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Ðàçðàáîò÷èê ïðèëîæåíèÿ Iconography Of Visnu: IndiaNIC Infocom Limited

Iconography Of Visnu (In Northern India, Upto The Mediaeval Period)
by Kalpana S. Desai

The concept of Vi??u and the ramifications of the iconographic forms of this deity constitute one of the noblest themes in the realm of Indian images. Literature teems with references to forms of Vi??u in their variety. The development of the concept during the millennia right from the time of the Vedic hymns to the time of later-day ?ilpa texts presents a large and colourful picture of the deity in different forms to which the sculptor and painter from the earliest times have added their visual interpretation in different media creating sometimes their own interpretation of ideas recording concepts for which texts do not necessarily supply a literary picture, meticulously sometimes conforming to contemplative hymns and helping understanding of the texts better where they exist. Besides the Vedic roots of some of the concepts, general literature also, apart from the Epics and Pur??as, has supplied a stream of ever growing and flowing concepts. Though in tredh? nidadhe padam, there is the Vedic concept of Trivikrama, Trivikrama as known to later iconographic form, with or without the raised foot, in which his strides are emphasised, has his disposition of the attributes alone to determine the iconographic form. It is the Sa?kar?a?a V?sudeva concept however that has the earliest representation in sculpture and description in inscriptions mentioning temples, dedication of the deity and so forth. Vi??u, though invariably a deity wearing klr??a in later examples, is in his earliest form as Sa?karsana and V?sudeva crowned only by a turban, in common with other deities, including Indra, who, though kir??? from the beginning of the Christian era, is yet an u????? in the 2nd century B.C.

It is very happy accomplishment of Dr. Kalpana Desai to have written an exceedingly well thought out book on the Iconography of Vi??u confining herself to only north Indian representations. Considering the vast scope of the subject, it can easily have two distinct volumes, one for the northern varieties and another for the southern ones. She has gathered very valuable material, epigraphical and archaeological, Vedic, ?gamaic and iconographic from the Epics and Pur??as in addition to various valuable books and papers on iconography by different scholars on which she has freely drawn, discussed, interpreted and given her conclusions in a lucid and expressive way. Dr. Kalpana Desai has given valuable notes under each chapter and has chosen most appropriate pictures to illustrate her book. This is a valuable contribution to the iconography of Vi??u which scholars should welcome wholeheartedly. I hope that before long she would give a second volume equally instructive and informative on the fecund variety of images of Vi??u from the Deccan and the South.

C. Sivaramamurti
National Museum ?New Delhi?30th August, 1973

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