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Relevant bibliographies by topics / Vijayanagara Art

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Academic literature on the topic 'Vijayanagara Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 February 2023

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Journal articles on the topic "Vijayanagara Art"

1

BES, LENNART. "Sultan among Dutchmen? Royal dress at court audiences in South India, as portrayed in local works of art and Dutch embassy reports, seventeenth–eighteenth centuries." Modern Asian Studies 50, no. 6 (June 30, 2016): 1792–845. http://dx.doi.org/10.1017/s0026749x15000232.

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AbstractFrom the fourteenth century CE onwards, South Indian states ruled by Hindu kings were strongly influenced by politico-cultural conventions from Muslim-governed areas. This development was, for instance, manifest in the dress and titles of the rulers of the Vijayanagara empire. As has been argued, they bore the title of sultan and on public occasions they appeared in garments fashioned on Persian and Arab clothing. Both adaptations exemplified efforts to connect to the dominant Indo-Islamic world. From Vijayanagara's fragmentation in the sixteenth and seventeenth centuries, new Hindu-ruled kingdoms arose. We may wonder to what extent those succeeding polities continued practices adopted from Islamic courts. With that question in mind, this article discusses royal dress at court audiences in four Vijayanagara successor states, chiefly on the basis of embassy reports of the Dutch East India Company and South Indian works of art. It appears that kings could wear a variety of clothing styles at audiences and that influences on these styles now came from multiple backgrounds, comprising diverse Islamic and other elements. Further, not all successor states followed the same dress codes, as their dynasties modified earlier conventions in different ways, depending on varying political developments.

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2

Aswatha, Shashaank M., Jayanta Mukherjee, and Partha Bhowmick. "An Integrated Repainting System for Digital Restoration of Vijayanagara Murals." International Journal of Image and Graphics 16, no. 01 (January 2016): 1650005. http://dx.doi.org/10.1142/s0219467816500054.

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An integrated repainting system is proposed in this paper for digital restoration of images of heritage murals, which have historical significance in their painting styles and ritualistic contents. The repainting system uses an ensemble of conventional image processing tools, in tandem with some state-of-the-art image rendition techniques, such as scaled bilateral filtering, source-constrained inpainting, tonal processing, and texture mapping based on gradient fusion. Murals that are old by nearly four centuries, have been imaged in situ from the walls of temples under a controlled environment, and then they have been fed to our repainting system. As the work of mural art is highly subjective, and so is its interpretation, a battery of tests for subjective evaluation has been performed to compare the different stages of restoration. Three different tournament strategies have been followed to make the test result devoid of any subjective bias as far as possible. The overall evaluation result is quite encouraging, as the restored images exhibit a gradually improving quality through the different stages of restoration.

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3

S, Jeyashree. "Rama Ravana Battle Scenes in Tamil Temple Sculptures." International Research Journal of Tamil 4, SPL 2 (February 28, 2022): 349–56. http://dx.doi.org/10.34256/irjt22s253.

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The Ramayana and the Mahabharata are immortal epics that are the treasury of Indian culture. Both epics convey the values and ideals that people need. The Ramayana written in the Northern language by Valmiki is in some way the source for other Indian language Ramayanas. Kambana in Tamil and Konaputharetti in Telugu have composed Kambaramayana and Iranganatha Ramayana respectively. Sculptures can be found in the temples of Tamil Nadu including these three language Ramayanas. Thus, it is possible to realize that literature and art are interrelated. Many of the Alvars in the Vaishnava literary four-thousandth Prabhupada exemplify the message of Ramavatara. Among the Alvars, Kulasekara gives the Ramavatara reference. References to the Ramayana are also baked into vegetarian literature. The Ashoka Pillar of the Mauryan period is the beginning of the stone sculpture. Horoscope Ramayana messages in India are inscribed on Buddhist monuments. Although Rama, Krishna and Narasimhan are notable among the three incarnations of the Vaishnava deity Thirumal in Tamil Nadu, the influence on the Ramayana is due to the large number of sculptures about Rama. The Vedic Cholas in Tamil Nadu have created Vaishnava Ramayana sculptures in their temples. The influence of Vaishnavism was greatest during the Vijayanagara Nayak period following the Chola period. The Vijayanagara Nayaks built roundabouts, planes, towers, etc., along with the foundations of the temple. Of these, sculptures were placed on stones and sutas. Ravanavatha is featured in the war to fulfill the purpose of Ramavatar. The battle of Rama Ravana and Ravanavatha can be seen in the temples of Tamil Nadu as sculptures of this event.

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4

Asher, Catherine B. "Review: The Royal Palaces of India by George Michell, Antonio Marintelli; Art and Architecture of Southern India: Vijayanagara and the Successor States by George Michell." Journal of the Society of Architectural Historians 55, no. 4 (December 1, 1996): 487–88. http://dx.doi.org/10.2307/991207.

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5

Devru, Nandini, Swetha Rajshekhar Lakshetty, and Anand Katageri. "Association of CD4 Counts with Cardiovascular Dysfunction among HIV/AIDS Patients - A Hospital Based Study in North Karnataka." Journal of Evidence Based Medicine and Healthcare 8, no. 29 (July 19, 2021): 2584–88. http://dx.doi.org/10.18410/jebmh/2021/477.

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BACKGROUND Globally the number of people living with human immunodeficiency virus/ acquired immunodeficiency syndrome (HIV/AIDS) has been rising steadily since 2011 nearing more than 33 million whereas in developing countries like India it is 2.4 million with a prevalence of 0.3%. The purpose of this study was to assess the association of CD4 counts with cardiovascular dysfunction among HIV/AIDS patients. METHODS This was a hospital-based study conducted at the Vijayanagara Institute of Medical Sciences, Bellary. Convenience sampling was used and patients admitted to the wards of the internal medicine as well as those attending anti-retroviral therapy (ART) centre out-patient department (OPD) were included in the study. A total of 200 cases of seropositivity of HIV patient diagnosed by Elisa technique were assessed after obtaining informed consent. Clinical profile and laboratory investigations were carried out on the patients such as CD4 counts and analyzed with various cardiac dysfunction. RESULTS Commonest affected with HIV infection were young male (26 – 40 years) 77.5 % followed by young female 60 % Commonest symptoms were fever, cough 82 % each and breathlessness 44 %. Commonest clinical findings were pallor 80 %, pedal oedema 68 %, and lymphadenopathy 32 %. 26 % of patients had electrocardiography (ECG) abnormalities with commonest being sinus tachycardia 18 %, low voltage complex 4 %, IHD (ischemic heart disease) 2 %, LVH (left ventricular failure) 2 %. 34 % had chest x-ray abnormalities such as cardiomegaly 14 %, pleural effusion 12 % and PTB (pulmonary tuberculosis) 2 %. Abnormal CD4 counts were noted in 94 % of patients, with 12 % having very low CD4 counts that is less than 50. Statistically significant pericardial effusion was noted with low CD4 counts on 2D ECHO cardiography. CONCLUSIONS The study concludes that decrease in CD4 count is statistically associated with increased pericardial effusion among HIV/AIDS patients. KEYWORDS CD4 Counts, HIV/AIDS Patients, Cardiovascular Dysfunction, Pericardial Effusion

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6

Talbot, Cynthia, and Burton Stein. "Vijayanagara." Journal of the American Oriental Society 114, no. 4 (October 1994): 656. http://dx.doi.org/10.2307/606180.

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7

Dallapiccola, A. L. "South Asia - George Michell: The new Cambridge history of India. I, 6: Architecture and art of southern India: Vijayanagara and the successor states. xxii, 302 pp. Cambridge, etc.: Cambridge University Press, 1995. £50." Bulletin of the School of Oriental and African Studies 60, no. 1 (February 1997): 168–69. http://dx.doi.org/10.1017/s0041977x00030044.

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8

Stein, Burton. "Book Reviews : Architecture and Art of Southem India; Vijayanagara and the Successor States by George Michell. (The New Cambridge History of India, volume 1.6) Cambridge University Press, 1995. Pp. xxi, 300. Maps, plans, photographic plates; bibliographical essay." South Asia Research 16, no. 2 (October 1996): 218–19. http://dx.doi.org/10.1177/026272809601600213.

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9

Lycett, Mark T., and Kathleen D. Morrison. "The “Fall” of Vijayanagara Reconsidered: Political Destruction and Historical Construction in South Indian History." Journal of the Economic and Social History of the Orient 56, no. 3 (2013): 433–70. http://dx.doi.org/10.1163/15685209-12341314.

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Abstract The eponymous capital of Vijayanagara was largely abandoned following the defeat of the imperial army at Talikota in 1565. The city was burned and looted and its monumental temple complexes, gateways, and images left in ruins. Despite large-scale damage to architecture in the city, however, the level and focus of destruction was strikingly variable. In this paper, we draw on the material record of late Vijayanagara temple complexes and other archaeological evidence to examine patterns of differentially distributed political violence. We suggest that these patterns may be understood, in part, in terms of the contemporary politics of sovereignty, incorporation, and reconstitution of elite authority. Drawing on these observations, we discuss the role of commemorative destruction as well as post-1565 temple rededications and abandonments in the afterlife of Vijayanagara as a social space. In particular, we examine the potential of monumental violence to act as a symbol or to index social memory through a creative and fluid process of instituting claims about the past, heritage, authenticity, and the nature of the present.

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10

Sinopoli, Carla M., and Kathleen D. Morrison. "Dimensions of Imperial Control the Vijayanagara Capital." American Anthropologist 97, no. 1 (March 1995): 83–96. http://dx.doi.org/10.1525/aa.1995.97.1.02a00110.

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Dissertations / Theses on the topic "Vijayanagara Art"

1

Rajarajan, R. K. K. "Art of the Vijayanagara-Nāyakas : architecture and iconography /." Delhi : Sharada Publishing House, 2006. http://catalogue.bnf.fr/ark:/12148/cb41321778n.

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2

Mercy, Nicole. "Recherches sur la peinture au Karnataka : de l’école de Vijayanāgar à l’école de Mysore, XVIème-XIXème." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL191.

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L’objet de ce travail est l’étude de la peinture au Karnataka depuis l’école de Vijayanāgar jusqu’à celle de Mysore, du XVIème au XIXème siècle. Nous avons tenté de réunir le corpus le plus large possible afin d’avoir une vision globale de l’art du Karnataka à travers ses peintures murales, ses manuscrits illustrés et ses images mobiles.Notre objectif était de mieux comprendre l’évolution de la peinture au Karnataka durant les trois cents ans qui séparent l’école de Vijayanāgar de celle de Mysore. Les seuls vestiges de l’école de peinture de Vijayanāgar se trouvent dans les peintures murales des temples Vīrabhadra de Lēpākṣī et celles du temple Virūpākṣa de Hampi. Nous présentons ces deux sanctuaires avant d’aborder l’école de peinture de Mysore et son iconographie, qui doit son rayonnement au roi Kṛṣṇarāja Woḍeyar III. A la même époque naissait aussi l’école de Surpur, inconnue jusqu’à aujourd’hui. Deux collections non publiées de miniatures provenant de Mysore et de Surpur nous ont permis de mieux comprendre l’évolution de ces écoles. La thèse prend aussi en compte d’autres développements spécifiques de l’art du Karnataka. Nous présentons en particulier les peintures murales du palais d’été de Tipu Sultan, qui se démarquent nettement des autres réalisations contemporaines, et des manuscrits d’un type original, nommés Uddharane, destinés à l’instruction des dévots adeptes du courant vīraśaiva
The aim of this work is to study the paintings of Karnataka from the school of Vijayanagar to that of Mysore. It covers the period from the XVIth to the XIXth century. Our goal was to better understand the evolution of painting in Karnataka during the three hundred years that separate both schools. The only remains of the Vijayanāgar School of Painting can be found in the murals of the Vīrabhadra Temples of Lēpākṣī and those of the Virūpākṣa Temple in Hampi. We discuss these two temples before evoking the school of painting of Mysore through its murals, manuscripts and miniatures. This school is closely connected to King Kṛṣṇarāja Woḍeyar III. Contemporarily to the school of Mysore appeared the school of Surpur, unknown until now. Two unpublished collections of miniatures from Mysore and Surpur have allowed us to better understand the evolution of these schools. Other pictorial achievements present specific developments in the art of Karnataka. We present the mural paintings of Tipu Sultan's summer palace, which stands out clearly from the previous era, as well as the Uddharane manuscript intended for the teaching of the devotees.We have tried to bring together in this work the widest possible corpus of murals, manuscripts and miniatures in order to have a global vision of painting in Karnataka

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Books on the topic "Vijayanagara Art"

1

Jayaprada, V. Vijayanagara temples at Tāḍapatri: An art-historical study. Delhi: Bharatiya Kala Prakashan, 1998.

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2

Shivarudraswamy, S. N. Vijayanagara temples in Karnataka. Mysore: Directorate of Archaeology and Museums, 1996.

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3

Mahalingam, A. The Vijayanagara-Nāyakas: Art and culture. Delhi: Sharada Pub. House, 2012.

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4

Kumari, Y. Nirmala. Social life as reflected in the sculptures and paintings of later Vijayanagara period, A.D. 1500-1650: With special reference to Andhra. Madras: T.R. Publications, 1995.

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5

Ramayana sculptures from Hampi-Vijayanagara. Delhi: Bharatiya Kala Prakashan, 2010.

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6

Talwar, H. T. Jaina art and architecture at Vijayanagara, Hampi. Mysore: Directorate of Archaeology and Museums, 1997.

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7

South India under Vijayanagara: Art and archaeology. Oxford: Oxford University Press, 2011.

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8

Archaeology, art, and religion: New perspectives on Vijayanagara. New Delhi: Oxford University Press, 2000.

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9

Material culture depicted in Vijayanagara temples. Delhi: Bharatiya Kala Prakashan, 2000.

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10

Royal imagery and networks of power at Vijayanagara: A study of kingship in South India. Delhi: Originals, 2010.

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