TY  - GEN
AU  - Rao, Rekha
TI  - Apsaras in Hoysala art : : a new dimension
SN  - 9788173053795
U1  - 730.954 
PY  - 2009///
CY  - New Delhi
PB  - Aryan Books International
KW  -  
N1  - Contents
Foreword 							v
Appreciation										ix
Preface 										xi
Acknowledgements									xix
Abbreviations										xx
List of Illustrations 									xxi
Part-I APSARA - THE DANCER
I. Introduction                                                                  				3
1. Technological Advancement 							4
2. Dynastic Greatness 									4
3. Religious and Social Developments 							5
II. General Description of the Belur Cennakesava Temple 				8
     The Structure of Belur Cennakesava Temple and Its Relation to the Mandala 	10
III. Apsaras 										15
1. Apsaras in Ancient Indian Literature 						15
2. Historical and Socio-Religious Aspects of Dancers - The Patras 			16
3. Sculptural Evidences in Karnataka 							18
4. Textual Reference 									25
IV. The Attendants of Apsaras 							30
       The Identification of the type of Dasi Present in the Apsara Sculptures 		31 
       of Belur Cennakesava Temple
V. A Brief Note on the Standing Postures Commonly Observed in Apsara Sculptures	33
VI. Rasa - Sentiments 									37
VII. Apsara in Srngara Rasa 							39
1.	Srngara Evoked in a Beautiful Place (Ramya Desa) 				40
2.	Srngara - Through Art (Gandharva Kala) 					41
A. Stringed Instruments ('Tata' Vadyas) 					43
B.   Percussion Instruments (Avanaddha Vadyas) 				44
C. Wind Instrument (Susira Vadya) 						47
D. Metallic Instrument - Cymbals (Ghana Vadya) 				47
E.   Graceful Dancing Postures 						48
3.	Srngara in a Pleasant Time (Ramya Kala) 					50
4.	Srngara through Dress (Vesa Bhogadi Sevanai) 				52
A. Apsara in 'Kesa £rrigara' (Hair Decoration) 				53
B.  Abharana Srngara (Decoration with Ornaments) 			54
C.  Srngara Avalokana (Admiring her Charm in a Mirror) 			54
VIII. Apsara in Vira Rasa 							57
IX. Apsara in Bhayanaka Rasa 						59
X. Apsara in Raudra Rasa 							62
XI Apsara in Adbhuta Rasa 							64
XII. Apsara in Hasya Rasa 							65
XIII. Apsara in Santa Rasa 							68
Epilogue - Part I 								69
Appendix
Musical Instruments Used by Apsara in Belur Cennakesava Temple     	73


Part-II APSARA - THE PHILOSOPHER
I. Introduction 								79
1. The Four States of the Soul - The 'Avasthas' 				80
2. 'Gunas' - The Texture of Thoughts and Actions 				81
3. Manifestation of Rajoguna in Jagrut Avastha 				82
4. Analysis of Apsara Sculptures in Jagrut Avastha – 
A Restless State of Mind              					84
A. Ambition to Look Good 							84
B.   Passion 									85
C. Pride and Vanity 								85
D. Haste and Anxiety 								86
E.   Superficial Lifestyle 							86
F.   Fluctuating Moods (Pleasure) 						86
G. Fluctuating Moods (Pain)                                     				87
H. Scheme for Pleasure 							87
I.    Anger 									87
J.    Fear and Anger 								88
II. Svapna Avastha - The Process of Transformation 			89
1. Analysis of Apsara Sculptures in Svapna Avastha                      		89
A. A Parade of Thoughts                                                            		90
B.  Manonigraha (Capturing the Mind) 					91
C. Destruction of Avidya (Ignorance) and May a (Illusion) 			91
2. TheKosas                    							92
III. Susupti Avastha - A State of Calmness 					95
1. Apsara in Susupti Avastha 						95
2. Manifestation of Sattvikguna in Susupti Avastha 			95
3. Nadayoga 									97
4. Ahata Nada - The Power of Sound 					99
5. Anahata Nada - The Vibrations of Soul and Music 			100
6. Control of Mind through Nada 						102
7. Kundalini Chakra 								103
8. The Four Stages of Sound 							106
9. Depiction of the Four Stages of Nadayoga in Apsara Sculptures 		110
10. Analysis of Apsara Sculptures in Susupti Avastha and the Stages 	111
 	of Ahata Nadayoga
A. First Stage of Nadayoga - Focussing the Mind on Para Nada 		111
B.  Second Stage of Nadayoga - Pasyanti: 					113
 The Visualisation of Knowledge -Svadhyaya
C. Third Stage of Ahata Nadayoga - Madhyama: An Exploration 		114
i. Tuning of the Body 								114
ii. Tuning of the Mind 							115
iii. Exploration of the Melody - Nadanusandhana 				115
iv. Absorbing the Intricacies of Rhythm Pattern - Laya yoga 		116
v. Dance - An Expression of Joy 						117
D. Fourth Stage in Nadayoga - Vaikhari 					119
11. Contemplation on Ahata and Anahata Sounds 				119
IV. Analysis of Apsara Sculptures in Tuny a Avastha - A State of Bliss 	121
Epilogue - Part II 								123
Glossary of Sanskrit Terms for Part I                                  		125
Glossary of Sanskrit Terms for Part II 					129
Bibliography                                                                                       	133
Index                        								135


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