000			05091 a2200169 4500
020			_a9788173053795
082			_a730.954 _bRAO
100			_aRao, Rekha _942570
245			_aApsaras in Hoysala art : _ba new dimension
260			_bAryan Books International _c2009 _aNew Delhi
300			_axxii,138p.
505			_aContents 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
600			_940647
890			_aIndia
891			_aGENERAL
942			_2ddc
999			_c41219 _d41219