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Many Heads, Arms and Eyes: Origin, Meaning, and Form of Multiplicity in Indian Art (Studies in Asian Art and Archaeology, V. 20) [Hardcover]

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Item description for Many Heads, Arms and Eyes: Origin, Meaning, and Form of Multiplicity in Indian Art (Studies in Asian Art and Archaeology, V. 20) by Doris Meth Srinivasan...

One of the first things that strike the Western viewer of Indian art is the multiplicity of heads, arms and eyes. This convention gows out of imagery conceived by Vedic sages to explain creation. This volume investigates the meaning of this convention. The author concentrates on its origins in Hindu art and on preceeding textual references to the phenomenon of multiplicity. The first part of the book establishes a general definition for the convention, while the second part applies this literary information mainly to icons of Yaksa, Siva, Vasudeva-Krsna and the goddess, and indicates how Brahmanical cultural norms can transmit textual symbols. Both part one and two provide an iconic modules and a methodology to generate interpretations for icons through to the Gupta age.



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Item Specifications...


Studio: Brill Academic Publishers
Pages   355
Est. Packaging Dimensions:   Length: 1.25" Width: 8.75" Height: 12"
Weight:   3.55 lbs.
Binding  Hardcover
Release Date   Aug 1, 1997
Publisher   Brill Academic Publishers
ISBN  9004107584  
ISBN13  9789004107588  


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Product Categories

1Books > Subjects > Arts & Photography > Art > Art History > Criticism
2Books > Subjects > Arts & Photography > Art > Art History > General
3Books > Subjects > Arts & Photography > Art > Art History > Regional > Asian
4Books > Subjects > Arts & Photography > Art > General
5Books > Subjects > History > Asia
6Books > Subjects > Home & Garden > Interior Design > General
7Books > Subjects > Nonfiction > Social Sciences > General
8Books > Subjects > Professional & Technical > Architecture > General
9Books > Subjects > Professional & Technical > Architecture > Interior Design > General



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Multiplying Possibilities  Jun 10, 2000
A finely honed search for a textual prehistory of a visual convention: the multiplying arms and heads of many Indian images. Srinivasan finds evidence to suggest cosmogonic motivations in the origin and development of what she calls the multiplicity convention, and she weaves early textual sources and archaeological evidences from the northwest particularly effectively, if at times with a monothematic doggedness that misses some of the multiple layerings of the convention she analyses.
 

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