

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Karasinski-Sroka, Maciej. "When Yogis Become Warriors—The Embodied Spirituality of Kaḷaripayaṯṯu". Religions 12, № 5 (2021): 294. http://dx.doi.org/10.3390/rel12050294.

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This study examines the relationship between body and spirituality in kaḷaripayaṯṯu (kaḷarippayaṯṯu), a South Indian martial art that incorporates yogic techniques in its training regimen. The paper is based on ethnographic material gathered during my fieldwork in Kerala and interviews with practitioners of kaḷaripayaṯṯu and members of the Nāyar clans. The Nāyars of Kerala created their own martial arts that were further developed in their family gymnasia (kaḷari). These kaḷaris had their own training routines, initiations and patron deities. Kaḷaris were not only training grounds, but temples

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Sullivan, M. G. "Deluge and fertility: early monuments to administrators of British India in St Paul’s Cathedral, 1804–1835." Sculpture Journal 33, no. 2 (2024): 193–208. http://dx.doi.org/10.3828/sj.2024.33.2.05.

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Two early nineteenth-century monuments in St Paul’s register the growing significance of the empire in India: John Bacon Sr and Jr’s monument to Bengal judge William Jones, and J. C. F. Rossi’s monument to the Governor General, Lord Cornwallis; the artists took the opportunity to explore the possibilities of Hindu art and Indian culture within the Christian space of St Paul’s. This article looks at the origins of the iconography of the two monuments, suggesting how the juxtaposition of classical, Christian and Hindu motifs in the monument to Jones suggested Bacon’s promulgation of a type of vi

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