By Ali Javid
В книге представлены сотни индийских храмовых комплексов и связанных с ними скульптур и фресок. Даётся краткий обзор поворотных моментов истории Индии, вкратце сообщается об основных религиозных группах, создавших монументальные памятники искусства и описываются связанные с ними стадии развития различных архитектурных компонентов и художественных стилей в различных регионах Индии за прошедшие тысячи лет - от доисторических рисунков в пещерах, древних пещерных храмов, высеченные в твердых скалах, до более современных христианских церквей европейского стиля в Гоа.Образцы сканов: .
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Additional resources for World Heritage Monuments and Related Edifices in India
Sandstone. 31 World Heritage Monuments and Related Edifices in India Village life is represented by men working in the field (Fig. 35) and a woman worshiping (Fig. 36). A curvaceous female with slightly bulging belly standing under a tree with her hands spread wide (Fig. 37), a man and women with their hands arms around each other’s waists (Fig. 38) and an embracing mithuna couple (Fig. 39) depict love. Fig. 39. Mahabodhi temple. Railing. Mithuna couple. Ca. 2nd Century. Sandstone. Surya is carved standing in chariot drawn by four energetic horses (Fig.
Original carvings in the caves depict worship of trees possibly reflecting Buddhist or Hindu influence. In Jainism Tirthankaras are not ultimate gods. Most of the caves are not high enough to stand or deep enough for sleeping. ters back. None of the caves have inside pillars, which in a cave are nonfunctional anyway. The doors are small and were probably fixed with single wooden shutter. The numbers of doors vary from one to four depending on the size of the cell and were the only source of light except in cave 1.
Next the king is shown standing in front of a tree with his bow drawn near his body in his right hand. A deer is standing under the tree. A supple, curvaceous, lovely maiden is sitting perched on a fork of the tree with her arm extended in a gesture imploring the hunter not to shoot the deer. She appears agitated and, sliding from the tree, is ready to jump in front of the deer. This was the first meeting of Shakuntala with her lover Dushyanta. Kalidasa (ca. 400 CE) the Indian poet, made the rest of the love story renowned.