Relevant bibliographies by topics / Vijayanagara Sculpture

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Vijayanagara Sculpture'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Vijayanagara Sculpture"

1

Jaiswal, Suvira. "Sculpture at Vijayanagara: Iconography and Style." Indian Historical Review 27, no. 1 (2000): 106–7. http://dx.doi.org/10.1177/037698360002700112.

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S, Jeyashree. "Rama Ravana Battle Scenes in Tamil Temple Sculptures." International Research Journal of Tamil 4, SPL 2 (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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3

Behera, Subhakanta. "Sculpture at Vijayanagara: Iconography and Style. By L. Dallapiccola Anna and Verghese Anila. Vijayanagara Research Project Monograph Series, no. 6. New Delhi: Manohar, 1998. 390 pp. Rs 1100/$82.95 (cloth)." Journal of Asian Studies 63, no. 3 (2004): 822–23. http://dx.doi.org/10.1017/s0021911804002086.

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Blurton, Richard. "The Great Platform at Vijayanagara. Architecture and Sculpture. By Anna L. Dallapiccola with a chapter by George Michell (Volume 12 of the Vijayanagara Research Project Monograph Series). pp. 95. Delhi, Manohar and the American Institute of Indian Studies, 2010." Journal of the Royal Asiatic Society 28, no. 2 (2017): 392–95. http://dx.doi.org/10.1017/s1356186317000554.

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5

Willis, Michael. "Sculpture at Vijayanagara: iconography and style. By Anna Dallapiccola and Anila Verghese. pp. xxv, 156, 142 figs., 117 plates, 26 maps. New Delhi, Manohar for the American Institute of Indian Studies, 1998." Journal of the Royal Asiatic Society 9, no. 2 (1999): 311–13. http://dx.doi.org/10.1017/s1356186300011196.

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6

"SELECTION OF CLASSIFIER MODELS FOR INTRUSION DETECTION SYSTEM(IDS)." International Journal For Innovative Engineering and Management Research, September 25, 2021, 184–91. http://dx.doi.org/10.48047/ijiemr/v10/i09/24.

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The ChintalaVenkataramana Temple in Tadapatri, Andhra Pradesh, holds a significant role in the history of VijayanagaraArt.The temple built in the last quarter of the fifteenth century is a treasure house of exquisite craftsmanship. The magnificence of the Vijayanagara dynasty is not merely due to the magnitude of the temples but also for its artistic and decorative richness. ChintalaVenkataramana Temple and BuggaRamalingeswara temples are the finest examples displaying the richness of the Vijayanagara kings at Tadipatri. The ChintalaVenkataramana Temple is unique as it differs from the norm when compared to other temples of the Vijayanagara dynasty in few aspects. This temple, unlike the others are not very big in size and neither the pillars in the mandapas are so martial and huge. The notable feature of the temple is the stone chariot. The outer walls of the ardhamandapa and the shrine contains exquisite reliefs of narratives from the Ramayana and the Mahabharata. The sculptures, most of them narratives offer a visual treat of the episodes from the epic, the Bhagavataand from other mythological events making the temple unique and special. The aim of this paper is to discuss the narrative sculptures which are unique. The iconographical panels which refers to the epics and scenes from mythology will be discussed along with the artistic content
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Dissertations / Theses on the topic "Vijayanagara Sculpture"

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Le, Sauce-Carnis Marion. "Du héros épique à l'icône divine. L'image de Rama dans les décors sculptés de l'empire de Vijayanagar." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA073.

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Cette thèse étudie l’émergence du culte de Rāma à travers l’évolution de son iconographie dans les décors sculptés des temples de l’époque de Vijayanagar. À partir du XIIe siècle, Rāma qui, jusqu’ici, était un avatar de Viṣṇu, se détache de sa tutelle pour acquérir une autonomie de culte, avec ses propres dévots. Nous nous sommes demandé dans quelle mesure le changement de statut de Rāma était perceptible dans les reliefs qui le prennent pour sujet et comment l’étude de ces reliefs pouvait nous éclairer sur ce changement. Notre étude se fonde sur un corpus d’environ 2700 reliefs, relevés dans 47 temples sur tout le territoire de l’empire (Karnataka, Andhra Pradesh, Tamil Nadu). Trois catégories de reliefs se dégagent : les cycles narratifs, les séquences narratives et les reliefs iconiques. En comparant les modes de représentation au sein d’une même catégorie, puis entre catégories, nous avons observé l’importance prise par les images iconiques. Nous avons constaté le faible rôle du régionalisme, mais plutôt une homogénéité à travers l’empire, confirmée par le rapprochement que nous avons fait des reliefs avec six versions du Rāmāyaṇa, et qui démontre que les différentes régions ont toutes eu, de préférence, recours à la même version. Cette analyse s’inscrit dans un examen plus vaste de la place de Rāma dans la culture indienne et aboutit à des conclusions sur la relation entre arts visuels et littérature, les liens entre Rāma et la royauté de Vijayanagar et montre les différents moyens de signifier la divinité désormais accomplie de Rāma<br>This thesis studies the emergence of the cult of Rāma through the development of his iconography in the sculpted decoration of temples from the Vijayanagara era. From the 12th century, Rāma, who until then had been an avatar of Viṣṇu, broke away and acquired a separate cult, with his own worshippers. We wondered to what extent the change in Rāma’s status could be observed in the reliefs in which he features and how studying these reliefs could shed light on this change. Our study is based on a corpus of around 2700 reliefs from 47 temples throughout the territory of the Empire (Karnataka, Andhra Pradesh, Tamil Nadu). Three categories of relief can be identified: narrative cycles, narrative sequences and iconic reliefs. When we compared the means of representation within each category, then between categories, we noted the increasingly important role of iconic images. We observed little difference between regions, but rather homogeneity throughout the Empire, confirmed by our comparison between the reliefs and six versions of the Rāmāyaṇa, which showed that the various regions all favoured the same version. This analysis forms part of a broader study of the role of Rāma in Indian culture and leads to conclusions on the relationship between visual arts and literature, the links between Rāma and the Vijayanagara royalty, and the different ways of representing the divine status that Rāma had, by then, acquired
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Books on the topic "Vijayanagara Sculpture"

1

Vijayanagara temples. Ganga Kaveri Pub. House, 2000.

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2

Vijayanagara sculptures at Hampi. Bharatiya Kala Prakashan, 2011.

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3

Dallapiccola, Anna L. Sculpture at Vijayanagara: Iconography and style. Manohar Publishers & Distributors for American Institute of Indian Studies, 1998.

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4

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

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5

1944-, Dallapiccola Anna L., and American Institute of Indian Studies., eds. The Ramachandra Temple at Vijayanagara. Manohar, American Institute of Indian Studies, 1992.

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6

Aruṇi, Es Ke. Yalahaṅka nāḍa prabhugaḷa vāstuśilpa-śilpakale. Редактори Jamuna Em editor та Bangalore University Prasārāṅga. Prasārāṅga, Beṅgaḷūru Viśvavidyālaya, 2007.

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7

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

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8

Verghese, Anila. Religious traditions at Vijayanagara, as revealed through its monuments. Manohar, 1995.

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9

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

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

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Book chapters on the topic "Vijayanagara Sculpture"

1

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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