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Lines on Stone : The Prehistoric Rock Art of India. Revised and Enlarged Edition including 2500 Illustrations from the Clayman Archive /
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Lines on Stone and the accompanying CD-Rom of the dayman Archive offer an encyclopaedic view of the pre- and protohistoric Rock Art of India. The 3,000 or so illustrations give a sweeping view of the aesthetic as well as thematic vastness of the earliest Indian art. We see people in their daily chores, women nursing babies, carrying baskets, catching rats, working grinders, emptying baskets, while men with their microlith tipped spears hunt animals, climb trees, shoot their arrows at birds or fish. But we also see many enigmatic sceneries, which we can not 'read' any more, but then we know that the people of long past must have had their own mythologies which we might not be able to disentangle any more. These rock pictures therefore are a treasure which has to be cherished and protected like the proverbial apple of the eye: it is our only possibility to look into our own past, a past of which we have little otherwise. Although rock pictures were noticed by antiquarians in the nineteenth century, the systematic study of these pictures started only after the discovery of Bhimbetka and the excavations which followed during the 1970s. Bhimbetka is by now a well known rock art site, a tourist site of the first order in Central India on which the prestigious UN world heritage status of cultural property of mankind was conferred. But it also should be remembered that many more such sites are threatened by the economic transformation of India.
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1 online resource (2492 pages) : illustrations. :
Includes bibliographical references and index. :
9789004753358
Bharatanatyam Evolves : From Temple to Theatre and Back Again /
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Bharatanatyam is currently one of the most popular Indian classical dance styles, performed throughout India and the world. It originated in southern India, where it was taught by males and performed by female Devadasis, both of whom belonged to the same caste. Traditionally, the dance was associated with Hindu temples and courts and was performed in a variety of sacred and secular settings. Since the early twentieth century, both practitioners of and venues for the dance have expanded. It is now taught and performed globally by people from all castes and nationalities, including teachers and dancers of all genders and religions. Most performances are now public events presented on the concert stage. Anne-Marie Gaston traces the development of Bharatanatyam from its religious and secular roots. She gives details of the teachers who were most influential in the transmission of the dance from traditional to modern practitioners and discusses the role of different interpretations (banis). By describing traditional and modern performances and choreography, she traces changes in the repertoire and presentation that have taken place during the post-revival era. Trends in performances at the MMA, considered the most important venue for Bharatanatyam, are described. Comments from the author's in-depth studies of Bharatanatyam, as both performer and academic, give a historical perspective to the current manifestation of the dance. Her observations are drawn especially from recitals at the Madras Winter Festivals, 2011-15. The volume is profusely illustrated with the author's own photographs.
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1 online resource (180 pages) : illustrations. :
Includes bibliographical references and index. :
9789004754010