Letteratura scientifica selezionata sul tema "Telugu Inscriptions"

Abstract Pandit Divi Gopalacharlu was a legendary Ayurvedic physician who provided valuable service to Ayurveda and made a remarkable contribution to the upliftment of Ayurveda. His primary education and Sanskrit studies were held in Machalipatnam, and he completed his studies at Mahant school in Tirupati and was conferred with the title “Acharya.” He completed his Ayurveda education at Maharajah’s Ayurveda Oriental School in Mysore. The British Government recruited him as a special plague officer in 1895. He succeeded in curing and controlling the disease. His services were applauded across India for his exceptional contribution and successful management of an emergency epidemiological condition through Ayurveda. Later, he worked as Chief Physician at a free dispensary hospital of Kanyaka Parameswari Devasthanam and Charities. He established the Ashramam of Ayurveda. He started teaching Ayurveda in Telugu and tried to create awareness among people about Ayurveda. He started Ayurvedashrama Granthamala and published nearly 20 Ayurvedic texts. He wrote translations and commentaries in Telugu for the classical Ayurvedic texts. He also started a journal, Dhanvantari, to publish various research outcomes of Ayurveda. He deciphered many inscriptions that had medical importance. He was honored with many awards and worked as the president of many committees. Through Kanyaka Parameswari Devasthanam and Charities, he started a free hospital and Ayurveda college. He established Madras Ayurveda Laboratory and started manufacturing and supplying Ayurvedic medicines all over India. He prepared hundreds of medicines and set standards for the preparations. This article covers his contributions and scholarliness in detail.

The present paper deals with the hero-stones of Vaidumba chiefs in the Rayalaseema region. The hero-stones of South India datable to the third century CE are found in N?g?rjunak?nda in Guntur district of Andhra Pradesh, in which names of the warriors are mentioned and are carved elaborately. In Rayalaseema three hundred and forty six hero-stones are found. Of these eighty four belong to Vaidumba chiefs. In Kadapa District alone fifty seven are found. Twenty five hero-stones are in Chittoor District and the remaining two in Anantapur District of Andhra Pradesh. More than five hero-stones with inscriptions, in characters of ninth-eleventh century CE in archaic Telugu are found, at Vand?di in Rayachoti Taluk of Kadapa district. Vaidumba chiefs were one of the important feudatory dynasties of the Western Ch?lukyas. They ruled from the eighth to fourteenth century CE Their original habitat was Vaidumbavr?lu in Chittoor District. When the Vaidumb?s became the masters of R?n?du-7000, the capital was shifted to Chippili in Madanapalli taluk of Chittoor District and then to Pottapi in Kadapa District.

Every archaeological remain is always found in context with certain space and building architecture. This is also the case with the archaeological finds at the site of Arjuna Metapa at Pejeng Village in Gianyar, Bali. Uncovering a holy bathing place is the focus of this research, which is based on supporting data in form of archaeological data found within the location. The methods being used to solve the problem are divided into two: data collection and data analyses. Data collecting involves surface survey, bibliographical study, and interviews, while data analyses include qualitative-artifactual analysis, comparative and correlation analysis, location/spatial analysis, and physical traces analysis. Data obtained from research and analyses reveal that the Arjuna Metapa Site was a patirthan (holy bathing place) with water spouts, indicated by two spouted statues on Arjuna Metapa pedestal, which are meditating Arjuna spouted statue and angel spouted statue. Supporting data in form of an angel statue, which has similar form and size, was also found at the Village Temple (Pura Desa) of Bedulu. Oral tradition also mentions that the area was known by the name of Uma Telaga and is believed to be a rice field that was previously a lake or bathing place. This is confirmed by the discovery of Air Tiga inscription in that location. The name Air Tiga (air means water and tiga means three) is probably refer to the number of statues found in that location, which is one meditating Arjuna spouted statue and two angels spouted statues.

In ancient times, small kingdoms of Nagas were established all over Northern India. Different branches of Nagas existed in different areas all over India. After the fall of Nala dynasty, the rule of Naga dynasty was established in Bastar region. Chhindak dynasty of Nagas was in power in Bastar. There were about 6 branches of the Chhindak clan of Nagas in India, out of which two branches were ruling in Chakrakot and Bhramarkot of today's Bastar. The same 4 branches of Chhindak clan were ruling in Bagalkot, Yelaburga, Belgutti and Bijapur of Karnataka. From around 760 A.D. to 1324 A.D., Chhindak rulers ruled Bastar for 700 years. In the 10th-11th century, the Chhindak rulers of Chakrakot established their independent kingdom. The Nagas ruled the Godavari region from about the first century to the fourth century, but there is no history of the Nagas between the fifth and seventh centuries. At the same time, there is information about the appearance of Guptas in Madhya Pradesh and Nagas in Karnataka under the name Chhindak.1 At the time when South Kosala was being ruled by the Kalchuris, at about the same time Bastar was under the rule of the Chhindak Naga kings. This Nagvanshi ruler held the title of “Bhogwati Purveshwar.”2 He was known as the Nagvanshi king of Chakrakot. In the Narayanapal inscription3, Dharavarsha has been given the title of “Maharaj Parambhattarak – Parmeshwar”. A Telugu inscription has been found from here, in which the names of Someshwara Dev and his queen are found. Who was probably a snake ruler. Two branches of the Naga rulers of Bastar are known, in which the symbol of the first branch was “Shavak Samyukta Vyaghra” and that of the second branch was “Kamal-Kadali.”4 On the basis of these symbols, it can probably be said that the first branch The rulers were Shaivites and the rulers of the other branch followed Vaishnav religion. Naga ruler Someshwar Dev had patronized Jainism, many statues of Jain Tirthankaras of his reign are found in every corner of Bastar.

Panagal of Nalgonda was a significant religious place during Kakatiya period. An inscription mentioning Pratap Rudra the greatest Kakatiyaking on PachalaSomeswara temple supports the assertion that these temples were erected for the greater glory of the Kakatiya ruler's favorite god, Shiva.Chaya SomeswaraSwamy temple and PachalaSomeswara temple are two well-known Shiva temples.The Chaya Someswara is a trikuta shrine with a common hall formed by plain wall and a nominal adhisthana for its vimana with Phamsana superstructures crowned with a square shikara. When daylight is present, the Shiva lingam of Chaya Someswara (chaya means "shadow" in Telugu) is straddled by a constant shadow of a pillar.The pillars of the temple are adorned with relief sculpture of episodes from the two great epics of India, the Ramayana and the Mahabharata. The research paper is a study of the Art and Architecture of the Chaya Someshwaraand theshadow that falls inside the garbhagriha. The paper is based on field work and survey conducted as part of documenting the temples for applying a Project.

This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.