Apsaras in Hoysala art : (Record no. 41219)
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| 000 -LEADER | |
|---|---|
| fixed length control field | 05091 a2200169 4500 |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER | |
| International Standard Book Number | 9788173053795 |
| 082 ## - DEWEY DECIMAL CLASSIFICATION NUMBER | |
| Classification number | 730.954 |
| Item number | RAO |
| 100 ## - MAIN ENTRY--PERSONAL NAME | |
| Personal name | Rao, Rekha |
| 245 ## - TITLE STATEMENT | |
| Title | Apsaras in Hoysala art : |
| Remainder of title | a new dimension |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. (IMPRINT) | |
| Name of publisher, distributor, etc | Aryan Books International |
| Date of publication, distribution, etc | 2009 |
| Place of publication, distribution, etc | New Delhi |
| 300 ## - PHYSICAL DESCRIPTION | |
| Extent | xxii,138p. |
| 505 ## - FORMATTED CONTENTS NOTE | |
| Formatted contents note | Contents<br/>Foreword v<br/>Appreciation ix<br/>Preface xi<br/>Acknowledgements xix<br/>Abbreviations xx<br/>List of Illustrations xxi<br/>Part-I APSARA - THE DANCER<br/>I. Introduction 3<br/>1. Technological Advancement 4<br/>2. Dynastic Greatness 4<br/>3. Religious and Social Developments 5<br/>II. General Description of the Belur Cennakesava Temple 8<br/> The Structure of Belur Cennakesava Temple and Its Relation to the Mandala 10<br/>III. Apsaras 15<br/>1. Apsaras in Ancient Indian Literature 15<br/>2. Historical and Socio-Religious Aspects of Dancers - The Patras 16<br/>3. Sculptural Evidences in Karnataka 18<br/>4. Textual Reference 25<br/>IV. The Attendants of Apsaras 30<br/> The Identification of the type of Dasi Present in the Apsara Sculptures 31 <br/> of Belur Cennakesava Temple<br/>V. A Brief Note on the Standing Postures Commonly Observed in Apsara Sculptures 33<br/>VI. Rasa - Sentiments 37<br/>VII. Apsara in Srngara Rasa 39<br/>1. Srngara Evoked in a Beautiful Place (Ramya Desa) 40<br/>2. Srngara - Through Art (Gandharva Kala) 41<br/>A. Stringed Instruments ('Tata' Vadyas) 43<br/>B. Percussion Instruments (Avanaddha Vadyas) 44<br/>C. Wind Instrument (Susira Vadya) 47<br/>D. Metallic Instrument - Cymbals (Ghana Vadya) 47<br/>E. Graceful Dancing Postures 48<br/>3. Srngara in a Pleasant Time (Ramya Kala) 50<br/>4. Srngara through Dress (Vesa Bhogadi Sevanai) 52<br/>A. Apsara in 'Kesa £rrigara' (Hair Decoration) 53<br/>B. Abharana Srngara (Decoration with Ornaments) 54<br/>C. Srngara Avalokana (Admiring her Charm in a Mirror) 54<br/>VIII. Apsara in Vira Rasa 57<br/>IX. Apsara in Bhayanaka Rasa 59<br/>X. Apsara in Raudra Rasa 62<br/>XI Apsara in Adbhuta Rasa 64<br/>XII. Apsara in Hasya Rasa 65<br/>XIII. Apsara in Santa Rasa 68<br/>Epilogue - Part I 69<br/>Appendix<br/>Musical Instruments Used by Apsara in Belur Cennakesava Temple 73<br/><br/><br/>Part-II APSARA - THE PHILOSOPHER<br/>I. Introduction 79<br/>1. The Four States of the Soul - The 'Avasthas' 80<br/>2. 'Gunas' - The Texture of Thoughts and Actions 81<br/>3. Manifestation of Rajoguna in Jagrut Avastha 82<br/>4. Analysis of Apsara Sculptures in Jagrut Avastha – <br/>A Restless State of Mind 84<br/>A. Ambition to Look Good 84<br/>B. Passion 85<br/>C. Pride and Vanity 85<br/>D. Haste and Anxiety 86<br/>E. Superficial Lifestyle 86<br/>F. Fluctuating Moods (Pleasure) 86<br/>G. Fluctuating Moods (Pain) 87<br/>H. Scheme for Pleasure 87<br/>I. Anger 87<br/>J. Fear and Anger 88<br/>II. Svapna Avastha - The Process of Transformation 89<br/>1. Analysis of Apsara Sculptures in Svapna Avastha 89<br/>A. A Parade of Thoughts 90<br/>B. Manonigraha (Capturing the Mind) 91<br/>C. Destruction of Avidya (Ignorance) and May a (Illusion) 91<br/>2. TheKosas 92<br/>III. Susupti Avastha - A State of Calmness 95<br/>1. Apsara in Susupti Avastha 95<br/>2. Manifestation of Sattvikguna in Susupti Avastha 95<br/>3. Nadayoga 97<br/>4. Ahata Nada - The Power of Sound 99<br/>5. Anahata Nada - The Vibrations of Soul and Music 100<br/>6. Control of Mind through Nada 102<br/>7. Kundalini Chakra 103<br/>8. The Four Stages of Sound 106<br/>9. Depiction of the Four Stages of Nadayoga in Apsara Sculptures 110<br/>10. Analysis of Apsara Sculptures in Susupti Avastha and the Stages 111<br/> of Ahata Nadayoga<br/>A. First Stage of Nadayoga - Focussing the Mind on Para Nada 111<br/>B. Second Stage of Nadayoga - Pasyanti: 113<br/> The Visualisation of Knowledge -Svadhyaya<br/>C. Third Stage of Ahata Nadayoga - Madhyama: An Exploration 114<br/>i. Tuning of the Body 114<br/>ii. Tuning of the Mind 115<br/>iii. Exploration of the Melody - Nadanusandhana 115<br/>iv. Absorbing the Intricacies of Rhythm Pattern - Laya yoga 116<br/>v. Dance - An Expression of Joy 117<br/>D. Fourth Stage in Nadayoga - Vaikhari 119<br/>11. Contemplation on Ahata and Anahata Sounds 119<br/>IV. Analysis of Apsara Sculptures in Tuny a Avastha - A State of Bliss 121<br/>Epilogue - Part II 123<br/>Glossary of Sanskrit Terms for Part I 125<br/>Glossary of Sanskrit Terms for Part II 129<br/>Bibliography 133<br/>Index 135<br/><br/> |
| 600 ## - SUBJECT ADDED ENTRY--PERSONAL NAME | |
| 9 (RLIN) | 40647 |
| 890 ## - Country | |
| Country | India |
| 891 ## - Topic | |
| Topic | GENERAL |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) | |
| Source of classification or shelving scheme | Dewey Decimal Classification |
| Withdrawn status | Lost status | Source of classification or shelving scheme | Damaged status | Not for loan | Collection code | Withdrawn status | Home library | Current library | Date acquired | Source of acquisition | Cost, normal purchase price | Total Checkouts | Total Renewals | Full call number | Barcode | Date last seen | Date last borrowed | Cost, replacement price | Price effective from | Koha item type |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Dewey Decimal Classification | General | CEPT Library | CEPT Library | 02/09/2015 | 11 | 943.07 | 6 | 8 | 730.954 RAO | 013874 | 31/10/2022 | 27/09/2022 | 1450.00 | 10/04/2015 | Book |