Relevant bibliographies by topics / Sculpture, Indian

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Sculpture, Indian'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Sculpture, Indian"

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Sanjay, Kumar. "Use of Founds and Prefabricated Objects in Indian Contemporary Sculpture." International Journal of Innovative Science and Research Technology (IJISRT) 9, no. 2 (2024): 7. https://doi.org/10.5281/zenodo.10777306.

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Contemporary sculpture in India has undergone a profound transformation in recent decades, with artists increasingly turning to found and prefabricated objects as mediums for creative expression. This research paper delves into the innovative and evolving practice of incorporating found and prefabricated objects in Indian contemporary sculpture. In recent decades, Indian sculptors have expanded the boundaries of traditional sculptural techniques by embracing unconventional materials and found objects, redefining the way sculpture is perceived and experienced. This paper examines the historical
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Dr., T.G Jyothilal. "The Evolution of Indian Sculptural Art: Interaction with Western Styles and Development of Modernism." Kiraṇāvalī 16, no. 1-4 (2024): 49–54. https://doi.org/10.5281/zenodo.14633689.

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This paper explores the evolution of Indian sculpture from the early interactions with Western academic styles to the rise of unique and diverse forms in the mid-20th century. It examines how early Indian sculptors were influenced by Western techniques and aesthetics, and how modern Indian sculptors, such as V.P. Karmarkar, Ram Kinker Baij, Pradosh Dasgupta, Dhanraj Bhagat, and Sankho Choudhury, began to incorporate local materials and indigenous themes while embracing modernist principles. Through an analysis of their works and techniques, the paper highlights the transformation of Indian scu
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Dhammaloka, Jambugahapitiye. "Mathematical Background of Traditional Iconometry: Some Observations with reference to Sanskrit <em>Śilpa</em> Texts Written in Sri Lanka." Anveṣaṇā 15, no. 1 (2024): 1–25. http://dx.doi.org/10.4038/anvesana.v15i1.1.

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Mathematics and the science of construction (vāstuśāstra) developed side by side in India for many centuries. Mathematics is an indispensable part of any type of formal construction and sculpture is not an exception. Though sculpture is a visual art form, the science and technology of construction of statues were not alien to Indians even in ancient time. The śilpa literature in Sanskrit attest to the fact that ancient sculpture originated and evolved in a relatively advanced mathematical background and that the inventors of this body of knowledge knew relevant mathematical rules, theorems, an
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Smith, Walter, Vishaka N. Desai, and Darielle Mason. "Indian Temple Sculpture." Art Journal 53, no. 2 (1994): 94. http://dx.doi.org/10.2307/777493.

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Rohitha, Eswer, Chandra Kausalya, and Mahesh Vrushab. "TRIVIKRAMA SCULPTURE AT HOYSALESHVARA TEMPLE, HELEBID: AN ANALYSIS." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 120–27. https://doi.org/10.5281/zenodo.2566233.

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<em>A systematic approach to a subject like dance in sculptures or the geometry involved in sculpture of Trivikrama involves a study of its principles and practice at an empirical level through the application of analytical techniques at the first step. The next step is the synthesis of the elements of art experience into an intuitive perception and response to beauty and truth that are always the very core of a true art experience. The current paper deals with the understanding of sculpture with reference to Bharata&rsquo;s Natyashastra. It has a systematic approach through the principles as
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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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Kanwar, Ratan. "The Installation Art Using Contemporary Sculpture: A Case Study and Review of its Evolution." Asian Research Journal of Arts & Social Sciences 23, no. 5 (2025): 77–84. https://doi.org/10.9734/arjass/2025/v23i5683.

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Installation art is a transformative practice that challenges traditional sculpture by integrating diverse media such as painting, video, sound, and performance. Unlike static, object-based sculptures, it creates immersive spatial experiences, redefining contemporary sculptural practice. Its origins trace back to avant-garde movements that rejected conventional forms in Favor of experimental approaches. The rise of conceptual and environmental art in the 1960s and 1970s reinforced the shift toward immersive environments that interact with space and viewer perception. The present case report is
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Sarkar, Kaustavi. "De-centring the choreographer: Historically inspired interruptions/disruptions in an exploration between sculpture and movement1." Choreographic Practices 10, no. 2 (2019): 269–91. http://dx.doi.org/10.1386/chor_00007_1.

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Abstract This article reflects the process of choreographic making where the choreographer actively decentres her choreographic choices by collaborating with participating dancers and historical inspirations. It explores the creative potential of archives ‐ a set of temple-sculptures found in eastern India called the Alasa-Kanyas (meaning indolent maidens) ‐ as past evidence of historically marginalized bodies of the temple-dancers, also known as Maharis, in the field of the eastern Indian classical dance form called Odissi. Alasa-Kanya: Sculpture in Odissi (AK), a Practice as Research (PaR) e
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Folan, Lucie. "Wisdom of the Goddess: Uncovering the Provenance of a Twelfth-Century Indian Sculpture at the National Gallery of Australia." Collections: A Journal for Museum and Archives Professionals 15, no. 1 (2019): 5–41. http://dx.doi.org/10.1177/1550190619832383.

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The history of Prajnaparamita, Goddess of Wisdom, a twelfth-century Indian Buddhist sculpture in the National Gallery of Australia collection, has been researched and evaluated through a dedicated Asian Art Provenance Project. This article describes how the sculpture was traced from twelfth-century Odisha, India, to museums in Depression-era Brooklyn and Philadelphia, through dealers and private collectors Earl and Irene Morse, to Canberra, Australia, where it has been since 1990. Frieda Hauswirth Das (1886–1974), previously obscured from art-collecting records, is revealed as the private coll
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Grantseva, Ekaterina, and Nadezhda Kudeyarova. "Monumental art in the context of historical memory: the fate of the works of Juan de Avalos in Spain and Paraguay." Latin-American Historical Almanac 40, no. 1 (2023): 194–224. http://dx.doi.org/10.32608/2305-8773-2023-40-1-194-224.

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Monumental art is a special sphere of plastic art, a fusion of architecture and sculpture, which is closely related to the ideological guidelines of the era. In the second half of the 20th century. monumental art began to be expressed not only in individual sculptural and painting works, but also embodied in ensembles bearing the corresponding ideological qualities. Acting in synthesis with sculpture, architectural ensembles reflected the ideological content of the era and became an example of visual fixation in the public space of the key elements of the ideology of the ruling regime. One of
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Dissertations / Theses on the topic "Sculpture, Indian"

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Dutillieux, Fanny. "La sculpture de l'Himachal Pradesh entre le VIIe et le XIVe siècle." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040198/document.

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La sculpture d’Himachal Pradesh connaît entre le septième et le quatorzième siècle un grand développement, dû à un bouleversement des conditions religieuses et politiques en Inde du Nord. Des souverains locaux légitiment alors leur pouvoir sur les vallées qui constituent cet état montagneux du nord de l’Inde en utilisant, entre autres procédés, la construction de temples et la dédicace d’images. Ces dernières révèlent, par leur iconographie et par leur style, certaines des conditions historiques et politiques dans lesquelles elles ont été créées. Grâce à une observation des oeuvres, regroupées
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Shankar, Bindu S. "Dance imagery in South Indian Temples: study of the 108-karana sculptures." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079459926.

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Thesis (Ph. D.)--Ohio State University, 2004.<br>Document formatted into pages; contains 355 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2009 March 16.
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Greaves, Laxshmi. "Brick foundations : north Indian brick temple architecture and terracotta art of the fourth to sixth centuries CE." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/87038/.

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The thesis aims to develop an understanding of the nature and evolution of brick temple architecture in the subcontinent, focusing in particular on terraced Hindu structures of the fourth to sixth centuries CE. It also seeks to advance understanding of the iconography and artistry of the terracotta relief panels that once graced the outer walls or platforms of Gupta period brick temples. To date, scholarship on Hindu temple architecture of the Gupta period has primarily focused on cave and structural stone temples, while brick temple architecture of the epoch, along with terracotta reliefs and
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Karlsson, Klemens. "Face to face with the absent Buddha : The formation of Buddhist Aniconic art." Doctoral thesis, Uppsala University, Department of Theology, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-421.

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<p>Early art in Buddhist cultic sites was characterized by the absence of anthropomorphicimages of the Buddha. The Buddha was instead represented by different signs, like awheel, a tree, a seat and footprints. This study emphasizes the transformation this artunderwent from simple signs to carefully made aniconic compositions representing theBuddha in a narrative context.</p><p>Buddhist aniconic art has been explained by a prohibition against images of theBuddha or by a doctrine that made it inappropriate to depict the body of the Buddha.This study rejects such explanations. Likewise, the pract
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Ramaswami, Siri. "Dance sculpture as a visual motif of the sacred and the secular: a comparative study of the BelurCennakesava and the Halebidu Hoysalesvara temples." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240926.

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Harrison, Heather R. "Conservation and maintenance of bronze and marble outdoor sculpture in Delaware County, Indiana." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1116939.

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Sculptural works in an outdoor environment undergo different types of deterioration, depending upon their media and the environment in which they are placed. Sculptural monuments in an outdoor environment will eventually deteriorate and fail. Without proper care and the recognition of factors leading to their degradation, these sculptures will surely be lost.Delaware County retains twenty-four existing bronze and marble outdoor sculptures, many of which suffer from slight to extreme deterioration of their materials. Through research of the media, causes of deterioration, and available conserva
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Roy, Anamika. "Amaravati Stupa : a critical comparison of epigraphic, architectural and sculptural evidence." Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/271920.

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Allain, Ariane. "La sculpture dans la civilisation de Teotihuacan." Paris 1, 2005. http://www.theses.fr/2005PA010517.

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Teotihuacan occupe, à l'époque classique, une position essentielle dans le Bassin de Mexico et au-delà. Or, en dépit des très nombreuses recherches dont le site a fait l'objet depuis la fin du XIXe siècle, il n'existe aucune étude systématique du matériel sculpté mis au jour dans cette métropole. Le présent travail a consisté d'abord à établir un corpus aussi exhaustif que possible de la sculpture produite à Teotihuacan. Les pièces inférieures à 25 cm de hauteur, les masques et les objets sculptés en obsidienne en ont été toutefois exclus, car ils représentent des catégories d'art lapidaire de
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Johnson, Jeffrey R. "Transmittance device : a study and construction of an architectural installation." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845989.

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The Transmittance Device was an architectural installation, constructed as an imposition upon a public evergreen hedge row. The premise behind this exploration was to exploit architecture as a sequence of dynamic human experiences, creating an event or incident. The intention was to initiate a human transfer or violation from one side of a presumed boundary or barrier, to the opposite side. The boundary or barrier metaphorically represented the inherent characteristics human's possess, concerning abidement and conformity, within their normalities of regulated habit.The evolution process includ
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Peagler, Arriyan L. "Design guidelines for incorporating landforms and sculptural elements into residential treatment centers for at-risk youth." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1397794.

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A wide range of individuals, from counselors to psychiatrists, have recognized the value of residential treatment centers for at-risk youth. Many residential treatment centers foster therapeutic interventions indoors. Typically, however, there have been few initiatives taken to enhance the outdoor landscapes of these facilities. In particular, potential supplements to therapeutic practices such as landforms and sculpture have been overlooked. This creative project explores how outdoor settings can be enhanced with landforms to provide at-risk youth with alternative venues to address aggressive
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Books on the topic "Sculpture, Indian"

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N, Dube D., ed. Indian sculpture. Lustre Press, 1985.

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Pal, Pratapaditya. Indian sculpture. Los Angeles County Museum of Artin association with University of California Press, 1987.

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Morley, Grace. Indian sculpture. Lustre Press, 1985.

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John, Guy. Indian temple sculpture. V&A Publications, 2007.

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1933-, James Josef, ed. Contemporary Indian sculpture: The Madras metaphor. Oxford University Press, 1993.

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Agarwal, Urmila. North Indian temple sculpture. Munshiram Manoharlal Publishers, 1995.

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1933-, James Josef, ed. Contemporary Indian sculpture: An algebra of figuration. Oxford University Press, 1998.

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Gaur, Anand Prakash. Rama in ancient Indian sculpture. B. R. Pub. Corp., 2006.

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Bandyopadhyay, Bimal. Survey of Indian metal sculpture. Sundeep Prakashan, 1987.

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Curnoe, Jessica. Sculpture and cosmology in ancient Guerrero. Edited by Throckmorton Fine Art Inc. Throckmorton Fine Art, 2008.

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Book chapters on the topic "Sculpture, Indian"

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Howes, Jennifer. "Indian sculpture." In The Art of a Corporation. Routledge India, 2023. http://dx.doi.org/10.4324/9781003379515-6.

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Srinivasan, Sharada, Rajarshi Sengupta, S. Padhmapriya, et al. "Vijayanagara Era Narasimha Bronzes and Sculpture: Digital Iconometry." In Digital Hampi: Preserving Indian Cultural Heritage. Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-5738-0_11.

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Groseclose, Barbara. "Indian Ironies, or British Commemorative Sculpture and (Re)shaped Memory." In Memory & Oblivion. Springer Netherlands, 1999. http://dx.doi.org/10.1007/978-94-011-4006-5_67.

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Morales-Harley, Roberto. "5. Sanskrit Authors Adapting Greco-Roman Texts." In The Embassy, the Ambush, and the Ogre. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0417.05.

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Lastly, Chapter 5 discuses two main conclusions. On one hand, general influences appear as plausible, particularly regarding the adaptation techniques (the ways in which each tradition turns their epic into theater). Therefore, “Greco-Roman motifs” (literary motifs from the Greco-Roman world that would have made it into India) must at least be considered – alongside “Folk motifs” and “Indo-European motifs” – when comparing these literatures. On the other hand, specific borrowings would have also been possible for the adapted elements (the themes coming to the theater from each epic), consideri
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Wilkins, Chambers. "Some Account of the Sculptures and Ruins at Mavalipuram,." In Representing India. Routledge, 2023. http://dx.doi.org/10.4324/9781003101789-6.

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Bawiskar, Supriya, Avinash Sahu, Sangeeta Pandit, et al. "Identification of Postural Load on Sculptors of Sculpting Industry of India." In Lecture Notes in Mechanical Engineering. Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4606-6_9.

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Basak, Anurag, and S. Saleem Ahmed. "The Changing Notions of Aesthetics in the Contemporary Sculptural Practices in India." In Design in the Era of Industry 4.0, Volume 3. Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-0428-0_14.

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Stoneman, Richard. "Greeks and the Art of India." In The Greek Experience of India. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691154039.003.0016.

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This chapter considers the influence of Greek techniques on Indian art. When European scholarship moved beyond seeing Indian sculptures as “monsters” and began to discern the historical trajectory of Indian art, many were convinced that Greek art was the mainspring that got Indian sculpture going. The chronological coincidence of Alexander's arrival in the north-west appeared to explain the sudden emergence of sculpture in the Maurya lands. James Fergusson asserted that Bactria was the origin of all Indian art. Inevitably the sculpture of Gandhara, with its pronounced Hellenistic features, was
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Voigt, Friederike. "Orientalist Collecting of Indian Sculpture." In India in Edinburgh. Routledge, 2019. http://dx.doi.org/10.4324/9780429326882-3.

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Bidnall, Amanda. "Ronald Moody, from Primitive to Black British." In West Indian Generation. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940032.003.0005.

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“Ronald Moody, from Primitive to Black British” offers the first thorough, academic account of this British sculptor’s career, work, and evolving ideology as he negotiated more than fifty years in the British and European art worlds. This research suggests that although Moody’s sculpture was—like that of so many artists of this generation—influenced by the experience of world war, European modernism, and decolonization, his reception by critics was dictated by the racial and imperial politics of the day. Whether he was exoticized as an exponent of Jamaican primitivism, praised as a Commonwealt
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Conference papers on the topic "Sculpture, Indian"

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Dalara, Ayush, C. Sindhu, and R. Vasanth. "Entity Recognition in Indian Sculpture using CLAHE and machine learning." In 2022 First International Conference on Electrical, Electronics, Information and Communication Technologies (ICEEICT). IEEE, 2022. http://dx.doi.org/10.1109/iceeict53079.2022.9768565.

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Vimala, Dr S. M. "HARAPPA ARCHITECTURE – HUB OF ART AND CULTURE." In Transforming Knowledge: A Multidisciplinary Research on Integrative Learning Across Disciplines. The Bhopal School of Social Sciences, 2025. https://doi.org/10.51767/ic250301.

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India is a multicultural subcontinent resulting from a history of migrations of diverse peoples and establishment of new communities. The newcomers, often arriving as invaders, carrying their cultural baggage with them, were gradually absorbed into Indian culture. Art generally means sculpture and painting and often includes architecture, but human artefacts may embrace a wider category of material remains that includes the decorative and minor arts such as jewellery, pottery, metal, wooden utensils and even toys. The artefacts of the earliest inhabitants of India, the Stone Age societies, go
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Lipps, Jere H. "FORAMINIFERAL ART: FROM HAND DRAWINGS TO PUBLIC SCULPTURES." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-324957.

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Guidi, Gabriele, Umair Shafqat Malik, Bernard Frischer, Cristiana Barandoni, and Fabrizio Paolucci. "The Indiana University-Uffizi project: Metrologica! challenges and workflow for massive 3D digitization of sculptures." In 2017 23rd International Conference on Virtual System & Multimedia (VSMM). IEEE, 2017. http://dx.doi.org/10.1109/vsmm.2017.8346268.

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Anderson, Brendan M., Julia Miller, Julia Miller, Warren D. Allmon, and Warren D. Allmon. "WHEN THEORETICAL MORPHOLOGY GETS REAL: 3-D PRINTING OF IDEALIZED TURRITELLID GASTROPOD SHELLS TO BETTER UNDERSTAND THE FUNCTION OF SCULPTURE AND WHORL SHAPE." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-319161.

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Litschi, Melissa A. "THE ROLE OF MATERIAL CHOICE IN REGIONAL SOCIO-POLITICAL NEGOTIATIONS: GEOCHEMICAL VARIATION BETWEEN RECUAY MONUMENTAL STONE SCULPTURES IN THE ANDEAN HIGHLANDS." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-324986.

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Rowland, Stephen M. "THE SCULPTURES OF WATERHOUSE HAWKINS IN ENGLAND AND AMERICA AND THE ILL-FATED PALEOZOIC MUSEUM OF CENTRAL PARK: THE BEGINNINGS OF THREE-DIMENSIONAL REPRESENTATION OF EXTINCT ANIMALS." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-318411.

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Reports on the topic "Sculpture, Indian"

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In Search of Memory: Seventeen Contemporary Artists from Suriname. Inter-American Development Bank, 1998. http://dx.doi.org/10.18235/0006411.

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Forty-five works by Surinamese painters, sculptors, draftsmen, printmakers and ceramicists, representing an eclectic artistic community comprising Amerindian, African, Indian, Indonesian, Jewish, Dutch and other European cultures, concentrated mainly in the Surinamese capital of Paramaribo. Works were drawn from public and private collections, including Suriname's State Collection, the Suriname Bank, the Suriname Museum Foundation, and the EBS Power Company, among others. The show was reenacted upon its return to Suriname.
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Points of Departure in Contemporary Colombian Art. Inter-American Development Bank, 1998. http://dx.doi.org/10.18235/0006428.

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Twenty-seven paintings, sculptures and graphics by Colombian masters Alejandro Obregón (1920-1992), Enrique Grau (1920), Edgar Negret (1920), and Eduardo Ramírez Villamizar (1923), complemented with eight works by artists from a previous generation, made this one of the most important presentations of 20th century Colombian artists offered in Washington in the last three decades, and the opening paid a special tribute to Maestro Enrique Grau. The exhibit was in honor of the city of Cartagena de Indias, site of the 39th Annual Meeting of the IDB Board of Governors. Lenders to the exhibition inc
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