Some Contributions of the Pandya to South Indian Art

Artibus Asiae ◽  
1965 ◽  
Vol 27 (3) ◽  
pp. 265
Author(s):  
R. Nagaswamy
Keyword(s):  
Author(s):  
Anshuli Shukla

Since prehistoric times, colors have been the mainstay of painting. The role of colors in painting reveals charm and beauty. Generally, nature is a mine of colors. According to scientists, colors originate from sunlight, which combines colors. The combination of colors is visible in many styles under Indian art such as Ajanta style, Pal style, Apabhramsa style, Rajasthani style, Mughal style, Deccan style, Pahari style etc. Similarly, painting of Kerala also plays a special role in the context of painting colors of South Indian states. In which first of all the pictures painted in the cavity temples come. प्रागैतिहासिक काल से ही चित्रकला में रंगों का मुख्य स्थान रहा है। चित्रकला में रंगों की भूमिका आकर्षण एवं सुन्दरता को प्रकट करती है। सामान्यतः प्रकृति रंगों की खान है। वैज्ञानिकों के अनुसार, रंगों की उत्पत्ति सूर्य के प्रकाश से हुयी है जिसमें रंगों का समावेश मिलता है। रंगों का संयोजन भारतीय कला के अन्तर्गत कई शैलियों जैसे-अजन्ता शैली, पाल शैली, अपभ्रंश शैली, राजस्थानी शैली, मुगल शैली, दक्खन शैली, पहाड़ी शैली आदि में दृष्टव्य है। इसी प्रकार दक्षिण भारतीय राज्यों की चित्रकला रंगों के परिप्रेक्ष्य में केरल की चित्रकला भी विशेष भूमिका रखती है। जिसमें सर्वप्रथम गुहा मन्दिरों में चित्रित भिŸिा-चित्र आते हैं।


1981 ◽  
Vol 44 (3) ◽  
pp. 481-508
Author(s):  
D. R. Widdess

Detailed information about the rhythmic organization of Indian art-music in the pre-Muslim period is provided by three Sanskrit treatises: the Nātyaśāstra attributed to Bharata (compiled before the fifth century A.D.: hereafter cited as BhNS); the Dattilam of Dattila (DD; of similar date); and the Saṅgītaratnākara of Śārṅgadeva (SSR; written between 1210 and 1247). The system of rhythm described in these texts differs in many respects from the tālasystems of modern North and South Indian music. It is therefore of the greatest interest to find, albeit in a comparatively late source (c. 1100), examples of melodies from the pre-Muslim period preserved in notation, which appear to exemplify the early Indian rhythmic system, and from which it is possible to draw conclusions about the relationship between tala and melody.


1977 ◽  
Vol 36 (4) ◽  
pp. 705-709 ◽  
Author(s):  
Gary J. Schwindler

This work is another of Douglas Barrett's important contributions to the study of South Indian art. Dealing with temple construction and stone sculpture created during the period ca. A.D. 866–1014, this book appears to have been produced as a companion volume to the author's Early Cōla Bronzes (Bombay, 1965). However, the broader scope of Early Cōla Architecture and Sculpture provides an even greater wealth of opinion and information which supplies opportunities for endless conjecture and debate.


1987 ◽  
Vol 98 (9-10) ◽  
pp. 537-542
Author(s):  
K. V. Krishnamurthy ◽  
K. Sigamani

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