Hostname: page-component-cd9895bd7-fscjk Total loading time: 0 Render date: 2024-12-29T12:02:48.134Z Has data issue: false hasContentIssue false

The Development of Hindu Iconography

Published online by Cambridge University Press:  15 March 2011

S. V. Venkateswara
Affiliation:
Kumbakonam College

Abstract

Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Miscellaneous Communications
Copyright
Copyright © The Royal Asiatic Society 1918

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

page 519 note 1 Ballantyne, , Mahābhāṣya, p. 34.Google Scholar

page 520 note 1 Indian Antiquary, 1915, pp. 4152.Google Scholar

page 521 note 1 Probably the same as is described in the Catalogue of the Sārnāth Museum, p. 318Google Scholar (No. G24(c)). For Indra's thunderbolt in Buddhist art see Grünwedel, & Burgess, , Buddhist Art in India, pp. 38, 87.Google Scholar

page 521 note 2 Bṁhatsaṃhitā, ch. ii, vv. 47–8.Google Scholar

page 521 note 3 Dānakhaṇḍa, ch. ii, pp. 757 f.Google Scholar The ratha is mentioned, but not the horses.

page 522 note 1 Sastri, H. Krishna, South Indian Images of Gods and Goddesses, fig. 147.Google Scholar

page 522 note 2 Smith, V. A., History of Fine Art in India and Ceylon, p. 162 and fig. xxxv.Google Scholar

page 522 note 3 One of the works of the Sangam is assigned by Mr. Smith to as early a date as 100 a.c (Early History, 3rd ed., p. 453).Google Scholar

page 523 note 1 Smith, V. A., History of Fine Art, figs. 191, 192.Google Scholar

page 523 note 2 As always on Gupta coins. See also Cunningham's Bhārhut, plates xxi–iii (Śiri holding lotus in hand).

page 523 note 3 Ibid., p. 113; Catalogue of the Sārnāth Museum, pp. 318–20.Google Scholar

page 523 note 4 Smith, V. A., History of Fine Art, pp. 138, 163.Google Scholar

page 523 note 5 Catalogue of Coins in the Indian Museum, Calcutta, vol. iGoogle Scholar, see No. 1 of Kadphises II; Nos. 9, 10, 67, and 71 of Kanishka; Nos. 15, 16, 40, and 43 of Huvishka; and No. 1 of Vāsudeva.

page 524 note 1 The reference is to Mēghadūta (gōpavēṣasya Viṣṇōḥ).

page 524 note 2 Pāṇḍuraṅgaṣṭakam of Śaṅkarācārya.

page 524 note 3 Sastri, H. Krishna, South Indian Images, pp. 84, 148.Google Scholar

page 524 note 4 Catalogue of the Sārnāth Museum, pl. xviii, p. 165.Google Scholar Hēmādri describes Rudra with five faces and ten hands.

page 524 note 5 Sastri, H. Krishna, op. cit., pp. 77, 148.Google Scholar

page 525 note 1 The number of hands in a Sātvik image should never be more than four, and in a Tāmasik image never less than eight. Rājasik images have sir or eight arms (Śilpa-saṅgraha). The distinction is illustrated by the images of Naṭarāja in Sastri, H. K.'s book (op. cit.), pp. 7788.Google Scholar

page 526 note 1 Rāmāyaṇa i, 15. 16.Google Scholar

page 526 note 2 Whether in the Veda, as in the case of Rudra and Agni; or in the Purāṇas, as in the case of Gaṇēśa and other gods; or in the Āgamas, Vaiṣṇava, Śaiva, and Śākta