The Development of Hindu Iconography by Jitendranath Bandyopadhyay PDF.
Author – Jitendranath Bandyopadhyay,
Book – The Development of Hindu Iconography,
Category – Historical Book, English Book,
Language – English,
Book Size – 22 MB,
Book Pages – 492,
Collect the Historical book The Development of Hindu Iconography as PDF.
The Development of Hindu Iconography is written by Jitendranath Bandyopadhyay. He was a pioneer writer of Bengali literature. To show this development, not only a critical study of the existing relief and single sculptures of the Gupta, Kushan and pre-Kushan eras, but also a careful and systematic handling of the numerical and glyptic remains of India at the same time is essential. Which he has skillfully presented in this text.
When sculptural deities have not been found before, ancient Indian coins and sealing instruments help them to dream of their mode of representation in the distant past. The type of Buddha in Kanishka’s coinage is Bahasatimita, Agylises and Gaj-Lakshmi instrument in Rajubhula’s coinage and Varaha incarnation, one of the Adibaraha plays of King Bhoj of Gurjar Pratihara. Athar fully showed how they were based on contemporary representations of the same deity in the Indian plastics art.
When previously sculpted deities were not found, ancient Indian coins and seal instruments helped them tremendously to learn about their distant past and to dream of representation. The type of Buddha in Kanishka’s coinage is Bahasatimita, Agylises and Gaj-Lakshmi instrument in Rajubhula’s coinage and Varaha incarnation, one of the Adibaraha plays of King Bhoj of Gurjar Pratihara. Athar fully showed how they were based on contemporary representations of the same deity in the Indian plastics industry.
He felt the need to systematically collect the above materials related to Hindu sculpture and to study them carefully. As a result of years of collection, current work and rapid study, not only this kind of archeological information but also many new texts relevant to the subject, he has put it neatly in his book, which has not yet been fully noticed in any other author or text.
In this volume, however, the author deals mainly with the general principles of Hindu sculpture and the type of primitive sculpture of Hindu deities as determined by ancient Indian coins and seals. Thus it is complete in itself and he wants to follow with two more pieces on the innumerable images of Hinduism and their accessories.
In the first chapter of this book, after giving an idea on the above subject, he pointed out that Hindu sculpture should be studied in lines and various materials should be conducted in its scientific treatment.
In the 2nd and 3rd chapters provide a detailed discussion of the antiquity and origins of idol worship in India. Among them he critically attempts to present the previous color views on the above issues and gives his own views based on literary and archeological information.
In the 4th and 5th Chapters show how ancient Indian coins and seals could materially help determine the number of Hindu deities and the earliest figurative types of their symbols, many of which would otherwise have been unknown to all. The author has beautifully mentioned it in this text.
In the sixth chapter he discusses in detail the technique of the iconoclastic art in India with the help of various aboriginal texts, some of which have been critically studied by previous writers on the subject. He also discusses the various factors contributing to the development of this industry in India and the nature and extent of their individual contributions. This seventh chapter gives a perfect explanation of the various technical terms and terms that are often found in texts related to idols. Proper knowledge of which is essential for every student of Hindu iconography.
The eighth and final chapters deal with the Indian canons of iconometry. Which the author has analyzed with detailed and proven information subject to the need for a proper understanding for the study of this subject.
During this time he instituted in-depth comparisons with Indian canons that followed Egyptian and ancient Hellenistic artists. He felt the need to add three appendices to his book. In the second of which he re-edited the iconometric text entitled ‘Pratimamanalakshanam’ with translation and notes.
In all these works he has often quoted the opinions of various previous writers. He adds to the text the reasons why he has accepted or rejected them. He has submitted to this text for the reason that his approach to the above study is largely objective, and he has dealt with the subject mainly as a student of history and archeology.
Readers can collect and read various bengali, Hindi and English book as a PDF here.
He has prepared a bibliography as well as a bibliography in his book for the convenience of the readers. Needless to say, every effort has been made to make it as comprehensive and comprehensive as possible. The Sanskrit words for technical import are formerly corporate.
Sir Ashutosh Mukherjee was the first to give him the opportunity to study Indian art and archeology. So he sincerely took this opportunity. Dedicated his book as a symbol of gratitude for his sacred memory. And thinks that he should always be respected and nurtured. He is also indebted to his son Dr. Shyama Prasad Mukherjee, who is also the President of the Postgraduate Council for the Arts, from whom he has always received encouragement and support, for which he should be forever grateful.
We can only say that he made a sincere effort to shed some new light on the study of Indian art and archeology. So we have collected and added the historical book The Development of Hindu Iconography to this webpage for readers, students and researchers. All readers can collect this English book as a PDF file from this page and also read it online.
The PDF file of the historical book The Development of Hindu Iconography.