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Books on the topic 'Kannada Art'

Author: Grafiati
Published: 27 July 2024
Last updated: 31 July 2025

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1

Ār, Tippēsvāmi Pi, and Mariśāmācār En, eds. Kalākōśa. Karnāṭaka Lalitakalā Akāḍemi, 1994.

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2

Sundara, A. Keḷadi arasara kālada vāstu mattu mūrti śilpa. Prācyavastu mattu Saṅgrahālaya Nirdēśanālaya, 1986.

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3

Bhaṭṭa, Sēḍiyāpu Kr̥ṣṇa. Vicāraprapañca: Sēḍiyāpu Kr̥ṣṇa Bhaṭṭara lēkhanasañcaya. 2nd ed. Rāṣṭrakavi Gōvinda Pai Saṃśōdhana Kēndra, 2002.

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4

editor, Paṭṭaṇaśeṭṭi Mālati, and Karnāṭaka Sāhitya Akāḍemi, eds. "Thou art translated": Doffing the Kannada hat to Shakespeare : Shakespeare in the Kannada world : Jan 2013 - March 2016 (combined edition) : Aniketana, a quarterly journal of Kannada language and literature. Karnataka Sahithya Academy, 2016.

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5

Karnatak University. Kannada Research Institute. Museum. Jaina bronzes in the Kannada Research Institute Museum. Kannada Research Institute, Karnatak University, 1985.

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6

Ec, Kr̥ṣṇayya Eṃ. Ālōkana: Sāhitya-kale kurita vivēcanegaḷu. Vasanta Prakāśana, 2006.

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7

century, Dēvidāsa active 17th, та Dēvidāsa active 17th century, ред. Yakṣagāna: Eine Einführung in eine südindische Theatertradition : mit Übersetzung und Text von "Abhimanyu Kāḷaga". Harrassowitz, 2004.

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8

Śivarāmayya. Sāhiti-kalāvidara Kaṇṇalli Ṭippu. Sirigannaḍa Prakāśana, 2005.

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9

Gaṇēś, Ār. Hāsu bīsu: Kale, sāhitya, saṃskr̥ti kurita vivēcanegaḷu. Vasanta Prakāśana, 2009.

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10

Kambar, Chandrasekhara. Dēśīya cintana. Aṅkita Pustaka, 2004.

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11

Ji, Śrīdhar Ec. Prācīna Kannaḍa sāhityadalli yuddhakale: Kri. Śa. 450rinda 1350. Śivarāma Kāranta Adhyayana Kēndra, 2002.

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12

Kūsanūra, Candrakānta. Sāhitya mattu citrakale. Karnāṭaka Sāhitya Akāḍemi, 1993.

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13

Mariśāmācār, En. Sāhityadalli citrakale: Sāhityadalli citrakale mattu itara lēkhanagaḷu. Si. Eṃ. En. Prakāśana, 1989.

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14

1936-, Rajegowda H. K., Paramaśivayya Jī Śaṃ 1933-, Kr̥ṣṇakumār Si Pi 1939-, and Akhila Karnāṭaka Jānapada Sammēḷana (3rd : 1971 : Nagamangala, India), eds. Mutta tumbēvu kaṇajake. Eṃ. El. Śrīkaṇṭhēgauḍa Saṃsmaraṇa Samiti, 1988.

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15

author, Filliozat Pierre-Sylvain joint, та Indira Gandhi National Centre for the Arts, ред. Kālāmukha temples of Karnataka: Art and cultural legacy : Somanātha at Haraḷahaḷḷi and Kaḍambeśvara at Raṭṭtihaḷḷi. Indira Gandhi National Centre for the Arts, 2012.

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16

Śrī, Mugaḷi Raṃ. Punarnavōdaya. Rasikaraṅga Prakāśana, 1986.

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17

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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18

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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19

Śukla, Jaya Kumāra. Kannauja (Kānyakubja), saṃskr̥ti evaṃ purātattva. Bī. Āra. Pabliśiṅga Kôrporeśana, 2009.

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20

Pāṭīla, Candraśēkhara. Suvarṇa nāṭaka. Kannaḍa mattu Saṃskṛ̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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21

Pāṭīla, Candraśēkhara. Suvarṇa nāṭaka. Kannaḍa mattu Saṃskṛ̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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22

Candraśēkhara, Pāṭīla, та Mālati Es, ред. Suvarṇa nāṭaka. Kannaḍa mattu Saṃskr̥ti Ilākhe, Karnāṭaka Sarkāra, 2006.

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23

Jōśi, Ji Bi. Āśu nāṭakagaḷu: Mūru ēkāṅkagaḷa saṅgraha. 2nd ed. Manōhara Granthamālā, 2002.

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24

Subbanna, K. V. Are śatamānada ale barahagaḷu: Ke. Vi. Subbaṇṇa lēkhana saṅkalana 1954-2004. Akṣara Prakāśana, 2004.

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25

Subbaṇṇa, Ke Vi. Are śatamānada ale barahagaḷu: Ke. Vi. Subbaṇṇa samagra lēkhana saṅkalana 1954-2005. Akṣara Prakāśana, 2011.

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26

Rādhākr̥ṣṇamūrti, Mikkilinēni. Teluguvāri jānapada kaḷārupālu. Telugu Viśvavidyālayaṃ, 1992.

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27

Bhaṭṭa, Pādēkallu Viṣṇu. Ananyavyakti: Ēkavyaktiyakṣagāna granthagaurava. Āḷvās Śikṣaṇa Pratisṭhāna, 2010.

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28

Upadhyaya, Susheela P. Janapada ārādhane mattu raṅgakale: Karnāṭaka Viśvavidyānilayada Kannaḍa Adhyayana Pīṭhadalli Ḍā. Ār. Si. Hirēmaṭha viśēṣa upanyāsa mālikeyalli nīḍida mūru upanyāsagaḷu. Prādēśika Janapada Raṅgakalegaḷa Adhyayana Kēndra, 1989.

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29

Shankar, M. Sannata: Minor folk-plays of northern Karnataka. Regional Resources Centre for Folk Performing Arts, 1986.

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30

Shankar, M. Sannata: Minor folk-plays of north Karnataka. Regional Resources Centre for Folk Performing Arts, MGM College, 1986.

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31

Brown, Charles Philip. Cyclic tables of Hindu and Mahomedan chronology, regarding the history of the Telugu and Kannadi countries to which are added the genealogies of particular Hindu families, with essays on various matters of enquiry. Asian Educational Services, 1994.

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32

Heiskanen, Ilkka. Kulttuurin julkinen rahoitus Suomessa: Tilastot ja todellisuus : rahoitustilastojen käyttökelpoisuudesta ja 1990-luvun rahoitustilanteesta taide- ja kulttuurilaitosten kannalta = Public financing of the arts and culture : statistics and reality in Finland : methodological issues and identification of the 1990s turning points that re-shaped the conditions of cultural and art institutions. Helsingin yliopiston valtio-opin laitos, 2000.

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33

sr, swamy. S-Formula KANNADA: Pathanjali Art of Living. Independently Published, 2017.

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34

Paramashivam, SPH Nithyananda. Meditation Is for You - an Introduction to the Science and Art of Meditation - in Kannada. KAILASA's Nithyananda Hindu University Press, 2005.

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35

sr, swamy. One Who Has Master of This Art Is the Master of All: S-Formula KANNADA India. Independently Published, 2017.

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36

Paramashivam, SPH Nithyananda. Who You Truly Are - Kannada. KAILASA's Nithyananda Hindu University Press, 2007.

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37

Paramashivam, SPH Nithyananda. Who You Truly Are in Kannada. KAILASA's Nithyananda Hindu University Press, 2006.

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38

Carlson, Richard, and Suzanne Carlson. English-Kannada My Feelings Are Hurt Children's Bilingual Picture Book. Independently Published, 2019.

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39

Ben-Herut, Gil. 'Siva's Saints. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.001.0001.

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The Vīraśaiva tradition, which developed over the last eight centuries in the Kannada-speaking region of the Deccan plateau in India, holds a unique place in Hindu society. Its members do not adhere to the hierarchical structures of Brahminical-centered society, and they practice a distinct set of rituals, such as carrying a personal liṅga on their body and worshiping it individually (as well as in groups). The roots of the tradition are linked to a revolutionary community of devotees of the Hindu god Śiva from the twelfth century, headed by the saintly figures Basavaṇṇa, Allama Prabhu, and Ma
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40

Panja, Shormishtha, and Babli Moitra Saraf, eds. Performing Shakespeare in India. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9789356407770.

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This book is envisaged as an intervention in the ongoing explorations in social and cultural history, into questions of what constitutes Indianness for the colonial and the postcolonial subject and the role that Shakespeare plays in this identity formation.Performing Shakespeare in Indiapresents studies of Indian Shakespeare adaptations on stage, on screen, on OTT platforms, in translation, in visual culture and in digital humanities and examines the ways in which these construct Indianness. Shakespeare in India has had multiple local interpretations in different media and equally wide-ranging
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41

Ben-Herut, Gil. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.003.0001.

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The introduction refers to modern scholarly notions about the origins of the Vīraśaiva tradition and the perceived narrative about the egalitarian and protestant dispositions of the twelfth-century devotees considered as the forefathers of the tradition. Building on recent critique of the long-standing reliance on vacanas (devotional poems associated with the twelfth-century devotees) as the main historical source about the early tradition, the introduction turns to consider previously unread Kannada hagiographies about the twelfth-century saints, which complexify common notions about the earl
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42

Ben-Herut, Gil. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878849.003.0008.

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The conclusion provides an overview of Harihara’s treatment of the early Kannada Śivabhakti tradition in the Ragaḷegaḷu. The overview is organized according to several themes that are central in the broader study of South Asian devotional traditions: the tradition’s public memory, social inequity and conservatism, iconic worship and traditional ritual, orthodoxy and its rejection, and religious others. Harihara’s literary project is considered in terms of its appeal to large and multiple audiences in contemporaneous society, including Brahmin and educated elites and non-elite communities. The
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43

Trivedi, Poonam. Shakespearean Tragedy in India. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.53.

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The genre of tragedy, which was introduced to Indian cultures through colonial hegemony, challenged the norms of Sanskrit and other indigenous literatures. This essay explores the tensions that arose with the entry of this ‘newness’, by tracing the reception, influence and assimilation of tragedy in some of the major Indian literatures viz. Bengali, Marathi, Kannada and Hindi. The most influential examples of tragedy were those of Shakespeare, and their modes of structure and characterization, as well as the world view they incorporate, have been debated, adapted, and accepted in different way
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44

Steel Nibs Are Sprouting: New Dalit Writing from South India Dossier 2. HarperCollins, 2013.

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45

Barnwell, Katharine. Bible Translation: An Introductory Course in Translation Principles. SIL International, 2020. http://dx.doi.org/10.54395/k8vp-t5wd.

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Bible Translation: An Introductory Course in Translation Principles continues to provide crucial, practical training for those preparing to translate the Bible or contribute to Bible translation in other ways. The fourth edition of this classic textbook is a leading voice in addressing the following developments in the Bible translation world: The priority of oral communication and its value in drafting, testing, and polishing draft translations. The availability of software and online resources specifically designed for Bible translation; exercises and assignments include practice in the use
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