Academic literature on the topic 'Sculpture pallava'

The temples have existed since the Sangam period, although they were built of perishable soil and wood and did not last long. But instead the Pallavas were the first to build cave temples and stone temples. It was later followed by the Pandya and Chola dynasties. This article describes the history, architecture and sculpture of the Someswarar Temple in Anthakudi, in the Keezhvellore taluk, Nagapattinam District, based on the evidence obtained through a field study. Along with these, the information known through the medieval Chola inscriptions here, the ancient Tamil people Architecture technique, structure of the temple and Chola sculptures have been studied historically. Therefore, it would not be an exaggeration to say that the ancient temples are not only places of worship but also treasures of art, history and culture.

Calotheca Heyden, 1887 is a flea beetle genus that occurs predominantly in sub-Saharan Africa, comprising 29 species. The examination of new material is revealing a significantly higher species richness and high intraspecific variability. A group of five species, occurring in the southernmost portion of the distribution range for the genus, is here attributed to the C. parvula species group: C. parvula (Weise, 1908), C. pallida (Bryant, 1945), C. danielssonisp. nov., C. oberprielerisp. nov., and C. prinslooisp. nov. Species in the C. parvula group have strong similarities in body shape and sculpture on the integument, spermathecal shape, and for most species the morphology of the median lobe of the aedeagus. A key to species of the Calotheca parvula group is provided along with photographs of the habitus, main diagnostic characters, median lobe of the aedeagus and spermatheca. In addition to the geographic distribution, the available information on the habitat, host plants, and phenology are provided for the five species analysed.

The Western Australian Kimberley region harbours a diverse fauna of camaenid land snails characterised by marked patterns of narrow range endemism. The recently described genus Australocosmica comprised three species that are endemic to single offshore islands or island groups. Material of a further seven candidate species recognised by the late Alan Solem has been examined. Six of these manuscript species, NSP 40 (= A. rotunda n. sp.), NSP 76 (= A. pallida n. sp.), NSP 77 (= A. buffonensis n. sp.), NSP 78 (= A. bernoulliensis n. sp.), NSP 79 (= A. crassicostata n. sp.), and NSP 80 (= A. nana n. sp.), are here newly described based on examination of shell morphology and penial anatomy. Based on our findings, we are presenting an updated generic diagnosis of Australocosmica. Statistical analyses revealed that species exhibit similar shell characters (colouration, sculpture, dimensions), which render the delimitation of species based only on shells difficult. However, species were found to differ significantly in their penial anatomy. Although the material studied was not suitable for DNA extraction, the anatomical differences were considered sufficient to permit the description of distinct species.

Descriptions and illustrations are provided for Gephyrodesmus arcuatus n. sp., G. cineraceus Jeekel, 1983, G. coolahensis n. sp. and G. regilacus n. sp.; Lissodesmus grampianensis n. sp.; and Orthorhachis catherinae n. sp., O. cavatica Jeekel, 2006, O. celtica n. sp., O. christinae n. sp., O. durabilis n. sp., O. gloriosa n. sp., O. inflata n. sp., O. jubata n. sp., O. kerewong n. sp., O. monteithi n. sp., O. oresbia n. sp., O. pallida Jeekel, 1985, O. paradoxalis Jeekel, 2006, O. serrata n. sp., O. tallagandensis n. sp., O. vinnula n. sp., O. weiri n. sp. and O. yabbra n. sp.

Brahmā est introduit dans l’iconographie tamoule dès la fin du 6ème s. ou le tout début du 7ème s. par les Pallava, probablement originaires du sud de l’actuel Andhra-Pradesh : ils initient simultanément la sculpture sur pierre et le développement de la culture brahmanique dans l’extrême sud de l’Inde. La divinité apparait dans les fondations du Deccan à la même période : elle participe alors essentiellement de la triade qu’elle forme avec Viṣṇu et Śiva. La faveur que connait Brahmā par la suite, puisqu’il préside à la façade nord sur plusieurs temples shivaïtes de la fin de la période Pallava puis de la période Cola, est en revanche inédite dans d’autres traditions régionales : elle trouve sans aucun doute son origine dans la relation complexe de complémentarité et de rivalité qu’il noue avec Śiva - mais aussi Viṣṇu, même si elle est dans ce cas moins conflictuelle - dans l’idéologie royale développée par les rois Pallava, et plus particulièrement telle qu’elle est mise en scène dans l’iconographie narrative du temple Kailāsanātha à Kāñcipuram au début du 8ème s. Les interactions multiples entre les deux divinités s’articulent notamment autour de la confrontation ambiguë du brahmanisme orthodoxe avec une nouvelle forme d’expression du savoir śaiva d’une part, et, d’autre part, autour de la figure du roi, que peut représenter Śiva, et du brahmane, du purohita, incarné par Brahmā. Le contexte et la signification de ces représentations jusqu’au tournant du 10ème s. en regard de l’art contemporain du Deccan mettront en lumière les spécificités du sud tamoul mais aussi ce qui participe de concepts plus largement diffusés qu’il ne semblerait au premier abord<br>Brahmā was introduced into Tamil iconography at the end of the 6th century or the very beginning of the 7th century by the Pallava, probably from the south of present-day Andhra-Pradesh: they simultaneously initiated stone carving and the development of Brahmanic culture in the far south of India. The divinity appears in the shrines of the Deccan at the same period: he then essentially participates in the triad he forms with Viṣṇu and Śiva. The favor that Brahmā knows thereafter, since he presides over the north facade on several Śaiva temples of the end of the Pallava period then of the Cola period, is by contrast unprecedented in other regional traditions: it undoubtedly finds its origin in the complex relationship of complementarity and rivalry that it establishes with Śiva - but also Viṣṇu, even if it is in this case less conflictual - in the royal ideology developed by the Pallava kings, and more particularly such as it is staged in the narrative iconography of the Kailāsanātha temple in Kāñcipuram at the beginning of the 8th century. The multiple interactions between the two divinities are articulated notably around the ambiguous confrontation of orthodox Brahmanism with a new form of expression of Śaiva knowledge on the one hand, and, on the other hand, around the figure of the king, which Śiva can represent, and of the Brahmin, the purohita, embodied by Brahmā. The context and meaning of these representations up to the turn of the 10th century in relation to the contemporary art of the Deccan will highlight the specificities of southern Tamil imagery but also its connexion to concepts more widely disseminated than it would seem at first sight

Dès la fin du VIIème siècle, le pays tamoul voit l'érection de temples construits sous la dynastie des Pallava. Dédiés essentiellement à Śiva, leurs façades s'ornent de représentations de la divinité qui s'incarne sous différents aspects. Le dieu se présente autant sous une forme bénéfique, sauvage, sanguinaire que combattante, victorieuse et royale. L'iconographie narrative śivaïte ayant été jusque là peu développée, la mise en image des nombreux exploits de Śiva doit s'inventer. S'inspirant à la fois de la tradition mythologique pan-indienne ainsi que de traditions locales, la dynastie des Pallava crée une iconographie qui n'hésite pas à intégrer également des éléments de divers courants religieux. Si certaines représentations naissent et disparaissent avec la dynastie, la majorité d'entre elles influenceront cependant toute l'iconographie méridionale postérieure<br>From the end of the VIIth century onwards, temples were built in tamil land under pallava patronage. Essentially dedicated to Śiva, their walls are adorned with representations of god embodied in various aspects. He can be represented in a benign form, savage, covered with blood as well as a victorious and royal one. The narrative śaiva iconography was not well developed until this time, and the figuration of different deeds of Śiva has to be invented. The pallava dynasty created an iconography inspired at the same time by the pan Indian mythology and the local tradition, borrowing various elements to various religious movements. If some of the representations appear and disappear with the dynasty, most of them, nevertheless, will influence the posterior southern iconography