1

INTERNATIONAL SEMINAR

ON

SYMBOLISM IN INDIAN ART,

ARCHAEOLOGY AND LITERATURE

1-3 December 2016

ABSTRACT BOOK

Deccan CollegePost-Graduate and Research Institute, Pune

(Deemed University)

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Convener

Prof. Vasant Shinde

ViceChancellor,

Deccan College Post-graduate and Research institute

Deemed University, Pune-6

E-mail: vc@dcpune.ac.in

Coordinators

Dr. Shrikant Ganvir, Department of AIHC and Archaeology

E-mail: shrikant.ganvir@dcpune.ac.in

Mr. Rahul Mhaiskar, Department of Linguistics

E-mail: rahul.mhaiskar@dcpune.ac.in

Mr. Hari Palave, Department of Sanskrit and Lexicography

E-mail: hari.palave@dcpune.ac.in

Chief GuestProf.Y. Sudershan Rao

Guest of HonourDr Senarath Dissanayake

Keynote Speaker

Dr. Kirit Mankodi

‘The Plunder of India’s Heritage’

Chancellor

Prof. A. P. Jamkhedkar

will preside over the function.

This seminar is sponsored by the Indian Council of Historical Research.

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MESSAGEby

Dr. A. P. Jamkhedkar, Chancellor

I welcome all the delegates participating in the International Seminar

on “Symbolism in Indian Art, Archaeology and Literature”.

I wish this conference will discuss important research issues pertaining

to symbolism of architecture, icons, artefacts, memorial stones, texts,

paintings, folk cults, and will also provide an academic platform to the future

generation.Symbolism of ancient culture is a significant aspect to comprehend

multi-faceted dimensions of the past.

I wish magnificent success of the conference.

Deccan College, Deemed University, Pune

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FOREWORDby

Prof. Vasant Shinde, Vice-Chancellor

I am pleased to welcome you all participating in the International Seminar on

‘‘Symbolism in Indian art, Archaeology and Literature’’.

This seminar aims at discussing significance of symbolism in Indian art, archaeology

and literature to reconstruct the cultural history of ancient India. There will be

discussion on multiple paradigms of ancient Indian symbols as envisaged in art,

archaeological remains, culture, architecture, texts, considering cultural, sociological,

religious, anthropological, mythological significance with spatial and temporal contexts.

The seminar will also highlight recent research trends in various areas of symbolism

of Indian culture.International and national scholars are presenting their researches in

this Seminar.

Around 180 scholars are presenting papers in this International Seminar on different

themes such as symbolism depicted in prehistoric art, epistemological analysis of

ancient belief system, symbolism of different paradigms of ancient culture, religious

meaning of ancient symbols, contextual analysis of decorative motifs, iconographic and

iconological interpretation of architectural and art-historical heritage, symbolism reflected

through iconographic and architectural elements, historiographical analysis of symbolism,

folk deities and their symbolic association, mystery of symbols depicted on coins and

seals, contextual meaning of religious narratives, analytical study of rituals, symmetrical

analysis of motifs on pottery, symbolic interpretation of landscape, symbolism envisioned

through texts, etymology of symbols, symbolic interpretation of memorial stones,

symbolism of artefacts preserved in archaeological context etc.

The genesis of thought-process evolved through this seminar will not only provide

new directions for further research in the fields of Indian culture but also is going

to provide a new platform for young generation.

I wish all the best for grand success of the Seminar.

Deccan College, Deemed University, Pune

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Central Organizing Committee

Prof. V.S. Shinde (Chairperson)

Prof. J.D. Sathe

Prof. Sushama Deo

Prof. K. N. Hota

Prof. Shailendra Mohan

Prof. Vijay Sathe

Shri C.V. Joshi

Smt. Trupti More

Shri P.C. Khedekar

Registration Committee

Prof . P. D. Sable (Chairperson)

Dr. Shubhangi Kardile

Dr. Supriya Mahajan

Dr. Kanchana Bhaisare

Smt. Astha Dibyopama

Smt. Megna Carvalho

Smt. Meena Kengar

Smt. Vijaya Mandlik

Shri R.R. Shigwan

Shri Samadhan Shinde

Smt. Priya Ahire

Shri M.M. Londhe

Smt. Sarika Kamthe

Smt. Dhanashri Sarpale

Publication Committee

Prof. Sonal Kulkarni-Joshi (Chairperson)

Dr. Arati Deshpande-Mukherjee

Dr. Amruta Sarkar

Dr. Shilpa Sumant

Dr. Gurudas Shete

Smt. Khusboo Parghi

Dr. Kirti Kulkarni

Dr. Pankaj Goyal

Shri Prateek Chakraborty

Dr. S. P. Ganvir

Shri R.R. Ghanekar

Smt. Manjiri Karambelkar

Academic Session Programme

Committee

Dr. Prasad Joshi (Chairperson)

Dr. P.C. Sahoo

Dr. P.P.Dandvate

Dr. Arati Deshpande-Mukherjee

Dr. Shilpa Sumant

Shri Gopal Joge

Dr. Gurudas Shete

Smt. Nisha Sawant-Kulkarni

Smt. Astha Dibyopama

Smt. Khusboo Parghi

Shri Prateek Chakraborty

Dr. Kirti Kulkarni

Dr. S. P. Ganvir

Shri Amogh Prabhudesai

Shri Bhav Sharma

Smt. Rucha Abhyankar

Shri Ganesh Sable

Abstract Committee

Dr. Shilpa Sumant (Chairperson)

Prof. Sonal Kulkarni-Joshi

Dr. Prasad Joshi

Dr. S. P. Ganvir

Shri. Gopal Joge

Smt. Madhavi Godbole

Smt. Khusboo Parghi

Shri Amogh Prabhudesai

Shri Bhav Sharma

Dr. Pankaj Goyal

Dr. Shantanu Vaidya

LIST OF COMMITTEES

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Stage & Hall Management Committee

Dr. Veena Mushrif-Tripathy (Chairperson)

Dr. Pradnya Deshpande

Smt Vijaya Valhe

Smt. Khusboo Parghi

Shri V.C. Kamble

Shri B.S. Gajul

Shri H.S. Bhandare

Smt. Pallavi Chhalare

Smt. Kanchan Desai

Smt. Sarika Chavan

Shri C.S. Shendge

Shri Vijay Dhone

Smt. B.M. Kamble

Shri Neelesh Humbre

Shri Prashant Humbre

Shri Ganesh Taware

Shri D.R. Bhilare

Shri S.N. Jadhav

Shri S.R. Gaikwad

Accommodation Committee

Dr. Satish Naik (Chairperson)

Shri. Hari Palave

Shri P.C. Khedekar

Shri J.G. Kulkarni

Shri Amit Pendam

Shri Bansi Lawhale

Shri Sambhaji Jadhav

Shri Yogesh Devtarse

Shri S.V. Valunj

Shri S. Shendge

Exhibition Committee

Shri B.S. Gajul (Chairperson)

Dr. Shahida Ansari

Shri G.D. Mandke

Smt. Neelam Dhapare

Smt. Manjiri Kulkarni

Shri. Shridhar Lohkare

Shri. R.R. Shigwan

Shri B.S. Katare

Shri K.B. Gaikwad

Shri S.M. Bhagwat

Shri Gujar

Shri Manohar Khairnar

Reception Committee

Dr. Kantikumar Pawar (Chairperson)

Shri Amit Pendam

Shri Sambhaji Jadhav

Shri B.S. Waghmode

Shri Shridhar Lohkare

Shri H.S. Bhandare

Photography, Presentation System &

Technical Support Committee

Shri Satish Bangar (Chairperson)

Shri. Sunil Jadhav

Shri Sumeet Jadhav

Shri Sanjay Hargude

Shri. Rahul Mhaiskar

Shri Vijay Pawar

Shri Jairaj Bhilare

Shri Gajanan Ambekar

Shri Yogesh Pardeshi

Publicity Committee

Dr. Prabodh Shirvalkar (Chairperson)

Shri Amogh Prabhudesai

Shri Prateek Chakraborty

Dr. S. P. Ganvir

Shri G. V. Pahade

Smt. Jyoti Memjade

Fund Raising Committee

Smt. Madhavi Godbole (Chairperson)

Dr. Kantikumar Pawar

Shri Hari Palave

Dr. Sachin Joshi

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Shri. B.S. Gajul

Shri. Waghmode

Shri. B.B. Dighe

Shri Ganesh Kachi

Refreshment & Food Arrangement

Committee

Dr. Vrushali Bhosale (Chairperson)

Prof. Shailendra Mohan

Shri. Rahul Mhaiskar

Smt. Noorjahan Pathan

Shri Ganesh Shilwane

Smt. Sarika Chikode

Shri D.S. Survase

Shri Prashant Pasnur

Shri Ambawale

Shri T.H. Rathod

Shri D. B. Dalvi

Shri M.M. Chavare

Smt. Ujwala Karande

Shri Chandrakant Shendge

Shri. Ganesh Kachi

Shri. Anil Dhumal

Shri. Burkunde

Smt. Lalita Kamble

Shri. Mohan Singh

Invitation and Certificate Preparation

Committee

Dr. Pradnya Kulkarni (Chairperson)

Dr. S. P. Ganvir

Dr. S. A. Pradhan

Shri. S. D. Rokade

Shri. B. B. Dighe

Shri. B. S. Waghmode

Shri. Sanjay Hargude

Smt. Meena Kengar

Smt. Vijaya Mandlik

Shri. Amin

Cultural Programme Committee

Dr. Amrita Sarkar (Chairperson)

Dr. Pradnya Kulkarni

Smt. Manjiri Kulkarni

Smt. Astha Dibyopama

Shri. Bansi Lawhale

Smt. Bhagyashri Kamble

Shri. Raju Savale

Accounts Committee

Smt. Anita Sonawane (Chairperson)

Dr. Prasad Joshi

Dr. Shailendra Mohan

Smt. Trupti More

Shri. Rahul Mhaiskar

Smt. Pratibha Hole

Smt. Ujawala Kadam

Shri. Shyam Walke

Shri. Vijay Omble

Smt. M. G. Jekate

Shri. Mandar Chavare

Felicitation Committee

Dr. Pradnya Deshpande (Chairperson)

Smt. Trupti More

Smt. Vijaya Valhe

Shri. B. S. Gajul

Smt. Nilam Dhapare

Smt. Priya Ahire

Shri. Vijay Kute

Transporatation Committee

Shri. Nilesh Jadhav (Chairperson)

Shri. Sachin Joshi

Dr. Pankaj Goyal

Shri. Bansi Lawhale

Shri. Kishor Shendage

Shri. H. S. Bhandare

Shri. Vijay Omble

Shri. M. M. Londhe

Shri. D. B. Dalvi

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List of Authors [A to Z] and Paper Titles

No. Name Topic

1 Aakanksha Lord Dhanvantari: Symbol of Ancient IndianMedical Knowledge

2 Aaryaa Ashutosh Joshi The Concept of menstruation of women and itssymbolism with Menstruation of The Earth andrivers.

3 Abhiruchi Oke and The Chausath-yoginis and the symbolism of theirAnuja Patwardhan relationship with Bhairava

4 Ajay Pratap The symbolic corpus of Vindhyan rock art

5 Ajeesh Raj. A City as Art: A study of Kochi in the context ofInternational Biennale

6 Ajit Kumar Possible Connotation of Ladder and Labyrinthsymbols observed in Art

7 Akiyala Imchen Symbolism in Hunting Practices among the AoNagas: A Case Study of Mangmetong Village,Nagaland

8 Alpana Awasthi and Arun Joshi's City and the River: RiverNeeta Lalwani Symbolizing Significance and Salvation to

Mankind

9 Ambarish Khare Once done is Sufficient : Symbolic Actions inVedic Rituals

10 Amit Pendam Worshipping Departed: Investigating theSymbolic Significance of the Memorial Stones atMahagaon, Maharashtra

11 Amogh Prabhudesai Symbolism in Sanskrit Numerals

12 Amrithavalli Panyam Iconology of Shankh: Tracing its Antiquity inAncient Indian History

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13 Anagha Joshi A Note on KhaÆv°¨ga

14 Anand Kanitkar Rock cut cave at Junnar as a Symbol of the Socio-economic Struggle Between Patrons

15 Anand Singh J°takas: Narratives and Symbolism throughArchaeological Landscape

16 Anita Rane-Kothare Significance of the Scorpion as a symbol in IndianCulture

17 AndrÈ J. J. Baptista Prehistoric Icons and Indices: ArchaeologicalIndicators of early Symboling Activity during theEarly Palaeolithic.

18 Anil Kalamboor Spatiality of exclusion: Symbolizing communityaffiliations

19 Anjali Pandey The Symbolic Representation of Nature inSculptural Art Bharhut

20 Anuja Milind Joshi Symbolic interpretation of images with exposedgenital organs on the Amriteshwar temple atRatanwadi

21 Anurag Chauhan Eliciting Desire: The Iconography of Present DayAdvertisements

22 Anusha Shakya Buddhist Symbolism - The Wheel and Lotus: ItsMeaning and Significance

23 Aparajita Bhattacharya Deities on the Doorway: A Reflection on the RiverGoddess Symbolism in the Ancient StructuralTemples of Central India from Earliest Times to 6th Century CE

24 Aparajita Morde Power, Politics and Supremacy- The manyMeanings of Trampling in Indian Art

25 Arjun R. Imagescapes and Soundscapes towards Ritualizingand Symbolizing in ‘Personified Context' duringSouthern Neolithic- Iron Age.

No. Name Topic

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26 Arunchandra S. Pathak and Kandhar's Chamunda image - Reflection ofRajas Vaishampayan Rashtrakuta Art

27 Arunima Pati The Changing Symbols of Ganjifa in India

28 Asif Mohiud Din Understanding the Nature of Symbolism depictedin Islamic Art of Northern India

29 Atul Kushwaha Examining the development and significance ofthe symbol ‘Vajra' in Ancient Buddhist Art

30 Avradeep Munshi Marks and their Makers: A case study ofChampaner – Pavgadh; Gujarat.

31 Baba Mishra and Seals of Budhigarh, Odisha (Study of its Symbols,Ranvir Singh legends and amp; Impact of Numismatics on

Sigillography)

32 Bharti Patterns of Buddhist Architecture and MutualCultural Entity

33 Bratati Dey Symbolism of Art in Bengali Literature – Studyfrom Literary Geographical Perspective

34 C.B. Kamati Intricacies of Abstract Symbolism in VatapiChalukyan Iconography

35 C. S. Vasudevan Matsya and Sarpa: As Symbols in the sculpturesof Hampi Environs

36 Chandima Bogahawatta and An explanation to the elephant-headed figure at

Koshalee Kakulandala Mihintale Ka∞Æaka C®tiya: A comparative studywith Hindu Mythology

37 Chandra P. Trivedi A New Approach on Inscribed Symbols on copperplates from Indus Valley and Vedas

38 Chandrashekhar Paswan Intricacies of Abstract Symbolism in VatapiChalukyan Iconography

No. Name Topic

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39 Chandreyi Basu Matsya and Sarpa: As Symbols in the sculpturesof Hampi Environs

40 Choodamani Nandagopal Symbolism of Kailasa the Sacred Space and theArtistic Expression with reference to Early DravidaTemple Architecture

41 D. P. Sharma and Roots of Symbols - and Composite Forms in SindhMadhuri Sharma Saraswati Art

42 Daljeet Singh and Symmetry Analysis of Painted Pottery from TwoElora Tribedy Painted Grey Ware Sites: Madina and

Bhagwanpura

43 Debatri Ghosh Restoration- A Technical Review on BuddhistSt£pa

44 Deepali Patil Mara: Symbol of Evil in Indian Buddhism

45 Deepshikha Semwal Nanda Raaj Jaat: A Symbolic RitualisticManifestation of the Secret Nanda Devi Peek.

46 Digvijay Patil and Kabir and Kumar Understanding the SymbolismSaumitraKshirsagar in Nirguni Bhajans Rendered by Pt. Kumar

Gandharva

47 Dipika Bhomkar Lairai Devi the kalash deity of Shirgaon Goa andmodes of worship

48 Duli Ete Umbrella of Serpent: A Portrayal of DivineKingship in Early Indian Art, up to c. 500 CE.

49 Garima Kaushik The Swastika in Buddhism: its GenderedSymbolism and Sinicisation

50 Gauri Moghe “Symbolism and Bijamantras’’

51 Gomathi Gowda Gandaberunda: Aesthetic Representation in theArt of Karnataka

No. Name Topic

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52 Gopal S. Joge Obscure Ferocious Images and Faces on the Pillarsof Bhairavnath Temple at Pedgaon, Maharashtra:Its Possible Symbolic Meaning

53 Harihar Padhan Symbolism in Indian Literature, with specialReference to Odia Literature

54 Harshada Wirkud Ass-Curse Steles: Investigating Symbolism

55 Hemant Dalavi and Symbols in the Rock Art, Karnataka with special

Mohana R. reference to the Malaprabha Basin

56 Jason Johns Ornamentations Around the Symbol of the Cross:A Comparative Overview

57 Jasna K. and Ballads: A Symbolic Journey through the Life ofAswanth K. O. K. North Malabar

58 Jayendra Joglekar and Acheulian Artefacts as Symbol of Presence ofSushama G. Deo Early Hominin in the Deccan Trap Region of the

Upper Krishna Basin

59 Jyotsna Krishnan A. Symbolic narration in Kathakali: A study withreference to Ravanotbhavam

60 K. N. Hota Purn?akumbha: A symbol of Auspicious Omen

61 Kanti Pawar A Cognitive Exercise to Understand Rock ArtTradition Through Past and Present Symbols

62 Karuna Milind Mohite Doctrinal Symbolism in Tipi?aka with specialreference to Petavatth

63 Kakali Ghosh Vrata and ¡lpan° of Bengal: DemystifyingSymbolic Art

64 Kirti Kulkarni pikaº, i.e. Indian cuckoo - A symbolic element inSanskrit literature

65 Kishore Chandra Meher The Bandha Art (Tie-dye) of Sambalpur (West.Odisha)

No. Name Topic

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66 Komal Pande Symbolism in Indian Art: Exploring the imbeddedSymbolism in Indian Jewellery

67 Konika Mukherjee Intertextual Symbols in Indian Culture

68 Kshirasindhu Barik Faunal Representation in Rock Art of WesternOdisha: A Possible Symbolic Interpretation

69 Kumar Dipongkar Mondal Poetry of Michel Madhushudhan Dutt:Reconstruction of Indian Mythology in EarlyModern Bengali Poetry.

70 Kurush F. Dalal The Gaay-vaasru image and its transition from asubsidiary device to prominence and finally as aRegnal Device

71 Kush Dhebar Investigating Symbolism of Wrestling in VisualImagery of Ancient India

72 Lalhminghlua and Symbolism Encoded in Megaliths: A Case StudyAmrita Sarkar of Farkawn and Khankawn Villages, Mizoram

73 Lalit Gupta and Gool Sculptures: Symbols Reconstructing HistoryNavjot Kour

74 Madhavi Godbole Omk°ra: A Significant Upani∑adic Symbol

75 Madhulika The Pithoro Painting: A Creative Symbolism.

76 Madhura Godbole Æãfi, ™ãfi and oãfi or ™Ï Ás in tantric ritualistic worshipof åƒÁƒ∫múÓ\Á

77 Mamta Rai Ganapati-Ganesha: A Symbol of SyncretisticIndian Tradition

78 Manish Rajan Walvekar and Butterfly: Indian perceptionTanmay Jayant Bhole

79 Manisha Shete K£rma (Tortoise) in Indian culture

80 Manjiri Bhalerao The B°∞e∂ara Cave in Pune : A Contextual Analysis

No. Name Topic

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81 Manmohan Sharma Symbolism in The Folk Art of Haryana

82 Manu Sharma Symbolism in Kashmiri Poetry: A Study of SelectPoems

83 Md. Iftekhar Alam Ansari Symbolism in Mithila Folk Art: Representationsin the Context of Contemporary Folk Art

84 Meenal Kulkarni subtle and mystical symbol E“ÊNˇÁ∫ in »yuƒ˘Á cult

85 Megna Carvalho Mapping Metaphor in Indian Writing in English:A Case Study

86 Milani Perera Symbolic representation of Buddhism in IndianDalit movement and neo- Buddhism

87 Milind Paradkar Fort Raigad - Findings of a Scaled Town Planning

88 Minnu Kejriwal Symbolism- A Model developed as aMethodology in Art Historical Studies showingthe Significance of Symbolism in Art HistoricalAnalysis.

89 Mohan S. Pardhi, Virag Symbolic Significance of the Kar∞ave∑ÆanaSontakke and from Chandankheda, Dist. Chandrapur,Pradip Meshram Maharashtra

90 Monbinder Kaur Rain as a Symbol in the Select Short Stories byWomen Writers

91 Mohana R. The Earliest Representation of Symbolism in RockArt at Ranganatha GuØØa, Peninsular India

92 Morakandegoda Ariyawansa The Influence of Buddhism on SinhaleseMorphology

93 Mugdha Gadgil Vedic symbolism through Microcosm andMacrocosm

94 Munmun Mondal Symbols in the Folk Art of West Bengal

No. Name Topic

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95 N. Vinodh Perspective on Baubo Terracotta figurines in theNagarjunakonda Valley

96 Nalini Avinash Waghmare Symbolism in Virasaiva religion with specialreference to Ashtavarana

97 Neeraj Yadav Mathura and its Great History of Buddhist Art

98 Neha Pande Investigating Multiple Meanings of Symbolism:An Analytical Study of the Kirtimukhas ofKoppeshwar Temple at Khirdapur, Maharashtra

99 Niharika K. Sankrityayan Transformation in Myth: Merged Animal Formsin Vaisnava Iconography of the Chalukyas

100 Nimisha Thakur The jali and the farsh: A Study of Symbolism inMughal Art

101 Nimitha K.P. Symbolic Representation of Colours and Lines inTheyyam Performance of North Kerala

102 Nisha Sawant-Kulkarni Mapping India: Symbolic Representation ofBritish Planning

103 Nitesh Narnolia and Animal Symbolism in Buddhism

Mousam

104 Nitin Hadap Symbolism and Representations of ‘Loka': theMythical Worlds in Ancient Indian Art andLiterature

105 P. C. Sahoo Some Symbolic harmful rituals in the Br°hmanasand S£tra texts

106 P. S. Joshi and Sculptural Panel Symbolising the Event ofKanchana Bhaisare Formation of the Crater at Lonar

107 Prabha Shankar Dwivedi Metaphysics of Boundary: Configuring theBhagavadg¢t° in the Modernist Paradigms

No. Name Topic

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108 Pradnya Deshpande Symbolization of Goddess Saraswati in SanskritLiterature

109 Pradnya Kulkarni Symbolic fertility ritual: Oti

110 Priya Thakur Zodiac signs in Indian art as Idea of Time

111 Priyanka Kamalakar Shinde Indian sculpture form communicate throughintangible lines

112 Rahul Chemburkar Pillar in Indian Temples and Rock Cut CavesSymbolic Expression and Structural Element

113 Rajaram Hegde and Hero Stones in Medieval Karnataka and Changing

Prabhakar Rao Perceptions of Afterlife

114 Rajasri Mukhopadhyay Plant and creeper Symbols in Bengal Alpana

115 Rajkumari Barbina Textile designs and patterns; reflection oftraditional symbolism of the Meiteis of Manipur:a cultural behavioural approach

116 Ranjana The symbols as the ultimate Buddha image: Theicons of Buddha's supreme reality andTranscendental nature in Indian BuddhistSculpture

117 Ranjana Mishra Evolution of Mithila paintings Motifs on timeContinuum

118 Remya V.P. and From Symbols to Idols- An analysis of theSreebarna Ghosh Transitions in Kanheri

119 Reshma Sawant Symbols and Symbolism: A Case Study ofDecorated Legged Querns from Indian Sub-continent

120 Rucha Gadkari Saubh°gyalank°r, symbolism of Mah°rshtrianjewellery

No. Name Topic

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121 Ruokuonuo Rose Yhome Socio-cultural Implications of Body Tattoo Art inHuts¸ Village (Nagaland)

122 Saili K. Palande-Datar and Jain°c° Dho∞Ø° (Jaina's Stone): A Jaina symbolAmbarish V. Khare in Hindu Temples

123 Sana Symbolism in Islamic Art: with Special Referencesto the Symbols of Taj Mahal

124 Sanchita Ghosh The Symbol of ÷ara∂-cakra and Prabh°-M a∞Øalain Art, Religion and Philosophy of India

125 Sanjay Manjul Anthropomorphic Figures of Copper Hoard :Symbolised Vedic Gods?

126 Sanjay Paikrao A New Light on Symbols in Ellora Buddhist Caves

127 Sarita Dash Iconography of Lord Ganesha in temples ofBhubaneswar

128 Satarupa Bal A Study of Burial Patterns and Symbolism withreference to Harappan Sites of India

129 Satvik Malipatil Study of ma∞Øals for the aspects of science in ahidden form.

130 Saurabh Singh The symbolic representation of Prosperity inBuddhist imagery: An Analytical Study

131 Sawani Rajan Shetye and Etymological roots of the word Panchjanya andArunkumar M S its symbolic association with the conch of Vishnu.

132 Shahida Ansari and Terracotta Art at Rupnagar, PunjabV.N. Prabhakar

133 Shambhoo Nath Yadav Worship of Smart Lingas in South Kosala - Aand B. Gartia Symbolical Worship in Brahmanical Pantheon

134 Shantanu Vaidya, Virag Ritual Space or Memorials: Recent Findings fromSontakke, Shrikant Ganvir, the Excavations at Nagardhan, Nagpur DistrictRushal Unkule and GarimaKhansili

No. Name Topic

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135 Sharad Goswami Aspects of Symbolism in the Medieval Forts

136 Shashi Kala Singh The transforming City of Light and arts now: astudy in the context of Symbolism in Art

137 Shikha Sonkar Evaluating Symbol as metaphor in Indiancontemporary Art

138 Shilpa M. Chandran Myth as a symbol: A study of the Theyyam mythsof North Malabar

139 Shilpa Hadap Phenomenon Earthquake, its Mythicalinterpretations and Rare Symbolic Depiction inPlastic Art from Konkan

140 Shilpa Sumant Symbolic Ritual Cleansing of the Bride: SomeUnique Atharvaedic Practices

141 Shivendra Kadgaonkar A few lesser known small animal depiction inAncient Indian Art

142 Shobhna Meshram Depiction of the Buddhapada in the Early BuddhistArt of the Eastern Deccan: A study in its symbolicsignificance

143 Shrikant Ganvir Contextualising the symbolic meaning of'Ramagrama Stupa' in Early Buddhist Visual Art:An Act of Veneration?

144 Shrinivas V. Padigar An Interesting Nidhi Sculpture from Koliwad,Karnataka

145 Shripad Bhat Apurva : A Conceptual Symbol

146 Shruti Sharma "O Govinda" The Krishna's Prayer

147 Siddhi Deshpande Radha as symbol of Bhakti -Earliest sculpturaldepiction in Rajasthan

148 Smriti Agarwal Study of the Symbolic Traditional Textile withReference of different state.

No. Name Topic

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149 Sneha Kapote The Mysterious identity of Serapis on Kushancoins

150 Soumya Manjunath Chavan Symbolism of akshamala in the Iconography ofDakshinamurti

151 Sovonlal Misra œokr°: The Messenger of a Forgotten History ofthe Santals Of Bengal

152 Sudhir Kumar Darshan "The Vision of Invisible through Visible":A Key Concept in Creation and Interpretation ofIndian Art

153 Suken Shah Rationalizing the Mystery of the 'Gaja-SimhaDhvaja' Symbol found on the Coins and Seals ofthe Vrishni Gana.

154 Suraj A. Pandit The Unseen Buddha at Mahakali

155 Swadhin Kumar Mandal Regional Folksong (Bh°du and Œusu) of Bengal:simplicity or symbolism- A quest?

156 Swagata Mukhopadhyay 'Cosmopolitanism in the Making in Early India:Searching from the Numismatic and the CeramicCorpus'

157 Swapna Joshi, Siddhi Unseen Presence- The Architectural SymbolismDeshpande and Shantanu of an Early Shaiva Rock Cut CaveSubramaniam

158 Swati Mondal Adhikari Gesture: symbol of expression used in Indiantemple sculptures

159 Tanashree Redij Goddess Alakshmi: a symbol of impurity, un-hygiene and immorality

160 Tinni Goswami Revisiting Childhood in Colonial Bengal: Childrenas Portrayed in the Vernacular Journals (1870-1930)

161 Trupti D. More and Symbolic Significance of Sacred Nyagrodha TreeVijaya P. Valhe Worship in Indian Religion and Traditions

No. Name Topic

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162 Uduwila Uparathana A Study of Beeds at Jethawanaramaya BuddhistMonastery Complex

163 Umesh C. Chattopadhyaya Revisiting Symbolic Archaeology in Search for aTheory of Connectedness

164 V.H. Sonawane Symbolism of the Design Engraved on theChandravati Core

165 V.L. Dharurkar Symbols in Ellora Jains Cave

166 Varsha Jha (Singh) Art in Literature or Literature through Art:Symbolism in Graphic Novels of Indian Epics.

167 Vibhavari Kumar A study of Symbolism in Indian Templearchitecture: The Ancient Indian Grids

168 Vidula Pharate Cary° N§tya: A ritual dance of Vajray°naBuddhism, Symbolism Performed.

169 Vijaya P. Valhe Symbolism involved in tree worship

170 Vikram V. Kulkarni The Painted Wooden Mobile Shrines ofPeddamma and Its Iconography

171 Vinay Kumar Symbolism and Transformation of Tree of LifeMotif in Early Indian Art

172 Vinay Kumar Rao Buddhist Symbolism in Art of Arakan.

173 Vipul Tiwari Inherent Symbolism in Tantric Buddhism: Ahistoriographical Analysis

174 Vipul Tiwari and Madhulika The Fundamental Elements of Early BuddhistSymbolism

175 Vrushali Bhosale Symbolism of coconut: with special reference toGoddess K°nba¢ of Khandesh Region.

176 Wu Chen Ting Ardhan°r¢∂vara, A Symbolism of Evolution fromPuru∑a and Prak§ti - An Examination from TwoS°¨khya Systems

177 Ziyadali B. A study of Mihrabs and its Symbolism in Mosquesof Kerala

No. Name Topic

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CONCEPT NOTE

Symbols are of an immense significance to comprehend socio-economic, culturaland religious milieus of the past. The Symbol is an important mode of communicationsince the Prehistoric times. The study of symbolism deserves an exceptional importanceto decipher contemporary human psyche to understand contemporary social structure,economic setting and religio-cultural milieu. Religious symbolism facilitates tounderstand interactions between different aspects of socio-cultural life, becoming anessential part of cultural identity. Ritual symbols carry multiple meanings. Some of thesemeanings are related not only to religious beliefs, but to socio-cultural settings. It is saidthat the symbols have a primitive and naturalistic origin which can be associated tosimple ideas of early society. Since, the beginning of human civilization sets of beliefs,myths shrouded with various psychological, emotional aspects of human behaviourstarted to frame in the form of symbols. The purpose of the symbol is to signify a realityor a truth and to divulge them either suddenly or gradually. Although, it is quite complexprocess to trace the emergence, development, and distinction of a symbol, still, it is anessential process to understand the past.

The present seminar aims at deciphering multiple functional paradigms taking intoaccount textual, art-historical, archaeological, religious, cultural, iconological andhistorical perspectives.

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ABSTRACTS

LORD DHANVANTARI: SYMBOL OF ANCIENT INDIAN MEDICAL

KNOWLEDGE

Aakanksha

Dhanvanatri is only Vedic deity of healing though he is a minor deity but this portfolioof his makes him important. He is regarded as patron god of Physicians and surgeonsin ancient texts. He is also regarded as a minor incarnation of Vishnu. The developmentof Dhanvantari as a god of medicines from one of the ratnas churned from ocean bygods and demons goes hand in hand with development of Ayurveda in ancient India.He is first mentioned in Kaushika sutra. All puranas and sutras mention him as creatorof Ayurveda. He has been regarded as master of all universal knowledge whichsymbolises his importance in the then contemporary society and continues even today.

Keywords: Dhanvantari, Medical Knowledge, Symbol

THE CONCEPT OF MENSTRUATION OF WOMEN AND ITS SYMBOLISM

WITH MENSTRUATION

Aaryaa Ashutosh Joshi

Menstruation is a natural phenomena for women. In Hindu Tradition, most of the times,during menstruation period; women are considered as impure or untouchable. At thesame time, In Hindu religious or other texts Rivers and The Earth are considereduntouchable during there menses. The Earth and Rivers considered as symbol ofwomen and there menstruation during rainy season considered helpful for the productionof crops and in folk tradition; it is celebrated as a festival of reproduction.Even GoddessKamakhyas Ambuvachi Utsav celebrated as auspicious event and many people gatheredthere for the same.

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During this Modern Era, women are pursuing achievements in different sects.But when the question arises about the ritualistic approach towrads religious activities,they are having lot of questions in their mind regarding their menstruation. Some womenin the society were not ready to perform religious acts during their menstruation.Thisis a socio-religious problem within society. Our culture put forth the idea of menstruationof The Earth and Rivers and interpreated it as a useful one for plenty of crops whichis needful to survive the society.

Here in this paper I want to discuss the symbolism of menstruation of womenwith Rivers and The Earth which finally ends with the idea that; it is a natural phenomenaand people in the society can have approach towards this as a useful reproductive systemfor women and do not consider women as inauspicious during her menstruation cycle.Thispaper also deals with the ecological approach towards menstruation of The earth andRivers.

Keywords: Hindu Tradition, Religion, Women, Menstruation, Rivers

THE CHAUSATH-YOGINIS AND THE SYMBOLISM OF THEIR

RELATIONSHIP WITH BHAIRAVA

Abhiruchi Oke and Anuja Patwardhan

Mother goddess worship or the cult of the mother goddess has its deep roots in thereligious settings of the sub-continent. The roots of this cult can be traced back to theIndus Valley Civilisation and the early Chalcolithic terracotta mother goddess figurinesfrom the pre-Harappan period. This cult gained in popularity in the Mauryan and Sunga-Kushana periods.The literary developments in the subsequent Gupta period added much value to suchworship and/or concepts thus reinforced the strong textual traditions which support suchrituals and religious activities. These texts include the Devibhagvat, Skandapurana,Kalikapurana, Chaturvargiyachintamani and Brihadsamvita.

These religious cults developed in accordance with their times and were furtherdivided into multiple branches. The mother goddess cult was widespread. From these

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varied practices Shakti as a concept gained the attention of people leading to the creation

of myriad Shakta pithas. These then became a place or platform to perform rituals related

to the various goddesses.

Amongst these the most enigmatic and dramatic was the rise of the cult of the

Chausath-yoginis. This cult can be traced from the 7th to the 12th centuries AD. Its impact

is seen today in the circular temples of Hirapur, Bedaghat and Mitaoli (amongst others).

The essential concept of syncretic Shakta worship is beautifully interpreted into the

religious symbolism and iconic perception of the female generic yoni. The yoni in its

turn is incomplete and inseparable from the linga. In its iconic form the linga is

represented by Shiva, most often in his avatarsRudra and Bhairava. Together the‘goddess/yogini and Shiva’ and the ‘yoni and linga’ represent the coming together

of ‘Purusa and Prakriti’ thus completing the cosmic whole.

Bhairava is the god who balances andstands as the crucial male principle of

Shakta spiritual ideology and practices thus symbolising the masculine element of the

Shakta tantric sects. Texts like Devi Bhagwat, Markendeya Purana, Kalika Purana etc.

shed light on this element of Bhairava.

According to the Kalika Purana the one male god associated with the Yoginis

is Bhairava -popularly known as ‘Lord of Yogini(s)’. This is perhaps the first clue in

understanding the complex relationship between Yogini and Bhairava. Here the

confusion or question is who follows who?

The Yogini(s) and Bhairava(s) have very similar functions and identity clashes

i.e. both have 64 forms, both are often related to cremation grounds or death, both are

given similar propitiatory offerings during rituals, temples of both deities are situated

outside the habitation areas or villages, both practice ‘tantric’ rituals, both have strong

affiliations with folk/local traditions, both have individual identities in classical aesthetics,

both have independent positions in the religious setting as well as the social setting.

One therefore needs to ponder upon these similarities and consider a closer symbolic

link than that which has been hitherto considered. This paper is a preliminary attempt

to do so.

The following temples are taken as the main database because here the complex

symbolic relationship of the Yoginis and Bhairavas is physically manifested:

1. Hirapur, Orrisa 2. Bheraghat, MP

3. Mitaoli, MP 4. Bhuleshwar, Pune

Keywords: Chausath-Yoginis, Symbolism, Bhairava

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THE SYMBOLIC CORPUS OF VINDHYAN ROCK ART

Ajay Pratap

The term symbolism assumes a typical or a preferred used of symbols and symbology.This paper considers the symbolic corpus of Vindhyan rock art to discover if there isany ‘ism’ in the use of symbols in Vindhyan rock art. Does the depiction and use ofparticular animal symbols suggest messages and intentions over and above the functionalones relating with hunting? Does the use of design symbols suggest relations ofproduction? Does the use of human symbology suggest social relations among theVindhyan populations of prehistory? Approached in this fashion the symbolism of rockart can tell us much more.

Keywords: Vindhyan, Rock-Art, Symbolism

CITY AS ART: A STUDY OF KOCHI IN THE CONTEXT OF

INTERNATIONAL BIENNALE

Ajeesh Raj. A

Kerala has remained in limelight for past more than one decade, for its cultural and touristsignificance. While the god’s own country has been known for its ayurveda (traditionalhealth care), it has also been a site for the arts and archaeology. In 2012, for the firsttime an international biennale was designed with an intention to open up a space forglobal art Sinteraction and facilitate the local artists to initiate interface with the globalartists. Joined by many funding agencies, Kochi Muziris Biennale started taking shape,amid lot of concern for its first edition. Following the success the second edition wasplanned and with much more precision and outreach, this almost caught up theimagination of the international art arena.

This biennale has many specifics, while being holistic in many ways; forexample, the unconventional gallery space was used and technology matched up thetraditional arts of the state in the singular exhibition halls. Thus, allowing a newly spiritedart activity to experiment and display before the public the second edition went beyond

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just local concern, through its form, concept and symbology to address an internationalaudience. Not only in art, but in selection of location, the curator conceptualized theentire city of Kochi as a studio, having art at almost every known and hitherto unknownspace in Kochi. This idea of converting the city as art, the curator not only surprisedthe international viewers but also viewers form immediate neighborhood, whorediscovered their space with different eyes. Now that was a fascinating character ofsymbolizing city as art, which basically converted a common space symbolically to anart place.

As an observer-participant for this Biennale edition, I have documented the sitesand artists engaged there, from a close perspective. In this presentation I will be tryingto present/show how the city symbolized an art gallery and individual artistís contributionto this symbolic conversion.

Keywords: Kochi, City-Art, Biennale

POSSIBLE CONNOTATION OF LADDER AND LABYRINTH SYMBOLS

OBSERVED IN ART

Ajit Kumar

No semantic and hermeneutic appraisal of ancient symbols can be treated as final asit is impossible to read into the intangible beliefs and the mind of its creators. Symbolsnever get obliterated from human psyche. Their aspects may change and their functionsover time may become disguised or degraded and to understand their true meaning onehas to look behind their latest masks.

Ladder and Labyrinths have been found in art from prehistoric times and theycontinue in the art of historic period as well. The ladder is a generally used as prop ora means to ascend heights. In Hindu, Buddhist and Christian religious beliefs ladderis symbolised as a means to ascend heaven. How this commonality of belief andsymbolism came about is difficult to address.

Similarly the symbol of labyrinth is observed from prehistoric period to medievaltimes in art. This symbol has not only been reported from India alone but it has beenreported from various parts of the world. This symbol also appears to bear common

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connotation. The exact origin and belief of the labyrinths are lost in obscurity. Thesebeliefs may be as old as mankind itself and its transmutation to a graphic creation wasan apparent actualisation of these long concurrent beliefs.There is however no debateon the issue that labyrinth essentially belongs to the phenomenology of religion. Manyof the symbols related to religion have their origin in the cosmological range-the sky,the celestial bodies and traffic between gods between heaven and earth. There sacrednature and their association with sun and cosmos.

This paper tries to probe the connotation of the symbol of ladder and labyrinthobserved in art by examining literature and assessing ethnographic parallels observedtoday.

Keywords: Ladder, Labyrinth

SYMBOLISM IN HUNTING PRACTICES AMONG THE AO NAGAS: A

CASE STUDY OF MANGMETONG VILLAGE, NAGALAND

Akiyala Imchen

The Humans began as hunter-gatherers hunted variety of animals for subsistence andthey made use of the animal parts to decorate the attire. Different types of traps andtechniques were used to catch an animal in the easiest way. Tools were simple and thematerials to make the tools were easily acquired. People hunted different types ofanimals depending upon the environment they lived in. Ethnographic analogy is animportant tool to study hunting in prehistoric societies. This study provides us with thevital information required to reconstruct the hunter-gatherers of the past and theirhunting techniques. In Nagaland, though hunting has been officially restricted andbanned, many communities still continue to hunt for games and as a source of foodand income. A very few number of old folk are now left who know the intricate waysof hunting and trapping animals without using guns or other modern weapons. Hence,it was decided to conduct ethnographic survey of traditional hunting practices amongthe Ao Nagas. This study is based on data obtained by formal and informal interviews,questionnaires and independent non-participatory observer method during the year2013-2014. The present study was undertaken in Mangmetong village of Mokokchung

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District, Nagaland to document various aspects of traditional animal hunting methods.The present work is based on interviews with 65 people of Ao Naga tribe of Mangmetongvillage. The pre-hunting rituals, the hunting process and the post-hunting practises willbe discussed further.

Keywords: Hunting, Rituals, Practices

ARUN JOSHI’S CITY AND THE RIVER: RIVER SYMBOLIZING

SIGNIFICANCE AND SALVATION TO MANKIND

Alpana Awasthi and Neeta Lalwani

River, a lifeline of man’s life has been mentioned in various art forms since timeimmemorial. Arun Joshi’s ‘‘City and the River’’ depicts the essence of human life whichif led to wrong channel may bring destruction to him physically, psychologically andspiritually. The present paper is a venture to unfold the aspects of rationality, strength,hope and energy veiled in the form of river. Published in 1990, ‘‘City and the River’’,Joshi’s fifth and last novel is structured on the city erected on the bank of a river. Itremarks the poles a part difference between the ruler and the common man representingthe snobbish attitude, hollowness and rootlessness of man in the modern society. Inthe present society man’s heart is dried of love, passion and sharing and he has turnedmechanical. He struggles to find peace but in vain and is lost in labyrinthine of roboticworld. His selfishness and ruthlessness towards his fellow beings multiplies his sorrows.He wanders for his identity but falls into the ditch of atrocities.

Keywords: Symbolism, Rationality, Hollowness, Rootlessness, Agony

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ONCE DONE IS SUFFICIENT: SYMBOLIC ACTIONS IN VEDIC RITUALS

Ambarish Khare

Vedic sacrificial system is supposed to be one of the oldest religious systems in the world.The synchronization between the actions being performed and the mantras being recitedis expected in the performance of all the Vedic rituals. Many times, the rituals are alsoconsidered as rigid and never changing and they are supposed to be conducted in thesame way as prescribed in the ritual manuals. They are considered to be never changing,although the ages have passed since their inception. However, if one observes thesacrificial actions keenly, (s)he may notice that many times the short-cut is being usedwhile performing the sacrifices. Instead of repeating the actions for many times, theaction is performed only once and it is deemed fit that single action can be consideredsufficient, instead of performing it many times. Thus, single performance symbolicallyrepresents all the intended performances.

WORSHIPPING DEPARTED: INVESTIGATING THE SYMBOLIC

SIGNIFICANCE OF THE MEMORIAL STONES AT MAHAGAON,

MAHARASHTRA

Amit Pendam

This paper examines the symbolic significance of the memorial pillars at Mahagaon,in Chandrapur district of Maharashtra. There are around 70 memorial stones, whichare installed in dense forest varying in size and shapes. Some of the memorial stonesare inscribed with the name of hero at the top and are decorated with the various artisticmotifs. These memorial stone are completely different from rest of the memorial stonesof Maharashtra in the form and themes of depiction. These Memorial stones are stillunder worship by the Gond community. However, they consider these memorial stoneas their ancestor and God. This paper further makes an attempt to investigate thesymbolism of this memorial stonestaking into account the study of architectural motifs,rituals associated with the memorials and ethnographic survey of the site.

Keywords: Memorial stones, Maharashtra, Motifs

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SYMBOLISM IN SANSKRIT NUMERALS

Amogh Prabhudesai

Number is an abstract term while numeral is a symbol used to express the number. ‘3’,‘three’, ‘III’ are all the symbols which express the same number or the concept of‘threeness’.

Various cultures have developed variety of numerals to express numbers in theirlanguages. In Sanskrit, there are many ways of writing numerals. Like other languages,numerals can be written in Sanskrit using digits (1, 2, 3 etc.) and special words meantfor particular number (ekam, dve, tr¢∞i etc.) But, there is one more uncommon way ofwriting numerals in Sanskrit. Various objects from nature or concepts from different∂°tras are used as symbols to express particular number. For example, Arka (the Sun)being only one in the nature, the word Arka is used as a numeral to express ‘one’. Locane(eyes) is the wordused to express ‘two’. Puru∑°rtha is the word used to express ‘four’and so on. A single number can be expressed by various symbols at different places.For example, instead of Arka, the word Candra can also be used to express ‘one’.Numbers having more than one digit can also be expressed by this method.

This method of writing numbers in Sanskrit has been followed in classicalliterature as well as technical literature including the texts specially written formathematical science. One has to have thorough knowledge of Indian Sanskrit traditionto decode exact number out of these numerals. The problems faced otherwise will beexplained in details in the paper. The present paper aims at tracing the roots of thismethod, finding reasons behind the popularity of such symbolism amongst Sanskritauthors, its impact on colloquial languages and translated literature from Sanskrit.

Keywords: Sanskrit, Numerals, Symbolism

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ICONOLOGY OF SHANKHA: TRACING ITS ANTIQUITYIN ANCIENT

INDIAN HISTORY

Amrithavalli Panyam

The religious iconography of ancient India can be broadly categorised into Symbolicand Anthropomorphic. Symbolic being representation of a deity, his/her power andcharacter, in the form of a symbol. These symbols include objects, animals, plants,abstract shapes, etc. Symbols used usually contain a feature that is similar to the feature/power they represent. Some symbols are pretty clear in their character and their meaninge.g. lotus is a as sign of prosperity. A bull is an apt representation of virility, strengthand fertility. However there are many objects and symbols that are very unique andunlikely objects to be chosen as a symbol. One such object is the conch or Shanka asit is known Indian iconography. This paper traces the antiquity of this unique objectin ancient Indian iconography and how it came to become an important symbol amongstvarious religions.

Keywords: Shanka, Conch

A NOTE ON KHAŒV¡ÃGA

Anagha Joshi

Language is a social phenomenon as through language we exchange information andideas with others. It can be defined as the process of meaningful interaction amonghuman beings. It is of two types: Verbal and Non-Verbal. Nonverbal communicationcan be communicated through symbols, gestures, postures, and also facial expressions.Moreover, they are more powerful than spoken words. It is interesting to note thatvarieties of symbols evolved and used from the ancient time through Literature. It isknown to all that the Sanskrit word Khafiv°¨ga denotes a club or staff with a skull atthe top considered as the weapon of ∂iva especially bhairava. But in the Manu Sm§tiit is stated as:

QbΩƒÁÊTy Yy∫ƒÁÃÁ ƒÁ ≈™»Ï¬Áz uƒ\åz ƒåz@ ú¿Á\ÁúnÆÊ Y∫znNw XZ~™£t™zNÊ Ã™Áu“o: @@11.105@@

It is described as the murderer of a learned person must wander without rest

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holding this weapon in his hand and beg his food in a human skull every day and perform

for the year the k§cchra penance of Praj°pati.

In this paper an attempt is made to understand the concept of KhaÆv°¨ga in

the Sm§ti literature.

Keywords: Language, Information, Ideas, Verbal

ROCK CUT CAVE AT JUNNAR AS A SYMBOL OF THE SOCIO-ECONOMIC

STRUGGLE BETWEEN PATRONS

Anand Kanitkar

Junnar situated in Pune District, Maharashtra, has been considered as the seat of

Satavahana Dynasty by many scholars. Apart from being an important archaeological

site, Junnar is famous in Western India for having more than 100 Buddhist rock cut

caves. With the flourishing Indo-Roman trade in the first century CE, many traders

along with householders provided patronage to Buddhist Monasteries in Western India.

The chronology and architecture of the Western Indian Rock cut caves and its various

aspects have been studied by many national and International scholars in the past 200

years.

In this paper an attempt has been made to understand the architecture of the

cave at Junnar which in itself depicts one of the stages of development in rock cut cave

architecture in western India. A study of texts, inscriptions, religious sources, and art

and architecture can help shed light on the socio-economic scenario in Western India

in 1st century CE. Thus this cave at Junnar with the architectural development turns out

to be a symbol of this socio-economic struggle between different patrons in the Buddhist

context.

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J¡TAKAS: NARRATIVES AND SYMBOLISM THROUGH

ARCHAEOLOGICAL LANDSCAPE

Anand Singh

The J°taka stories are considered to be one of the major narrative literature in Buddhism.

It is interesting to visualize that how these stories were evolved, communicated, and

disseminated. Whatever the real domain but one of the most striking aspects of the

J°takas are that these stories are immortalized on stones, medallions, and other objects

to convey the messages of these stories to the followers of the Buddhist faith. In plethora

of evidences scattered in the Indian subcontinent, J°taka stories were carved out on

rocks, st˚pas and painted on walls of caves. It virtually symbolized the Buddhist ideas

on different themes and were supposed to be for learning and practice. My paper will

work on such ideas and disseminations, especially in S°nchi, Bharhut and Northwest

part of the Indian subcontinent.

Keywords: J°takas, Narratives, Symbolism, Archaeological landscape

SIGNIFICANCE OF THE SCORPION AS A SYMBOL IN INDIAN

CULTURE

Anita Rane-Kothare

Scorpion as an insect first appears as a pre-historic painting at Bhimbetka , Madhya

Pradesh, the reason behind its representation may be fear .Scorpion has been depicted

in many ancient civilizations like Mesopotamia, Egypt, etc mostly in the form of

symbols on goddesses.The fear of this poisonous insect made them revere it as a form

of energy .The representation of this symbol in Indian art is seen from the post Gupta

period , wherein one of the Ashta Matrikas, Chamunda who in skeletal form bears a

scorpion on her chest or stomach .Another representation can be that of the Surasundari

with a scorpion on her thigh .In the Chausath yogini cult we find a unique representation

of a goddess on a scorpion vahana or Vruschika Vahana.Focus will also be given to

the literary and astrological aspect of the scorpion symbol.In the following paper the

researcher will try to trace the significance of the scorpion in Indian art and culture ,

36

and also make a comparative study with other civilization .The trend of showing ascorpion with female forms as emphasised through the various evidences will behighlighted by the researcher.

Keywords: Scorpion, Vruschik, Goddess, Symbol, India

PREHISTORIC ICONS AND INDICES: ARCHAEOLOGICAL INDICATORS

OF EARLY SYMBOLING ACTIVITY DURING THE EARLY

PALAEOLITHIC

Andrú J. J. Baptista

Symbols are considered to be an inextricable part of modern human culture and society.Archaeologists endeavour to document and understand the evolution of cognitivesystems capable of symboling activity by juxtaposing objects from the archaeologicalrecord remnant of such intent against models prescribed by cognitive science. Whilethere exists ample evidence of ‘artistic’ representation and symboling activity for thelate-middle Pleistocene (~150k.y.r) onwards in the form of beads, rock paintings, etc.,investigations into symbolic culture for the Early Palaeolithic period have proven tobe a tedious exercise, since the vast expanse of Early Palaeolithic cultures aren’tassociated with modern humans. The application of theories of semiotics and languageto understand these cultures could therefore be inaccurate. However, a review of selectEarly Palaeolithic objects, with neither discernible utilitarian value, nor whose modifiedform enhances functional output provides an interesting alternative.

These objects seem to facilitate the explication of hypothetical stages for cognitiveand cultural development. This inquiry draws from structures of mental modularitypropounded by cognitive science to postulate the possible existence, and therebyattempt to take into consideration the presence of aesthetic sensibilities in our study oflithic industries contemporary to the Early Palaeolithic.

The processes of tool production are considered to have adhered to a definedset of rules (procedures) rooted in neuro-muscular memory, and formed a part of amimetic culture. However, the variations reflected in reconstructing ChaÍne Opõratoireare not only indicative of general patterns involved in stone tool production, but the

37

possible existence of high-levels of individual variability. This consideration coulddictate a fresh perspective to the processes that drive stone tool production. In the lightof archaeological evidence representative of aesthetic sense, these technologies shouldbe examined from not only the situational (environmental, raw material availability,requirement), but also the immediate (individual action and input) influences. Thismicro-level examination of individual knapping episodes would in turn signal the rich,albeit quiet, expressions of the diversity in stone tool quality.

Keywords: Aesthetics, Modification, Cognitive systems, Metal modularity

SPATIALITY OF EXCLUSION: SYMBOLIZING COMMUNITY

AFFILIATIONS

Anil Gopi

The people Anchunadu Vellalar community in south India lives exclusively in fivehamlets located in Kerala and Tamil Nadu and follows strict customs and codes ofbehavior. Anyone who breaches the codes of conducts and customs of the communityare subjected to various forms of sanctions by the customary political body of thevillagers. Customs and codes related to marriage is one of the most significant and strictfor the people and any deviations from the codes of marriages invite serious punishments.The religiosity of the community is also very important and there exists a strong interrelations between the internal cohesion of the community, religiosity and institution ofmarriage plays a crucial role in this due to its character of affinity and potential chancesof inviting a foreign entity to the community which could dilute or alter the ethos ofthe people. The work analyzes how a community living in a restricted space with markedboundaries restricts persons who breach the codes of the community. The study proposesthat in the people develops a space of ‘significance’ -in a Geertzian sense, in and aroundthe space where the people live in dealing with the deviation from the customs and codesof the people through marriage relations.

Keywords: Anchunadu Vellalar, Religiosity, Religious symbolism, Customary laws,Marriage

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THE SYMBOLIC REPRESENTATION OF NATURE IN SCULPTURAL ART

BHARHUT

Anjali Pandey

In all Indian art whether Buddhist, Jain or Brahmanical we see a persistence of sensuousacceptance of nature and a common symbology resulting from this, even if they interpretit differently. These symbol start in relative simplicity but in association with variousreligious notions, gather in sophistications.

The roots of cultural heritage are connected with daily activities; environmentaland physical surroundings. The environmental inspiration gives them the ideas andviews. Nature animates the environmental richness which plays a significant role in theart. Various moods, seasons and traditions execute to maintain relationship of the humanin specific style and technique. Lok-akhyan or Lok-kathaye is the inheritance ofsymbolic and specific racial sensibilities.

Art has no boundaries. In Buddhist art, the Vedic deities represents themanifestations of nature, which can be seen both in human and symbolic form. Buddhawas also one of the Avatars in Vaishnavism who came to re-establish the law of Dharma.The sculpture of Bharhut presents the nature as a symbol of growth and continuity. TheSal tree is associated with Buddhaís birth. The depiction of dryads or Yakshis suggestedtheir motherhoodness, ‘essential role of woman.’ Dr. Coomarswamy pointed the Yakshisas a tree buoyant naturalism which is yet untouched by the deep introspection. Yakshasand Yakshis were fertility spirits and associated with forest, trees, and lakes. The figureshave distinctive definite meaning. Animals and birds are also in symbolic form. Horse,elephant, monkey, deer, swan symbolize as a spirit, hero or as an ancestor. Lotus isa symbol of purity and suggested a supernatural or miraculous origin. Depiction of treesare also symbolize in decorative and stylized forms. The whole system, including notonly the organism-complex, but also the whole complex of physical factors what wecall the environment can be seen together in art of Bharhut.

The art of Bharhut seems free from idealism, it has an elaborate languageof symbols and characterized by decorative fantasy.

Keywords: Symbology, Lok- Kathaye, Avtars yakshis

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SYMBOLIC INTERPRETATION OF IMAGES WITH EXPOSED GENITAL

ORGANS ON THE AMRITESHWAR TEMPLE AT RATANWADI

Anuja Milind Joshi

The temple of Amriteshwar situated at Ratanwadi in Ahmednagar district of Maharashtrais an important temple belonging to the early medieval period and is known for its well-preserved roof of Bhumija variety. The temple is renowned for its notable architecturalfeatures. In addition, it also has interesting icons and images. This paper deals withcertain images on the exterior part of this temple wherein the major visual focus is ontheir genital organs. This includes both male and female images. While some of theseimages seem to depict certain rituals, the others hint at exhibitionism. The aim of thispaper is to understand possible meaning and symbolism of these images with the helpof available literary sources. It also explores the purpose and function of these imageswith respect to the particular temple.

Keywords: Temple Art, Iconography, Genitals, Ratanwadi

ELICITING DESIRE: THE ICONOGRAPHY OF PRESENT DAY

ADVERTISEMENTS

Anurag Chauhan

Many of the present day advertisements, though works of art, unlike Hegalian conceptof art, are shorn of spirituality or moral content. The form is sensuous, however, anyappeal to the sense of utility regarding the commodity being advertised is cleverlyeschewed or is downplayed. This is especially true in case of certain advertisementsof cars and paints. Such advertisements, therefore, work as icons. The response to thesealready short-circuits the longer process of involving cognition via the notions of utility.On the one hand, these advertisements can exert peer-pressure and status-consciousness,both of which establish the commodity per se as requirement, not need. The phrase ‘Thisis what you want’ is not uncommon. Another way these advertisements promote a

40

commodity is by denigrating an advertisement-insider who is a proxy of the reluctantspectator/reader unwilling to shell out money for the commodity advertised. This way,a subconscious commodity fetishizing results. This is made possible by the commoditybecoming a symbol for a certain notion of privileged equality and power, while retainingthe surface sheen of art. Questions such as whether the value of a thing is to be decidedby its worth or by the perception of worth along with the comfort and the placebo-effectcome up. Certainly, such advertisements create an oeuvre which, within the prevailingideologies and discourses in our society, has an iconography with symbolic overtones.The proposed paper attempts to examine these using various theories, particularly,reader-response theory and semiotics.

Keywords: Advertisements, Commodity, Icons, Value, Fetishizing

BUDDHIST SYMBOLISM - THE WHEEL AND LOTUS: ITS MEANING

AND SIGNIFICANCE

Anusha Shakya

Indian culture and civilization can be clearly witnessed at various historical sites in India.One can even have its glimpse at museums located throughout India.

Buddhist symbolism which began in 4th century BCE, is the Buddhist art whichrepresents certain aspects of Dharma. Anthromorphic symbolism appeared around 1st

century BCE with the arts of Mathura and Greco-Buddhist art of Gandhara, and werecombined with the previous symbols. Various symbolic innovations were later introducedespecially through Tibetan Buddhism.

The first archeological evidence of ornamental stone carvings can be witnessedfrom the times of the Emperor Ashoka who embraced Buddhism and made it a popularreligion of India. Among the earliest and most common symbols of Buddhism are theStupa, Dharma Wheel and the Lotus flower. With the advent of Buddhist Tantra aroundthe 6th century new artwork and symbolism appeared.

Mahayana and Vajrayana Buddhist art frequently utilizes a particular set of eightauspicious symbols termed as ASHTAMANGALA. These symbols are-Lotus, Endlessknot, Golden fish pair, Victory Banner, Wheel of Dharma, Treasure Vase, Parasol and

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Conch Shell. These symbols spread along with Buddhism to the art of various cultures,including Indian, Tibetan, Nepalese and Chinese art.

The Dharmachakra symbolizes the Buddhaís turning of wheel of truth. Thewheel on His image depicts His enlightenment. The Dharma Wheel generally representsthe historical process of teachings of Buddha. The eight spokes refers to the noble eightfold path.

The lotus as well often referring to the quality of compassion and subsequentlyto the related notion of the inherently pure potential of mind. The lotus flowerrepresenting ‘‘primordial purity of body, speech and mind’’, floating above the muddywater of attachment and desire; represents the full blossoming of wholesome deeds inblissful liberation.

Keywords: Buddhism, Wheel, Lotus, Symbolism

DEITIES ON THE DOORWAY: A REFLECTION ON THE RIVER

GODDESS SYMBOLISM IN THE ANCIENT STRUCTURAL TEMPLES OF

CENTRAL INDIA FROM EARLIEST TIMES TO 6TH CENTURY CE

Aparajita Bhattacharya

From the very inception of human kind natural resources have always been veneratedand worshipped. Rivers acted as cradle for ancient civilizations and water being a livegiving component of nature was always valued and deitified across cultures as motherlydivinities nurturing and ensuring the proliferation of human race. In the agrarianeconomy of the subcontinent fluvial deities are still part of the lived experience of faithsoften transcending narrow boundaries of religion building a loving relationship betweenMan and Nature. The relationship of Man and Nature is conceptualized in Samkhyaphilosophy as an interaction of two complementary principles represented by Purushaas masculine conscious self and Prakriti symbolizing mystical forces of nature as afeminine force. The symbolisms and meaning of the river goddesses as free standingimages or as part of early structural temples of Central India can only be conceptualizedin the historical trajectory of their emergence and purpose. Though representation of

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river goddesses became standardized on the entrance of the temples in the 5th centuryCE, the beginning of the river goddess symbolism can be traced much earlier in timerooted in the Buddhist context of the worship of the yakshas and yakshis conceivedas auspicious diverse anthropomorphic images of magical deities who bestow protection,assure fertility and benevolence to the devotee.

The purifying and nourishing faculty of water fused with the notions of fertility,prosperity and abundance symbolizing feminine prowess synchronized into theformation of the river goddess cults and their representations in early Indian art. Thepresent research paper attempts to study the origin of river goddess imagery in ancientIndian art and strives to locate major iconographic developments up till 6th century ofthe Common Era with particular focus on the meaning and symbolisms of river goddessesGanga and Yamuna on temple doorways from Central India.

Keywords: Cult, Iconography, River Goddess, Temple, Central India.

POWER, POLITICS AND SUPREMACY- THE MANY MEANINGS OF

TRAMPLING IN INDIAN ART

Aparajita Morde

War followed by defeat and subjugation of the enemies has always been a potent themein the Indian epics and Pur°∞a. The images like the Mahish°suramardin¢ tramplingon Mahi∑a, ÷iva on the apasrmarpurausha , Varaha trampling on the Naga at Eranare images which depict conquest. Here trampling is represented as an expression ofhumiliation, defeat, subjugation and in certain case even seen as a political allegory.In Buddhism the images like Apar°jit° trampling on Ga∞e∂a, Trailokyavijaya on ÷ivaand Um°, ÷ambara upon ÷iva and K°lar°tr¢ are popularly seen as depicting thereligious animosity. But, do the work of art mean what its author really intended it tomean? And would it be appropriate to always read the images at face value. The paperhere looks at the depiction of trampling in Indian art and subsequently questions itssymbolism. It would look at the different meanings attached with trampling and furtherlook at the myths, stories behind the genesis of these images. Further it would re-examine

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the meaning of trampling as associated with certain images and provide an alternativereading for the same.

Keywords: Trampling, Symbolism, Face value

KANDHAR’S CHAMUNDA IMAGE - REFLECTION OF RASHTRAKUTA

ART

Arunchandra S. Pathak and Rajas Vaishampayan

The study of Indian sculptural activities cannot be complete without the elaboration ofVerul. The sculptural activity occurring here during the times of Rashtrakutas showsthe evidence of prosperity and glory enjoyed by the dynasty. According to Dhavalikarit was this economy which enabled the Rashtrakutas to bring and patronize the sculptorsand artists from Pallava and later Chalukyas for the creative activities at Verul; and allover their empire. Thus according to Jamkhedkar and Dhavalikar, the sculptural activitiesof Rastrakuta times show a kind of symbiosis of Chalukya and Pallava schools of art.Yet this symbiosis reached its own zenith and uniqueness which resulted in thecharacteristic ‘Rashtrakuta Art’. This phase of development in the artistic symbolismcan be said as the Rashtrakutaís their own. It was the wisdom which took up and adoptedthe living traditions and improvised the same into a glorious epoch.

We in this paper are going to study the same phenomena which is not an aliento Indian ‘psych’ which believes in beautification through unification. For our paperwe are taking into consideration the art of symbolism of Pattamahishi / Devi image inthe Verul Yój≠as°la and its reflection in the 10th century C°munda – Lakshmi imageof Kandhar which undeniably show its relation to the former artistic representation.

We will elaborate in this paper, the continuation of sculptural styles andsustenance of these artistic activities with developments and improvements/additionsthroughout the Rashtrakutas period. Kandhar the secondary capital of Rashtrakutas andtheir military base became the centre of this patronization during the later Rashtrakutakings like Krishna II and Krishna III. This paper also tries to prove the mindset of Indianking as a supportive patriarch who though suffering at the hands of fate tries to protectits subjects with all his capacities till the end.

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Kandhar shows other Matruka images as well, yet the one taken for this paperis one Chamunda – Lakshmi image, all these images comprising of Kshetrapala andMatruka denote the spread of Shaiva-Shakti cult at this place.

Keywords: Chamunda, Rashtrakuta, Art

IMAGESCAPES AND SOUNDSCAPES TOWARDS RITUALIZING AND

SYMBOLIZING IN ‘PERSONIFIED CONTEXT’ DURING SOUTHERN

NEOLITHIC- IRON AGE.

Arjun R

All images in the rock art are not necessarily to be ‘symbolic phenomenal’, but theexplicit cattle images bruised during the Southern Neolithic (3rd – 1st millennium BCE)would have progressively turned towards aritualizing and symbolizing inventionsthrough the sound appealing rock gong technology. Such developments can be sitedin number of hill dwelling Neolithic sites like Sangankallu-Kupgal, Piklihal etc., andincluding Bilamarayanagudda (all in North Karnataka) on which this presentation isfocused on. So far, we have a certain level of understanding of the functional andinfluence of these compound evidences from the site of Sangankallu-Kupgallu. Incontinuation of such understandings, further there is a need to get into the multifunctionalactivities as that how these two evidences of image and sound attracted and engagedthe members of the community, and further how such micro landscapes could haveturned into a symbolicscapes.

Spatially well-defined and positioning of the rock bruisings of cattle in distinctforms and dimensions over the boulders of the middle and upper terraces of theBilamrayanagudda (granodioritic inselberg) are indicating towards a process of art-cognitive- culture, and production and audience. Recurrent cattle images over thecomprehensive space, seems to have made an impact among the Neolithic habitantsto getting into ritual believes and social gatherings, and probably continued even amongthe Iron Age inhabitants who were a new occupants of the site. Images are positionedin such a way that they contribute towards visual manifestation for the audience of on-hill and foothill, and the micro landscape observations have indicated that such locationsof imagescapes and soundscapes have engaged the inhabitants in dissimilar activities

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ranging in the forms of corn crushers, axe grinding grooves and water pools. Suggestingcreation of such multifunctional micro landscapes within the site landscapes throughoutthe site span marked by the cattle images and rock gongs playing focal role in creatinga ritual and symbolicscapes in the society.

Keywords: Imagescapes, Soundscapes, Southern Neolithic- Iron Age

THE CHANGING SYMBOLS OF GANJIFA IN INDIA

Arunima Pati

The cards of Ganjifa, which were being played in India before the modern, Europeanones took over the market, are believed to be brought to India by the Mughals. TheMughals had only one theme of painting the decks, the court theme, which had treasury,coins, crown, regal music, etc. as its suits. The symbol for each suit in the court cardsdirectly represented the theme of the suit. But as the game started seeping into the localHindu courts and to the common people, the themes were Hinduised. From secular,they became religious. Though the themes changed drastically in the cards, therepresentative symbols did not change completely. Rather, some of the symbols in theHinduised cards were just distorted versions of the initial Mughal court symbols andsome symbols were made to match the distorted names of the Mughal Ganjifa suits.Various factors triggered this evolution. This paper is an attempt to analyse them.

Keywords: Mughal, Hindu, Ganjifa, Symbols

UNDERSTANDING THE NATURE OF SYMBOLISM DEPICTED IN

ISLAMIC ART OF NORTHERN INDIA

Asif Mohi ud Din

Islamic art and architecture is not characterised by pictorial representation of animalsor human figurines because Islam does not allow usage of either any symbols orrepresentation of animals or human figures. However, it is very cumbersome to subdue

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the creative behaviour of an artist. Same was the case with artists in India. They depictedtheir creative instincts in the form of more precise channel, i.e. Miniature Paintings,Geometric designs and Calligraphy. If we ascertain the Calligraphic works watchfully,there is unapparent meaning behind each line. Same was the case with Miniaturepaintings and geometric designs. An attempt will be made to provide a concise outlineof symbolism reflected in Islamic Art of Northern India.

Keywords: Symbolism, Miniature paintings, Calligraphy, Islamic Art, Northern India.

EXAMINING THE DEVELOPMENT AND SIGNIFICANCE OF THE

SYMBOL ‘VAJRA’ IN INDIAN BUDDHIST ART

Atul Kushwaha

The word ‘Vajra’ is a Sanskrit word which means thunderbolt, or lightening, and itsymbolises enormous power and potentiality. In early Buddhist art, yaksha Vajrapaniis shown holding Vajra, who mostly accompanied the Buddha and his depiction hasfrequently been noticed in Buddhist art of Gandhara. The ‘vajra’ not only influencedthe symbolism of Buddhism but also its pantheons too. Many Buddhist deities werenamed after the word ‘vajra’. This can be authenticated by the presence of numerousBuddhist deities such as Vajrapani, Vajradhara, Vajrasarrvamika, Vajradhatvishvari etc.many Buddhist deities are seen holding ‘vajra’ as their one of the emblems, whichinclude Dhyani Buddha Vajrasattva, Vajrapani, Vajragarbha,Heruka, Vighnantaka,Acala, Sumbharaja etc. This symbol frequently depicted as one of the symbols of manyBuddhist deities as it power and holds onto the nature and only deities would haveacquired that kind of supremacy. The study of Buddhist imagery also reveals thedevelopment of this symbol through the ages. This paper aims at investigating thesignificance and development of this important symbol by examining iconographic andsculptures features of representative Buddhist icons of ancient period on Pan-Indianlevel. An attempt will also be made in this paper to comprehend its exceptionalsignificance in Buddhism as it has been reflected through Buddhist visual imagery.

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MARKS AND THEIR MAKERS: A CASE STUDY OF CHAMPANER –

PAVGADH; GUJARAT

Avradeep Munshi

Marks, Symbols and human cognition, these three aspects have always been associatedwith each other. From the primeval times, we have tried to gain perspective on theancient mind with these highly subjective factors, whether in the times of cave –

dwelling, in open –air sites or via engraving marks over structures. Taking this theme,the present study will be an attempt to find out how we can go one step further, to tracethe untold facts behind a story of a medieval settlement of Champaner – Pavagadh ofGujarat. .

The limitations for historical documents have been to admire the upper strat’sof contemporary societies. Like the primary documents related with the Sultanate historyof Gujarat (India), among many other events also narrates one of the occurrence whereMahmud Begada, the ruler in 1484 C.E defeated the Patai Rawals of Pavagadh andlaid down a new city later turned out as a capital of Gujarat. But who built the city orhow did they do? Questions like these have never been answered.Therefore, this study will focus on finding out the reason behind the afore-mentionedquarries, with the help of the recent findings of symbols and marks over Champaner– Pavagadh Archaeological Park of Gujarat, India. It will be focused to draw a connectionbetween the ‘agents’ and ‘space’ in a given time and also attempt to trace its possiblelinks in present days

Keywords: Marks, Space, Architecture, Champaner – Pavagadh

SEALS OF BUDHIGARH, ODISHA: STUDY OF ITS SYMBOLS, LEGENDS

AND IMPACT OF NUMISMATICS ON SIGILLOGRAPHY

Baba Mishra and Ranvir Singh

Four seals of red Jasper are obtained from the early historic site Budhigarh, Dist, -Kalahandi, Odisha. All are surface findings. Present paper intends to interpret their

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Symbology and legend. Next, seal legends and symbols in the exercise are organisedand cognated with one another on the backdrop of ancient Indian polity and Agrology.

On the basis of symbols, legends and its meanings, these seals are grouped undertwo types, Type – I and Type – II.Type – I, consists of two seals having symbols (tree – in – railing and parasol) and

legends. ( Kharosthi – brahmi scripts, deciphered as Janadhapeta inPrakrit, Yajna Sthapayita in Sanskrit or founder of Sacrifice in English)

Type – II, comprises two other unreported Seals carrying symbols on its reverse.(sun, crescent moon, taurin,tree, rabit, ploughs and grains or cloudes)

It appears that the symbology and legend of the Seals stand for mittraksara vak(abridgeed code) or guhya language.

Thus, Type – I, symbols are interpreted in the sense of loyalty, for the tree– in – railing and parasolcan be interpreted as Kalpavriksa and umbrella or chhatra.Legend,on the other seal can be interpreted, viz - religious performance in the hinterlandof eastern India to legitimize kingship.

Type - II, Taurin symbol on the seal is a hydraulic device to lift water. Tree,rabbit, sun, crescent moon, ploughs, grains or cloud on the other, signifies vegetativeFertility.These motifs and symbols are noted on the Punch marked coins. Some are entrenchedin Harappan Culture too. These seals can be dated to 2nd to 5th century CE.

Keywords: Seal, Symbol, Legend

PATTERNS OF BUDDHIST ARCHITECTURE AND MUTUAL

CULTURAL ENTITY

Bharti

Buddhism always gives a proper feedback for repairing and civilizing unethical practices,it never removes any kind of practices from the society which may have been constructiveat any level. The preferable question is assured for a deterministic thinking processespecially in Buddhism. Can Buddhism practice survive in the society without preaching?On the first hand, an operational approach suggest us ‘‘Buddha was taught by the experts

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of Sankhya and Vaisheshic practitioners, he never satisfied by followed them’’. Buddhahimself meditation any looked for a path that was really different at some levels. Onthe other hand, no one can refuse his teacherís teachings must not be base of hiscontemplation.

This topic is related to architectural impact in continuation and beyond thereligions. A number of examples are lying in the world which denote, after losingBuddhist significance, it was followed by the king and the kinglets in restructuring themovements and the building. Perhaps repetitive approaches proved the two ways: First,the Buddhist art and architecture might have been effective and attractive. Second, itmay be possible that the creativity of the proceeding generation’s would have loosingthat’s why, for making fascinating them, they must adopt the old art. This kind ofBuddhist identity can make a history but real Buddhism never cares for the past andwaits for future. So this topic is being reframed on the basis of history and philosophywith mutual entity.

Keywords: Buddhist, Architecture, Pattern, Cultural entity

SYMBOLISM OF ART IN BENGALI LITERATURE – STUDY FROM

LITERARY GEOG

Bratati Dey

Literature and its interpretation are the prime resources and ways to narrate the culturallandscapes and their distinct and varied characteristics. The dynamic and complexnature of cultural landscapes allow geographers to conceptualize art form as text, whichlike a book, can be read and written by individuals for very different purposes andwith many different interpretations. Art form and symbols both produce andcommunicate meanings which one attempts to read and understand in all its complexitiesand contradictions. There had been a continuous quest to understand the geographybehind literature, where literature is examined in the context of the physical processesinvolved in its formation while comparing the regional reality. Literary Geography hasemerged as one of the fascinating fields of practice where landscape, image and textare integrated to describe the geographicality of the region. Deconstruction of Bengali

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literature of ‘Raj Kahini’1 has drawn multiple layers of social references and as wellas art symbols in context of local regional cultural landscape.

On the basis of literary geography this paper has distinct research question. One,this study tries to understand regional multiplicity of art symbols in literature and second,understand its philosophical version in the context of society and time.

As a methodological purpose this study has taken Abanindranath Tagore’s ‘RajKahini’ for critical statement. He is a famous artist in India and as well as story tellerof Bengali literature. Abanindranath Tagore- the writer self and the painter self, mergetogether and become equally important in giving his thoughts entirety. In‘Raj Kahini’talebased on the history of the kings of Rajasthan, Abanindranath’s way of depiction helpsthe readers to visualise the history of Rajasthan through a series of pictures; characterslike Bappaditya, Goho, Shiladitya, Rani Padmini become alive in the authorís hand.This symbol of art from has developed real space of society.

Keywords – Bengali literature, Cultural landscape, Literary geography, Regionalsymbolism

INTRICACIES OF ABSTRACT SYMBOLISM IN VATAPI CHALUKYAN

ICONOGRAPHY

C. B. Kamati

The term ‘symbol’ is derived from Greek word ‘symbolon’ synonymising contract,token, insignia and means of identification. Symbolization is a universal human process.Symbols are indicative of cultural prosperity. Culture in true sense itself is a symbol.In reality, the entire structure of civilizations is built upon these multifarious symbolicstructures; Symbols are in disguised as well as reveled in form. Symbols are universal.They transcend history. There is unanimity in tracing the beginning of symbolist thoughtto Pre-historic era to the latter part of the Paleolithic Age. Ananda Coomarswamy saysthat ‘Symbolism is the art of thinking in images’. Diel considers the symbols to be ‘aprecise and crystallized means of expression.’ Marc Saunier points to an importantcharacteristic of symbols when he states that they are ‘the synthesizing expression of

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a marvelous science, now forgotten by men’ but that ‘they show us all that has beenand shall be in one immutable form’.

The Vatapi Chalukyan Iconography is a complex embodiment of symbolism.It manifests socio-cultural and spiritual insights of the Pre-Chalukyan and Chalukyanera. The Research paper has explored the Intricacies of Vatapi Chalukyan Iconographythrough the lense of Structural Historiography.(i) Evolution of Symbolism in Chalukyan Iconography(ii) Ideological and Aesthetic Aspects of Chalukyan Symbolism(iii) Amalgamation of Symbols in Chalukan Sculpture(iv) Textual Substantiation of Chalukyan Symbolism(v) Implications of Symbols in typical Chalukyan Iconography(vi) Influence of Chalukyan Symbolism on ensuing Schools of Iconography

Keywords- Iconography, Symbolism, Zoanthropic Figures, Tapakrida, MithunaSilpa,Trinity Nexus

MATSYA AND SARPA: AS SYMBOLS IN THE SCULPTURES OF

HAMPI ENVIRONS

C. S. Vasudevan

The use of symbols in the depiction in the plastic art in India has a hoary past and itsantiquity can be traced since prehistoric times. The use of symbols has developed itselfwith its own hue and has carved a separate niche in Indian art. This paper attempts tofocus on the two faunal representations, viz Matsy (Fish) and Sarpa (Snake) that arefound sculpted on various monuments in and around Hampi.

The present day Hampi, in Bellary district of Karnataka, was the medievalcapital of the Vijayanagara empire which held sway over the entire southern part ofIndia during its’hey days. There are over one thousand architectural vestiges spreadover in about 40 square kilometers. And on all these architectural vestiges differentflora and fauna are depicted and they narrate a story. It is to be recalled here that thereare a number of animals like fish, tortoise, boar, lion, tiger, camel, elephant, swan, eagle,monkey, giraffe, crow, duck, scorpion, bear, pig, rain deer, deer, pig, cattle, buffalo,

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cow, stag, horse, etc are represented in different contexts in the sculptures of Hampiregion. Out of all these animals mentioned, the present paper attempts to cull out thesignificance of Matsya and Sarpa sculptures taking into account the art, culture,vernacular texts, socio-religious aspects besides mythological importance with spatialand temporal context.

The folk tradition and legends that are in vow in the present day Hampi is alsoconsidered in evaluating the symbolic representation of these two faunal representationsin the sculptures.

Keywords: Matsya, Sarpa, Hampi, Vijayanagara

AN EXPLANATION TO THE ELEPHANT-HEADED FIGURE AT

MIHINTALE KA–ŒAKA C»TIYA: A COMPARATIVE STUDY WITH

HINDU MYTHOLOGY

Chandima Bogahawatta and Koshalee Kakulandala

The first Sinhalese literary evidence of Gan∞apati can be identified in a verse ofSasad°vata, a poetry work composed in 12th century AD during the Polonnaruwaera.Ga∞apati or Ga∞esha, who is one of the most worshiped gods in Hindu society, wassomehow unknown to literature till the medieval period of the country. Interestingly,a sculpture of an elephant-headed figure belonging to the 2nd century AD has been foundon the cornice below the topmost one of frontispiece of Mihintale Ka∞Æaka C®tiya amongthe frieze of dwarfs, literary gan∞as. Since the figure has been identified by somescholars as the Hindu god Ga∞apati owing to the elephant head, this interpretation hasbeen the subject of much debate among archaeologists. In comparison to Indiansculpture, the figure found in Mihintale can be righteously identified as an earlydepiction of Ga∞apati. This interpretation, however arises a number of subsequentquestions to be answered, such as: What are the elements which symbolise the elephant-headed figure as Ga∞apati? Is it a representation of Ga∞apati cult in Sri Lanka at thetime? Therefore this study intended to identify the symbolism of the figure comparativelywith Hindu Mythological evidence, and to understand the figure within its archaeologicalcontext. Arising from the facts available, this figure can, thus, be identified as an earliestdepiction of the Hindu god Ga∞apati, as the head of the ga∞as, in the form of Ekadanta

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who has only one tusk. The consciousness among the people of the Ga∞apati as a divinebeing is evident from the archaeological context of the sculpture.

Keywords: Ga∞apati, Ekadanta, Elephant-headed, Head of ga∞as, Mihintale Ka∞ÆakaC®tiya

A NEW APPROACH ON INSCRIBED SYMBOLS ON COPPER PLATES

FROM INDUS VALLEY and VEDAS

Chandra P. Trivedi

The Inscribed Copper Plates from Indus Valley (Harappan) Civilisation (c. 2600 - 2000BC), One of the plates bears 34 characters, which is the longest known single Indusscript inscription. Prof. Shinde and Willis 2014 hypothesized that the copper plates haveconsistent with use in copper plate printing as earliest known printing devices. It hasinspire to search the use of copper tablet with one, two or longest 34 character. It suggeststhat the text may be descriptive or instructive, and has a special purpose.

It has been searched with deep study with above reference that the copper tabletsmay have been used for demonstration and teaching with symbolism. In this sense thelongest inscription with man in yogic posture is like a text book. The other tablets withone or few symbol with different figure are like different chapter/ lectures, to teach thestudents about the origin and evolution of the creation and life on the earth, with itstext in Vedas.

The script and languages change with time, but symbols remain the same. TheIndus Valley was most advance and scientific Civilization, now we have touched theirheight and can interpret the symbols.

The inscription with 34 character symbols explores origin and evolutionof the creation and life from a fundamental energy with energy transformationEinstein’s equation E=Mc

2. The life has evolved from single DNA with genetic

recombination and cell division. The Photosynthesis by the plants is source of life onthe earth.

It has been expressed on the copper plates with Vedic symbolis and may bedistributed in large number with printing devise.

Keywords: Indus Valley, Vedas, DNA, yogic posture

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CHARACTERISTIC AND SYMBOLISM IN SAKTI CULT OF TARA: AN

INTROSPECTION

Chandrashekhar Paswan

Tara is well-known goddess in the Buddhist and Hindu mythologies. Let us see firstof all how Tara is represented in Hindu or Buddhist mythology. Brahminical mythologyknows of several Taras, but here we are concern with the goddess of ten Mahavidya, this name who is known as the second Mahavidya. Her chief forms are three namely,Ekjata, Nilasarswati and Ugra. Taking the various representations or dhyanas ofTara as found in works like that Tararahasya, Taratantra, Tantrasara,Mantramahodadhi etc. Tara is a very important and popular deity in the tantric literaturein Northern, Eastern and North Eastern India especially Mithila, (Kali,Ugratara,Chhinnmastika , Chinachara, etc. Bengal, Assam. Tara hold the same place in Buddhismwhich has the goddess Duga, Kali as Brahamnism.She figures as the counterpart orSakti of Avalokiteswara as Durga or Kali is the Sakti of Siva. The later, namely Durgais depicted as mother of the gods –the highest in the Brahminical mythology. Similarlythe Buddhist or Mahayana pantheon, Tara is represented as the mother of Buddhas aswell as Bodhisattvas. Still her form may be considered to be two-fold, the pacific andangry one, according to the aspects or she may have five to seven forms, in accordancewith the separate colours namely the white, the blue, the green, the yellow and the red.Her pacific forms will be either white or the green in colour but the angry forms willbe represented either red or yellow or blue. The Buddhist took some from the Hinduand adapted them to their worship or beliefs, and so did the Hindu also.

Keywords: Symbolsim, Shakti cult, Tara

YOUNG MALE CHILDREN AND NAIGAME?A IN MATHURA ART

Chandreyi Basu

This paper studies representations of children and their caregivers in early Mathura art(1st –6th centuries) in order to explore the ways in which children during this period

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might have been socialized and educated through religion, mythology, and familystructures. In what contexts do children appear in art and what do these images tell usabout gender roles, health, parenting, and resource management? What roles (didactic,symbolic, marginal, or central) did children’s figures play in Mathura’s religious art?The sculptures examined come mainly from Buddhist and Jain sites in Mathura andmy paper draws on inscriptions and relevant texts to supplement the archaeological andart historical evidence.

Mathura sculpturesprimarily foreground male children at different stages ofdevelopment (infants at and after birth to older children). Their caregivers and mentorsinclude animal-headed male and female deities as well as fully anthropomorphic yak∑asand goddesses. Separate gender roles related to parenting by male and female eldersin the social group seem to be embedded in the worship of these male and female animal-headed caregivers. Thus the male ram-headed demi-god Naigame∑a gained popular cultstatus as a mature male mentor and guardian of young boys in Mathura during the 2nd-3rd centuries C.E. He is portrayed on independent stone plaques with many young wardsunder his stewardship. By contrast, animal headed female deities are mainly showncradling or nursing newborn infants. My paper examines what these gendered divineroles might tell us about ancient Mathura’s society, particularly in terms of familystructures and the relationship between children and adults. In addition to portrayalsof Naigame∑a, the mature mentor of youth, representations of Skanda, the youthful malewarrior deity also shed light on what it meant to be growing up male in Mathura.

Keywords: Gender roles, Children, Mathura art, Jainism, Buddhism

SYMBOLISM OF KAILASA THE SACRED SPACE AND THE ARTISTIC

EXPRESSION WITH REFERENCE TO EARLY DRAVIDA TEMPLE

ARCHITECTURE

Choodamani Nandagopal

Sacred structural form and space meet the needs of ritualistic and spiritual traditionsthat translate into metaphysical heights in ancient architecture expressing sacredrelationship between man and cosmos. Richness of contents of sacred architecture

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provided scope for exploring space in many ways. This conception and thoughtprocess integrated with space in Dravida architecture originates from the garbha – theSanctum.

Greatness of structure reflects in the shikhara, grand ensemble captivating theentire temple architecture, conceived and employed at Kailasanatha Temple,Kanchipuram and Kailasa Ellora. Stella Kramrisch while observing refers to the conceptof superstructure of the temple symbolising Kailasa. Piled up structure over sanctumresembling mountain has attracted the names of lofty mountains. Meru, Mandara andKailasa are the first three names amongst the twenty types of temples described in theearly texts, Brhat Samhita and Matsya Purana: all three are the names of the mountain,which is the axis of the world: that is Meru, the pole of this earth, Mandara as churningrod planted on Vishnu, the tortoise during the Satya Yuga, and Kailasa as seat of Sivain the Himalaya. In these names rises the temple, the image, and sacred space.

Creation of Kailasa caught the fancy of builders, as a result we have twomagnificent structures one at Kanchi and the other at Ellora. Saivism is well definedin the south of Vindhya mountains. Kapalika is one of the main tantric cults of saivism.All Sanskrit sources claim that the Kapalikas worship Bhairava-Siva and his consort.Literary works describe them as solitary peripatetic ascetics, carrying a kapala, the skullbowl. wielding a trident, smeared with ashes from cremation ground. Bhairava tantramentions kapalikas as the worshippers of Unmatta-Bhairava. This paper explores theartistic expression of the above temples with the symbolism of Kailasa, the abode ofShiva

Keywords: Kailasa, Sacred Space, Saivism, Shikhara, Bhairava

ROOTS OF SYMBOLS AND COMPOSITE FORMS IN SINDH

SARASWATIART

D.P. Sharma and Madhuri Sharma

Sindh Saraswati civilization is dated 3000 – 2000 BCE, was Bronze Age urban civilizationin South Asia. Today we have some 3769 harappan and its influence sites in north-west south Asia and we have done excavation on 220 harappan sites in Souih Asia

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Kalibangan, Rakhigarhi, Mohenjodaro, Bhirana, Mehargarh, Harappa, Dhaulavira andLothal were excavated on larger scale. Rakhigarhi is a largest early and mature Harappansite and it was covering total 380 hectares area. Recent excavations done at Harappa,Mohenjodaro confirms existence of composite form of terracotta figurines. This paperdeals with few such figurines and Symbol discovered from Mohenjodaro, Harappa,Naushero and other sites. Roots of ancient Indian art and religious is present in Harappanart. We have mythical lions, mythical fish, back to back lions, back to back animalsand various other figurines in Harappan art. Some rituals and symbolic objects like tri-ratna, Nandi pada, double knot or Multiple Knot swastika, cross, lotus etc. are presentin this civilization.Mahisasur Mardani Kiling Buffalo Was Reported From MohanJodaro. Silver and depicting multiple know design like logo of I.G.N.C.A. was reportedfrom Mohenjodaro now in national museum collection New Delhi. Kalibangan locatedon river Saraswati was excavated In 1917-1918 by Lp Teresstori Who died In 1919-later on Mohenjodaro and Harappa were excavated in 1921.

Keywords: Symbolism, Art, Sindh-saraswati

SYMMETRY ANALYSIS OF PAINTED POTTERY FROM TWO PAINTED

GREY WARE SITES: MADINA AND BHAGWANPURA

Daljeet Singh and Elora Tribedy

Symmetry analysis is one of the major tools in ceramic sociology to understand ceramicdecoration, identify and describe the patterns, rotations, reflections and transitions. Inthis paper the first aim is to analyse major patterns and compositions applied in theceramic decorations of two Painted Grey ware (PGW) sites Bhagwanpura and Madinain the Ghaggar (Sarasvati?) plain. Both sites present an interlocking phase between LateHarappan and PGW culture. In the present paper has tried to show Madina to be thefirst PGW site to present a structural evolution of motifs from simple to complex,pointing to an earlier existence from Bhagawanpura. Present paper has highlighted onsymmetrical complexity and structural composition of motifs from both sites to presenta comparative analysis. It has aimed at identifying political or social connotation of

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particular symbol or symbols and their place and position in a given region or locality.Lastly the paper will seek out ways which can identify particular spatial arrangementpattern of any motifs and shapes of painted grey ware while looking into possiblecontinuity and change.

Keywords: Painted Grey Ware, Symmetry Analyses, Motifs, Pottery and Symbols

RESTORATION- A TECHNICAL REVIEW ON BUDDHIST ST√PA

Debatri Ghosh

After the death of great King A∂oka arising ÷u∞gas had written the future of thatworld which carried on the beauty of its past glories. This glorified past enhancedthe charm of the futurevthrough those kings who were very fond of art andarchitecture. Not only their philosophy but also their concerns about their thoughtshelp a step ahead to create such beauties like st£pas, caves, temples, etc. St£pa ismerely the oldest form of Buddhist architecture. These are actually nurtured by thegreat king A∂oka. It carries enormous history of that era in different name. Kali¨gabodhiJ°taka Buddha describes three types of Caitya namely - S°r¢rika (physical),P°ribhogika (pleasantry) and Audde∂ika (purposive). Motive of this paper is just areview on the technical terms related to St£pas and how these St£pas took placesin our history for the sake of restoration of our history through their gloriousexistence. Some of them are - Bh°rahuta St£pa, S°≠c¢ St£pa, Dh°meka St£pa,S°ranatha St£pa, Taxila Dharmar°jika St£pa. The stone pillar inscription ofMahip°ladeva states the restoration of Dharmar°jika and S°∞gadharmacakra: taudharmar°jik°Ì s°¨gaÌ dharmacakraÌ punarnavaÌ (3) So, here the journey beginsfrom our history for our history.

Keywords: Buddhist, Stupa, Restoration

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MARA: SYMBOL OF EVIL IN INDIAN BUDDHISM

Deepali Patil

Many supernatural creatures populate Buddhist literature, but among these Marais unique. He is one of the earliest non-human beings to appear in Buddhistscriptures. He is a demon, sometimes called the Lord of Death, who plays a role inmany stories of the Buddha and his monks. But here I am trying to see theEssenceand necessity of such concept and at second point i will show here the ‘Pre-BuddhistConcept of Míra as a evil symbol,’ looks at what kind of Míra concept existedin ancient India; its nature, and the beliefs of the people towards it. And at third pointi will discuss here the symbol of evil ‘Míra in the Canonical Texts,’ shows how theconcept of Míra is referred to, developed and discussed in canonical texts.

The many-sidedness of Buddhism is well illustrated in the Buddhistic conceptionof evil and of a final escape from evil, which is taught to the thinker in the shape ofa philosophy, and to the un educated masses in the garb of a poetical myth, affordingthe artist a good opportunity for representing deep thoughts in allegorical form.The purpose of this study is to show how the four Maras function as a summary formulafor the diverse ways in which the term ‘‘Mara’’ came to be used, and following that,to consider the meaning this plurality of Mara symbols has for the Buddhist understandingof evil (papa).

Keywords: Evil, Death, Mara

NANDA RAAJ JAAT: A SYMBOLIC RITUALISTIC MANIFESTATION OF

THE SECRET NANDA DEVI PEEK.

Deepshikha Semwal

Nanda Devi is the chief patronizing Goddess of Uttarakhand, as she is said to be adaughter of Himalaya. Several shrines are devoted to her all across the central Himalayas.The goddess is worshipped at several places in Kumaon and Garhwal, but the regionaround Mt. Nanda Devi and sanctuary, which falls in the Pithoragarh district, Almora

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district, and Chamoli district, is the prime area related to Nanda Devi.The three-week-long Nanda Devi Raj Jat is a pilgrimage and festival of Uttarakhand. The total distancecovered during the yatra/pilgrimage is approximately 290 km; of which 230 km iscovered on foot or by trekking while the rest 60 km is motorable. The Nanda Devi fairis usually held in the month of late August or early September depending upon the dateof the lunar calendar after every 12 years. The recent Yatra of Nanda Raaj Jaat washeld in the year 2014. However, a fair is held annually (The small Raaj Jaat Yatra) atthe time of ‘‘Nanda Ashtmi’’ in memory of the Goddess Nanda. The fair is said to havestarted in the Kumaon region during the reign of Raja Kalyan Chand in the 16th century.This paper is an effort to explain the myths, rituals and traditions in Nanda Devi RajJat which is celebrated by the people of Uttarakhand. The paper consists of folkloresrelated to the celebration of 21 days Yatra and also describes different types of traditionswhich are celebrated during the Yatra such as group - dance with Dhol-Damaun,religious ceremony, etc.

Keywords: Nanda Devi, Symbolic, Ritualistic manifestation

KABIR AND KUMAR: UNDERSTANDING THE SYMBOLISM IN NIRGUNI

BHAJANS RENDERED BY PT. KUMAR GANDHARVA

Digvijay Patil and Saumitra Kshirsagar

In the middle of fourteenth century, Nirguna Bhakti tradition started off with its pioneersaint poet Kabir and his followers. They composed hundreds of verses which refer todivine Nirguna, literally meaning the one without any form and material attributes,which sharply contrasts with popular Saguna Bhakti tradition. This poetry emphasizesmainly on the transitory nature oflife, non attachment, inevitability of death and devotionto teacher etc. Ultimately these songs are richly embedded with allegorical examplesdrawn from nature and day to day mundane life which helped the listeners to comprehendthe philosophy.

Pandit Kumar Gandharva or Shivaputra Siddharamayya Komkali (1924-92)was a Hindusthani Classical vocalist. The maestro is well known for the i

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diosyncratic style and his refusal to be bound by any traditional musical school orGharana.

He experimented with many classical music forms including Bhajanswhich resulted into musical compositions deeply rooted into the symbolicmeaning, philosophy and aesthetics inherent to the verses. His musical renditionsof Nirguni Bhajan are widely known and popular among amateur listeners andconnoisseurs alike.

This paper is a preliminary attempt to understand the unique and thoughtful useof melodic framework, pronunciation, tempo, rhythm cycles, volume and silence etcin his musical renditions and their contribution to enhance the symbolism of philosophyin Nirguni Bhajans.

This paper will also try to include the observations made by different personalitieswho were contemporary to Pt. Kumar Gandharva, his disciples, musicologists, vocalistswho sing his compositions and his ardent followers.

Keywords: Kabir, Kumar Gandharva, Nirguni Bhajan, Hindusthani Classical Music,

LAIRAI DEVI THE KALASH DEITY OF SHIRGAON GOA AND

MODES OF WORSHIP

Dipika Bhomkar

Lairai Devi is a mother goddess and gramdevata of the Shirgaon village in North GoaBicholim taluka. Temple dedicated to Lairai is built in the centre of the village. Sheis worshipped in the form of ‘kalash’ (pot) which is made up of five metals i.e. gold,silver, and copper, iron and zinc called as ‘Pancdhhatu’. It is considered sacred in India.Kalash or the pot also has ritualistic symbolic meaning.When a pot is filled with wateror other nourishing liquid, along with leaves or flower or fruits or grains then it is called‘Kalasha’. This Kalasha indicates the womb of the goddess that gives the life in theform of leaves flowers etc. .The pot has much ritualistic symbolism- it is a symbol ofplenty, a symbol of life. It symbolizes the expression of a wish that the recipient enjoywealth health and long life. This paper deals with the origin, worship pattern, andrepresentation of the deity.

Keywords: Lairai Devi, Deity, Worship

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UMBRELLA OF SERPENT: A PORTRAYAL OF DIVINE KINGSHIP IN

EARLY INDIAN ART, UP TO C. 500 CE

Duli Ete

In India, serpents are not merely a class of reptile which crawls on the ground andendangers lives but are considered powerful supernatural beings, which possess humanlyqualities, could assume the status of a god and yet remain distinct from both. Thiscommon animal has been viewed with such ambivalence that the n°gas, the supernaturalcounterpart of earthly cobras are an embodiment of polarities, bestowed with numerousmeanings and symbolism. The n°gas symbolize life giving water, but they also representdeath. They are believed to be the denizens of the aquatic paradise, but they breathefire, control atmosphere and could haunt heaven and earth. They are believed to bethe most generous beings, but they could also annihilate prospering cities. Theseambiguities of the n°gas that abound in the Buddhist, Brahmanical, and Jaina art andliterature have led many scholars, since the nineteenth century, to view serpent worshipin ancient India unsympathetically from the lens of ‘the great tradition,’ as ‘folk,’ ‘local,’‘mere ornaments’ and ‘never an object of worship.’ Such approach simplifies thereligious dynamism and rules out the possibility that a sacred landscape and visualvocabulary were shared between many contemporaneous faiths.

This paper focuses on the N°gar°ja iconography, a sacrosanct serpenticonography, in which a serpent canopies a deity with an umbrella of its multiple heads-a motif shared by Buddhism, Brahmanism, Jainism and independently affiliated imagesof serpent deities. By moving across four inter-related sources, namely, art,archaeological, inscription and textual, this paper not only traces the antiquity andsymbolism of this iconography but also illustrates, that Buddhism, Brahmanism andJainism consciously adopted this iconography to portray the divine kingship of theBuddha, Vi∑∞u, and P°ˆvan°tha, respectively. By emphasizing on iconographictransference, this paper highlights the dynamic religious interaction in the symbol ladenvisual culture of early India (up to c. 500 CE).

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THE SWASTIKA IN BUDDHISM: ITS GENDERED SYMBOLISM AND

SINICISATION

Garima Kaushik

The Swastika symbol in Buddhism has been extensively reported and documented froma number of Buddhist sites in South Asia like Bharhut, Sanchi and many others. It occursas a decorative art motif represented on sculptures and architectural members. Swastikais an early symbol appropriated by the Buddhists that predate the iconic representationsof the Buddha and very often was used to represent the Buddha aniconically. It isconspicuously present even in the architectural scheme at Buddhist monuments. Anumber of stupas from sites like Nagarjunakonda and Pedda Ganjam in Andhra Pradeshhave been reported to have bases that are shaped like swastikas. More recently fromsites like Vadnagar in Gujrat and Sirpur in Maharastra, viharas have also been reported.whose ground plan are shaped in the form of a swastika. This paper examines thepossible gendered and sectarian affiliations of this symbol, keeping in view the variousarchaeological and spatial contexts in which it occurs. The symbol is also known tohave a marked presence in Chinese Buddhism. This paper also traces the diffusion andsinification of the symbol and its association with the Chinese deity of Compassion,Kuan Yin.

Keywords: Swastika, gender, stupa, monasteries

SYMBOLISM OF BIJAMANTARAS

Gauri Moghe

B¢jamantra is a peculiar type of Mantra, found in Tantra literature. Mantraˆ°stra is themain theme of Tantra. It is most important as well as most difficult subject in Tantraˆ°stra.Tantra is a significant and an occult school of philosophy and it deals with Tattvas,Mantras and specific symbols. Typically B¢jas are of one letter with ‘Candrabindu’ (signof nasal) like ‘KaÌ’ as the seed-form which the mantra springs. Popularly other un-etymological vocables such as Hr¢Ì, ÷r¢Ì etc. are also called B¢jamantras. According

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to the ordinary use of language B¢jmantras have no meaning or they appear asmystic words. With the help of the Tantra∂Ìstra it can be said that B¢jas aresymbols which stand for specific and significant meaning and concepts. InTantra∂Ìstra, every letter conveys some meaning. Therefore when someconsonants and vowels come together in a B¢jamantra, they collectively convey specificmeaning. Each deity has its own B¢jamantra and the primary meaning of B¢jamantrais that particular deity.

This is an effort to find symbolism of B¢jamantras. For this study the Nav°r∞a-mantra, ‘‘Aum AiÌ Hr¢Ì Kl¢Ì C°mu∞Ø°yai vicche’’ is taken into consideration.Nav°r∞amantra is a significant mantra of ÷°kta cult of Tantra and it is widely knownand worshipped.

As a part of language, it is essential to define the linguistic status of B¢jamantras.Semiotics is a sub-branch of Semantics. Semiotics deals with the signs which stand forsomething else. It is noteworthy to analyze the study of symbolism of B¢jamantras inthe light of Semiotics. This research paper is an effort to analyze symbolism of B¢jasin the light of Tantra∂°stra and to put forth the discussion about the linguistic status ofB¢jamantras.

Keywords: Tantra∂°stra, B¢jamantra, Symbols, Nav°r∞amantra, Semiotics

GA–œABERU–œA: AESTHETIC REPRESENTATION IN THE ART OF

KARNATAKA

Gomathi Gowda

Indian Art is predominantly decorative in character and birds occupy an importantposition in plastic and pictorial representation. Birds such as the Garuda, Peacock andothers are connected with important mythological stories and in the stories of J°taka,most other birds are carved, painted as an integral part of the design.

Of the mythical birds, Garuda, the vehicle of Vishnu, is well-represented inmedieval records. In south, another kind of mythical bird is noticed in the inscriptionknown as ga∞Øabheru∞Øa. In Sanskrit the word bheru∞Øa means terrific, frightful,terrible, a species of bird while ga∞Øa is understood to imply a warrior or hero. The

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term ga∞Øabheru∞Øa was adopted as a title by the Chalukyas, Kadambas and theVijayanagara rulers.

There are numismatic representations, literary references, sculptural and artisticportrays of this unique symbol in Vijayanagara art. The ceiling of the V¢Órabhadra shrineat Keladi, and the Bherundeshwara temple at Balligavi have the most exquisiterepresentations of the ga∞Øabheru∞Øa .The ga∞ØabheruØa is alsothe logo of KarnatakaState Government and was the royal insignia of the Wadiyars.

The paper attempts to analyse the significance of the ga∞Øabheru∞Øa inKarnataka and bring forth the artistic and aesthetic representation of the motif.

Keywords: Ga∞Øabheru∞Øa, V¢rabhadra temple, Bherundeshwara temple

OBSCURE FEROCIOUS IMAGES AND FACES ON THE PILLARS OF

BHAIRAVNATH TEMPLE AT PEDGAON, MAHARASHTRA: ITS

POSSIBLE SYMBOLIC MEANING

Gopal S. Joge

Motifs and symbols are played vital role in an architectural embellishment oftemples. These motifs are not merely a decorative motif but successfully conveyedthe strong propagative abstract ideas and thoughts which was inherited in thatsocio-religious set up. Some of the motifs quite familiar to the art historians such askirtimukha, vyala etc.

However, sometime fairly uncommon motifs, images also can be observed.In such a case scholar needs to outlook and examined in different way to decodethe motifs. Which would be helpful to him to understand the particular temple. Onesuch temple noticed by the author at Pedgaon a tiny village in Shrigonda talukaof Ahmednagar district in Maharashtra. The site is located on the left bank of Bhimariver. There are group of around seven structural temples inside the premise of latemedieval fort ‘Bahadurgarh’. Stylistically these temples are dated around 13th centuryCE.

This paper discusses the possible symbolic aspects of these motifs and imageswhich is displayed on the pillars of Bhairavnath temple. These motifs and images are

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depicted on middle (stambhmadhya) and upper (stambhshirsh) portion of thepillars.Most of these motifs and images are obscure and enigmatic which is not therein other temples at site. These motifs and images can be classified in three typesKirtimukha, ferocious faces and therianthropomorphic images.

Keywords: Motifs, Obscure Ferocious, Temple, Maharashtra

SYMBOLISM IN INDIAN LITERATURE, WITH SPECIAL REFERENCE

TO ODIA LITERATURE

Harihar Padhan

Alike many other forms of literary technologies like imagery, allegory, objective co-relative etc. related to style matters, symbolism in its new and prevalent form is alsoinfluenced to westernised art and literary movements despite its age old existing formatsand trends. In literature and particularly in Indian literature, along with art, music andarchaeology in post mid-nineteenth century era we notice that trend of western influencerampantly. The utmost positivity of a symbol is to stimulates a sharp feeling by meansof its expression irrespective of the ground that whether it is collected from a localscenario or imported from far distant localities, and there is a chance of negativity ifthe symbols creates any hurdles in understanding the sense immediately. In theperspectives of Indian literature, the creations in prose form and the creations of versein a new experimental style often relies more upon symbolism in comparison to Oldand medieval literature. The literatures of Tagore, Najrool, Tarashankar andBibhutibhushan of Bengali literature, Premchand, Jaishanker, Nirala and Fanishwarnathof Hindi literature or Fakirmohan, Sachi rout, Gangadhar, Gopinath and ShantanuAchaya etc of Odia literature are the burning examples of literary expressionism bymeans of symbolism. In this study I propose to present a glimpse of Symbolism in Odialiterature by means of analytical mode.

Keywords: Modernity in literature, Symbolism, Indian literature, Odia literature.

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ASS-CURSE STELES : INVESTIGATING SYMBOLISM

Harshada Wirkud

Ass-curse steles are a unique type of land or such grant stones or simply edicts bearinginscription which is inclusive of the Gaddhegaali i.e. the ass curse and have a sculpturalpanel that usually depicts copulation between a donkey and a woman. It is from thispanel and the, usually accompanied, presence of a curse in the inscription which statesthat ‘the miscreant’s mother/wife will be copulated with a donkey as a punishment’ isthe reason that they are so termed. The Ass-curse steles are thus extant proofs ofcorroborative cogent evidence in the form of archaeological and epigraphical data. Thecoherent persistence of the nearly defined typology of these steles is probably onlysecond to religious iconography though there are certain permutations and combinationsinvolved. The depictive panel which pictorially represents the curse in toto, is perhapsa phenomena observed for the first time in case of direct correlation with the inscription.They were issued from 10th - 11th century onwards.

The stele is generally divided into three panels, viz; the sun-moon panel, theinscription panel and the graphic panel depicting the curse. The sun and moon panelis usually accompanied by a Kalasha or some other design/figure altogether and isalways carved at the top of the stele. The inscription panel and the graphic panel areinterchangeable.

This paper deals with the iconography of these steles by trying to conceptualizethe entirety of the symbols and the graphic visualizations used. The aim is also to takeinto consideration the current cognizable meaning attributed by the people to thesesymbols and graphics used on the basis of their current perceived notions and impacts,thereby helping us understand continuity if any and other beliefs with regards toperception of these symbols from the past to the present. It is also to evaluate andunderstand, if as well as any, previous theories with regards to the donkey-womansymbolism considering that Ass-curse is very much a pan Indian phenomenon thoughwith variations and the fact that different kinds of curses were being used in the grantsteles earlier though not so much as in a graphic sense.

Keywords: Ass-curse steles, Typology, Symbolism, Conceptualization

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SYMBOLS IN THE ROCK ART, KARNATAKA WITH SPECIAL

REFERENCE TO THE MALAPRABHA BASIN

Hemant Dalavi and Mohana R

The present paper deals with symbols through the study of art sites in Karnataka. Itgives better understanding of geographical distribution of rock art sites along withthe rivers and their tributaries. Description of Rock Art in Karnataka has been classifiedinto three categories i.e. Pictograph and Petroglyph.The rock art sites are located inarchaeologically rich areas noted for significant Palaeolithic deposits as well as variedHolocene sites, habitation and burials of hunter-gatherer, Neolithic and Megalithiccommunities as for instance in Karnataka.

The symbol is a sign of language i.e. expression of feelings and emotions ofhuman being. The authors have been noticed such symbol in the rock art of Karnataka.Those help us to understand the past mind an aspect of cognition. The symbols likerhombus, knot designs, mandala, criss-cross, hand and foot prints etc.

Keywords: Symbols, Rock-Art, Malaprabha basin

ORNAMENTATIONS AROUND THE SYMBOL OF THE CROSS : A

COMPARATIVE OVERVIEW

Jason Johns

The symbol of the cross from its origin in a pre- Christian phase to its Christianizationhas gone through a long period of evolution spanning hundreds of years. The crosswhich was a symbol of shame and punishment for criminals became a Christian symbolin the Holy land representing the passion, death and resurrection of Jesus Christ .It isto be noted that this symbol became popular once Christianity became a popular religionand began to spread with the believers either under patronage or threat. The cross asa symbol itself began evolving with elongation, curves, equalization and ornamentation

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either on its surface or around it. The evolution of the cross and its ornamentationchanges with region, group or sect of Christians and the meaning they gave to it. Theornamentation also represented various facets of Christian theology and philosophy asprofessed by these various sects.Furthermore one observes that with the regionalisationof the symbol of the cross - local elements like vegetation, fruits , fauna and culticsymbols get incorporated , as seen in the cases of India , Armenia, etc .Thus the resultantcombination of the cross symbol with its evolving and distinguishing ornamentationserve as a window into the coming of Christianity into those respective localities, howthe two communities interacted, the level of their religio- intellectual interaction, etc.In the following paper the researcher aims at making a cross cultural comparisonbetween few of the ancient crosses like Nestorian Crosses, Armenian Khachkar, PersianCrosses in India , etc. Here along with the examination of the cross itself the ornamentationwill be studied and put into context of the locality where these crosses are found , whilemaking an attempt to separate what was originally brought by the early missionarieseither in tangible or intangible form.

Keywords: Cross, Symbol, Evolution, Christianity Ornamentation.

BALLADS: A SYMBOLIC JOURNEY THROUGH THE LIFE OF NORTH

MALABAR

Jasna K and Aswanth K O K

The history of Malabar is inundated with significant historical incidents and happeningsand any reading of it will be incomplete if Vatakara is not mentioned. Vatakara (alsoknown as Badagara) is the capital of old Kurumbanadu, which was inhabited by a tribalfolk known as Kurumbrar. The name Kurumbranadu has its origin in the name of thistribe. A Nambiar Lord known as ‘‘Vadakara Vazhunnore’’ was the former ruler of thisarea. This is the third largest town of North Malabar. This paper revolves around theballads of North Malabar and so Vadkara becomes the heart of that.

Vadakara is known as the birthplace of Unniyarcha, Aromal Chekavar, ThacholiOthenan, the legendary heroes of the Vadakkanpattu (ballads of North Malabar). Theseballads of oral tradition are considered to be of great literary and aesthetic value.[citation

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needed] Thacholi Tharavadu (the original Thacholi family home) is still preserved andthe birth anniversary of Thacholi Othenan is celebrated. Lokanarkavu is one of thefamous temples in this area. Also the temple for the memory of legend Thacholi Othenanis located at Vadakara. This temple is named as Thacholi Manikkothu Kavu temple.The martial art form Kalarippayattu has the largest number of exponents in Vatakara.Also a temple resides near to Vatakara town named as Kalariyullathil Temple.

Keywords: Ballads, North Malabar, Vadakara, Folk Culture

ACHEULIAN ARTEFACTS AS SYMBOL OF PRESENCE OF EARLY

HOMININ IN THE DECCAN TRAP REGION OF THE UPPER

KRISHNA BASIN

Jayendra Joglekar and Sushama G. Deo

Studies in stone-age cultures began in the Indian sub-continent with the discovery ofa handaxe by Robert Bruce Foote in 1863 at Pallavaram, near Chennai (erstwhileMadras). Later on comprehensive explorations were carried out and almost wholemainland of Indian sub-continent was surveyed by various scholars, missions, Institutes,Universities. By the time India became independent nation, signatures of early homininpresence were discovered in most parts of the country, except few parts like Deccantrap region, Ganga-Yamuna doab, North-Eastern region and few other pockets. In theabsence of hominin fossils or not being able to discover hominin fossils, Acheulianartefacts are the main component which symbolizes the early hominin presence. Stonessurvive for millions of years, these stones when modified by hominin turn into artefacts,which is the best source for studying early hominins. In 1952, for the first time LowerPalaeolithic artefacts made on basalt were discovered at Gangawadi, on the Godavaririver in Nasik district of Maharashtra by Prof. H.D. Sankalia. Until this discovery it wasbelieved that the basalt was not a good raw-material and hence this region was avoidedby the early hominin as no sites were discovered till then. After discovery by Sankaliaat Gangawadi and further explorations in the Godavari basin it became evident that theDeccan trap region was also occupied by the early hominin. In 1960’s Dr. R.S. Pappuwas able to find few Lower Palaeolithic artefacts in the Deccan trap region of the upper

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Krishna basin. Further research in same region by other scholars brought to light fewmore Acheulian sites, confirming the early hominin presence through the artefacts theyhave left behind. This paper deals about the Acheulian sites in the Deccan trap regionof upper Krishna basin and also about few interesting artefacts discovered till date.

Keywords: Upper Krishna Basin, Acheulian artefacts, Early hominin presence

SYMBOLIC NARRATION IN KATHAKALI: A STUDY WITH

REFERENCE TO RAVANOTBHAVAM

Jyotsna Krishnan A

The paper evolves from the understanding that symbols and symbolism becomedominant trait in the discourse of all Indian arts. The symbols enable the artist to analyseand interpret the context through emotions and techniques. The thoughts and themetaphors are put together for a visual effect in the arts which make it visual delicacy.

When you look at the classical arts forms of India the plot does not play considerablerelevance. The way of telling the story makes the art forms different. The use of thesymbols and the narration are the two methods that give prominence to an art form.Symbols are cultural produce of a society. It clearly states the culture and life of thatparticular society. The idea of symbolism in art can be analysed in three ways:

1. Literary symbolism where there is a strong presence of symbolism in the literarytext

2. Theatrical symbolism where the performance contains strong symbols3. Philosophical symbolism where a philosophical backdrop like comparing the

dancer’s body to the panchbhootha.The Indian classical art forms differ itself in the variety of symbolic narration wherethe plot remain the same. Without the presence of the props it expresses narrationeffectively and clearly through symbols. Here the non-literary elements are communicatedthrough various techniques apart from the linguistic richness.

I here try to analyse the theatrical symbolism which is also called symbolicnarrative. The techniques and methods of depicting a situation is analysed in the lightof a play Ravanotbhavam, The Birth of Ravana. The characters like Ravana, Narakasura

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became relevant which focussed on the anti-heroic narration. The relevance was givento the symbolic narration of a particular situation as different from depicting a plot.The analysis carries different elements like mudras, body language, facial expressions,in which how symbolism is represented.

Keywords: Narration, Symbolism, Kathakali Theatre, Anti-heroism, Ravanot-bhavam

P√R–AKUMBHA : A SYMBOL OF AUSPICIOUS OMEN

K. N. Hota

When we look into the society and culture particularly of the Hindu community,generally people have a strong feeling or attachment towards each and every culturalelement which they come across in their day-to-day life. Omen either good or evil ishighly linked to this society and culture. The omen has an indication of auspiciousnessor inauspiciousness. Everybody wants to see a good omen of auspiciousness. Thus oneleaving for a journey expects to pass through a good omen which may indicate successof his journey. In other words, it is an indication of happening of something good. Thisomen element could be called as a symbol which indicates or connotes somethingauspicious of being desirable and inauspicious of not being so. There are hundreds ofomen both good and evil found in Sanskrit literature. P£r∞akumbha or a jar with fullof water is assumed as good omen indicating auspiciousness. This alone is believedan abode of fortune (ma¨galaikanilayaº p£rakumbhaº, Tri∑aPuCa.2.2.30). The sightof such a jar indicates one acquiring merit (BrahmaVaiP. 4.76.9). A jar with full of paddygrains on southern direction is a very good omen of being auspicious. But an emptyjar is never auspicious particularly on one’s journey (AV19.8.4). Matsyapur°∞a (238-7-11) records empty jar as an evil omen. It states that a jar with full water if becomesempty, it is an indication of definite destruction of country or death of its sovereign.This paper aims at knowing what P£r∞akumbha symbolizes or indicates based on thesources available in Sanskrit literature.

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A COGNITIVE EXERCISE TO UNDERSTAND ROCK ART TRADITION

THROUGH PAST AND PRESENT SYMBOLS

Kantikumar A. Pawar

It is one of the significant component in archaeology which is considered as creativeimagination and powerful executions of our ancestors. Behavioural approach into thesestudies mainly focused on the multifarious relationship of material culture and itsreflection into human behaviour which can be studied by minute observation of differentsymbols and mind mapping of some of the present day ethnic societies. These symbolshave certain The use of ethnographic analogy to fathom aspects of human behaviorin the distant past of our species, and even that of previous hominian species, has beena tool of Pleistocene archaeology for all the discipline’s history. Among the mainconcerns of the scientific study of the rock art is the question of the origin anddevelopment of this art. Relating to the cognitive evolution, this question has long beenthe subject of discussions including the psycho and neuro-physiological aspects of therock art. Here the author has dealt with symbolic aspects of doodles and human visualsystem and cognitive functioning as such.

This paper is about the link between rock art and pre-Historic ritual human behavior.It employs a landscape perspective and communication during existing rock art ritualamong the Gond community of central India. Present paper has been focused mainlyupon understanding of socio-behavioral pattern in the region by studying its past andpresent cultural traditions through symbols related to the rock art.

Keywords: Tradition, Symbols, Cognitive archaeology

DOCTRINAL SYMBOLISM IN TIPIŒAKA WITH SPECIAL REFERENCE

TO PETAVATTHU

Karuna Milind Mohite

Symbolic form of teaching is rooted in Indian culture since long and it plays veryimportant role in learning and remembering the things easily. Buddha taught his doctrine

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with the help of various similes, metaphors and narratives. The teaching of the Buddhais compiled in various texts of TipiÆaka according their subject matter. Petavatthu is theseventh book of Khuddakanik°ya of Sutta PiÆaka. It deals with the stories of the beingswho took birth in the Peta world due to their past unwholesome acts. The law of causeand effects is seen in Petavatthu in symbolic form. The effects of the three types ofactions like actions performed by speech or by body or by mind are shown with thehelp of various similes and metaphors. In this way, Petavatthu presents the specific typeof kamma and its vip°ka2 in symbolic form.

There is a belief that a strong group of wrong view holders were prevalent inthe society at the time of Buddha. Most of the narratives are dedicated to teach howthe micch°diÆÆhi (wrong view) is harmful on the path of liberation. This research paperis a small attempt to throw light on the symbolic study of the Petavatthu with the helpof selected episodes from Petavatthu. Therefore, the present research article will answerthe following questions.

1. What type of symbolism used to denote a various types of kamma and its vip°ka?2. Was the symbolism seen in the Petavatthu meant for the specific class of the

society?3. How symbolism helps to understand the law of cause and effect taught by the

Buddha at the best.Finally it can be said that the narratives of Petavatthu explore the doctrinal symbolism.

Doctrinal symbolism is the best method to teach the moral values. The symbolic formof teachings can be remembered for long period of time. It can also be passed on fromone generation to the next easily.

Keywords: Doctrinal, Symbolism, Petavatthu, Kamma, Vip°ka,

VRATA AND ¡LPAN¡ OF BENGAL: DEMYSTIFYING SYMBOLIC ART

Kakali Ghosh

1.0. A symbol is either a subtle or tiny expression of a subtler or titanic event, idea,aspiration and experience or a grossreplica of a subtle concept. It may appear asvisual, audial or audio-visual art form.

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2.0. Symbolismisthe soul of the entire Indian cultural heritage.Innumerable ritualsperhaps occupy the bulk of Indian culture. Vrata is a form of sacred practice,which is performed usually by several folks and largely by women either toexpress some desires, or to welcome the expectedoutcome.Although most of thevrataspresuppose neither the prescription of scholarly scriptures nor thesupervision of priests, they never lack theirfigurative approach.

3.0. Bengal has a long and gorgeous tradition of performing vratas. Vratas often areaccompanied by several aesthetic practices, like construction of image of deities,preparation of ceremonial stuffs, designing°lpan°s, musical and dramaticperformances etcetera. Thus vratas of Bengal are rich inseveral forms of creativeart.

4.0. ¡lpan° is often designedby women of Bengal as an auspicious symbol in vratasand other ceremonies.It is an amazing form of symbolic art which presupposesno extraordinary talent or training for being designed. A cotton piece is soakedin diluted rice dust and is taken within the finger-tips and then is gently pressedto direct the toner through the ringor middle finger for crafting the °lpan°-design.

Since the symbols are highly suggestive and abstract, an in-depth inquiry may beundertaken towards the comprehension of the content of the implicit suggestionstherein. Philosophy being the soul of Indian culture, each of these vratas and ‚lpan‚sis pregnant with the pearls of philosophical wisdom. Therefore, the present paper hasample scope to delve deeper into the core of the symbolic art as reflected in the traditionof vrata and ¡lpan°of Bengal.

Keywords: Symbol, Vrata, ¡lpan°

PIKA‹, i.e. INDIAN CUCKOO – A SYMBOLIC ELEMENT IN SANSKRIT

LITERATURE

Kirti Kulkarni

In Sanskrit literature, many birds and animals have been used as the symbols to revealthe human nature. pikaº, i.e. Indian cuckoo has some specific symbolic features inSanskrit literature. The word pikaº has many synonyms like kokilaº, t°mr°k∑aº,

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parabh§taº, etc. which have significant etymologies and meanings thereupon. Havingconsidered these meanings, the bird cuckoo is used as a symbol for revealing variouskinds of human nature, emotions. It reflects symbolic importance from both – positiveand negative – aspects. It also reveals the importance from the point of view of goodor bad omen, particularly in the Ayurvedic texts.

The present paper intends upon to deal with all these aspects of symbolismregarding pikaº, i.e. the bird cuckoo, in Sanskrit literature.

Keywords: pikaº, i.e. Indian cuckoo, Etymologies, Omen

THE BANDHA ART (TIE-DYE) OF SAMBALPUR (WEST ODISHA)

Kishore Chandra Meher

Bandha is one of the most versatile and tedious form of textile designing inhandlooms. Amongst the various form of tie dye techniques employed in thedesigning of textiles the tie-dye technique employed by the weavers of westernodisha is known as Bandha.

The word Bandha in colloquial language means ‘to tie or to knot.’ The techniquesis called Bandha since tying of the yarns in a systematic well coordinated and in perfectproportion according to a preconceived design before dyeing is essential to producethe desired pattern or designs when the yearn is woven in to textiles. Bandha can bedefined as ‘‘A length of systematically arranged yarn, dyed according to a preconceiveddesign in such a manner so as to enable a weaver to potray the design when the yarnis converted to a fabric through the process of weaving. This form of textile designingis also called Ikat.

At least four districts of western odisha viz Bargarh , Sonepur, Samblapur,Boudh are reputed for textile production. Thousand of weavers in hundred ofvillages are engaged in weaving the handloom textiles. The textile of western Odisha,otherwise known as ‘Sambalpuri Textilesî is famous for its Bandha Art or tie-dye.Thousands of trditional designs of tie-dye patterns are woven in handlooms. Sarees,furnish materials, handkerchief etc. are manufactured in various craft-villages of theregion.

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The present article is an attempt to make an ethno-histrorical study of the Bandhaart of sambalpur region. The main objective is to examine the symbols of art wovenin the textile. The motifs of flora and fauna carry symbol of tradition and culture.Besides, the study also examines how a traditional craft had played an important rolein changing the world of a weaver community during the early decades of 20th century.It also gave an identity to the region.

SYMBOLISM IN INDIAN ART: EXPLORING THE IMBEDDED

SYMBOLISM IN INDIAN JEWELLERY

Komal Pande

Indian jewellery is a miniscule representation of the journey of civilization starting fromthe prehistoric period till date. On the one hand, it holds in its external form the evolutionof various techniques while on the other hand it keeps in its heart the identity markersof region, religion, caste, gender, age, social status. From a single flower used foradoration of hair to elaborate north Indian sarpech (turban ornament) and crowns; andfrom a single threaded bead to exquisite paddkkam (pendants) of south Indian jewelleryexhibit symbolism. No matter how far and further we go in history, at all the sites thatare unearthed jewellery is found as an evidence of civilization which constitutes ofelaborate jewels or beads or sometimes ornamented figures and figurines.

The dynamics of Indian Jewellery is such that it displays forms and materials,brought together to conceive and then deliver a specific symbolic meaning. Sometimesthe symbolisms remained rigid, while at the other times these symbols changed theirmeanings with time. With respect to symbolism, Indian Jewellery also gives us examplesof secret symbolism to be known by a few and also examples of universal unconcealedsymbolism. Thus, understanding origins, meanings and concerns of symbolism inIndian Jewellery offers itself as an intriguing subject of research. Jewellery in India was worn by men, women and children and also cattle and henceserved the purpose beyond mere visual fulfillment. The precious and semi preciousmetals and stones used to craft it, various designs and motifs made on it, the act ofwearing it on a specific body part and sometimes suggested days and time of wearingimply symbolical relevance of jewellery. Thus, the paper will explore traditions of

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Indian Jewellery as it contains in itself evolution of many such signs and motifs, codesand symbols that form a part of the language of the jewellery which has symbolic andmetaphorical renditions.

Keywords: Jewellery, Amulets, Precious and semi precious stones, Nine gems, Tigerclaw

INTERTEXTUAL SYMBOLS IN INDIAN CULTURE

Konika Mukherjee

Cultures, all across the world, require a body of texts to provide for the community’ssymbology. The texts, as symbols in condensed forms, serve to represent the dimensionsof a culture. Interestingly, texts have a unique feature: that of maintaining their semioticand structural independence. This duality, of the text existing as both: a literal as wellas a metaphoric body, appendages it with double-fold representative responsibilities.When a body of texts attain a cultural symbol, they become the object of representationfrom being just the means of representation. In symbolism, the semiotic situation ishidden as a pure possibility.

A.K. Ramanajum, in his‘‘Where Mirrors Are Windows’’ (1989), and ‘‘ThreeHundred Ramayanas’’ (1991), discusses the ‘‘intertextual’’ nature of Indian literature,written and oral. Intertextuality, i.e. the constant referring to works composed in thepast due to their historic or literary importance or relevance, is a commonly witnessedelement in Indian literature. This element is frequently employed in mainstream literatureand regional folklores, both. Intertextuality, thus, serves as a potent metaphor, in termsthat it offers its characters as well as its text as a figure up for representation. Occasionally,the author, too, is fictionalized and renders metaphoric service; for instance, Kalidasain Mohan Rakeshís famous play, ‘‘Aashadh ka ek Din’’.

In my paper, I propose to study the factors that permit certain texts theresponsibility of representing the Indian culture. Furthermore, and centrally, my paperwould attempt to understand how the social-literal symbols function in representing asociety’s culture, employing instances of intertextuality. This would also clarify theimportance of the text, as a literary body, apart from the metaphoric.

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FAUNAL REPRESENTATION IN ROCK ART OF WESTERN ODISHA: A

POSSIBLE SYMBOLIC INTERPRETATION

Kshirasindhu Barik

Art is the creation of Human. It has multiple functions including communication,memorization, interpretation, commemoration and self- expression. Art is the mirrorof mind, and constitutes a precious record of human’s conceptual and psychologicalmatrix. It implies specific abilities of synthesis, abstraction, mental associations andlogic. Prehistoric Rock art occupies a significant place in the genesis of art. Pre-historicrock art sites are found in Odishan highland region comprising district of Mayurbhanj,Keonjhar, Sambalpur, Bargarh, Sundergarh, Dhenkanal, Jharsuguda, Nuapada,Suvarnapur, Kalahandi. The rock art of Odisha has special significance because of thepresence of a large number of animal or faunal Motifs, Fertility cult symbol and it rarelydepicts human figures. The fauna represented in these rock shelters need to be interpretedin its contextual meaning, which possibly reflect thewhole environment, climate of thatage and the relationship of the man with the contemporary environment. The possiblesymbolic interpretation of these faunal representation will not only shed light thecontemporary human and animal association but will also explore the multiple layersof interaction between them. The present study will also try to find parrallels theanimalmotifs which are depictedin the rock shelter and the present day faunain the region.

Keywords: Rock Art, Faunal depiction, Western Odisha

POETRY OF MICHEL MADHUSHUDHAN DUTT: RECONSTRUCTION OF

INDIAN MYTHOLOGY IN EARLY MODERN BENGALI POETRY

Kumar Dipongkar Mondal

Michael Madhusudan Dutt (1824-73) is one of the different poet of Bengali literature.He is the pioneer of modern poetry in Bengali literature. He wrote two Epic (MeghnadBodh Kavya) and another Epic (Tilottama Sambhava Kavya) in Bengali language. Hetook the subjects of two epic from ancient religious epic Ramayana. He explored several

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poetry subjects and verse in Bengali literature. He used Indian Mythological theme andcharacters in his poetry but he reformed those theme and characters with his poetic merit.In the poetry of Madhusudan, the popular characters of Indian Myth and epics are candiscovered from different representation. In Bengali literature ‘Verse Epistle’ wassuccessfully introduced by ‘Madhu Kobi’ in the year of 1861. The subject of ‘VerseEpistle’ is originated from Indian myth but after reading the poetry we realize they arenot same as known as described in Indian myth. In his poetry, reconstructing ofmythological characters- we observe those characters are like human. Humanitarianideology is the core theme of Madhusudan’s poetry, in spite of mythological subjectsand spirit. In this contemporary time different literary criticism is available in literaryperiphery. After 155 years later why Michael Madhusudan Dutt and his poetry isimportant to discuss in this twenty first century from the side of Indian Mythology andhow we can correlate his conception in this time to discover the Humanitarian mythicalcharacters and subjects.

Keywords: Bengali Poetry, Reconstruction, Epic, Verse Epistle.

THE GAAY-VAASRU IMAGE AND ITS TRANSITION FROM A

SUBSIDIARY DEVICE TO PROMINENCE AND FINALLY AS A REGNAL

DEVICE

Kurush F Dalal

The Gaay-vasru (cow suckling a calf) image has a long life from very early coinageto the inscriptions of Southern India where it finds a permanent place on the pedimentof inscriptional stelae of the Rashtrakuta dynasty.

This symbol is perhaps one of the most simple symbols with a very great degreeof acceptability ever adopted to tell a complex story. It is not merely symbolic but isalso narrative. It is the physical/symbolical representation of the land grants beingreferred to on these stelae. It starts of as a small symbol seen most often on the left handmargins of the pediment. It moves over time and space increasing in size as it travelsnorth and west. Ultimately it becomes (in all probability) the regnal device of theShilahara king Anantadeva II (1198AD).

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This paper attempts to trace the journey and to understand and explain how thissubsidiary/marginal symbol achieved regnal status.

INVESTIGATING SYMBOLISM OF WRESTLING IN VISUAL IMAGERY

OF ANCIENT INDIA

Kush Dhebar

Wrestling, known as Mallavidyain the ancient text played a very important role in theancient India. It was a great part of the physical culture of the contemporary peopleand was also used as a form of unarmed martial combat sport. When one looks at themonuments of the ancient periods like the temples, cave structures and forts one findsvarious scenes of wrestling depicted on them. These scenes can be a part of the epicnarratives like the duel between Vali and Sugriv or the wrestling match between Krishnaand Chanuror they can be a part of the isolated secular imagery like the compositeimages at the Badami Caves. What is important to note is the reason behind the useof these wrestling sculptures on the monuments. It can be deduced that these sculptureswere used to symbolize the strength and prowess of the King of that particular era andregion.

SYMBOLISM ENCODED IN MEGALITHS: A CASE STUDY OF

FARKAWN AND KHANKAWN VILLAGES, MIZORAM

Lalhminghlua and Amrita Sarkar

Symbolic studies have shed light on the way we understand the past when script(s) didnot exist. The representations on the different types of material shows how peopleunderstood their environment, utilized natural resources to meet their needs and theirthought process. Symbols are the representations of human abstract thoughts intophysical form. It provides a route through which human past can be revealed withoutthe so called script.

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Megalithic art in various forms is an international phenomenon. Carvings onmegalithic stones, practiced in Northeastern India with reference to Mizoram have beenstudied only by few scholars. The lesser known megaliths of Champhai from the villagesof Farkawn and Khankawn have symbolic representations which manifests the socialand cultural milieu of the pre-Colonial Mizo society. Mizos in the pre-Colonial periodhaving no script of their ownresorted to carving different kind of symbols on stonesand rocks which clearly shows the material culture, emotions and thoughts. They arethe yardstick of achievement in art which is a clear marker of cultural progress.

Keywords: Symbolism, Mizo, Megaliths, Farkawn, Khankawn

GOOL SCULPTURES: SYMBOLS RECONSTRUCTING HISTORY

Lalit Gupta and Navjot Kour

The region of Jammu geographically connecting the Hilly region of Kashmir with thePlains of Punjab and rest of India has an importance of its own. There are shrines, livingand old; sites of great archaeological importance which are relegated to such a positionthat the whole history of the area remains under shadow. One such important site isthe site of Gool in Ramban District, approximately 150 kms from Jammu. The smallto large size equestrian sculptures with intricate designs lie in the area scattered. Thelocal legend associates these sculptures with the Mahabharata period when the Pandavaslived in exile. However little is known about the actual period of these sculptures. Thispaper therefore aims to trace out the antiquity of these sculptures based on theiriconography.

Keywords : Jammu, Archaeology, Equestrian sculptures, Iconography.

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OMK¡RA: A SIGNIFICANT UPANI◊ADIC SYMBOL

Madhavi Godbole

Upani∑ads always use stories and symbols to put the philosophical theorems. Omk°rais one of the significant symbol used in Upani∑adic literature.

The time span of upani∑ads is very vast, i.e. near about 6 century B.C. to19th century A.D. Entire upani∑adic literature uses this symbol to put forth itsphilosophy. Hence this symbol represents complete span of upani∑adic literature,as well as the philosophical conceptual development in this literature. This paperstudies these reflections of the philosophical conceptual development through thesymbol of Omk°ra.

THE PITHORO PAINTING: A CREATIVE SYMBOLISM

Madhulika

In the present paper I have endeavoured to disclose the inherent creative symbolismin the Pithoro painting. This ritual and votive painting is the essential part of social,cultural, and religious life of Rathva tribes of central-eastern Gujarat. In Gujarat, 29groups come under the protected category and the Rathavas are one of them. Throughthe analytical study of ‘‘Pithoro Symbolism’’ I have delineated the ‘‘ethnic strand’’ ofthe Rathva community and their ability of transforming the ‘‘Mundane’’ to the‘‘Mythical.’’ The mythical world of the Rathvas centres around the characters of Pithoro,Pithori, BaboInd, Rani Koyal and Rani Kajal. At surface, it appears to be a story ofa forsaken child, his real mother, his foster mother, his uncle, and a wedding; but deepanalysis disclosed that it is a universal myth in which these characters become archetypal,almost symbol of Primordial Creation. The first concern of the Rathva tribe is withcreation. The Rathvas like their counterpart in the ancient world invoke Earth of fourcontinents as Mother Earth and Indi Raja who resides in Heaven. This is a restatementof the centuries old relation of Mother-earth and Father-sky. Again echoes of ‘‘Pan-Indian Tradition’’ cutting across level of society are perceived without any doubt andambiguity. The reflection of an universal model with slight variations in the matter of

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demarcation of sacred space, identification of directions installation of deities andthe placement of gods, heroes, animals and plants. Other aspects of ‘‘juxtaposition’’,‘‘transposition’’ and ‘‘superimposition’’ are also discussed in the present scenarioof new facts and survey. Similarly, each and every symbolic aspects of PithoroPainting is studied and demonstrated with power point presentation in the researchpaper.

Æãfi, ™ãfi AND oãfi OR ™Ï ÁS IN TANTRIC RITUALISTIC

WORSHIP OF åÁƒÁƒ∫múÓÓ\Á

Madhura Godbole

oãfi is a systematic quest for salvation or for spiritual excellence by realizing andfostering the bipolar, bisexual divinity within one’s own body. This is methodologicallystriven after by specific kinds of ÃÁáåÁs, which include recitation of ™ãfi or §y\, theconstruction of YN¿ , and making of appropriate ™Ï Á, the assignment of laying down ofpowerful sounds or syllables on the body (ãÆÁÃ), and the meditation of the deity’sconcrete manifestation.

∆ƒ and ∆ÁOˇ are two éütÁÆ, the central position is occupied by the twofolddoctrine of »yYN¿ and the »yuƒ˘Á. The »yYN¿ is an intricate figure or Æãfi resemblingthe abode of ufiúÏ∫ÃÏãt∫y.

Present paper deals with the prescribed ritual of »yYN¿ úÓ\Áin accordance withÆãfi,™ãfi and oãfi or ™Ï Ás.

Keywords: Æãfi, oãfi, »yYN¿ , uånÆÁ, §y\, ™Ï Á

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GANAPATI-GANESHA: A SYMBOL OF SYNCRETISTIC

INDIAN TRADITION

Mamta Rai

Starting as the ‘trouble making’Ganapati and becoming the ‘trouble ending’ Ganesha,the ‘Ganapati-Ganesha’deity is the embodiment of the entire Indian tradition whichranges from lesser folk belief systems to higher philosophical thoughts. As a result, thestudy of the development of this deity allows one to understand some aspects of thegradual development of Indian religious scenario. Whereas, at one level, the ‘concept’

of this deity manifests the glimpse of ancient tribal society, (with a therio-anthropomorphic form and magico-religious practices); at another level it also catersto higher needs of the society such as commerce, trade, agriculture, intelligence andintellectuality. Due to these qualities Ganeshaalleviated itself from the group of secondarygods and became supreme. Hence over the period not only various religious traditionsassimilated the deity into their pantheon but it was also successful in maintaining itsrelevance and presence in modern times.

Present paper attempts to analyse these qualities of Ganesha and tries tounderstand various cultural processes of the deity’s acceptability across disparatereligious faiths which resulted in Ganesha becoming a symbol of the syncretistictradition.

BUTTERFLY: INDIAN PERCEPTION

Manish Rajan Walvekar and Tanmay Jayant Bhole

Each and every living thing has its own role in any culture. But there are certain livingthings that bear special significance, for instance butterfly. Butterfly has specialimportance in the Indian culture. According to some it is related to the death andaccording to some it is related to the birth. Though it is important in our culture we cannotfind any references of butterfly in the Sanskrit literature. Isn’t it surprising? On the otherhand folk culture and folk literature give special importance to this butterfly. Cultural

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diversity and diversity of thoughts in India paved a way of its different interpretations.Such diversity needs proper interpretation.Let us take two examples-E.g. 1) Nagas of Assam consider that dead people take the form of butterfly

2) Nagas of Manipur do believe that butterfly is an incarnation of Prajapati!Such kinds of variations we find in many literatures in our cultures. This paper will

try to find out WHY this diversity exists. The main focus will be on its diversity andits interpretations.

Keywords: Butterfly, Death symbol, birth symbol

KURMA (TORTOISE) IN INDIAN CULTURE

Manisha Shete

Kurma( Tortoise) is a famous reptile who plays a very unique role in Indian culture.Kurma, kasyap, Kamerath, Kacchap are Sanskrit names for tortoise. These wordsexpress qualities of tortoise. For e.g. Kamerath means one who lives in the water.Biologically this reptile belongs to Chelonian family and basically it is differentiatedin three types 1. Turtle ñ strictly aquatic 2.Terrapins ñ with hard shell and can be foundin sweet water as well as on the land also 3. Tortoise ñ strictly land dwelling. Thereis a wide variety of this reptile in India and land dwelling tortoise is quite famous.

Many habits and qualities of this reptile reflect in culture of India. This is soamazing, that We can find symbolism of ‘Kurma’ i.e. tortoise in Mythology, Localtraditions and beliefs , Folk lore’s, Vedic Literature, Epics, Puranas , philosophy as wellas in the art and architecture.

Tortoise is famous for its Kurma avatar of the Visnu from theSamudramanthanstory of purana , it is famous as ‘Devak in tribal societies. In Philosophyit symbolises stability, Tortoise in the temple before deity is quite famous so At theone point we can find it is elevated to a semi divine position and on the other end wemeet a very nice and friendly, wise or mischievous tortoise in Isap fables,Jatak katha.We can find literary as well as archaeological evidences of tortoise as a part of the dailydiet or delicacy.

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The tortoises in Indian culture express the wider view which is very interesting.Tortoise is one of the oldest reptile on the earth and it carries so many beliefs and faiths.It has become friend and philosopher as well as supporter of human being.

Keywords: Stability, Longevity, Spirituality, Fertility

THE B¡–E÷WARA CAVE IN PUNE: A CONTEXTUAL ANALYSIS

Manjiri Bhalerao

The rock cut ÷aiva cave known as B°∞e∂wara is located at the foot of the Tuk°i hillin a suburb called as B°ner in Pune. The existence of this rock cut cave was not knownto many people till a few years ago. However the recent attempts of conservation andrenovations by the temple trust have given a lot of publicity to this cave temple. Furtherthe construction of the Tuk°i temple on the hill has made has helped in increasing thefootfall at B°∞e∂wara. Considering the plan and elevation of this cave it is generallydated to the 8th century CE. There are a few peculiar archaeological remains likememorial stones as well as ritual objects kept in the vicinity of the cave. They belongto various periods. This paper would attempt to study the various archaeological remainsfound near the cave and try to analyze the land use pattern over a period of time.

SYMBOLISM IN THE FOLK ART OF HARYANA

Manmohan Sharma

Every society has a natural feature to express the social and other aspects of life bymeans of symbols.This practice is continuous from very primitive societies to modernscientific society. The aspect of using symbols varies from scientific symbols to religious,social, political and other fields. Symbolism is the earliest way to convey different ideas.Symbols are found on coins, stamps, sculptures, rocks, walls bhojapatras, animal skinand papers etc. The region of Haryana has a long history of use of symbols and itísfolk women specially invented many religious symbols which are continuously used

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on different occasions to celebrate various festivals and public beliefs. These are createdon ground, walls and other materials using a variety of objects like cow dung, whiteclay, red ochre, wheat flour, charcoal turmeric powder mud and sand etc.Some of thesymbols used by women are Sanjhi, Gogaji, Ahoi, Govardhan, Chhathi and Swastik.Thapa, another symbol [literally meaning hand print] of many types is made and usedat many occasions like Goganavami, Dashehara, Dhanterasa, and Devauthani Akadashiand in marriage rituals.

All of these are not mere symbols but have many latent impacts. A fusion andcontinuity of different cultures is noticed and composition and singing of songs withdance and dramatic performances is also it’s out come. Their role in religious unityamong different faiths and cults can be observed by analyzing the methodology andphilosophy of worship .Their esthetic values can be seen in the use of variety of fashionand ways and in new ideas of performing arts . The social value attached with thesesymbols and celebrations is of utmost importance. They contribute to betterunderstanding, co-operation, mutual discussion of the personal family and socialproblems and release of tension. Searching of local talent of the folk is possible. Somesymbols cross the state boundaries and contribute to national integration. The aim ofthis paper is to elaborate this symbolic folk art of Harayana and its implications.

Keywords: Sanjhi, Goganavami, Govardhan, Chhathidevi, Swastik

SYMBOLISM IN KASHMIRI POETRY: A STUDY OF SELECT POEMS

Manu Sharma

The literary world contains countless symbols drawn from universe, nature, mundaneworld and myths. These symbols through the interplay of words and suggestions addan aesthetic taste to the literary works and distinguish them from other artistic creations.The poetry is one such genre of literature which is more figurative than other genres.It is more embellished with imagery, symbolism and figurative language. Such richimagery impregnated with symbols is the mark of Kashmiri poetry. This technique hasbeen fully harnessed by the Kashmiri poets to express their inner contention. This paper

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endeavors to locate various symbols used by Kashmiri poets in their poetry. The paperalso attempts to illustrate vibrancy of these symbols in the contemporary context ofKashmiri life.

Keywords: Symbols, Allegory, Imagery, Kashmiri Poetry

SYMBOLISM IN MITHILA FOLK ART: REPRESENTATIONS IN THE

CONTEXT OF CONTEMPORARY FOLK ART

Md. Iftekhar Alam Ansari

In this research paper, I will discuss about the history of Indian Art, Signs and Symbolsin detail. Icon and Symbols are known as the alphabet of Indian Art. All icons andsymbols have been featured in art styles. As far as Indian Art is concerned, Religion,Philosophy, Culture can be seen clearly in Indian Art. And Mithila folk art is a validfamous folk art. In Mithila (Madhubani) folk art, different symbols have been used,which includes the portraiture of religious, social and natural object, like Kohbar,Bamboo, Latpatia Suga (Parrots in Union), Bid-Bidhata, Naag ñNagin. Mithila folk artis characterized by the symbol of ‘‘Betel Leaf House’’.

This paper aims to explore, the critical description in, symbols of prosperity andfertility, such as Elephant, Horse, Lion, Fish, Bamboo, Lotus Flower, etc, depictingpictorial conceptualization of Purain Leaf, Swastikas Betel Leaf, etc.

In the last segment, I will also discuss about the work of Artists like, GangaDevi, Santosh Kumar Das, Shantanu Kumar Das, their paintings of contemporary timesin the form of fish, animals and birds, and plants and trees. And also I will explore theuse of traditional symbols in contemporary Mithila Folk Art with their new meanings.

Keywords: Mithila Painting, Folk Art, Kohbar, Symbol, Contemporary.

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SUBTLE AND MYSTICAL SYMBOL E“ÊNˇÁ∫ IN »yuƒ˘Á CULT

Meenal Kulkarni

The NˇÁ™Nˇ¬Áuƒ¬Áà by úÏlÆÁåãtåÁs is an important work in the »yuƒ˘Á cult. Aroundthe period of EußåƒTÏõo, there was a åÁs cult in Kashmir, who followed the ∆ÁOˇ tradition.They used to follow ∆ÁOˇ cult in ÃÁáåÁ but Kashmir ÷aivism astheir philosophical viewpoint. Among the works of these åÁss, NˇÁ™Nˇ¬Áuƒ¬Áà by úÏlÆÁåãtåÁs and a commentaryon it called uY˚®y by åbåÁåãt was quite popular in Kashmir region.

úÏlÆÁåãtåÁs was an adherent follower of “ut™o. »yuƒ˘Á is the ™ãfi of ™“ÁufiúÏ∫ÃÏãt∫y.The ™“ÁufiúÏ∫ÃÏãt∫y™Ó¬™ãfi is of fifteen letters and is called úØÁt∆y. There are two versionsof this ™ãfi namely NˇÁutuƒ˘Á and “utuƒ˘Á. The ™ãfi which begins with letter Nˇ, is called .

NˇÁutuƒ˘Á. Thus the NˇÁut™ãfi is: Nˇ L F| ¬ Ÿy™Ω@ “ à Nˇ “ ¬ Ÿy™Ω@ à Nˇ ¬Ÿy™!

The ™ãfi, beginning with letter “, is called “Áutuƒ˘Á. Thus the “Áut™ãfi is: Nˇ L F|¬ Ÿy™Ω@ à Nˇ ¬ Ÿy™Ω@

The followers of Nˇut™ãfi are said to be u∆ƒ, tσÁ|à “ÆT¿yƒ etc. “Áut™ãfi is said tobeled by ¬ÁzúÁ™Ï Á, the wife of ETÀnÆ.

The NˇÁ™Nˇ¬Áuƒ¬Áà means the spreading or emanation or evolution of the NˇÁ™Nˇ¬Á.NˇÁ™Nˇ¬Á is one of the prominent names of the goddess ™“ÁufiúÏ∫ÃÏãt∫y. NˇÁ™Nˇ¬Áuƒ¬ÁÃextensively deals with this concept. NˇÁ™Nˇ¬Á is the supreme triangle which emerges bythe union of üNˇÁ∆ and uƒ™∆|, or u∆ƒ and ∆vOˇ.

The word E“ÊNˇÁ∫ has very subtle andmystical meaning in »yuƒ˘Á cult. In

NˇÁ™Nˇ¬Áuƒ¬ÁÃ, úÏlÆÁåãtåÁs and åbåÁåãtåÁs have elaborately explained this concept andits relation with the entire manifestation.

Present paper tries to discuss this symbol and its relevance with NˇÁ™Nˇ¬Á.

Keywords: üNˇÁ∆, uƒ™∆|, E“ÊNˇÁ∫, u§ãtÏ, ufiNˇÁzm, NˇÁ™Nˇ¬Á

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MAPPING METAPHOR IN INDIAN WRITING IN ENGLISH:

A CASE STUDY

Megna Carvalho

Metaphor has traditionally been treated as a rhetorical device or artistic figure of speech.It is said that everyday language has no metaphors. Metaphor uses mechanisms outsidethe realm of everyday conventional language. But research in Linguistics has broughtto light the fact that metaphor is central to ordinary natural language semantics, andthe study of literary metaphor is an extension of the study of everyday metaphor. Thispaper is an attempt to study metaphor in Indian Writing in English in order to understand:

- the source domains that frequently get mapped- the direction of the mapping- how central is the theme of embodiment in the emergence of

metaphorical meaningThe methodology used in order to study metaphor is based on the Conceptual MetaphorTheory framework given by George Lakoff in Metaphors We Live By, Lakoff andJohnson 1980 and 2003. In their view, metaphor is not simply a matter of words orlinguistic expressions but of concepts, of thinking of one thing in terms of another.Metaphors can perspectivise a concept or conceptual domain for instance ARGUMENTIS

WAR

and

AN ARGUMENT IS A JOURNEY. Some source domains for metaphorical

mappings found in the data include domains relating toFOOD (Pillai had two sons and both of them turned bad)

PLANTS (I have taken roots)

HUMAN BODY (the sun from whose mouth the fiery breeze came)

The two writers whose short stories I have used to collate my data are Raja Rao andMulk Raj Anand. Both of them are pioneers in Indian Writing in English. Their storiesare short and crisp yet so vivid, artistic and real to the reader.

Conceptual Metaphors in English language have been previously studied butnot from the perspective of Indian English writing. This paper attempts to look atmetaphor as symbolic from a Linguistic view point and closely examines whether theconcept of embodiment does or does not govern Indian writings.

Keywords: metaphor, Indian English, source domain, mapping, conceptual metaphor

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SYMBOLIC REPRESENTATION OF BUDDHISM IN INDIAN DALIT

MOVEMENT AND NEO- BUDDHISM

Milani Perera

Dalit movement towards a political, social and economic liberation has turned to manyphilosophies for its inspiration which are religious in nature but political in practice.The main reason is that, in India, religion is not just a practice of faith but a way oflife and thought. Therefore, religion becomes the deciding ground for social, economicand political identity of its occupants. Some of these influences were home grown whileothers were introduced either through political or trade interventions. In this research,importance of Buddhism as an inspiration and the nature of the influence on neo-Buddhism towards the respective socio-political movement are investigated. In analyzingthe findings, two symbolic representations were discovered. Buddha’s biological, socialand political importance is discussed as he both challenged the contemporary societythrough example and practice. The second is the teaching and covenant he found thatprotested against Hindu social values. In a strong segregated background, Buddhistcovenant accepted and upheld individuality sans one’s caste. In the latter part of theresearch, Dr. Ambedkar’s influences on political and social spheres are reviewed. Dr.Ambedkar also works has a strong influence as he actively challenged the dogma byconversion of himself and paving the path for 600,000 of his followers to inversioninto Buddhism ; and secondly he works as a symbol whose birth and life he chose toled ,both challenges and ignites positivity in the Scheduled castes. Thus, as the last partof this research, a brief comparison and contrast is done on the social circumstance andchoices that were made by Buddha and Dr. Ambedkar in liberation of Dalits in theirmovements towards equality and marginalized free social classes.

Keywords: Dalit, neo Buddhism, schedules castes, symbolism

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FORT RAIGAD A FINDINGS OF ASCALEDTOWN PLANNING

Milind Paradkar

Raigad Fort located at Mahad in the Raigad district of Maharashtraand is consideredas one of the finest fortsof all time. Well known for its strategic locale and impregnablecliffs it isa perfect example of a centre of medieval military activity.

During the course of my research I decided to get a detailed block diagram ofthe citadel part of Raigad as an annexure to the thesis.Based on these measurementsand drawings and architectural study of the said site, I have observed and have arrivedat some conclusions which have not been observed or stated so far by any individualor by any institutions in their studies of Raigad or any other fort in the country.

Based on these measurements and drawings and architectural study of the siteat Raigad Fort, I have concluded that the planning and construction of all the buildingson Raigad Fort are built to a scale.

This paper intends to draw the attention and to highlight the findings of thisparticular phase of the research and open up avenues for further research on the subject.

SYMBOLISM- A MODEL DEVELOPED AS A METHODOLOGY IN ART

HISTORICAL STUDIES SHOWING THE SIGNIFICANCE OF

SYMBOLISM IN ART HISTORICAL ANALYSIS.

Minnu Kejriwal

Symbolism plays a significant role in understanding the theoretical and aesthetic constructof art. While reviewing various types of visual analysis, it gave an understanding that,through the approach of symbolism with supportive thinkers and their approachestowards symbolism, an independent model can be structured. With this thought processback in mind, the model which have been developed has a relevance and potential toposition itself as a method in art historical studies, giving Symbolism an independentstatus. The model gives a methodology to analyse the process in a holistic manner withthe tool of symbolism, where all the aspects of analysis can be done under a single chart.Also a deeper interpretative multiple meanings can be drawn through the model sodeveloped.

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The inclination of studying art objects as cultural objects show a deeperunderstanding towards the visual culture and material culture; to interpret them to benefitfor broader community understanding; and to expose to the range of cultural perspectivesin the growing visual culture around the world, symbolism plays a significant role.

Symbolism as a method of artwork analysis is a promising new approach tothe future as it aids our understanding of visual art. This model has the scope and givesa holistic approach to handle the complexities of the contemporary art. To face and solvethe problems and complexity of visual world which also comes under visual culture,symbolism becomes suitable tool which can resolve the process of analysis.

This paper will explain the five different stages of the Model- Preliminary,Primary, Secondary, Interpretative, Analytical/?Holistic Stage developed as amethodology for analyzing the works of art by taking into account the various aspectsand approaches of symbolism deployed, thereby giving symbolism a significant,independent status and a new dimension for interdisciplinary analysis to the art historicalstudies.

Keywords: Symbolism, Methodology, Model, Analysis, Art Historical.

SYMBOLIC SIGNIFICANCE OF THE KAR–AVE◊ŒANA FROM

CHANDANKHEDA, DIST. CHANDRAPUR, MAHARASHTRA

Mohan S. Pardhi, Virag Sontakke and Pradip Meshram

The present paper aims at investigating symbolic significance of a unique Kar∞ave∑Æanafound in the archaeological exploration from Chandankheda in the district Chandrapurof Maharashtra. The excavation at Chandankheda was carried out jointly by theDepartment of Archaeology and Museum, Government of Maharashtra, RTM NagpurUniversity and INTACH. The terracotta object Ka∞ave∑Æana is embellished withnumerous symbols and images. It is significant to mention here that such decorativeear ornament has been reported from early Buddhist sites such as Bharhut, Sanchi,Amaravati, Kaushambi etc. which is rare in context of Vidarbha. An attempt will bemade in this paper to comprehend meaning and significance of various symbols and

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images depicted on the Kar∞ave∑Æana. Further, the paper will also endeavor to analyzethe religious-cultural aspects for the depiction of different symbols. The depiction ofsemi-divine figures on the Kar∞ave∑Æana deserves a special mention. Finding of suchornate Kar∞ave∑Æana from early Buddhist sitesfurther confirms its significance in thecontemporary religious-cultural setting.

Keywords: Kar∞ave∑Æana, Chandankheda, Terracotta, Buddhist sites, Semi-divinefigures

RAIN AS A SYMBOL IN THE SELECT SHORT STORIES BY

WOMEN WRITERS

Monbinder Kaur

Rain holds a delicaterelationship with different stages of life. Its countless forms andassociations have been discovered and celebrated through the medium of art andliterature. When we talk of literature, rain serves as a dominant narrative tool. Arefreshing miracle of nature, rain had the power and prospective of relating entirelydifferent facets of life, emotions, feelings, situations etc. into one. It is through symbolismonly rain has entered into literature. Symbolism heightened the significance of themeaning of art and literature, and writers, by using certain imagery, assigns a meaningto his/her work which goes far beyond than what is obvious to the reader. Rain is oftenused metaphorically in literature to represent discontent or to invoke a forlorn mood.

Indian women writers have used rain as a metaphor in numerous ways. In theshort stories in English by women the symbol of rain or rainy season can be seen usedextensively. This paper will analysesa few short stories like - ‘Rain’, ‘The Rainmaker’,‘Twilight Storm’, and ‘The First Rains’ in which rain is used as all diffusive metaphor.One of the significant characteristics of these writers is the use of symbolic languagein their works. As the language tool and main thread of the short stories, symbols notonly reinforce the artistic effects of the work, but also contribute meaningfully to theexploration of its deep themes and dense implications. They tried to use the symbolismof rain to connect it with different feelings, emotions and with passion of their maincharacters. Rain sometimes symbolised as death, sorrow, as desolation and sometimes

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with wild passion, with sexuality and with inner turmoil.By capturing the beauty of rainswith the delicacy of their words, these writers are creating all together a different worldof the women who are not afraid to explore the power of sexuality.This paper is anattempt to analyse thesymbolic meanings of the governing image of rain in their works.

Keywords: Symbol, Rain, Fertility, Sexuality, Psyche

THE EARLIEST REPRESENTATION OF SYMBOLISM IN ROCK

ART AT RANGAN¡THA GUœœA, PENINSULAR INDIA

Mohana R

Rock art plays a vital role in the study of human beliefs and practices, especially ofprehistoric people. In fact, it is a global phenomenon throughout the ages. It is wildlyknown that rock art was one of the mediums to communicate and represent theirunderstanding of their surroundings and it also reflects their ritualistic beliefs and ideasin symbolic way.

The Site is located on the right bank of Malaprabha river basin, aAbout a kmsoutheast of B°d°mi. In the hill range, there is a shelter with paintings of humans andwild boars which are several in numbers. The pictures on the vertical surface of a hugerock shelter represent the most vivid Upper Palaeolithic/Mesolithic rock art compositionin South India. The paintings being on the cliff, are well-protected from human or animalinterference, but open to the vagaries of the weather. It is protected by a grey-translucentpatina, which renders the paintings faded. In an area of 3.64 m x 2.46 m, the panelhas 69 pictures of animals, human and geometrical designs including miniature figures.

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THE INFLUENCE OF BUDDHISM ON SINHALESE MORPHOLOGY

Morakandegoda Ariyawansa

Sinhalese culture has a long and continuous history, deep rooted traditions andhighly differentiated social norms. Sri Lankan society is broadly divided into twogroups, secular/layman(g§hasth@ > gihi) and mendicant/clergy (pr?vrajit? > pÊvidi).According to this situation the Sinhalese language shows very significant usages amongIndo-Aryan languages. The Buddhism is the main factor for this differentiation. Thispaper mainly based on the religious terms and their usages in Sinhalese. These termsshow the hierarchical structure of the common Sri Lankan society, specially amonglayman and clergy. Some characteristic features which have been taken into accountin this research paper are as follows: The separate set of nouns as well as verbs whichare used to represent the clergy and secular in Sinhalese and usages of differentmorphemes with the same meaning (semantically same usages are identified here withthe different morphemes). Therefore some nouns as well as verbs are found in Sinhalesewith different morphological realizations and similar semantic value. The selection ofrelevant data from modern Sinhalese language and analysis of them are the researchmethodology of this paper.

Keywords: Buddhist, Hierarchy, Layman, Mendicant, Sinhalese

VEDIC SYMBOLISM THROUGH MICROCOSM AND MACROCOSM

Mugdha Gadgil

Indian civilization is one of the ancient civilizations in the world. Vedic literature iscommonly accepted as an important means of exploring history of ancient India.Various social, cultural and religious facts about ancient India could be observedthrough pages of Vedic texts.

Vedic literature mainly consists of ritualistic texts because ritual was aninseparable part of the life of Vedic Indians. According to Vedic imagination, rituals

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represented actual life of the humans. Therefore it was believed that actions performedin the ritualistic sphere symbolize happenings in the actual world and components ofritual have an effect on the real world. Thus Vedic ritual stood for microcosm and thecosmos stood for macrocosm.The concept of microcosm and macrocosm was applied to various sacred elements likemantras, offering materials etc. Sacrificial place was one of them. It was a representationof sanctity. According to Heesterman, ‘‘..On the place of sacrifice the cosmic dramaof death and rebirth, integration and disintegration, ascension and descent, is enactedand reversely, through the same code of connections brought to bear upon themacrocosmos’’ (The Ancient Indian Royal Consecration, p. 76).

Various parts of the ritualistic place could be enumerated in this matter. E.g.Vedic ritualists esteemed the sacrificial altar nothing less than the earth itself (‘‘et°vat¢vai p§thiv¢ y°vat¢ vediº’’ Taittir¢ya SaΩhit° 2.5.4.3). Similarly ¡havan¢ya fire wasequated with heaven (‘‘brahmav°dino vadanti....kva suvargo lokaº ity°havan¢yo...’’

Taittir¢ya SaÌhit° 2.6.5.5).Present paper attempts to understand Vedic symbolism through the concept of

microcosm and macrocosm with the help of usage of some ritualistic places.

Keywords: Vedic ritual, microcosm, macrocosm, ritualistic place.

SYMBOLS IN THE FOLK ART OF WEST BENGAL

Munmun Mondal

Symbolism is used as a vehicle of conscious expression to enforce meaning and tomake the emotional content of the subject more vivid and intense. Folk art is the artof the common people where simple joys and sorrows, ritual beliefs, social customsare depicted. It is an indigenous art of folk people with great artistic persuasions. Certainfolk beliefs are manifested through this symbolism.

Folk art of West Bengal is mainly consisting of Patachitra, Alpana, Katha work,Terracotta work, wall painting, wood curving etc. It is very interesting to note thatdifferent symbols or motifs have been used in these art forms with a definite religiousor social association, that is, the kinds of painting either directly or indirectly connectedwith religious or socio-economic context. Some of these motifs are footprint, stalk of

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paddy, Purna kumbha, Cat with fish on mouth, fish etc. These are, therefore, visualizedas pictorial representation of the desired objects in symbolic form. So, most of thesefolk art are having rich cultural values and significance aspect which help us tounderstand the prevailing certain religious faith and social condition of rural people ofBengal.

My paper intends to throw light on some of these commonly found symbolsin the folk of the concerned region with it significant traits.

Keywords: Symbolism, Folk Beliefs, West Bengal, Socio-religious aspect.

PERSPECTIVE ON BAUBO TERRACOTTA FIGURINES IN THE

NAGARJUNAKONDA VALLEY

N. Vinodh

Indian art representing life through the ages speaks an eloquent language of vast andvaried symbolism. Terracotta figurine stands out in the history of Indian Art as the onlytype of object that was a continuous archaeological record. It bears testimony to thevaried and ancient traditions of its practice in India. It can be seen as a material havingutilitarian, aesthetic and ritual importance. The fertility cult was most prominent religiousbelief in this wide region before the advent of culturally advanced religious systemslike Buddhism and Brahmanism. It is amazing that it continued even after the adventof established religions and enters royal palace. It is evident from an inscription atNagarjunakonda which mentions that a queen of Ikshvaku family who was avidhavaand jivaputa (with her husband and sons alive) in connection with this type of figurine.The nude goddess, call ‘personified yoni type’ or Baubo and locally known as Laja-Gauri, who sits in the frog or Baubo style with legs wide apart and raised (uttarapada)exposing her yoni and who is often head-less and has a lotus in place of the head isseen in Terracotta and stone plaques of the Deccan at TER, Nevesa, Pathan, Bhokardan,Kondapur Yelleswaram and Nagarjunakonda.

Keywords: Baubo, Lajja Gauri, Mother Goddess, Vamachara/Naked/Fertility Cult/Clay figurines.

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SYMBOLISM IN VIRASAIVA RELIGION WITH SPECIAL

REFERENCE TO ASHTAVARANA

Nalini Avinash Waghmare

In India many religious teachers appeared on the scene and worked for the upliftmentof the masses on moral and spiritual planes. The religious faith and philosophical schoolthat came to prominence through the teachings of Basaveshwara is known asLingayatism, also called Virasaivism. The ultimate goal of a Lingayat is to acquire the‘Nature of Divine’ which technically called ‘Sunya Sadhane’. To attain this stage, adevotee or Bhakta will have to follow three integral Sadhanas, which are technicallycalled ‘Ashtavarna, Panchachara and Shatsthala’.

The goal of human life is the union of the individual soul with the supreme.This can be achieved by the rules of Ashtavarana, Virasaivism expresses its basic tenetsthrough the Vachana literature the contents of which emerged from the discussions heldat the Anubhava Mantapa.

The eight supportive devices have been designed specifically for theidentification of the Lingayat ethical and moral code, which is at once action-oriented,relativistic and universal.

The Ashtavarna constitute the religious (Dharmic) tenets of Virasaivism. It isby these doctrines that the Virasaivas are distinguished from the follower of otherreligions. The eight protective aids of worship are: 1) Guru-spiritual guide 2) Linga (thesymbol of Shiva) 3) Jangama-ltinerant religious teacher 4) Padodake –the sacred waterafter washing the feet of the Jangama or Guru 5) Prasada-the sacred offering of the food.6) Vibhuti-the holy ash 7) Rudrakshi-the sacred beads 8) Mantra-the sacred six syllableformula or prayer i.e. Om Namah Shivaya. These represent both the external and internalsymbols of Lingayat religion.Ashtavarana eight fold covering which are involved in spiritual practice. Even todaymany Virasaiva followers practiced these in their life.

Keywords: Virasaiva, Religion, Ashtavarana, Vachana Sahitya, Spirituality

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MATHURA AND ITS GREAT HISTORY OF BUDDHIST ART

Neeraj Yadav

Early in Indian and great part of the world received a strong impact of Indian culturehistory, which became clearly manifest in the field of state organization, literature andreligious as well as in that of the visual arts which expressed and glorified religious ideas.A.K. Commaraswamy also credited Mathura School of Art for the origin of the BuddhaImage. The importance of Mathura as a metropolis is due to only its rich religious andcultural background is unfair because with the rich religious, cultural background thetrade and economic factor was also responsible for it.The holy city Mathura played aunique role in art history. Its multi-religious quality makes it special. The literarytraditions are great sources to trace the history of Mathura, as well as archaeologicalsources also played an important role to trace the history. It is not possible to leave therecords of travelers, while talking about history.The Buddhist texts and Jaina texts arealso important to trace the history of Mathura. Divyavadana and Lalitvistara, bothBuddhist texts refer to the visit of the Buddha to Mathura. Other Buddhist texts whichgive information are: Ghatajataka, Majjhimanikaya, Mahavatthu, Petavatthu,Vimanavatthu, Attakatha etc. Jain literature also traces the socio-religious condition ofMathura.This paper highlights the importance of Mathura and its glorious Art. And somefindings and great Art pieces will be discuss in the paper.

INVESTIGATING MULTIPLE MEANINGS OF SYMBOLISM: AN

ANALYTICAL STUDY OF THE KIRTIMUKHAS OF

KOPPESHWARTEMPLE ATKHIRDAPUR, MAHARASHTRA

Neha Pande

The kirtimukha is an intriguing motif found gracing most of the early medieval IndianTemples. Its earliest representations can be traced back to the Early Historic period. Theword ‘Kirtimukha’ bring forth the picture of a monstrous face, often resembling a lion,propelled high upon the lintel of the temple or on top of pillars, or any other part, bearing

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a fierce expression sculpted by the artist to instil fear and caution among the visitors.But actually,thekirtimukha boasts of many variabilities in its style, size, expression,orientation, place of establishment, resemblance to animals and many other attributes.This auspicious symbol underwent different phases of development and it became amultifaceted motif in early medieval period keeping its original form intact. The variousmotifs of imagery associated with this motif will facilitate the comprehension of itssignificance in the contemporary religio-cultural setting. Yet despite all these differences,there still exists one holistic understanding or meaning behind the Kirtimukha. Thispaper aims at exploring the significance of multiple motifs, symbols and imageryassociated with the kirtimukhas of the Koppeshwar temple atKhirdapur, in Maharashtrato understand the multiple layers of meaning of this motif.

Keywords: Kirtimukhas, Koppeshvar temple, religio-cultural setting, auspicious symbol

TRANSFORMATION IN MYTH: MERGED ANIMAL FORMS IN

VAISNAVA ICONOGRAPHY OF THE CHALUKYAS

Niharika K. Sankrityayan

The sDeccan in the early medieval period witnessed significant transformations ineconomic, social and political spheres leading to the emergence and establishment ofpowers like the Chalukyas of Badami from the sixth to the eighth centuries CE. Thetemples built by the Chalukyas were richly carved with divine imagery and often aparallel between the godly images and the kings were made. The figure of Vishnu inhis Varaha and Narasimha avatara is the most celebrated sculpture in the history ofIndian art. Animal motifs occur with great frequency in Indian art. This is perhaps dueto the importance attributed to animals in the brahmanical pantheon. In this paper, Iwill focus on how projection of Vishnu as Varaha and Narasimha was a way throughwhich the Chalukya kings tried to ascertain theirauthority and power. In the case ofthe Chalukyas, depiction of Varaha takes a significant position as the rulers adoptedthe Varaha as part of their royal emblem called Varaha lanchana. The selection ofVaraha as their motif emphasizes the allegory between Varaha and the ruler’s occupation

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with the earth. It can be seen as a transmission of an idea through the visual medium,to strengthen an image which had already gained currency in oral and literary narratives.On the other hand, a significant aspect of Narasi?ha is his non involvement with theVedic concept of the solar-universal deity traversing the universe like Varaha. It appearsto have incorporated the folk traditions of a custodian deity of the forest and rural areasinto Puranic Vaisnavism. The paper tries to build arelationship between visualrepresentations and the expression of power and authority.

Keywords: Varaha, Narasimha, Chalukyas, Vaisnavism

THE JALI AND THE FARSH: A STUDY OF SYMBOLISM IN

MUGHAL ART

Nimisha Thakur

This paper aims to understand whether power relations in the form of gender and thedivinity bestowed on the ruler is depicted in Mughal art. The focus is on two artisticelements: One, the architectural element of the jali or the latticework used in Mughalbuildings and two, the carpet or farsh which became a medium for miniature paintingsand a symbol of a king’s power. The question asked is how much of a role did Mughalart forms play in shaping the image of the king and in establishing the hierarchies ofgender.

The paper aims to trace the evolution of the jali from indigenous forms usedby the Rajputs before the advent of the Mughals. The idea of spatial and visualsegregation on the basis of gender is seen in the context of the jali. The role that thejali played in separating the divine from the wordly is also elaborated.

The paper then elaborates on the development of the carpet manufacturingindustry along the lines of Persian carpets. The representation of Mughal miniaturepaintings in the carpet making industry is dwelt upon as is the artisanal organizationof the period which saw the emergence of the farrashkhana or the carpet house. Thefarsh is brought into the picture as it works on similar lines of symbolism as the jali.It began to indicate the grandeur of the king and the divinity that was attached to him.

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The significance of geometry in the artistic idiom of the Mughals is finallyexplored. It is shown as to how geometry is used to represent the ideals of divinity andpower through the medium of the jali and the farsh.

SYMBOLIC REPRESENTATION OF COLOURS AND LINES IN THEYYAM

PERFORMANCEOF NORTH KERALA

Nimitha K. P.

Art history provides knowledge and understanding of the past. The history of art is thehistory of any activity or product made by human beings in a visible form for eitheraesthetical or communicative purposes. Through an art form the artist try to expressingthe ideas, emotions and the existing social and cultural background of the then society.So in reconstructing the past events in history arts forms had important roles. Art is themanifestation of human creativity. History is the study of human actions in the past.The study of past events through art forms is very important. Art history includesdifferent forms of creativity but this study mainly focusing on facial and body paintingsof Theyyam performance.

In Kerala folk arts flourished under the shadow of feudalism. The facial andbody paintings of the performing arts were very interesting. In this paper I propose toexamine the use of lines and colures as symbols in Theyyam.Through this art form wecan understand the history of the lower caste people and the history of one region. Italso attempts to analyze how women body and sexuality representing in paintings. Theaesthetic part of women in painting is also discussed here.

Mukhamezhuthu (facial painting) of the ritualistic arts shows all the qualitiesof the painting tradition in Kerala. Colors are applied on the face in different ways forthe art forms like Mudiyettu, Theyyam, Kalikettu, etc. Chutti is a major component ofTheyyam. Meyyezhuthu (Body painting) is another special feature of the folk arts ofKerala. It is Theyyam that uses different types of Meyyezhuthu. Here the chest andstomach of the There are many different make-up design categories. For each category,there are a number of Theyyam characters.The permutations or combinations of theseprimary design result in more than four hundred types of Theyyam characters. Masksare prevalent. Natural and readily available ingredients such as turmeric paste, rice paste,

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the black collected from the smoke of the sesame oil lamp and quick lime are used forface and body make-up.

Keywords: Ritual art, Make up, Social history, Oracle and Painting

MAPPING INDIA: SYMBOLIC REPRESENTATION OF

BRITISH PLANNING

Nisha Sawant-Kulkarni

Cartography is an art commonly divided into General Reference Maps and ThematicMaps. Its orientation is influenced not only with contemporary technological innovationsbut with socio-cultural changes. Mapping Indian landscape was normally begun after1st century A.D, however it was strongly supported and activated in colonial Era. Since,1500 A.D. till the end of the British rule large number of maps were made and published;contributed by British, Portuguese, Dutch, French, and others. They all were intendedto serve the purpose their masters. Hence, the mottos and intentions of these masterscan identify through gradual shift in ideas of making maps. Thus, the present paperis aimed to find significant objectives of British Cartographers and Administratorsbehind mapping India.

ANIMAL SYMBOLISM IN BUDDHISM

Nitesh Narnolia and Mousam

The early Buddhist art divides the universe into several distinct categories, althoughall categories are inter-related yet distinct in their nature. These are the kingdoms ofthe gods and divine beings, the world of humans, the animal kingdom and vegetablelife. These four categories are treated as sub-divisions in huge range of sentimental life.The animals are the most frequently occurring imagery in the Early Buddhist Literatureand some of the animals that come again and again are the lion, the elephant, the horse,

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the bull, and the monkey. The major aim of the present paper is to examine theliterary evidences from Early Buddhist literature. It is important to look at the animalsymbolism in Early Buddhist Literature where Buddha tells stories about hisearlier births. The Jatak tells also talk about animal symbolism, so it can also bereferred to understand the role of animal symbolism in the Early BuddhistLiterature. The present paper raises two questions and tries to find the answers ofthese: a) what is the importance of the animal symbolism in the Early Buddhist Literatureand; b) is it possible to interpret animal symbolism satisfactorily and meaningfully asan integral part of the Early Buddhism?

Keywords: Animal symbolism, Early Buddhism, imagery, metaphor, Jatak tales.

SYMBOLISM AND REPRESENTATIONS OF ‘LOKA’: THE MYTHICAL

WORLDS IN ANCIENT INDIAN ART AND LITERATURE

Nitin Hadap

The Lokamay denote ‘place’ or ‘room’, the position, situation, sphere and a mythicalworld in Indian culture. In literature the word ‘‘Loka’’ appears as; Paraloka, Pitrraloka,Yamaloka, Punyaloka, Indraloka, Antariksaloka, Marutloka, Ahrloka, Jivaloka Divya-Loka, Papaloka, Swargaloka etc.

The aim of the present paper is to trace the tradition of symbolic representationof the concepts of mythical ‘‘Loka’’ in ancient Indian visual art. The paper also coversthe relevant metaphors and metaphoric representation of the ‘‘Loka’’ from plastic artof ancient India.

Keywords: Loka, the mythical world, symbolism, heaven, mythical under world

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SOME SYMBOLIC HARMFUL RITUALS IN THE BR¡HMANAS AND

S√TRA TEXTS

P.C. Sahoo

Since the dawn of human civilisation symbolism has been playing an important rolein the field of communication. Symbolic rituals are simply another form ofcommunicating one’s ideas through the performances. Vedic ritualists were the oldmasters of conveying their intrinsic ideas, desires and purposes through several suchperformances and one of the purposes is to harm their enemies. One finds a numberof short or long rites included under various ÷rauta sacrifices or under some non solemnperformances known as domestic rituals which aim at destroying or harming the socalled enemies of the Vedic people. In this paper there will be a discussion on few ÷rautaas well as G§hya rites highlighting their symbolic character and the baleful effects forwhich they stand. In this process it would be interesting to note that ° lot of magicalelements were introduced inside the sacred performances.

SCULPTURAL PANEL SYMBOLISING THE EVENT OF FORMATION

OF THE CRATER AT LONAR

P.S. Joshi and Kanchana Bhaisare

Lonar crater (Buldana district, Maharashtra State, India), a gem of craters, is one of thebiggest and well-known craters of the world. The cause of the formationof the crateris still debated among the scholars from astronomical and geological fields over acentury. The formation of crater at Lonar has regarded by S.N. Rajguru and B.C.Deotare, paleoenvironmentalist and paleobotanist respectively, as ‘‘an extraterrestrialcatastrophic event of Maharashtra State’’.

There are manyBrahmanical temples of medieval period along the bank of thecrater/lake as well as in the town of Lonar. In one of the temples at Lonar proper, namelyDaitya-Sudan temple, the sculptural panel narrates last act of the episode in the mythrelated to demon named Lavanasura and Vishnu. The panel is located at the ceiling

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of antechamber of the temple. It depicts a killing of Lavanasura by one of the less knownincarnations of Vishnu, namely Daitya-Sudan. The posture of Vishnu while killing ademon as well as helpless demon Lavanasura and his bodily contours symbolise andsuggest that the Lonar crater was formed owing to ‘impact of outside body’. In otherwords, the panel and the carving of the myth very well support the theory of meteoriteover volcanic eruption. And in course of time the crater turned into present-day salt-lake, subsequentlya pilgrimage centre of more than one religious beliefs.

It is said that the ‘‘Myths have messages, lasting for thousands of years’’. It seemsto be very much true in case (if, for when) of Lonar crater too. This paper is trying toshedlight on multiple aspects of symbolism of myth and tradition including the sculpturalnarrative panel at Lonar, and relate them to natural phenomenon that was responsiblefor the creation of crater at Lonar.

Keywords: sculptural panel, myth, traditions, Lonar crater, Vishnu, demon Lavanasura

METAPHYSICS OF BOUNDARY: CONFIGURING THE BHAGAVADG¬T¡

IN THE MODERNIST PARADIGMS

Prabha Shankar Dwivedi

This paper seeks to unveil the truth of boundary/border as expounded symbolically andovertly in the Bhagavadg¢t° in innumerable contexts, and its transcendence andconcretization in the modernist paradigms. A boundary is always a constructed entity,it is never born with that whole, which it divides or separates after coming into existence.It is actually a violation of the wholesome organic being of anything that is materialin form. The Bhagavadg¢t° holds the view that boundary cannot make any essentialchange in the true form of a being; its transcendence should be treated as a state ofdevelopment. The beginning and the end of a material life is no more than the differentstages of growth to the soul, having crossed the frontier of mortality it resumesimmortality, its true state. Here, the emphasis is on the fact that the state after the endis the perpetuation of the state before the beginning of that temporal state, which wasconfined by the boundary of the end. The Bhagavadg¢t° doesn’t see the end (deathof a body) as an end but as a perpetuation of the ever-ending beginning, or, in otherwords, it sees the beginning of eternity in the end of temporality, which T. S. Eliot in

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his East Coker of Four Quartets communes as ‘‘In my beginning is my end.’’ TheBhagavadg¢t° stresses on the transcendence of body to the level of soul, breaking allthe boundaries of material needs. Body itself is perceived in both Indian as well asWestern philosophies, as a means of confinement; it is the service of the body that thesoul is engaged with. W. B. Yeats in his famous poem, The Tower, considering the bodyirrelevant to the soul, writes‘‘ What shall I do with this absurdity – . . . that has beentied to me /As to a dog’s tail?’’, and therefore, the transcendence of this confinement,insisted upon by Bhagavadg¢t°, is followed by Yeats, who metaphorically transcendingthis detention in the body, says, ‘‘ . . . I have sailed the seas and come/ To the holycity of Byzantium.’’ in his poem, Sailing to Byzantium. The Bhagavadg¢t°’s conceptof dissolution of boundary has very much been prevalent in all the ages but in themodernist ideals it very explicitly gets revealed through appropriate symbols in theliterary productions of the time.

Keywords: Bhagavadg¢t°, Metaphysics, Modernism, Symbolism

SYMBOLIZATION OF GODDESS SARASWATI IN

SANSKRIT LITERATURE

Pradnya Deshpande

Goddess Saraswati, is a multi faceted figure in Hindu mythology and in Sanskritliterature representing river, wife of Lord Vi∑∞u, wife of Brahma etc.. It is a deity ofelegance and grace

In Atharvaveda and Pu°∞a literature it is considered as divine mother. GoddessSaraswati, who has been worshipped before any intellectual activity, is assumed assymbol of wisdom. It is depicted as V°gdev¢ or V°gvaisaraswati, i.e. power of speechand knowledge. She is symbolized as m°tr° in tantra texts. Her physical figure andaccessories are interpreted differently by different literature.

In this paper the attempt will be made to study symbolization of this female deityaccording to Sanskrit literature.

Keywords: Goddess Saraswati, Symbol of Wisdom, Power of speech, HinduMythology

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SYMBOLIC FERTILITY RITUAL: OTI

Pradnya Kulkarni

The Custom of giving otito a girl or a married woman whose husband is alive is avery common practice in Maharashtra which is also observed by people from otherparts of India. This custom symbolizes fertility rite. On every important occasion,celebration and festival related to women, this custom is followed.When the originof this custom is traced back, a ritual which shows connection with this customis found in G§hyas£tras. The rite prescribed by G§hyas£tras has got a connectionwith fertility. The study of the progression of this ritual to present day custom,tracing the variations, changes and different aspects could be very interesting. Inpresent society, tremendous variation is observed when this custom is practiced.In spite of the variations found in present society, the purpose seems to be almostthe same. During the process of development from ritual to custom, it is observedthat the custom is followed to get some additional benefits.The researcher intendsto study these things in detail and some aspects of this topic will be discussed inpresent paper.

Keywords: Fertility, Oti, Custom

ZODIAC SIGNS IN INDIAN ART AS IDEA OF TIME

Priya Thakur

The present paper is an attempt to discuss the representation of Indian Zodiac signs inIndia temple art through various mediums of relief works and to understand whethersuch representations were only part of astrological emphasis given to the zodiac signsin Hindu religion or if it was a continuation of some idea and understanding relatedto the passage of time and movement of stellar bodies affecting the seasons. Themethodology is based on description of such examples collected by the author duringfield work from temples in Tamil Nadu and Karnataka as well as museum exhibits.The iconographical and architectural discussions will be based on historical and textual

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contexts available on the subject under study and will highlight the cognitive aspectsof rhetorical reckoning of time in early India.

Keywords: Zodiac, Iconography, Relief, Karnataka

INDIAN SCULPTURE FORM COMMUNICATE THROUGH IN

TANGIBLE LINES

Priyanka Kamalakar Shinde

This is a study of the visual element used in the Indian Temple Sculptures. Focus tothe expression, human beings has excellent ability to express through which one triesto communicate in terms of message, narration, dialogue etc. while research suggeststhat art of Indian Sculpture reached to the highest pick of aesthetics and spirituality.Over here spiritual in terms of its ability to evoke viewer through its visual impact. Inaddition, although some archaeological studies found various traces of communicationin very earlier form of cave painting, coins (numismatics), artifacts, architecture andsculpture evidences. Apart from its beauty this article presents an outline for thinkingabout how visual perception in the relations to forms physiology are likely affect humanpsychology to tickle viewerís visual perception towards the Indian temple sculpturewhich triggers cognitive sense. The finding highlights the cognitive, social and personaldomains contributing to creation of design.

Keywords: line, Form, sculpture, Communication

PILLAR IN INDIAN TEMPLES AND ROCK CUT CAVES SYMBOLIC

EXPRESSION and STRUCTURAL ELEMENT

Rahul Chemburkar

History of symbolism In Indian architecture shows that everything can assume symbolicsignificance. Indian temples and rock cut caves wear their geometry on their face.Sometimes a desire to realize a particular formal idea led to new geometrical patterns.

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Temple constructed in natural materials like stone and brick is designed on thebasic principles of structural engineering. Similarly any rock cut cave is a space carvedout of an Rock terrain. These then are transformed into cultural expressions throughthe embellishment adorning the Interiors and exteriors.

Looking beyond the aesthetics and ornate expression, we see basic structuralelements such as the post and beam being used to support the edifice. These becomethe canvas for the artisans to showcase their art which is not merely superficial but isan integral part of the architectural design. Structural elements are decorated in contextto utility factor and attributed iconography related to it. This transforms the wholestructural form into a live architecture marvel.

The Pillar (Stambh) is the most profoundly and extensively elaborated structuralelement in the Indian temple and rock cut cave architecture. It varies in shape,size andmaterial in context to the structure in which it is used.

The pillar hence can be studied as representation of how ‘‘Symbolism’’,‘‘artistic expression’’,‘‘architecture’’ and Structural engineering’’ create a strongconfluence thus transforming the simple structural element into an cultural expression.

The research paper is an effort to explore the various typologies of this importantarchitectural feature of Indian architecture in context to various aspects of socio-culturaland structural factors.

Keywords: Architectural element, Structural engineering, Load bearing structures,rock cut caves

HERO STONES IN MEDIEVAL KARNATAKA AND CHANGING

PERCEPTIONS OF AFTERLIFE

Rajaram Hegde and Prabhakar Rao

Karnataka has a rich heritage of hero stones, especially of the Medieval period. Thesestones are in the form of oblong stone slabs with multiple panels of sculpture representingthe event leading to the hero’s death and ideas about his afterlife. Many of thesesculptures try to convert such ideas in visual forms meticulously. These stones alsoconsist of inscriptions providing us the details of the historical event, personalities, the

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gift deeds and several other socio-cultural information which are extremely valuablein reconstructing the regional and local history. As proper analysis of such sculpturesand inscriptions would enable us reconstruct the beliefs of those people about theafterlife of these heroes. Present paper is one such attempt specially based on the herostones in and around the modern Shimoga district of Karnataka.

The present review of the hero stones reveals several interesting facts andquestions. A hero stone usually consists of one or two bottom panels depicting the battlescenes, next one shows him being carried by flying heavenly damsels, and the top onehis ultimate destiny. Curiously enough, as the top panels reveal, the ideas of afterlifeunderwent lot of changes after 11th century ACE. One of the most crucial factors ofinfluence was the rise of different temple and devotional cults like Shaivas, Vaishnavas,Jainas etc. Of these the Shaiva tradition, led by Kalamukhas seem to have played apredominant role in the Medieval hero cult since it was a predominant temple buildingtradition in this area in that period. The ideas of afterlife were closely connected withthe funeral rituals as well as the absorption of hero cult into the temple rituals. SuchHeroes were invariably followers of different traditions, or were brought into the foldof different traditions after death. The respective temples traditions absorbed thesememorials into their ritual practices and, at times, the memorial stones were placed inthe temple premises as a part of the temple complexes. The depictions in the top panelsenable us to identify hero stones as belonging to Shaiva, Jaina and Vaishnava traditions.Texts of inscriptions carved on these hero stones also provide supportive evidence toderive such conclusions.

Keywords: Hero cult, Afterlife, Bhakti Tradition, Temple ritual, Kalamukha, Shaiva,Vaishnava, Jaina.

PLANT AND CREEPER SYMBOLS IN BENGAL ALPANA

Rajasri Mukhopadhyay

Alpana or Alpona is the ritualistic, decorative floor art of Bengal. It is derived from theSanskrit word alimpana, which means ‘to plaster’ or ‘to coat with’. Alpana can becompared to the art of Rangoli found more or less all over the sub-continent and the

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South Indian Kolam. Passed down from mother to daughter, the folk art of Alpana isessentially a domestic art. Traditionally always white, since it is made of rice powderand water, Alpana is drawn during celebrations and festivities, mainly – semi religiouscults or Vratas and weddings. Alpana has a varied repertoire of designs. It ranges fromfloral to geometric, from animal figures to abstracts. Among the floral designs, variousplants and creepers form a major part of the Alpana motifs. Some symbols are inspiredby real life plants like lotus and paddy, but others are imaginary and ideated versionslike Khuntilata. This paper while looking at the art historical development of VrataAlpanas, analyse the reasons behind the depiction of such vegetation symbols, linkingthem to the hidden aspirations of human heart and the socio – cultural ethos of Bengal.It also shows the intimate connection these plant symbols have with fertility cult andthe folk religions of Bengal.

Keywords: Floor-Art, vegetation symbols, fertility cults

TEXTILE DESIGNS AND PATTERNS; REFLECTION OF TRADITIONAL

SYMBOLISM OF THE MEITEIS OF MANIPUR: A CULTURAL

BEHAVIOURAL APPROACH

Rajkumari Barbina

The Meiteis are a traditional people who still continue to use textiles, ornaments anddecorative items specific to different occasions, rituals, and cultural functions. Thetraditional textile weaving still continues to support these socio-cultural and religiousbeliefs and manifests various symbols associated with various functions carried out bythem. Each symbol woven to the textile has a meaning associated with the cultural past.The combination of such designs and motifs reflect their social status and the natureof function where these dresses are worn. They also reflect the sex and age of the wearer.The present research focuses on the symbolism associated with these textiles, motifsand designs.

Keywords: Meiteis, Textiles, Designs, Motifs

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THE SYMBOLS AS THE ULTIMATE BUDDHA IMAGE: THE ICONS OF

BUDDHA’S SUPREME REALITY AND TRANSCENDENTAL NATURE IN

INDIAN BUDDHIST SCULPTURE

Ranjana

This paper broadly explores the important events from the life of the Buddha throughTheravada symbols and images which have been depicted in sculptures and monumentsby Indian artists from the time period of King Ashoka to the Pala dynasties.Religioussymbolism is the use of symbols, including archetypes, acts, artwork, events, or naturalphenomena, by a religion. Religions view religious texts, rituals, and works of art assymbols of compelling ideas or ideals. Symbols help create a resonant mythos expressingthe moral values of the society or the teachings of the religion, foster solidarity amongadherents, and bring adherents closer to their object of worship. Symbols frequentlyhave been used in different art media. They occupy significant position almost in everykind of artistic expression. Art is visual expression of human mind and portrays boththe sensory and the abstract feelings about life. The purpose of such expression wasto produce a form which may be aniconic, anthropomorphic or theriomorphic. Indianart visually embraced the totality of life. Through the visual forms many aspects of theIndian deities, such as the Buddha, Mahavira, Vishnu, Shiva,etc, though belonging todifferent faiths, we find expression of the mind and heart of the contemporary people.The Buddhist symbols were basically aniconic and did not have anthropomorphicimages of Buddha. It was only in the 1st century BCE that the Buddha was started tobe represented in human form. In Thervada there are some specific symbols was usedto represent Buddha and his life such as; The Lotus represents Buddha’s birth, the Bodhitree signifies his enlightenment, the Wheel represents his first sermon. The eight eventsor Ashta-Maha-Pratiharya of buddha’s life have been frequently represented in allsculptural reliefs in the form of symbols and images and these relief composition andmonuments constitute a biography of the Buddha depicting his spiritual journey fromhis sheltered life of worldly pleasures to the final state of Mahaparinirvana. The primaryBuddhist symbols throughout all Buddhist countries are depending on biographicalscenes preceding the Buddha Enlightenment and his entry into nirvana. Aniconicsymbol of the Buddha and images which is represented in the early Buddhist monumentssuch as the stupa balustrades and gateways at Bharhut and Sanchi, the sculptures atMathura, Bhaja, Amravati, Nagarjunakonda, Bodhgaya, and Sarnath gives a artisticrepresentation of as a supreme reality of immanence and which propounded an idealized

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person or state of Buddhahood completely. In Buddhist art, images and symbols areperformed in such a way that it conveys certain religious ideas, and capable ofrepresenting the philosophy of Buddha and showing also interconnection withsupernatural world, which at the same time gives a spiritual quality. The theory ofaniconism has been universally accepted in the interpretation of early Buddhist art. TheBuddha image was first created during the Kusana period around the first or secondcentury A. D. Recently a number of sculpted Buddha images belonging to the pre-Kusana period have been identified. The existence of these pre-Kusana sculpted Buddhasundermines the theory that Kusana patronage was responsible for the introduction ofanthropomorphic Buddha images. Eventually, the Buddha image became one of themost popular representations in Buddhism, but these early symbols remain importantand are frequently used to this day. They are especially important in STheravadaBuddhist countries like Sri Lanka and Thailand. As Buddhism spread, Buddhistsymbolism was enriched by the cultures it came into contact with. This is especiallytrue of Buddhism in Tibet, which has developed a rich symbolic tradition In Buddhistart, the artistic treatment of the human body is performed in such a way that it conveyscertain religious ideas, that of the Buddha and also certain other principles, of arrangementand construction in architecture as well as in pictorial compositions capable ofrepresenting the Buddhist view of the terrestrial and supernatural world, which at thesame time gives a spiritual quality. The doctrinal and geographic dimensions haverevealed much in regards to the nature of artistic representation of Buddha. However,it is only through the culminations of both that the sociocultural dimension can ariseto have any effect on the significance and emergence of the anthropomorphic Buddha.

Keywords: Transcendental, Anthropomorphic, Aniconic, Immanence, Buddhahood

EVOLUTION OF MITHILA PAINTINGS MOTIFS ON TIME CONTINUUM

Ranjana Mishra

The capital of VidehKingdom,Mithila, was known for its exceptional art and craft.Mithila or Madhubaniartare synonymous as they encompass congruent ethos of thesame people. They are practiced till date by women, in the northern Bihar and borderingsouthern states of Nepal on the internal and external walls of houses, courtyards,compounds and floors.The most skilled, yet simplest form of living art in the world

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blends together a beautiful narration of mythology, tradition, culture, history, geographyand society of that area. These paintings are ritualistic and symbolicand is called‘‘Likhiya’’ aswomen don’t paint but write their feelings, emotions and ideas. The motifs

include animals like elephants, peacock, horse, parrot, fish, turtle and blooming trees,lotuswhich signifyprosperity, good fortune, energy, love, fertility respectively.

Historians Swaroop Vat and Prof.Gudrun Buhnemann aver that mandalas havepre-Vedic and Vedic origin respectively. W G Archer in 1949, expounded this artpaledinto oblivion to the worldbut till today it is in obscurity.This Qualitative research paperpresents non-quantitative type of analysis which is exploratory and open ended basedon literary data sources, review of records, interviews, observation and surveys. Thepaper has traced the genesis of the paintings through various ancient scriptures, Mithilaliterature of various periods,the anthropological approaches of Katherine Luomala,Levi-Strauss, Messenger Erika Moser, Raymond Lee Owens etc. The visit toChandradhari museum in Darbhanga,the Institute of Industrial Designs at Digha,Patnaand interaction with artists of Brahmins, Kayastha and the Harijansheritage providedin-depth information and enabled author to see the art in its living surroundings. Thepaper also focuses on various measures to continue this age old art of more than 2500years.

Keywords: Mandalas, Yantra, Kohbar art, PattaChitra, BhittiChitra, Aripan, Purhar-Patil- Naghar, Salesha heritage

FROM SYMBOLS TO IDOLS - AN ANALYSIS OF THE TRANSITIONS

IN KANHERI

RemyaV. P. and Sreebarna Ghosh

Execution of belief in artistic form is the main reason behind the religious art andarchitecture. Changes in religion, modes of worship, contemporary socio cultural andpolitical scenario and aesthetic sensibilities have brought corresponding changes inthese expressions. According to belief, Buddha was represented through symbols inearly phase of the religion and as beliefs changed, the representation of Buddha turned

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into human form. Case study of a specific site would reveal the changes of belief, theirexpression andthe stage of transformation. Kanheriin Maharashtra was an active andexclusive Buddhist centre from c. 1st century to 10th century CE.While Buddhism wasfacing steady decay in India and sites like Ajanta andEllorawere either onthe verge ofdecay or adopting new religions, Kanheri continued as exclusively Buddhist. This sitehas more than 100 caves with characteristically simple architecture. The chaityagrihasand viharas associated with Hinayana and Mahayana traditions display ample evidencesfor the religious aesthetic works with significant variations. Kanheri’sability to assimilateand adaptwith changing milieu and religious ideologies helped it to remain active forso long. This philosophical acceptability is also reflected in the art.Transformation fromStupa representing Buddha to anthropomorphic figure as object of worship was theresult of adaptability to changing trends. This paper attempts to trace and contextualisethe gradual transition from symbolic to figural representation of Buddhain Kanheri withthe aid of iconographic and inscriptional evidences. The process of transition is focusedto understand the factors behind the change and its execution. The paper argues thatlocation of Kanheri in the orbit of trade route and its interface with the contemporarypolitical economy had largely influenced itsadaptability and choice of religious changesin the site

Keywords: Kanheri, Symbols, Anthropomorphic, transition, belief, icons

SYMBOLS AND SYMBOLISM: A CASE STUDY OF DECORATED

LEGGED QUERNS FROM INDIAN SUB-CONTINENT

Reshma Sawant

The legged quern is very common artifact that generally comes from Early Historichorizon in India (also a few have been reported from Megalithic sites). Howeverdecorated legged querns forms an interesting category in this assemblage. Thesedecorated legged querns carry abstract designs, auspicious symbols and in rare casesinscribed letters too. Present paper focuses on the distribution (spatio-temporal) as wellas functional aspects of these decorated legged querns.Keywords: Decorated legged querns, Indian Sub-continent, auspicious symbols,functional aspect

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SAUBH¡GYALANK¡R, SYMBOLISM OF

MAH¡RSHTRIAN JEWELLERY

Rucha Gadkari

Jewellery is regarded as a traditional form of wealth, but it is also used for personaldecoration both by men and women. Apart from their decorative value, ornaments havebeen worn as charm and amulets from ancient days and their study leads us to the sourcesof various beliefs current among men. An investigation of ornament symbolism invarious parts of the world goes more to confirm than deny the magico-religious valueof the jewellery.

Throughout Maharashtra, jewellery designs and patterns reveal a continuationof traditions which have been recorded in innumerable sculptures and paintings for overtwo thousand years. Still, most of the Mah°r°shtrian jewelleries are derived from thelegacies of Mar°th° and Peshw° dynasties. During Pe∂aw° period there were somespecific ornaments designed only for married women and those were known asSaubh°gyalank°r (Ornaments which denotes an auspicious and excellent state ofwifehood for the Mah°r°shtrian ladies). These ornaments gives an idea about thesymbolism attached to it, which in turn also helps us to understand the beliefs andpractices current among the people of this period.

Keywords: ornaments, charms, amulets, Mah°r°shtrian, Mar°th°, Peshwa,Saubh°gyalank°r

SOCIO-CULTURAL IMPLICATIONS OF BODY TATTOO ART IN

HUTSë VILLAGE (NAGALAND)

Ruokuonuo Rose Yhome

The art of body tattooing is an integral aspect among various tribal communities in India.It provides an insight of their socio-cultural behaviour. The art reflects not just the designbut also social status of the bearer. This paper focuses on the Huts¸ village of Pochury

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Nagas (Nagaland) where tattoos were still considered to a very recent time as animportant element for the females as it was believed to enhance their beauty. It wasa sign of dignity and designs worn reflected their socio-economic status in the society.Elaborate procedure of body tattooing is documented along with the artistic significanceand their meaning. The technique of making tattoos and the related social taboos willbe discussed. With coming of the colonial rule this form of traditional art slowly beganvanishing due to advent of Christianity.

Keywords: Body Tattoo Art, Socio-cultural, Nagas.

JAIN¡C¡ DHO–œ¡ (JAINA’S STONE) : A JAINA SYMBOL IN HINDU

TEMPLES

Saili K. Palande-Datar and Ambarish V. Khare

Religious traditions of Hinduism, Jainism and Buddhism in India share a commoncultural fabric. However, the myth and rituals in all the three traditions are mostlyexclusive and follow the scriptures of respective traditions.

Contrary to this, however, a unique icon is deified and worshiped in many Hindutemples across Southern Maharashtra (Sindhudurg and Kolhapur district) and is called‘‘Jain°c° Dho∞Ø’’ meaning a stone of a Jaina. Often, such stones are also found in openspace outside the Hindu temples or in the separate small shrines and are venerated bythe local Hindu community. The Jaina attribution is difficult to understand and localpriests or villagers cannot offer plausible explanation for prevalence of such practice.There is no reference to such stones either in the ancient religious texts or in the textsrelated to Indian architecture. However, an explanation based on the quasi-historicalnarratives can be found in the later mediaeval literature.

This paper aims to explore the diverse forms of Jainaís Stones in SouthernMaharashtra in general and districts, Sindhudurg and Kolhapur in particular. Theexposition traces symbolism of Jain°c° Dho∞Ø in Hindu temples, in the context ofJainism in South Maharashtra with the help of textual and historical references. Paperalso attempts to present the previously unknown evidences of Jaina art from the area.

Keywords: Jain°c° Dho∞Ø°, South Maharashtra, Jain art

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SYMBOLISM IN ISLAMIC ART: WITH SPECIAL REFERENCES TO

THE SYMBOLS OF TAJ MAHAL

Sana

The term Symbolism, in actual, seems to have undertaken a revolution from being highlysignificant to being mostly decorative in Islamic Art. Symbols have been used in artfromthe very earliest times. Nature was an important source of arts motifs. The patterns usedwere inspired by the flora and fauna of the landscape and they frequently represent anidea or quality.Symbols are not only used for decoration but also as a means ofcommunication tool with the symbolism in its designs, because art work doesn’t usuallyinclude words, symbols are used to understood the spectator a meaning or even astory.Main point of the study is to highlight the significance of the various symbolswhich are adorn the surface ofthe Taj Mahal.Arabesque decoration, geometrical patterns,and calligraphy is an element of Islamic art† usually found decorating the walls of TajMahal. These are an elaborative application of echoing artistic motifs that often repeatthe forms of designs. This paper mainly deals with the Arabic script of Quran as alsowith other Muslim sacred abstract symbolsof the letters and the qualities that areattributed to the Divine. Symbolsoccupy significant position almost in every kind ofartistic expression.This paper concludes the main symbols of inlay art in Agra anddiscussed the conversation with academic workers, artists, craftsmen in industry of inlayart.

Keywords: Symbols, Taj Mahal, Islamic Art, Inlay, Symbolism, Work, Patterns,Motifs.

THE SYMBOL OF ÷IRA÷-CAKRA AND PRABH¡-MA–œALA IN ART,

RELIGION AND PHILOSOPHY OF INDIA

Sanchita Ghosh

Many epithets have been used for the Sanskrit words ÷ira∂-Cakra and Prabh° Ma∞Ølain the different languages within and without. In the Prakrta-Jainagama the word Lesya

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in Tamil, the word Tiruvasi, in Greek the word Nimbus , in English the world Halo,and in theosophical philosophy the word Aura, and another Sanskrit or Hindi wordslike Prabh°vali communicate one and the same concept which has been denoted bythe Sanskrit word ÷ira∂-Cakra and Prabh° Ma∞Øala. Psychological researchers haverevealed the meaning of ‘‘aura’’ as an astral-body or shadow-body which is visible toa person who has cryptaesthesia or mystic experience. It is used as giving the meaningof subtle emanation from flowers also. As far as the word ‘‘Halo’’ in English concerns,it gives the meaning of coloured-light round the luminous body, disc of sun and themoon. The Sanskrit words ÷ira∂-Cakra or Prabh° Ma∞Øala or Prabh°vali, rather givesthe different meanings which are related to religious and meta-physical experiences thenthe meanings given by the word ‘‘aura’’,‘‘halo’’ and ìnimbusî of the foreign languages.It is true, if I deal with its meaning as a student of Art- History, then these sanskrit wordswould express the meanings as conveyed by the word ‘‘aura’’,‘‘nimbus’’ and ‘‘halo’’.But beyond its restricted meaning and phenomenal meaning, which is used in theuniversal arts as a decorative motif, there is something more which India imparts throughits religions and philosophies to the concept of ÷ira∂-Cakra and Prabh° Ma∞Øala, andhere, in this paper all the religious and philosophical concept about halo are shownbesides its significance in the plastic and pictorial arts of India.

Keywords: ÷ira∂-Cakra, Prabh° Ma∞Øala, Tiruvasi

ANTHROPOMORPHIC FIGURES OF COPPER HOARD: SYMBOLISED

VEDIC GODS?

Sanjay Manjul

As we know copper anthropomorphic figures of copper hoard are still enigmatic amongthe scholars. The cultural context, time and its uses†needs re-interpretation in the lightof recent findings, scientific dates and new archaeological evidences.

In this paper authors try to correlate the anthropomorphic figures and its physicalforms, symbols depicted on the figures, cultural affinities, and archaeological contextwith the notion of Vedic Gods and its continuity in Hindu iconography during historicalperiods.

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A NEW LIGHT ON SYMBOLS IN ELLORA BUDDHIST CAVES

Sanjay Paikrao

Symbols provide cultural messages of ancient time. In Ellora Buddhist cave symbolsare well reflected in both phases. These caves were built during the 5th-7th century.It was initially thought that the Buddhist caves were one of the earliest structures, createdbetween the 5th and 8th centuries, with caves 1-5 in the first phase (400-600) and6-12 in the later phase (mid7th-mid 8th) centuries.The Ellora Buddhist cave have useddifferent symbols such as Chaitya, Campa, Cintamani, Danda, Dhvaja, Ghanta,Jambhara, Kalasa, Khadga, Mala, Mayurapiccha, Naga, Padma, Patra, Pustaka,Utpala and Vajra.This symbols are culturally rich and they have reflected exchangeof peaceful life and cooperation in the society. R.S.Gupte has observed that, ‘‘Thedevelopment of a pantheon is followed by a rise in the number of symbols andcognizance, their permutations and combinations. These symbols are also used in Hinduand Jain caves. They are symbols of peaceful life reflecting exchange of ideas andvalues.

ICONOGRAPHY OF LORD GANESHA IN TEMPLES OF BHUBANESWAR

Sarita Dash

Pursuits of all men are directed towards achieving their goal. But very often people findthat in spite of the best efforts, they do not achieve their goals. It is then their mindsturn towards god. But in the path of devotion, the devotee’s mind is changed to andengaged in the pleasure pursuit of the fascinating world. So it is essential to wean awayhis mind from all its continuous engagements. Since our mind cannot conceive the truth,the contemplative sages have given us a number of symbolic representations of thathigher being in form of deities. And thus gave rise to different religion that is formedexpression of collective experience. They take definite shape in the most highlydeveloped and the most sensitive minds which capable of taking part in super individuallife of humanity. India, which the anthropologists believe to be the strains of the Austricand proto Australoid race bringing in new culture, that came in contact with other pre-existing culture that form a synthesized culture that was essentially local. This culture

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became most pronounce in India gave rise to different religion which lasted long atdifferent time period as the dynasties that ruled the area were all long lived and stronglymaintained the integrity of this geographical unity. Buddhism, Jainism, Saivism,Shaktisim, Vaisnavism etc and other religious cults with their belief, iconography,cultural traditions made its impact on the land from the very beginning and spreadedall over the country. And, Orissa otherwise known as Utkala, Odra etc was no lessprofoundly influenced by all these religion and contributed the finest cultural heritagein field of art and architecture. With the growth and development of Brahmanical religionin Orissa number of temples grew through out the land. Orissa has rich heritage in theform of beautiful temples which are notable alike for their wealth of architecturalexcellent workmanship of their carving. A significant feature of religious life is that,she has five Brahmanical Kshetras, of which Bhubaneswar, the capital of Orissa is wellknown as Saiva Kshetra. Famous as the temple city, Bhubaneswar is filled with templesdedicated to lord Shiva. With few exceptions, the acolyte or subordinate deity (parshvadevata) who occupied in the niches of the Shiva temple are Ganesha on the south niches,Kartikeya on the break (east or west niches) and devi on the north niches. Iconographyis a concrete science and it helps us to determine the identity of a particular deity inthe various scriptures. In my proposed study an attempt to trace the development ofOrissan architecture with special reference to symbolic representation of lord Ganeshaas seen in the iconography in temples of Bhubaneswar. My subject will also try to contextthe various forms of Ganesha with its mythological stories and also highlight itsrepresentation in other art forms of Orissa other than iconography.

Keywords: Kshetras, Acolyte, Wean

A STUDY OF BURIAL PATTERNS AND SYMBOLISM WITH REFERENCE

TO HARAPPAN SITES OF INDIA

Satarupa Bal

The present area of study deals with the evidence of different forms of burial patternsinthe Harappan context. A number of Harappan sites like Rakhigarhi, Farmana, Ropar,Kalibangan, Lothal, Dholavira etc. have produced evidences of burials and burialstructures. The study has been done, keeping in mind a question, as to whether the burialpractices followed in these sites induce any aspect of symbolism or not. Symbolic burials

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in a few of these sites, reflect burials in memory of the deceased, as a symbol ofremembrance, in absence of the body of the dead. Apart from these symbolic burials,an effort to deduce aspects of symbolism will be attempted in the other prominent typeof burial patterns,which would help in enhancing our knowledge about the Harappanburials. Going by the vastness of the sites and the number of structures encounteredin excavations, the variation in burial practices would help in identifying a pattern ofsymbolism followed in those times. Hence a general overview of the Harappan burialsites in India, from their early to mature periods, has been taken into consideration inthis study.

Keywords: Symbolism, burial, mortuary, Harappan, India

STUDY OF MANDALS FOR THE ASPECTS OF SCIENCE

IN A HIDDEN FORM

Satvik Malipatil

Temples in India was centers of art, places of religious exposition, cultural and educationalcenters. Since temples also played a role in educating the students in the field of Vedicstudies, grammar and science related subjects, other than the cultural subjects like dance,music, and the art of carving sculptures, temples got evolved. But when we see templesIn the aspects of science and technology like mandals which has beautiful art and sciencehidden under it- mandals in temples, as each one appeared like model for cosmicdiagram, concealing vast knowledge of science in the organizational structure of life.Mandals of the navaranga hall of temples like flashes, bring to light the hidden truthexiting around the governing laws of nature, recording the scientific achievements aswe advance and dwell in this field- so also both in science and spirituality. Mandalswere probably like the medium, to fill the ignorance gap by explaining the conceptsthat everyone needs to understand. It is intended to encompass the mainstream fieldsof not spirituality but also sciences like physics, mathematics, architecture, biology andso on. So it feels that the complex scientific details are to be considered, mandals indicatesome aspects of the science as understood during that period, because in ancient timesthe study of physical science was neither formalized nor separated from other branchesof history as traditional knowledge.

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THE SYMBOLIC REPRESENTATION OF PROSPERITY IN BUDDHIST

IMAGERY: AN ANALYTICAL STUDY

Saurabh Singh

Religious imagery of all major religion copiously depict multiple symbols of prosperity,protection and fertility. The nature of symbol modifies in different deities, although itrepresents a particular aspect. This paper examines how different symbols held byBuddhist deities symbolise prosperity. Various symbols such as bijapuraka (citronfruit), corn, a stalk of grain,purnaghata, nakuli (money bag) are shown holding Buddhistdeities such as Hariti, Vasudhara, Jambhala etc. The paper aims at studying functionalaspects of these symbols and how various symbols were adopted in specific contextby examining different Buddhist deities and associated symbols representing the conceptof prosperity. The representative Buddhist deities have been selected to comprehendcontextual meaning.

Keywords: prosperity, religious imagery, Buddhist deities,

ETYMOLOGICAL ROOTS OF THE WORD PANCHJANYA AND ITS

SYMBOLIC ASSOCIATION WITH THE CONCH OF VISHNU

Sawani Rajan Shetye and Arunkumar M. S.

In the Hindu pantheon, the popular concept of Vishnu among the trinity is as thesustainerof the universe and hence is associated with RajasikGuna. His familiar attributesare shankha (conch), chakra (wheel), Gada (mace), Padma (lotus). These attributesare of significant importance in the deification process of Vishnu. In most of the icons,attributes are personified in the form of an AyudhPurush. Important attributeoften hastheir own name and possess some peculiar features. These features convey the inheritedideas of Vishnu in general and Vaishnavism in particular. Hence, it is necessary toexamine these attributes individually. The present paper attempts to study the conch,one of the prominent attribute of the Vishnu. The representation of the conch is seen

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as an important attribute in the iconography of Vishnu in all the periods. The conchof Vishnu Is called as Panchjanya.

The word Panchjanya can be traced in early textual tradition. i.e.Rigveda,Atharvaveda, TaiteriySamhita, etc. The survey of the meaning of this word hassuggested multiple cultural aspects of the society. Study of these aspects can lead tothe understanding of transformation process of the ideas in symbolic representation.Considering the abstract meaning of the word Panchjanya and its portrayal as a conch,the cognition of the artisans of thethen period also plays an important aspect of thestudy.

This paper aims to study the journey of the word Panchjanya in its historicalperspective. The execution of Panchjanya in the form of conch and its association withVishnu. An attempt will be also made to study co-relation of the myths and legendsto the iconographic representation of the conch.

Keywords: Panchjanya, Vishnu, iconography, etymology

TERRACOTTA ART AT RUPNAGAR, PUNJAB

Shahida Ansari and V. N. Prabhakar

Rupnagar, earlier known as Rupar or Ropar (30° 57' 59.04’’ N 76° 31' 59.16’’ E) isa town in Rupnagar district of Punjab, lying on the left bank of the Sutlej, where theriver emerges into the plains from the Siwaliks. The strategically located protectedancient mound was first excavated by Y.D. Sharma from 1952 to 1955, yielding sixfold cultural sequence from the mature Harappan culture to the modern period.

The site was re-excavated by the authors during 2011-12 with one of the primaryobjectives being to understand fully the cultural transformation and specimen of art.The present paper evaluates the rich findings of terracotta figurines during the excavation.Majority of the terracotta finds are from Kushana to British Period. 300 terracotta objectswhich are analysed include figurines of animal, bird, male and female and, other objectslike sling balls, spindle whorl, hopscotch, gamesmen, lamps, fingering, perforated disc,and miscellaneous objects. These objects are made with casting, single and doublemoulding techniques, some are hand and wheel made too. An attempt is made tounderstand the different styles of these artefacts, techniques of manufacture, terracotta

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craft and its development at the site. The symbolism behind the art represented throughterracotta is been attempted.

Keywords: Rupnagar, Sutlej, Kushan, Terracotta art objects

WORSHIP OF SMART LINGAS IN SOUTH KOSALA - A SYMBOLICAL

WORSHIP IN BRAHMANICAL PANTHEON

Shambhoo Nath Yadav and Bhagirathi Gartia

Fanaticisms as well as cult supremacy prevalent in ancient India opposed in variouslevel. Evidence of such activities has been observed both in archaeological and historicalrecords. The rock inscriptions of Mauryan ruler Asoka also vehemently opposed thereligious disputes between Brahmans and Sramanas. Subsequently during the Kushanaand Gupta age the rulers put emphasis on religious tolerance. In addition to this,Advaitavad concept of Adishankar and Panchdevopasana (worship of five deities inequal status) during post-gupta period accelerated its faster development. As a result,sanghat murti or composite sculptures were carved to worship various deities at a singleplatform and concept of religious tolerance or fraternity took its inception. Taking intoaccount of such beliefs it may be mention that smart lingas by carving four circularpindas (Solid mass in circular shape) superimposed by another one pinda on a commonpedestal, sometimes encircled by snake started worship by the devotees. Though thereis no facial depiction of any deity, the smart Lingas were worshipped symbolically withthe expectation of blessings from the brahmanical deities like Vishnu, Siva, Surya, Deviand Ganesh.

Such artistic specimens were retrieved from many archaeological sites locatedin South Kosala region (modern Chhattisgarh) which is the prime concern in the presentpaper.

Keywords: Panchdevopasana, Religious tolerance, Pindas, Sanghat murti

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RITUAL SPACE OR MEMORIALS: RECENT FINDINGS FROM THE

EXCAVATIONS AT NAGARDHAN, NAGPUR DISTRICT

Shantanu Vaidya, Virag Sontakke, Shrikant Ganvir, Rushal Unkule and

Garima Khansili

The site of Nagardhan, Taluka Ramtek, Nagpur district was recently excavated by ViragSontakke of the Maharashtra State Department of Archaeology in collaboration withShantanu Vaidya and Shrikant Ganvir of the Deccan College, Pune. The site yieldedremains stretching back from the Early Iron Age to the medieval period. The excavationsyielded evidence of a large number of public and domestic architecture of the EarlyHistoric times, especially of the Vakataka period. In one of the localities, i.e. Loc No.4, an interesting structure and space was found. The small brick pavement was enclosinga huge urn-kind pot kept in an inverted position. Another similar pot and three largebasins were also found. All these seemed to form an alignment north-east to south-west.The antiquities recovered for e.g. v-shaped bowls, shell bangles, antlers, terracottafigurines, also showed ritualistic affiliation. Excavations at lower levels in the samespace also yielded similar artefacts. This suggests that the place had some kind of aritualistic importance from the beginning of occupation at the place. The entire space,therefore, seems to have been a ritualistic space. The paper aims at highlighting andunderstanding this ritualistic space unearthed.

ASPECTS OF SYMBOLISM IN THE MEDIEVAL FORTS

Sharad Goswami

Humans started creating some sort of structure for their day to day usage initially. Butas they began to live in groups and clans, a battle of supremacy originated, and eachgroup or clan began to create strong structure (fortification) for protecting themselvesfrom their enemies. During the Harappan period we come across structures not onlymeant for usage but also as part of monumental architecture. During Mauryan,Satavahana and Gupta phase, the aspect of architecture, used to define power of ruler,can be seen as in the case of huge fortification walls, places which are not only a part

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of defence architecture but also mostly to create a sense of fear in the enemies mind.The rulers of Delhi Sultanate and Mughals built huge forts, fortification walls

and monumental architecture, which was meant to portray the power and wealth of therulers in the contemporary period as seen in the case of Daulatabad, Kumbalgarh,Sahajanabad (Red Fort).

This Presentation will therefore to try to focus on architectural features andbuilders of such structures, which was used as symbol to show power to othercontemporary rulers in ancient and medieval India. Alongside, the various symbolsfound in the architectures that reveal religious tolerism shall also be focussed, so as todeduce aspects of secularism followed by the rulers.

Keywords: Symbol, Forts, Fortification, Monumental architecture

THE TRANSFORMING CITY OF LIGHT AND ARTS NOW: A STUDY IN

THE CONTEXT OF SYMBOLISM IN ART

Shashi Kala Singh

Varanasi has been a center of cultural activity from ancient times. Over a period of time,several amalgamations have taken place swiftly into the cultural practices, includingthe visual arts. The city has been favourite for many visual artists, photographers andactors because of its character and antiquity. The city has a numerous traditions andvisual art is one of them. During the British period, Banaras was a prominent art centreof company art and also it has its own art form in water colour, which is rendered onthe walls and on paper. We also have an artist like Alice Boner, who visited Varanasiand later settled here to practice her academic and visual arts. Banaras Hindu Universityhas been a prominent centre of art activity since 1950s and many artists, both traditionaland contemporary have practiced and taught the skills in the art school. From exponentslike KS Kulkarni to Balbir Singh Katt, the journey has been eventful and thus thecontinuation in the arts practices in the city.During my research on the contemporary art in Varanasi of the 21st century, I have comeacross a number of artists and their art works that have derived several symbolic elementsfrom the texts, in order to identify with the tradition of Varanasi. This has been

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fascinating for the reason, that the artists are not much adventurous in executing theirart in a radical way but dwell within the area of uncertainty. It will be nice to understandand research how the symbols that are existing or/and adopted/adapted and innovatedsymbols employed in art has marked a difference in the art practice.

The paper is proposed to address the practicing artist of Varanasi and their artin the context of changing situation by evaluating their approach to symbolism as amajor factor. The artists would include, besides a brief note on the artists of late 20th

century, the current artists like Pranam Singh, Dipti Prakash Mohanty, Bijay Singh,Madanlal, Mrigendra Pratap Singh, Santosh Kumar Singh and others who havecontributed significantly to the art of Varanasi.

EVALUATING SYMBOL AS METAPHOR IN

INDIAN CONTEMPORARY ART

Shikha Sonkar

Contemporary Indian Art has been an interesting area of inquiry whereupon, the studiesrelated to the recent developments has thrown open a new paradigm of symbolism,which were hitherto used in typical traditional sense of art making. The reinterpretationand contextualization of such symbols have become more intriguing and derivative ofnew meaning ascribed to art. As a student of art history working in the area of Installationart in the Indian context, the imaging of symbols has become more significant. WhileInstallation as a ritual has been very much in practice in India, the contemporaryevaluation needs a separate understanding.

Installation art in the contemporary field of art has been mostly reflectiveof the issues facing the society and methods making a laudable presentation. Thismakes the art more meaningful and deliberative and challenging to identify and interpret with every new situation, it is presented with. Thus the common understandingof art undergoes a significant change in order to make it more categorical and sensitive.The symbols in these types of works become more metaphoric than identical to pastpractice.

This paper would address some questions related to the contemporaryartists practicing today, through their work of art, as to how they keep up to making

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use of the existing symbols, while creating the new ones. The paper would address theartists in question like, Vivan Sundaram, Atul Dodiya, Natraj Sharma, Riyas Komu,Sudarshan Shetty , L.N. Tullur and many more through their specific installation art,which has set a new trend for the contemporary art and developed a new symboliclanguage.

MYTH AS A SYMBOL: A STUDY OF THE THEYYAM MYTHS OF

NORTH MALABAR

Shilpa M. Chandran

Symbolism refers to the use of symbols to suggestconcepts and possibilities byattributing to them symbolic connotations that are dissimilar from their literalmeanings. Symbolism takesdiverse forms.Symbolism supplementsdouble levelsof implications to a work: a literal one that is irrefutable and the symbolic onewhose meaning is far more intense than the literal one. Symbolismmakes theplot, characters and the motifs of literature universal. The paper is an attempt toanalyse the myths underlying Theyyam as symbols of the travails of the lowercaste people.Theyyam is a pattern of hero worship performed in the Kolathunaduregion of the North Malabar area of Kerala, India, as a living culture with severalthousand years of tradition, rituals and customs. The art is performed by thepeople of the lower class community.Theyyam rituals mostly take place eitherwithin the precincts of a small shrine which is usually called Kavu or in the courtyardof an ancestral house, or in a wide space with a temporary shrine called pathi.There are various myths underlying each Theyyam performance. These myths tell usthe story of a lower class man/woman who was subjected to the cruelties of theupper caste society and its after effects and how these men/women are deified. Thereforethese myths are stories justifying the deification of the downtrodden people whichis an uncommon occurrence. At the same time, they act as symbols representingthe sufferings of these people and how they function as resistance narratives. Thesemyths can also be read as weaved stories that can act as a shield to protect the oppressedcommunity from the tortures of the aristocratic groups.

Keywords: Myth, symbolism, story, resistance narrative

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PHENOMENON EARTHQUAKE, ITS MYTHICAL INTERPRETATIONS

AND RARE SYMBOLIC DEPICTION IN PLASTIC ART FROM KONKAN

Shilpa Hadap

The aim of the present paper is to trace the possible iconographical interpretation ofthe newly discoveredimage as plastic depiction of phenomenon earthquake. The presentpaper will discuss the traditional interpretation of earthquake from Puranic tradition.It will also discuss the local belief from Konkan Region of Maharashtra. Paper will showthe newly discovered small relief pillar sculpture from village Nerur, SindhudurgaDistrict, Maharashtra and its metaphoric connection with phenomenon earthquake.

Keywords: Indian Art, Konkan, Symbolism of earthquake, Nerur

SYMBOLIC RITUAL CLEANSING OF THE BRIDE: SOME UNIQUE

ATHARVAEDIC PRACTICES

Shilpa Sumant

This paper focuses on some unique symbolic rites in the nuptials of both the Atharvavedictraditions, ÷aunaka and Paippal°da. The existance of these rites can be surmised evenin from the mantras in the Wedding hymns of both Atharvavedic SaÌhit°s. The riteshave been elaborated in the Kau∂ikas£tra and later prayoga-texts. These rites includethe bridal bath in the preiminaries of wedding ritual and a unique rite performed withthe yoke. The paper tries to find and explain the symbolism behind the performanceof these rites. While tracing the symbolism, I will also try to compare these rites withsimilar rites seen in premitive socities.

Keywords: Atharvaveda, Wedding ritual, ÷aunaka, Paippal°da, Kau∂ikas£tra

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A FEW LESSER KNOWN SMALL ANIMAL DEPICTION IN ANCIENT

INDIAN ART

Shivendra Kadgaonkar

In Ancient Indian Art big animals or birds always given importance depicting as asymbol in various aspects. Animals like Elephant, Horse, lion, tiger etc or birds likegoose, parrot, peacock, crow, owl etc depicted has there own importance in differentways. But small or lesser known animals, insects have also given respect in ancientIndian art. Some of them are centipede, crab, scorpion, snail etc. There depiction onpainted pottery, sculpture, or shape of a bead shows that in ancient society, culture theyhad some importance and respect.

In this article effort is made to collect the periodically data of lesser known smallanimal depiction between time frame of Indus civilization (2500 B.C.) to Gupta (4th

cen .A.D) period. Which comes in different mediums, context and there connection withevery day life of ancient society may be as a symbol. The quantity and quality ofdepiction of big animals and birds will not be match with these small animal depictionbut there presence in ancient Indian Art is Important. Ancient Indian artist or societygive respect small animals or insects depicting them in art even they have come in veryfew times or only in once but they are not neglected because of there size , quality orany negative points.

DEPICTION OF THE BUDDHAPADA IN THE EARLY BUDDHIST ART OF

THE EASTERN DECCAN: A STUDY IN ITS SYMBOLIC SIGNIFICANCE

Shobhna Meshram

The Buddhapada was become one of frequently worshipped Buddhist symbols inearly Buddhist art. This symbol depicts various other Buddhist symbols such astriratna, dhammachakra, svastik, padma etc. The symbolic representation ofthe Buddha was depicted through this symbol in the Buddhist art of the easternDeccan. This paper aims at examining the symbolic significance of the Buddhapadaand associated symbols, portrayed in Buddhist visual art of the eastern Deccan.

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It is proposed in the present paper to study specimens from important art centres of theeastern Deccan such as Amaravati, Nagarjunkonda, Goli, Chandavaram,Jaggayapettaetc taking into account stylistic, iconographic and sculptural features. Thisstudy also aims at comprehend the significance this Buddhist symbol in the contextualframework of time and space.

CONTEXTUALISING THE SYMBOLIC MEANING OF‘RAMAGRAMASTUPA’ IN EARLY BUDDHIST VISUAL ART:

AN ACT OF VENERATION?

Shrikant Ganvir

The present paper aims at investigating the symbolic meaning of the depiction ofRamagrama Stupa in early Buddhist visual art. The episode of the Ramagrama Stupais known form Buddhist texts such as Mahavamsha, Ashokavadana and this episodeis seen depicted in early Buddhist art. The depictions of this episode are known fromAmaravati, Sanchi, Mathura, Dupadu, Ter, Dhulikatta, Kanaganahalli and Gandhararegion.

The present paper deals with certain questions: the religio-cultural and socio-economic settings behind gaining immense popularity this episode in early Buddhistart of the Deccan, what was the symbolic meaning of this episode the narrative vocabularyin the contemporary society? Was this an act of veneration? and how the visual art wasfunctioning to communicate the message to the contemporary society through thesymbolic representation of this episode. An attempt will also be made to examinesignificance of this episode in temporal and spatial contexts based on the study of earlyBuddhist visual art and Buddhist texts.

Keywords: Ramagrama Stupa, Veneration, Ashoka, Buddhist Visual Art

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AN INTERESTING NIDHI SCULPTURE FROM KOLIWAD, KARNATAKA

Shrinivas V. Padigar

The paper brings to light a very unusual Padma Nidhi relief stone slab from Karnataka.Padma Nidhi and Sankha Nidhi sculptures are common in the art of Karnataka at leastfrom the time of the Chalukyas of Badami. A good number of them, large and small,are noticed from 6th Century Chalukya caves at Badami and Aihole and from the early8th Century structural temples at Pattadakal. They are found to flank the entrances ofthe monuments. During a recent visit to Koliwad, a village near Hubli in Karnataka,the author noticed a carved stone slab set up near a temple. The carving depicts in reliefin three panels Padmanidhi, Padmanidhi anointed by elephants, and purna-kalasasurrounded by pair of chauris, kalpa-vriksha, tortoise, double fish and mirror. No suchsculptural depiction of a Nidhi had been discovered so far.

APURVA: A CONCEPTUAL SYMBOL

Shripad Bhat

Apurva is a transcendental agent through which a sacrifice gets results of performedsacrifices. This is an assumption of the Mimamsakas that it has its own significance.Although this is invisible, it plays a vital role in getting the fruits of acts. It works withits four kinds. There is no means of cognition which proves the existence of Apurva.Therefore it is a purely conceptual symbol. This paper deals with the concept Apurva,its kinds and functions as well as its usefulness.

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‘‘O GOVINDA’’ THE KRISHNA’S PRAYER

Shruti Sharma

‘‘No Hindu ever reads the Mahabharata for the first time’’ In this statement A.K.Ramanujan holds true, for the various tellings 3 of the ancient epic of Mahabharataavailable often remain unread and the stories pervade the hindu consciousness throughoral narrations. It can be the reason that in an attempt to codify and assimilate this ‘literaryunthing’ii in the BORI Critical Edition (CE) of the Mahabharata by the team of scholarsled by V.S. Sukthankar omitted one such ‘interpolation’ of Draupadiís prayer of ‘‘OGovinda’’ and Krishna’s intervention in the dicing scene in the Sabhaparva in lieu ofits absence in manuscripts taken under consideration while creating this telling ofMahabharata. The deliberate omission comes within the framework of the westernscholarship applaud it and believe that it ‘‘implied that cosmic justice automatically...prevented the chaste Draupadi from being stripped in public.’’ (Edgerton, xxix) Indeedthe CE is felt to be original text of Mahabharata in which the Bhakti element was addedupon in the second perimeter, which rather than enhancing takes away from humanistvalues embodied in the original nucleus (Van Buitenen, ii). Draupadi’s prayer becomessymbolic of the religious verbosity from which the venerated text must be rescued withinthe critical edition. But this act of removal does not authenticate the CE as an originalas Alf Hiltebeitel reminds us, rather this episode becomes the site of contention betweenthe two conflicting ideas in Mahabharata scholarship wherein the it symbolicallyrepresents the bhakti element within the epic. It symbolizes the danger in interpretingthe ancient epic without the elements which have evolved over generation of revisionswithin the manuscripts, which if ignored may lead to inaccurate scholarship within thefield of Mahabharata.

Keywords: Mahabharata, Draupadi, BORI Critical Edition

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RADHA AS SYMBOL OF BHAKTI

EARLIEST SCULPTURAL DEPICTION IN RAJASTHAN

Siddhi Deshpande

The literary antiquity of Radha can be traced back to Hala’sGathasaptasati composedaround first century C.E. There is some evidence thatNappinnai of Tamil textSilappadikaram is southern form of Radha. Vakpati’sGaudavahokavya refers to Krishnaand Radha. However it cannot be denied that it was Jayadeva who gives Radha thefirst definitive presence as a woman in love with Krishna. The importance of GitaGovinda cannot be over emphasized for it is there that we come face to face with thetexture and nuance of Radha’s love for Krishna, a love so pure and perfect, so abidingand self-effacing, that it could become a theology for Chaitanya in Vaishana bhakti(Dehejia). Among the puranas, Harivamsa describes the Rasalila briefly without anyreference to a special Gopi while VisnuPurana definitely shows that one Gopi was lovedby Krishna more dearly than the rest. The BhagavataPurana gives a more graphic pictureof this Gopi’s mental conditions- her rage, her love, her lamentation and so on. Butfollowing the lead of Vishnu Purana remains silent about the name of the Gopi.

Earliest sculptural representation of Radha is perhaps the figure on the left ofKrishna at the mandapa at Mahabalipuram. K. N. Dikshit identifies one of the sculpturesfrom Paharpurwith Radha and Krishna; due to the close proximity with river Yamunaand Balarama and also the presence of halo around her signifying her divine character(Majumdar). Interestingly there is one image of Radha and Krishna surrounded byNagas on the ceiling of Surya Temple No.3 of Sachiyamata temple complex, in Osian,Rajasthan. According to Handa it is among the earliest extant of temple in the Osiantemple complex. The ceiling panel is identified as Radha and Krishna by D.R. Bhandarkarand R.C Agrawala. Considering the above example, this paper attempts to trace theantiquity of Radhaís sculptures in Rajasthan in correlation with the development ofbhakti rasa.

Keywords: Radha, Krishnalila, Bhakti, Rajasthan, Sculptures, Narrative Panels.

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STUDY OF THE SYMBOLIC TRADITIONAL TEXTILE WITH

REFERENCE OF DIFFERENT STATE

Smriti Agarwal

Indiantextiles, with their excellent execution, vibrant colors and hidden interpretationhave lured many a people .Their texture and motifs, whether woven or embroideredhave always aroused interest. The objective of the study is to understand the symbolicsignificance of motifs and designs used in Traditional Indian Textile interpretation ofthese motifs may be discovered from sources that have nothing to do directly withtextiles but the development of a particular motif is undoubtedly is the result of religious,customs, natural surroundings and social beliefs of that particular area to which itscreator belongs. Traditional textile is symbolic, represent status of wearer, and impartpower to the craftmen or user. Most of the famous Indian textile like Kantha,Kasuti,Chamba rumals,Picchvais,Gujrat embroidery ,as well as woven textile ,like Ikatand Paithani employ the different motif as the main motif ,full of meaning and significanceindicate to a great deal about their belief, culture and relationship with the environmentparticular region . Color, shape, and their arrangements have different meaning differentmotifs used in different purpose but the symbolic meaning of various motifs remainssame wherever they are applied.

THE MYSTERIOUS IDENTITY OF SERAPIS ON KUSHAN COINS

Sneha Kapote

The proclivities of the Kushans are well known with their adaptation of Gods fromvarious pantheons. One such pantheon was the Graeco-Roman which consisted ofHellenic deities like Herakles, Zeus, Helios, Hephaistos and Serapis.

Serapis or Sarapis was introduced during 3rd century B.C. by Ptolemy I in Egyptto unify the Egyptians and Greeks under his reign. A syncretised deity derived fromthe worship of Osiris (God of the underworld) and Apis (sacred bull), Serapis isinterpreted as equal to Hades and is generally shown enthroned with a modius on hishead. He is also shown holding a sceptre. Alexandria boasted of a ‘Serapeum’ where

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Serapis was venerated. He is also depicted on Roman coins and the Kushans adopted this deity to indicate openness to contemporary ideas from the Mediterraneanworld.

Serapis is depicted only on the gold coinage of Huvishka and its percentageof dies which employs this deity forms to be only 1 percent. Though Serapis is stillan exotic figure, we should not ignore the fact that the previous dynasties in the Indiansub-continent did not employ this deity in their coinage. It is interesting to note thatthough this God did not gain popularity earlier, it could possibly be interpreted thatHuvishka employed Serapis on his gold coins to mark unification or fortification ofthe Kushan territories which spread far and wide from Central Asia to northern India.It should also be observed that though Kanishka offered patronage to Buddhism,Buddha is depicted very meagrelyon his reverses.Serapis as a Hellenic deity thereforeneeds to be understood well in the realm of Kushan numismatics.

Keywords: Iconography, Kushan numismatics

SYMBOLISM OF AKSHAMALA IN THE ICONOGRAPHY OF

DAK◊IN¡M√RTI

Soumya Manjunath Chavan

The concept of Dakshinamurti mentioned in the Rig Veda was the transformation ofRudra into the giver of gifts. The Dakshinamurti Upanishad elaborates on the aspectof medha Dakshinamurti imparting knowledge to the rishis. The root daks meaning,to be able or strong and Daksin° means able, clever, straightforward, donation to thepriest, to place anyone on the right side as a mark of respect, south and southern. TheDaksin°m£rti Upanisad, which is in a dialogue format between ÷avanaka sages andM°rkandeya, gives a clear imagery and salient features of Daksin°m£rti.

May the milk-white three-eyed Primal Being grant us purity of thoughtHe who, seated at the foot of a fig tree, surrounded by ÷uka and other sagesHolding in the hands the rosary, the blessed wisdom, with axe and deerOne of the hands resting on the knees, the lion girdled round by a mighty serpent,A digit of the moon enclosed in His clotted hair

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The term Dakshinamurti means ‘‘that divine power of subtle perception which isgenerated in a fully integrated pure intellect’’. He is seen seated on a raised platformplaced under a banyan or fig tree, his left leg bent and rested upon the seat and his rightone rests on the Apasm°ra-purusa; the back right hand holds a snake and the front righthand holds an aksham°l° or the rosary and is in the chin-mudr°; He is seen surroundedby sages and disciples sitting around him. The present paper attempts to analyze thesymbolism of the akshamala as an attribute in theiconographyof Dakshinamurti.

Keywords: Dakshinamurti, Iconography, Akshamala, Symblolism

œOKR¡: THE MESSENGER OF A FORGOTTEN HISTORY OF

THE SANTALS OF BENGAL

Sovon lal Misra

Among the Indian Tribes, Santals are still alive with their art and culture. The word‘Santals’ is used here to denote the Santals from Purba and Paschim Medinipur,Birbhum, Bankura and Purulia districts of West Bengal. Most of them are the Astrikspeaking part of Pre-Dravidian family.1 Like other tribes, some of them are ambitiousabout Øokr° art.

Generally Øokr° means Øh°l°i or casting. It is not merely casting but also ahighly artistic and fine aesthetic casting or better to say clay moulded investmentcasting. It is supposed to be continued since the age of Sindhu Civilization.

Art is not a copy-paste system because it comes naturally from the core ofheart. That is why, art plays a role of an orator of historical, cultural, social, ritual,economic and emotional episodes of a time or a nation or a cast or a society or aperson. œokr° art bears untold stories about these Santals.

One relevant example can be shown here. Sal leaves ornamented mask,neckless or earring with locket like Sal leaf is a very popular one. Sal tree bears ritualssignificance of Santal community. According to their myth, s°ri, the path of virtue wasestablished beneath the Sal tree.

Sal leaves also very precious for their economic background because theyearned enough by supplying green and dry Sal leaves for various purpose.

Likewise many other hidden philosophic thoughts or socio-economic truthabout Santal community of Bengal can be unveiled through a thorough survey of their

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Øokr° art. This paper is a humble attempt to disclose those rituals, social, cultural, andeconomic chapters of Santals of Bengal which are hiding behind the symbols used inØokr°.

Keywords: œokr°, Santal, Sal

DARSHAN ‘‘THE VISION OF INVISIBLE THROUGH VISIBLE’’: A KEY

CONCEPT IN CREATION AND INTERPRETATION OF INDIAN ART

Sudhir Kumar

Is it appropriate to claim for an artwork that it is what it visually appears? Or, is itsomething that totally differs from what the artist wanted to make it visually appear?In both the cases it is quite possible that the absolute answer could be found not soeasily. We find ourselves in the same situation when we try to analyze the works fromIndian art. Yet, there should be a key so that at least we may find a way through toreach the nearest possible point to this absoluteness. Among others the most acute keyto enter into the depths of interpreting Indian art, I would argue through this paper, isthe concept of ‘darshan’. It is the key that opens the doors to the vast world ofsymbolism that an Indian work of art is most often found to be enwrapped into.Darshan, which literally means ‘seeing’, in the Indian cultural context is held to be areciprocally two way act; that is, it is an act that needs to occur from both the endssimultaneously. If ‘darshan’ literally means ‘seeing’ then apprehending it figurativelywill lead to ‘being seen’ too. Thus the ‘reversal of gaze’ or the ‘reversal of the stance’

of the seer I find to be one of the methods for analyzing the Indian arts, and thevisuality or the physicality of an artwork is just to hint that reversal. Darshan in thesense of ‘vision’ is the act of expanding out that may finally lead to seeing what isunseen. These are some of the aspects associated with the concept of darshan that thispaper taking few examples from Indian arts intends to discuss in the context of itssymbolism and the analysis.

Keywords: analyzing an artwork, analyzing Indian Art, darshan, iconography,symbolism in Indian Art

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RATIONALIZING THE MYSTERY OF THE ‘GAJA-SIMHA

DHVAJA’SYMBOL FOUND ON THE COINS AND SEALS OF THE

VRISHNI GANA

Suken Shah

Culture has always been reflected through symbolic representations that have hiddenmeaning within it. These symbols play a vital role to decode the ancient human past.It gets travelled, conceived, developed and also imitated and during the course of timeand space, symbols decide its meaning according to its context. At many instances aparticular set of symbols cannot be assigned to a particular group, dynasty, religion orsect. One such instance are the group of symbols (Triratna, ‘Gaja-Simha Dvaja’,Chakra and Chakra standard) that appear on the coins and seals of Vrishni Gana.

V§ish∞is existed in Punjab-Haryana area and issued coins in silver and copperfrom 1st century BCE to around 3rd century CE. Vrishnis borrowed and conceivedsymbols from the coins of neighbouring dynasties such as Indo-Greeks and guilds atTaxila. While conceiving these symbols they also considered popular symbolictraditions of other faiths that were concurrent in their own and neighbouring region.Borrowed symbols were given the indigenous meaning. Out of these symbols ‘Gaja-Simha Dvaja’ is highly unique and has no parallel in Indian art traditions. Theirsymbols were exactly imitated by early rulers of Kshaharatas who ruled in Kachchharea in around 1st Century CE, but by then the original meaning of the symbols waslost. The present paper traces the journey of these symbols in general and ‘Gaja-SimhaDhvaja’ in particular and discusses the various factors of borrowing and developmentof this symbol. Paper also focuses on understanding the Vrishni symbols from variousperspectives and deals with its political, religious, social and economical aspects.

Keywords: Gaja-Simha Dhvaja, Vrishni Gana, Kshaharatas.

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THE UNSEEN BUDDHA AT MAHAKALI

Suraj A. Pandit

Mahakali or Kondivate is a group of Buddhist caves located in the metropolitan cityof Mumbai. Very often the chaitya at the site is discussed while narrating chronologicalevolution of Chaityas in western India. Stupa in this chaitya is not the only symbolicrepresentation of the Buddha at site. The paper intends to discuss not early symbolicrepresentations at site but the complex symbolism seen reflected in art in the Mahayanaperiod.

Caves 1, 2 and 3 at Mahakali are stylistically dated to early 6thcentury CE. Theycan be treated as one ritual complex due to their proximity and form. Cave 2 is the smallhall for rituals and may be for congregation. A small stupa in relief is seen representingBuddha on the back wall of the hall. In front of this relief stupa, a high raised peethacan be seen with the provision for an image to install. This evidence is unique and needsspecial attention. The paper intends to discuss the manifest and un-manifest form ofthe Buddha represented in this ritual complex at Mahakali.

REGIONAL FOLKSONG (BH¡DU and ŒUSU) OF BENGAL: SIMPLICITY

OR SYMBOLISM- A QUEST?

Swadhin Kumar Mandal

A single emotion or feeling when expressed orally through musical form mostly by theunderprivileged rural society, it is called folksong.

Folksongs of Bengal are rich in theme, colour and tone. Most importantly, iti snot confined to any cultural group; rather it is open to all. As a result, diverse formscan be classified depending on occupation, ceremonies, rituals, love, separation, socialactivity etc.

Regional Folksongs are notable due to their peculiarity in language andpresentation. Among those folksongs, here we are going to focus on the rituals andsongs of Bh°du and Œusu, mainly found in the western part of Bengal (R°§ba¨ga).

These women centric rituals and songs indeed talk about some daily episodesof life but behind those tones, a fine line of significance can be traced. A Bh°du song

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bh°dur(a) vih° diva kise... denotes the crisis of marriage of Bh°du as bridegroomdemands car and money. Simple, still profound because dowry system, which issupposed to be abandoned but somehow exists in the underprivileged rural society,reflected through phrases. Even during the rituals of Œusu, two cow dung balls named‘Æus°’ and ‘Æusi’ are placed inside a chaudal. Simple, but profound in this way that itrepresents the union of male and female and thus leads to the idea of reproduction.

Here comes the question of symbolism. As these regional folksongs, althoughsignificant, are performed by most of the illiterate or so-called uneducated person ofthe rural society, literary metaphor is not expected from their phrases. So, dependingon the significance, the present paper is a humble approach towards the quest ofsymbolism, exist incognito in the songs and rituals of Bh°du and Œusu.

Keywords: Regional folksong, Bengal, Bh°du, Œusu

COSMOPOLITANISM IN THE MAKING IN EARLY INDIA: SEARCHING

FROM THE NUMISMATIC AND THE CERAMIC CORPUS

Swagata Mukhopadhyay

Well ahead of the Macedonian anabasis into the subcontinent, two crucialdevelopments were on their way to lay the keystone for cosmopolitanism to culminatemore than half a millennium later. The synchronic formation of stamped andcommodity money, trade relations, protestant philosophies and knowledge system anda resultant shift in demography centring in the fertile middle Ganga plain around the6th century BCE anticipate the cosmopolitan culmination in premodern South Asia thatmay be taken to become most conspicuous in connection with the trans-Eurasianmaritime and Silk Route trade. In absence of writing system in the pre-Mauryan phase,the symbols in the earliest uninscribed punch-marked coins happen to represent thezeitgeist of the epoch it conditions. Coexistence of various symbols denotes not onlydisparate belief systems but astronomical observations too. While the sun may standfor food-producing society or, as is expressed by Prof. Kosambi, the metal itself; theemblem ∑aØacakra (six-spoked wheel) may as well be associated with the concept oftime aside from its usual association with cakravart¢n. Because, according to ƒg Veda,

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the twelve-spoked wheel represents the annual course of the sun – an enumerationfound furthered by Var°ha Mihira in his S£rya Siddh°nta. Heliacal observations arefound in Chinese and Egyptian agricultural traditions too. The symbolical readings ofProf. Kosambi will be studied in relation with symbolical and calendrical observationsof Sir Alexander Cunningham. The various social and historical implications of symbolson PMC will further be combined with another hallmark agent in this overalldevelopment, viz. Northern Black Polished Ware. These will be studied as indigenouscategories of the 6th to the late 2nd centuries BCE in the middle Ganga plains tounderstand the transition from lineage based society to the supreme statehood ofMagadha, South Asian pattern of urbanism and the grounds of premoderncosmopolitanism.

Keywords: Numismatics, Archaeology, Ancient and Early India, Zeitgeist

UNSEEN PRESENCE- THE ARCHITECTURAL SYMBOLISM OF AN

EARLY SHAIVA ROCK CUT CAVE

Swapna Joshi, Siddhi Deshpande and Shantanu Subramaniam

Ancient Indian architecture is embodied with deep symbolism and this is manifestedin all its aspects including its planning, design and detail. This symbolism may beritualistic, political, a response to certain physical or socio-cultural paradigms or anamalgam of these. Traditionally, the history of architecture is a history of styles andforms, of details and features and seldom dwells on the symbolism and spatialexperience.

This paper, which is part of a larger ongoing research on the Rock Cuttemple of Jogeshwari attempts to put into perspective the symbolism evident withinthe architectonics at this ancient cave shrine. Arguably amongst the earliestlargecave temple in India, second only to the Ellora Kailasa in its wide spread size,Jogeshwari presents the genesis of the Sarvatobhadra type of plan in its shrine.It also acts as a progenitor to later cave temples of a similar conception. The archi-tectural distinction of the cave temple indicates different stages of architecturalexperiments.

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This paper traces the possible symbolism of the Cave’s architectural andiconographic scheme, drawing from a rich palette of comparisons- both literary andmaterial culture.It also argues that Brahmanical Rock cut cave temples are creationsof a distinct ritualistic and religious requirement, vastly differing from those which ledto the emergence of Buddhist and Jain rock cut architecture.

Keywords: Jogeshwari; Architecture; Rock-cut cave; symbolism, spatial

GESTURE: SYMBOL OF EXPRESSION USED IN INDIAN

TEMPLE SCULPTURES

Swati Mondal Adhikari

Indian temple sculptures are noted for vibrating appearance and power of silentcommunication with the viewer. This to a great extent depends on the posture, turn andtwist of the limbs, crystallized glance and mudr°s. Though accessory is never deniedin Indian temple sculptures but even an isolated creation without any accompanyingaccessory can convey the message to the observer. This is due to the gesture. Thegesture works as an outcome of the thought or the mental state supposed to beconveyed by the figure sculpture to the viewer.

The ÷ilpa∂°stras and especially the N°Æya∂°stra prescribed various kinds ofgestures as symbol of expression for different type of mood for the visual art form.Among the four types of expression, i.e. °∞gika (expression conveyed by movementof limbs), v°cika (expression conveyed by speech), °h°rya (expression conveyed bydress and accessories) and s°ttvika (expression of the pure mental state) only the firstone can be applied in crystallized form to the human figures which help to convey themeaning to the observer. This is applied in execution of temple sculptures as well asalso in performing arts in ancient India. These are the symbols which gave the silenthuman figures embellished in temple its language.

The symbol of power of a male divinity or a proud hero or king is symbolicallyexpressed by his v§∑askandha or stout shoulder like of a bull and si¢hakaÆi or slenderwaist as a lion. These are symbols of male power used in the execution of male figures.This shape of the body used to be intertwined with some specific body language or

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gesture. As for example, the grace of NaÆar°ja or the compassion of Buddha or thesublime calm of Vi∑∞u is expressed by the gesture. The mighty Pallava rulers or theChola rulers embodied their bravery and courage by the execution of royal figuresculptures in the panels carved on temple walls. These endeavours got its vivacity dueto the aid of proper gestures of the figure sculptures.

The fixed standard of female beauty is unanimously presented in both secularand divine female figures in Indian temples. A female figure has to be madhyek∑¢∞° or of slender waist and of stokanamra stanabh°ra or with full round breast.This beauty interwoven with some specific gesture takes crystallized form ofexpression in temple sculpture. The destructive mood of Durga or the bashfulbut voluptuous beauty of a damsel depends on its gesture for getting the rightexpression. Flexion of limbs and °sana and mudr° are the symbols used with minutecomplexity to appeal the viewer with its right meaning. So, gestures are symbols ofexpression to be studied minutely which help us to realize the culture and society ofancient India.

Keywords: gesture, mudr°, °sana, navarasa or nine fervors of expression

GODDESS ALAKSHMI: A SYMBOL OF IMPURITY, UN-HYGIENE

AND IMMORALITY

Tanashree Redij

NˇÁ©ÆÊ Æ∆ÀÆ™ÁÆÏ…Æ™¬fl™yUåÊ ü“ |m™Ω@»y™núÁu∫ tÊ ∆ÀoÊ uå™|¬Á©§∫áÁ∫m™Ω@@(Caraka 1.5.95)Translation- By wearing clean cloths, fame and life of one gets increased. Ugliness ofbody is removed. Mind of a person gets pleasant and he gets good status in the publicmeetings.

ƒw…ÆÊ ÃÁSÆãÜÆ™ÁÆÏ…ÆÊ NˇÁ©ÆÊ úÏu…b§¬üt™Ω@ ÃÁ™åÀÆ™¬fl™yUåÊ Tãá™Á¡Æuå zƒm™Ω@@ (Caraka 1.5.96)Traslation - by wearing fragrant paste on body and wearing garlands, reproductivestrength of a person gets increased. Beauty, benefits, fragrance, strength of body alsoincreases and ugliness of a body gets destroyed.

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™zÜÆÊ úuƒfi™ÁÆÏ…Æ™¬fl™yNˇu¬åÁ∆å™Ω@úÁtÆÁz™|¬™ÁTÁ|mÁ ∆ÁYÁáÁå™ßyflm∆:@@(Caraka 1.5.98)Translation - Continuous cleanliness of legs and other body organsgives purity andstrength to body; increases the life and removes the alakshmi (poverty and ugliness ofbody) and kali (diseases).

All above cited verses from caraka samhita have one common word ëAlakshmií. Itis translated as ugliness of body and poverty. Basically Alakshmi is a goddess ofpoverty, ruin and misfortune. Purana literature has given her the status of an eldersister of Lakshmi. (Padma Purana. Brahma khand 9.9) It is belief that her worshipturns misfortune into fortune. She bestows the blessings of Lakshmi in oneís life. Itis also said in Padma Puranas that she resorts to the places where there is abnormal,unholy and immoral behaviour. For example,

ƒÁ¬ÏNˇÁ¬ƒmÁÊTÁ∫: NÏ ƒ|uão tãoáÁƒå™Ω@ oz ÁÊ Tz“z ÃtÁ uo…eÁ tÏ:QtÁ Nˇu¬åÁ Ó@@(Padma P. Brahmakhand. 9.15)Traslation - (O Alkshmi) you stay with kali who gives sorrow at the homes ofpeople who brush their teeth with sand, salt and charcoal.

As a result it is noticed that in Caraka Samhita and Purana literature,the goddessAlakshmi is referred as the symbol of impurity and unhygienic elements which areclosely connected to immorality or the taboos for society. Hence present researchpaper is a focus on the goddess Alakshmi as a symbol of impurity, un-hygiene andimmorality. How her worship helps an individual to achieve the moral behavior in thelife. Additional how ancient Indian scriptures have used Alashmi as a sugar coatedmedicine to control the immoral and corrupt behaviour in the society.

Keywords: Alakshmi, Lakshmi, Morality, Hygiene

REVISITING CHILDHOOD IN COLONIAL BENGAL: CHILDREN AS

PORTRAYED IN THE VERNACULAR JOURNALS (1870-1930)

Tinni Goswami

The essential theme of this paper is to highlight the vernacular writings on childrenin journals during the last decade of the 18th and the first half of the 20th century. Most

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of these writings aimed to teach the mothers regarding child care and also the methodsto tackle a difficult child.

Many journals published articles on child psychology, where the authors wroteon the growth and development of a child’s brain. In the Bamabodhini Patrika, a seriesof articles were regularly published with the title of ‘Shishujibon o Kindergarten’

(Child life and Kindergarten), which were basically translated from contemporaryEnglish literature. There were numerous women writers who through their pieces advised the readers onthe duties and responsibilities of an ideal mother and wife. They also highlighted theimportance of proper diet to keep the child healthy and free from the ailments.

The present researcher wants to critically assess the above-mentioned discourse,which will surely explore a new avenue in the socio-cultural history of 19thand 20th

century Bengal.

Keywords: vernacular journal, children, colonial Bengal

SYMBOLIC SIGNIFICANCE OF SACRED NYAGRODHA TREE WORSHIP

IN INDIAN RELIGION AND TRADITIONS

Trupti D. More and Vijaya P. Valhe

From ancient times trees have played important and varied roles in human civilization.In India too trees are considered as sacred, may be because of their medicinal as wellas environmental values. Religion as a faith is a system of practices and rituals, whichare depicted by the way of tree symbolism. Trees have been worshipped sometimesin the form of symbols of different deities with a belief that God or unseen powerresides in them. Many trees have been praised and worshipped symbolically as divineentities in Indian tradition and religions; one among these is the Nyagrodha (Banyan)tree or the Vat-vriksha.

The present paper deals with the nature and importance of this cult ofworshipping sacred and medicinal trees. It traces the origin of this religious symboland explores the traditional ideas about worshipping the Nyagrodha tree.Simultaneously it looks into the primitive and popular ideas, thoughts and conceptions

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about trees. It analyses the different aspects of symbolic worship of sacred Nyagrodhatree and its significance in religious rituals. It depicts the mythological stories tied upwith it, utilizing the data from ancient literature and archaeological findings. Finally,it attempts to identify Nyagrodha tree cult as a sacred and medicinal tree and itssignificance in Indiaís religious and philosophical thought.

Keywords: Tree Symbolism, Sacred Tree, Nyagrodha, Banyan, Tree Worship,Religion, Indian Tradition

A STUDY OF BEADS AT JETHAWANARAMAYA BUDDHIST

MONASTERY COMPLEX

Uduwila Uparathana

By the researchers and explorations done at the Jethavanaramaya Buddhist monasterycomplex so far it had been reported a multitude of beads had found above all otherremains of archaeological interest. It is in number nearly four lacks of beads accordingto the studies already done although they have not been counted accurately. Accordingto the archaeological researches which had been carried out so far it is at Jethavanaramayawhere the highest quantity of beads had been found. When considering the places wherethese beads had been enshrined the following places associated with Jethvanagroundcould be named.

l Four stupa ayakas. ( North, East, South, West)l Four squire (Hathareskotuwa).l Pesa coils. (Pesawalalu).l Stone compound. (Salapathalamaluwa.)l The areas associated with buildings.l The areas associated with ponds.

Among these places the largest number of beads had been found at the placesassociated with the out of those stupa ayaka holds the first place. The north ayaka inthe place where the largest number is being reported upto now. It is nearly three lacksin number.

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The economic, religious and social background of the ancient people and thetechnology of formation of such a huge collection of beads, especially raw materialsused and shapes of formation and colors illustrate us an important and an interestingstory.

Key words. Buddhist monastery, beads, economic, religious, social.

REVISITING SYMBOLIC ARCHAEOLOGY IN SEARCH FOR A THEORY

OF CONNECTEDNESS

Umesh C. Chattopadhyaya

Indian art tradition is replete with symbols of hoary antiquity whose original meaningsunderwent transformation in course of history; some of them are now reduced to mere‘auspicious’ symbols. Post-processual archaeology with emphasis on ‘symbolicarchaeology’ can be applied, with some modifications, to data from India and widerregions of Asia with a view to widening the scope of archaeology by – a) incorporatinginter-culturality, b) introducing ‘connected’ history as opposed to fragmented one, andc) treating archaeology as a gateway to areas like philosophy, psychology, literature,enquiring issues of deeper human experiences – trauma and suffering, for example,that constitute one of the forgotten sources of Western historical consciousness.

The call for ‘Theory for Future’ in recent WAC-8 conference with a world-videappeal has been a welcome development in theoretical archaeology. I suggest that itshould address the issue of unity in difference (‘connectedness’) that necessitates inter-cultural perspectives to complement Western modernist approaches. This presentationtries to incorporate ideas on routine human experiences since prehistoric past –

operating in periodicity (outgoing-homecoming; action-rest) – which got reflected ina simple symbol of crossroads (+) in prehistoric paintings/engravings world over. Thispowerful symbol with four arms having spatio-temporal dimensions meeting at adimensionless ‘point’ of intersection (symbolizing centre, home, cradle of rest/creativity) is dynamic in nature and involves periodicity of to-and-from movementsbetween centre and peripheries within a topology of horizontality. This perception ofhorizontality is complemented by verticality in search for a ‘mystical’ world represented

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by an orthogonal axis passing through the same point of intersection (Axis mundi). Itwill be argued that a combination of horizontality and verticality of total worldperceptions has been the foundational idea or ‘archetype’ behind the architecturalshrines of Buddhism, Jainism, Hinduism and other religions, thus showing the commonprehistoric roots of apparently diverse sets of belief systems.

Keywords: Symbolic archaeology, Crossroads, Archetype, Sacred Shrines,Connectedness

SYMBOLISM OF THE DESIGN ENGRAVED ON THE

CHANDRAVATI CORE

V. H. Sonawane

‘‘Symbolism’’ is a term closely intertwined with communication. Human beings thinkand communicate by†using symbols. In a society, devoid of phonetic writings, allforms of graphic representations are very†meaningful for the preservation andcommunication of thoughts and ideas. Rock art is also viewed as a†means ofcommunication system and any symbol depicted thereupon is understood to beconveyingsomething. It certainly reflects on the aesthetic taste developed by theprehistoric community. Symbols are often considered as material representations ofthe abstract concepts. There is no visually obvious†association between the symboland the entity which it represents. Typical non-iconic art is for more†likely to besymbolic than their iconic counterparts. The latter is only symbolic when a depictionof†the object refers to an abstract concept. The above understanding is partly based onarchaeological†artefact recovered from Chandravati (Dist. Sirohi, Rajasthan), in theform of an engraved core of Upper Palaeolithic period as a surface collection.Therefore, the present paper proposes to bring out†significance of the design engravedon the core and how important it is in the understanding of the†Upper Palaeolithic artof India.

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SYMBOLS IN ELLORA JAINS CAVE

V. L. Dharurkar

Symbols play an important role in cave temples of India. Ellora is not expiation to thisphenomenon. A symbol is a person or a concept that represents, stands for or suggestsanother idea, visual image, belief, and action or material†entity. Professor NiharranjanRay has described that, in Ajanta Ellora caves exchange and interaction of symbolslargely prevails. In Ellora Jain caves various symbols such as Lotus, Kalash, Chakra,Ambra, Ghatplav, have been used. The Astamagalas carry significant meaning. TheJains belive in tradition of 8 auspicious symbols such as Minayugula, SwastikaSrivastsa,Prnaghat, pushpa padlag, Vimana, Pothi.

All these symbols carry significant meaning in the socio-cultural interactions,reflecting socio-cultural realities of life. They also explain peace, harmony andcohesion.16 dreams of mothers of Thirthankaras revels symbolism regarding the birth ofThirthankaras. Smavasarn is the process of enlightens is reflected by describing Lotuson seal. Sarvatobhdra pratima in Indrasabha and Manstabh are also symbols of CulturalCommunication.

ART IN LITERATURE OR LITERATURE THROUGH ART: SYMBOLISM

IN GRAPHIC NOVELS OF INDIAN EPICS

Varsha Jha (Singh)

The title of my paper can be read as having two distinguishable parts: the one whichrefers to a workable relationship between art and literature, which would necessarilyrequire problematizing the conventional ways of look at both art and literature, and theother which seeks to trace lisible marks made by art symbolism in Graphic novels ofthe Ramayana and the Mahabharata.

Indian epics belong slightly to history and overtly to mythology. In fact noliterary works but Indian epics, stand amid the difficult inter-zone of religion, historyand mythology; and mythology of all, belongs to the world of images, not reducible

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by the functional systems of language and history. Myth denies the inherent distinctionbetween the real and the ideal. Myth is a function of both thought and feelings,creativity and intelligence, ritual and reason. It has language of its own, its mythemeor the smallest unit being the symbol, the image, the archetype. Therefore myth is tobe taken symbolically and never literally.

The Indian epical tradition has always found ways of pluralistic expressions,in the Classical and the popular, alike. From centuries’ old sculpture to modern dayavatars in three-dimensional films, the Ramayana and the Mahabharata, never seemto tire out. What characterizes this supernormal self-sustainability, this self-surpassingdurability? My Article attempts to address the question of the epicsí innate adaptabilityinto the visual narrative tradition. Studying the vital ways in which these epics speakto a contemporary audience, I shall probe how the relatively new genre of graphicnovels uses symbolism to retell epics. To put it succinctly, this paper shall be a criticalexamination of how the logo-centric ‘literary’ genre of the ‘epic’ uses art andsymbolisation to cross over to an image-centric genre of the ‘graphic novel’.

Keywords: Myth, Art, Images, Symbolism, Epics, Culture.

A STUDY OF SYMBOLISM IN INDIAN TEMPLE ARCHITECTURE:

THE ANCIENT INDIAN GRIDS

Vibhavari Kumar

Symbolism is a movement that represents ideas or qualities.Architecture is a key cluein understanding the symbolism and cultural values of ancient Indian people. Intricatebuildings such as temples, houses of worship and government buildings were adornedwith art classified as Secular and Religious art.This paper talks about symbolism,geometry and relevance of Grids in ancient Religious Indian architecture.

The universal expression of shapes is the foundation of geometry. Differentgeometric shapes give rise to a unique vibrational resonance and pattern within thegreater whole. While it is undeniable that there is an elegant wisdom and logic behindthe geometric forms that create our world, the divine blue print is not one that can besystematically deducted and reduced and indeed was not created to evoke logical

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understanding only. The synchronicity of the universe is determined by certainmathematical constants which express themselves in the form of ‘patterns’ and ‘cycles’

in nature.Sacred geometry has existed in many forms across the ages.According to the

Sthapatya Veda, the temple and the town should mirror the cosmos and are related intheir conception.The Harappan cities have a grid plan, as recommended in the Vedicmanuals.Vastupurusamandala is drawn as a grid, but read as a concentric series ofsquare shapes. The grid provided a basis for locating the correct deities. The grid onlyfunctioned as a means of zoning the different deities in the temple.The blending ofsquare, triangle and circle geometric shapes creates a more complex symbol meaningheaven and earth brought into a balance of harmony and perfection representingalchemy and attainment.

The aim of this inquiry is to try, using specific examples, to create cohesionand coherence in the vast design heritage of India and integrate this knowledge intoschools of design along with Western philosophy.

Keywords: Symbolism, Indian temple, Architecture, Ancient Indian, Grids

CARY¡ NƒTYA: A RITUAL DANCE OF VAJRAY¡NA BUDDHISM,

SYMBOLISM PERFORMED

Vidula Pharate

It is no surprise that the symbolic language of dance has been used for worshippingdeities for ages. Cary° N§tya is a living example of this connection which bridges thegap between old and new, ancient and modern.

Cary° N§tya, also called as Vajran§tya is a ritual dance form of Vajray°naBuddhism. As we all know Nepal was the entrepot to transmit Tantric Buddhism inTibet, this dance then conserved by Vajray°na priests in the Kathmandu valley whichultimately became a part of esoteric tantric rituals of monasteries. Practitioners claimthat the origin of this ritual dance is in India. Once a secret practice, it has now enteredthe proscenium stage, for the world to see and seekers to learn!

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Apart from the basic ritual motive behind this dance, which is quite known andhas been studied by a few western scholars, this dance follows its own technical code,which includes hand and feet positions, body postures and most importantly hand gesturesor Mudr°s. This paper attempts to shed light on theoretical and performing aspect of thisritual art, understood through related Vajray°na texts. It will also emphasis on how thisdance symbolizes Vajray°na philosophy on the level of performance by looking at itsiconographic nature.

This approach aims to provide new perspective in understanding Cary° N§tyaand its pivotal presence in the Vajray°na tantric tradition. Further it will also providemethodological inputs in interpreting dance as worshipping medium in other tantrictraditions of India.

Keywords: Cary° N§tya, Vajran§tya, Vajray°na Priests

SYMBOLISM INVOLVED IN TREE WORSHIP

Vijaya P. Valhe

Tree worship is famous in India. Various sacred trees occur in Ancient literature. Inancient India trees like A∂vattha, Nyagrodha, Bilva, Tulsi, Nima, Mango etc. areworshipped by people of various castes, communities, and groups. They believe thattrees like A∂vattha, Nyagrodha are the dwelling place of the Trinities and other godsfor goddesses. By worshipping these trees they feel pleasure of worshipping the godsresiding in these trees. In this process it seems, they consider these trees as the symbolsfor various gods.

Various rituals in connection with the tree worship also include differentsymbolic activities which are found in some ancient Indian Literature. Here is anattempt to discuss on the role of symbolism through the textual descriptions on Indiantree worship and at the end some logical conclusions will be given.

Keywords: Bilva symbol of ÷iva, Nima, N°rikela, A∂vattha, Nyagrodha

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THE PAINTED WOODEN MOBILE SHRINES OF PEDDAMMA AND

ITS ICONOGRAPHY

Vikram V. Kulkarni

The present paper intended to describe various aspects of the paintings on mobileshrines of ‘Peddamma’ in Telangana. The word Peddamma in Telugu means eldermother. She is popular as a village deity in Andhra. These village deities comprise ofPottu Razu (Potraj) and his seven sisters. G. S. Ghurye refers these sisters as‘Saptmatrukas’ or seven mothers. A nomadic tribe wandered with their painted mobileshrine of Peddamma. This tribe called as ‘Peddamma lollu’ in Telangana and Andhra,‘Jogappa’ in Karnataka and ‘Potraj’ in Maharashtra. The deity is called Peddammain Telugu, Marikamba and Durgmurgi in Kannada and Kadaklaxmi in Marathi. Thewooden idol of Peddamma is installed in the mobile shrine. This idol follows thespecific iconography. The style and technique of the Peddamma idol is similar to theidols of Kul-Puran of Yadav community of Andhra. Various scenes are depicted onthe Peddamma shrines. Scenes from Ramayana and Mahabharata are pained on theshrines. The hell torment scenes from ‘Yamapuri’ are shown on Peddamma shrines.Farming scenes and the pictures of the process of making local liquor are depicted onthe shrines. An intermingle of the folk deities and Vaishnav goddesses can be tracedthrough the Peddamma shrine paintings. Social and political relevance can find in thepaintings. The Peddamma shrine paintings are considered as iconographical ratherthan narrative. These paintings are painted by the traditional painter community called‘Nakkash’. Today few families of Nakkash in the village ëCheriyalí near Hyderabadare practicing the art. Therefore this art is known as Cheriyal art. The similar stylisticfeatures can be found between the Peddamma shrine paintings and Cheriyal Patchitra(Scroll Painting). The form of Peddamma shrine has drawn inspiration from the paintedwooden mobile shrines of Vishnu, found in Tirupati from 18th century.

Keywords: Painted wooden mobile shrine, Peddamma, Kul-puran, Patchitra (ScrollPainting), Cheriyal

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SYMBOLISM AND TRANSFORMATION OF TREE OF LIFE MOTIF

IN EARLY INDIAN ART

Vinay Kumar

Several kinds of plants have been transformed in Indian art in the arts of other countriesbecause of the symbolism associated with it. As we know trees and flowers are natur’sgreatest gift to humanity, endowed with beauty, sanctity and utility and they form anintegral part of our socio-cultural life from time immemorial. As among all other earlypeople, it was in his natural surroundings that the Indian saw his gods. The trees andsprings, the stones and hill-tops, the birds and beasts, were creatures like himself, orpossessed strange and uncanny powers of which he was not master. Ancient humancivilizations like Mohenjo Daro and Harappa, depended upon nature for theirsustenance and venerated the tree motif as a tribute to nature’s benevolence.

Sacred trees are mentioned in the literature of the worldís major religions asthe Tree of Knowledge or the Tree of Good and Evil. In the Book of Revelation (22:1-2) and in Genesis (2:9) the Tree of Life in Paradise is associated with the rivers of life.The Koran (13:38) mentions the Tuba Tree in Paradise. The Cosmic Tree is depictedin an inverted position growing downward toward the earth with its roots in heavenin the Upanishads of ancient India. Over the centuries, various civilizations world-wide created their own ‘Divine Trees’ and gave them an artistic personality to expresstheir faith. The banyan, the Pipal or fig tree, the oak, the bamboo, the Christmas treeand many others represented concepts like self-realization, knowledge and benevolenceor fulfillment of dreams.†In India, many trees – real and mythical – were given thishonour through the millenniums. The mythical heavenly Kalpavriksha or Kalpavallari(the tree or creeper that grants boons) which appeared from the ocean in the legendof Samudra Manthan (churning of the cosmic ocean) was the third. Through the ages,these trees and creepers inspired sculptors, painters, weavers and folk artists to createa rich and varied plethora of magical designs in which the Tree of Life became thefocal motif. Religious faith and artistic inspiration combined to immortalize thisbeautiful, ever-changing design. Tree of life, the West Asian motif has been transformedas Sri-Vrikksha in Indian art. It is found in Nordic mythology as the Tree of Existence,Yggddrasil and also in Egypt and Western Asia. A treeoflife is a mystical conceptalluding to the interconnectedness of all life on our planet, a metaphor for commondescent in the evolutionary sense, and a motif in various world theologies, mythologies

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and philosophies. Hence, in the present paper an attempt has been made to find outvarious symbolism associated with Tree of life motif and subsequently itstransformation in to other art symbols/motifs in Indian art.

Keywords: Symbolism, Tree of Life, Architecture, transformation

BUDDHIST SYMBOLISM IN ART OF ARAKAN

Vinay Kumar Rao

Lord Buddha was strictly against the practice of image worship and restricted hisdisciples to do so. In absence of any provision of image worship, the importantincidents of his life were depicted in art in form of certain symbols like st£pa, bodhi-v§k∑a, throne etc. It was first century CE during Kushana period when Buddha wasstarted to be represented in anthropomorphic form. But still in Art the representationof depicting certain aspects of dhamÌï in symbolic manner were not discontinuedmoreover some other new symbolic innovations are introduced in art. The introductionof various mudr°s and °sanas in art indicates towards practicing of symbolism in art.D¢gha Nik°ya, in its discourse titled Lakkha∞a Sutta elaborates 32 divya-lak∑a∞as ofa mah°puru∑a which is further supplemented by another 80 Secondary Characteristics.

Mah°y°na adopted Buddhist figures and sacred objects in changed manner.Here the inclination of art is more towards esoteric and symbolic gestures. The mudr°sare a series of symbolic hand gestures and °sanas. Many images also function asman∞Øalas. Mah°y°na and Vajray°na form of Buddhist art frequently makes use ofa particular set of auspicious symbols like padma, the† man∞Øalas, matsyayugma,dhwaja, dhammacakra, kala∂a, chatra, ∂a¨kha etc.Further the adoption of esotericsymbols and erotic representation in art are also made to affirm a kind of symbolism.

The north eastern part of India provided an easy access to Mah°y°na whichwas deeply influenced with Hinduism to the western part of Myanmar. Arakan is aregion in Myanmar where Mah°y°na reached before H¢nay°na. The number ofsculptural representations of ma∞dØals, motifs like lokap°la and vasundhar° and

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erotic sculptures performing mithuna and maithunas affirms the Mah°y°na elementswith artistic symbolism.

In the proposed paper the scholar is intend to trace the origin and growthBuddhist symbolism in western part of Myanmar especially in Arakan. The scholar isalso committed to trace various symbolic representations in art of Arakan and theimpact of north-east region of India. The paper is based on field study performed byscholar in various parts of India and Myanmar.

Keywords: ma∞Øala, lokap°la, vasundhar°, maithuna, mithuna

INHERENT SYMBOLISM IN TANTRIC BUDDHISM: A

HISTORIOGRAPHICAL ANALYSIS

Vipul Tiwari

This research paper is a critical study of ‘‘inherentcreative symbolism’’ in TantricBuddhism.In order to study Symbolism of Tantric Buddhism in totality, we have totrace the ‘‘dialectic’’ in ‘‘Hermeneutical inquiry‘‘ concerning the historiography ofIndian art chronologically. With the discovery of the sites connected with Buddhismand Buddhist Sculptures in the nineteenth century, a systematic study of Buddhist art,iconography and symbolism started. But by and large Buddhist art and its symbolicrepresentation remained practically unknown in Europe until in the last decade of thenineteenth century some museum acquired sculptures specimens of Gandhara art.Although early writers like Ritter (1838), Cunningham (1851), Sykes (1854) etc., hadstarted writing on the Buddhist art but true and real meaning of symbolism inherentin Tantric Buddhism remained untouched by them. After Fergusson work’s (whoslightly touched the Buddhist structures only) with J. Burgess Study of Buddhist artand iconography got real prominence. And now the stage was set to encounter the firstand foremost problem of Buddhist art and iconography regarding its nature and origin.Its early and simple solution was sought by Albert Grunwedel in his work‘‘BuddhistischeKunst in Indien’’ (1893) which remains even today the first earlystandard work on the topic. Similarly, Alfred Foucher’s ‘‘Elide Sur Iconographicboudhique de I’Inde’’ (1906) was the first systematic work on Buddhist Iconography.

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Despite bulk of materials used by these scholars they failed to surface the essence ofBuddhist art and inherent creative symbolism in Tantric Buddhism, especially in thepost –Gupta Tantric Buddhist cult. Similarly Swell’s ‘‘Early Buddhist Symbolism’’,V.A. Smith’s and W. Hoey’s ‘‘Ancient Buddhist Statuettes’’ and L.A.Waddell’s ‘‘TheIndian Buddhist cult of Avalokita and Tara’’ etc. were some good effort in the samedirection. But all have the shortcoming because the writers perception were purelyarchaeological and historical and they lack philosophical and religious backgroundwhich was essential for understanding any Indian art and its symbolism in totality.Although the work of Coomaraswamy, Stella Kramrich and Strzygowski had muchchanged the perception of Buddhist art and symbolism but even in their works TantricBuddhism (Vajrayana, Kalacakrayana and Sahajayana) occupied less prominent place.No discussion on Mahayana Buddhism can be a complete study unless it takes accountof Tantric Buddhism. In the light of the above account I have endeavoured to trace theinherent creative symbolism in Tantric Buddhism; its nature origin and problem, whichwas an ancient way of Indian life.

THE FUNDAMENTAL ELEMENTS OF EARLY BUDDHIST SYMBOLISM

Vipul Tiwari and Madhulika

This research paper is an analysis of the Early Buddhist Symbolism in its historicalperspective. In other words, the Buddhists symbols used in Buddhist art and religionwere part and parcel of the main current of Indian religion and art. Therefore for theproper perception and understanding of these early symbolisms it must be studied inthat particular con (text). We know that the early Indian art is essentially thecontinuation of an ‘‘aniconic style’’ which is comprehensible only within the Vedicnotions. With this theme in nutshell we have studied the fundamental elements of thefew Buddhist symbols. These had greatly influenced the early aniconic art of India andwere never dropped in the later imagery although they occupied less prominence in‘‘anthropomorphic’’ presentations. The four important symbols such as: World-Wheel, Tree of Life, Earth-Lotus and Lotus-Thronewith other cognates have beenanalysed in this paper. We have had the specimens of the Buddhist art in India from2nd Century before Christ with a well-developed symbolism in its iconographic set-up.

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Again, it is impossible and illogical to separate Buddhist art completely from Brahmanicreligion and art. In the light of this proposition early Buddhist symbols were not a newcreation in strict sense of the term. Its roots could be traced in the Vedic literaturebecause in many obscure and mystical stanzas of the Vedas we find the similar conceptsvaguely hinted. And these were later on expressed in more perfect form in Buddhismand Brahmanism. Therefore, these set of early symbols can be traced back to theBrahmanical Vedas.

Keywords: Early Buddhist Symbolism, Perception, con(text), aniconic style,anthropomorphic

SYMBOLISM OF COCONUT: WITH SPECIAL REFERENCE TO

GODDESS K¡NBA¬ OF KHANDESH REGION

Vrushali Bhosale

Khandesh, a historical region of Maharashtra comprising Dhule, Jalgaon and NorthNashik District, has a very different perspective of culture. People of Khandesh arevery staunch about their festivals, rituals and traditions. Khandesh was a matriarchalstate of K°nba¢, the great Queen. So Khandesh is named after K°nba¢. GoddessK°nba¢ is said to be avat°ra (incarnation) of goddess P°rvat¢. She is widely worshipedgoddess in Maharashtra as well as the places where Maharashtrians lived. She is saidto be wife of K°nher, incarnation of God ÷iva. Goddess K°nba¢ is worshipped byMaharashtrian Ahir°∞¢ people as she is deity of many communities in this region.According to Hindu calendar, the first Sunday after N°ga-pa≠cham¢ festival in†themonth of ÷r°va∞a, is celebrated as the festival of K°nba¢.

Goddess K°nba¢ is represented by a coconut. In this region, a coconut is placedand decorated with various ornaments, and is worshipped as Goddess. The presentpaper aims to highlight this symbol of coconut representing Goddess K°nba¢ in thetradition of Ahir°∞¢ people of Maharashtra.

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ARDHAN¡R¬÷ARA, A SYMBOLISM OF EVOLUTION FROM PURU◊A

AND PRAKTƒTI – AN EXAMINATION FROM TWO S¡ÃKHYA SYSTEMS

Wu Chen Ting

Ardhan°r¢∂vara, a prevalent deity image of Hindu as Lord ÷iva and P°rvat¢ sharewithin a human-form body, is known for the symbolism presenting two opposing butjoined primordial masculine and feminine energies which create world as well asindicating all their creations have male and female traits. This concept has been referredin Pur°∞as by numerous pairs of masculine and feminine terms. Some of them involvein various schools of Indian philosophy and religion. Of which, Puru∑a and Prak§ti arethe pair designations associated with S°¨khya’s evolution theory (tattvas).

However, S°¨khya is of two systems, Proto-S°¢khya (claimed by EarlyUpani∑ads, Epics) and Classical S°∞khya (S°∞khya K°rikas of ¬∂varak§∑∞a and thecommentaries are main doctrines), which share alike theory of evolution in terms butdissimilar approaches. The previous one holds theistic, non-dualistic, embraces thatPuru∑a and Prak§ti are primordial cosmic consciousness and energy for world creation.The principles (tattvas) in evolution process are their manifested residues as well aspartial limited energies, functions or instruments for creation. The latter system is ofatheistic, dualistic, asserts that Puru∑a is an independent individual pure consciousnessand, by contacting to independent Prak§ti, the worldly evolution outwardly beginsfrom buddhi, indryas, tanm°tras and mah°bh£tas.

Apparently, Ardhan°¢∂vara’s evolution is followed by Proto-S°¨khya. ButPur°∞as often but vaguely suggest Ardhan°r¢∂vara is also individual Puru∑a and Prak§ti.By this, our first question arises – is it right to regard Ardhan°r¢∂vara as symbol ofindividual evolution based on Classical S°∞khya? Pur°∞as also remark pair relativewords such as cit and acit, ∂uddha and a∂uddha, para and apara for Ardhan°r¢∂varawithout fine definitions. However, we find these words have been clearly expoundedin both S°¨khya systems. As having different approaches, the second question arises- What are the differences in definitions, domains and natures explained of these pairterms in two systems?

This article attempts to examine these philosophical questions based on theconcepts of Pur°∞as, Proto-S°¨khya and Classical S°¨khya. It expects to grasp thedeeper ideas behind the gorgeous image of Ardhan°r¢∂vara.

Keywords: Ardhan°r¢∂vara, Pur°∞as, Proto-S°∞khya, Classical-S°∞khya

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A STUDY OF MIHRABS AND ITS SYMBOLISM IN MOSQUES

OF KERALA

Ziyadali. B

The present paper is extract from my MPhil Research carried in the part of Kerala onmosques art and architecture. The architecture style of early Mosques, Temple as wellas churches is inindigenous in nature. The roof of mosques is tiled. Timber isexclusively used for the construction and huge wooden Pillars support the structure.Thus study throws light on some aspect of Mihrabs of mosques and how they aredifferent from rest of India. The study Discuss about the symbolic motifs of Mihrabsof Mosques of Kerala.Mihrabs is a semi-circular niche in the wall of Mosques thatindicates theqibla. The Mihrabs of the mosques in south India have some motifs fromPersian Gulf and some of them have traditional Indian motifs.

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LIST OF PAPER PRESENTERS AND E-MAIL CONTACTS*

(*only of the corresponding authors)

No. Name E-mail

1 Aakanksha parasharaakanksha5@gmail.com

2 Aaryaa Ashutosh Joshi aaryaa.joshi@jnanaprabodhini.org

3 Abhiruchi Oke and Anuja Patwardhan abhiruchi9320@gmail.com

4 Ajay Pratap apratap_hist@bhu.ac.in

5 Ajeesh Raj. A a.ajeeshraj@gmail.com

6 Ajit Kumar ajitkumarku@gmail.com

7 Akiyala Imchen akiyalaimchen@gmail.com

8 Alpana Awasthi and Neeta Lalwani lneeta@ymail.com

9 Ambarish Khare avkhare@gmail.com

10 Amit Pendam amit.pendam@dcpune.ac.in

11 Amogh Prabhudesai amogh.prabhudesai@dcpune.ac.in

12 Amrithavalli Panyam amritha.panyam@gmail.com

13 Anagha Joshi anaghaj2002@gmail.com

14 Anand Kanitkar kanitkaranand@gmail.com

15 Anand Singh anandsinghbuddha@gmail.com

16 Anita Rane-Kothare anita.rane-kothare@xaviers.edu

17 André J. J. Baptista andre.baptista23@gmail.com

18 Anil Kalamboor kalamboor@gmail.com

19 Anjali Pandey anjali_pandey11@yahoo.com

20 Anuja Milind Joshi anuja_joshim@yahoo.co.in

21 Anurag Chauhan apara21@hotmail.com

22 Anusha Shakya anushashakya@gmail.com

23 Aparajita Bhattacharya apujnu.b@gmail.com

24 Aparajita Morde apara21@hotmail.com

25 Arjun R. arjunrao93@gmail.com

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26 Arunchandra S.Pathak aspgzr@yahoo.com

27 Arunima Pati arunimapati@gmail.com

28 Asif Mohiud Din bhatasif83@gmail.com

29 Atul Kushwaha atulkush00@gmail.com

30 Avradeep Munshi mipshan@gmail.com

31 Baba Mishra and Ranvir Singh baba_bhpatna@yahoo.co.in

32 Bharti sh2.bharti@yahoo.com

33 Bratati Dey bratati.dey@gmail.com

34 C.B. Kamati cbkamatix@gmail.com

35 C. S. Vasudevan vasushreyas@gmail.com

36 Chandima Bogahawatta and koshaleekaku@gmail.com

Koshalee Kakulandala

37 Chandra P.Trivedi atcptrivedi@gmail.com

38 Chandrashekhar Paswan csp_maithil@yahoo.co.in

39 Chandreyi Basu cbasu@stlawu.edu

40 Choodamani Nandagopal choodamani.nandagopal@gmail.com

41 D. P. Sharma and Madhuri Sharma dpsharma54@gmail.com

42 Daljeet Singh and Elora Tribedy elora.tribedy@gmail.com

43 Debatri Ghosh ghosh.debatri@yahoo.in

44 Deepali Patil patildeepali6@gmail.com

45 Deepshikha Semwal deepshi.s1@gmail.com

46 Digvijay Patil and SaumitraKshirsagar digvijayp94@gmail.com

47 Dipika Bhomkar dipikasmarty@gmail.com

48 Duli Ete etedulee@gmail.com

49 Garima Kaushik g.kaushik@nalandauniv.edu.in

50 Gauri Moghe gauritorule@gmail.com

51 Gomathi Gowda gomathigowda@gmail.com

52 Gopal S. Joge gopal.joge@dcpune.ac.in

No. Name E-mail

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53 Harihar Padhan hari.h.pradhan@gmail.com

54 Harshada Wirkud harshsaaz7@gmail.com

55 Hemant Dalavi and Mohana R. hemant.n.dalavi@gmail.com

56 Jason Johns jasjohns16@yahoo.co.in

57 Jasna K. and Aswanth K. O. K. jasnajasvilla@gmail.com

58 Jayendra Joglekar and

Sushama G. Deo jayendra2008@yahoo.co.in

59 Jyotsna Krishnan A. jyotsnaavanoor87@gmail.com

60 K. N. Hota kashinath.hota@dcpune.ac.in

61 Kanti Pawar Kanti.pawar@dcpune.ac.in

62 Karuna Milind Mohite karuna.jadhav@somaiya.edu

63 Kakali Ghosh kakalicalcutta@yahoo.com

64 Kirti Kulkarni kirti.kulkarni@dcpune.ac.in

65 Kishore Chandra Meher kishoremeherkbk@gmail.com

66 Komal Pande komal.pande88@gmail.com

67 Konika Mukherjee konikamukherjee11@gmail.com

68 Kshirasindhu Barik kshirasindhubarik2@gmail.com

69 Kumar Dipongkar Mondal dipongkardipu.ju@gmail.com

70 Kurush F. Dalal kurushdalal@gmail.com

71 Kush Dhebar dhebarkush@gmail.com

72 Lalhminghlua and Amrita Sarkar mahluasailung@gmail.com,

amrita.sarkar@dcpune.ac.in

73 Lalit Gupta and NavjotKour njkour13@gmail.com

74 Madhavi Godbole madhavi.godbole@dcpune.ac.in

75 Madhulika madhulikabhu23@rediff.com

76 Madhura Godbole madhgod@gmail.com

77 Mamta Rai mamtaprai@gmail.com

78 Manish Rajan Walvekar and manishwalvekar94@gmail.com

Tanmay Jayant Bhole

No. Name E-mail

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79 Manisha Shete manisha.shete@jnanaprabodhini.org

80 Manjari Bhalerao manjiri24@gmail.com

81 Manmohan Sharma manmohansharma2005@gmail.com

82 Manu Sharma manusamriti.87@gmail.com

83 Md. Iftekhar Alam Ansari iftiamu9@gmail.com

84 Meenal Kulkarni mamee7@gmail.com

85 Megna Carvalho megna.carvalho@dcpune.ac.in

86 Milani Perera milaniperera32@gmail.com

87 Milind Paradkar discover.horizon@gmail.com

88 Minnu Kejriwal smyk.kejriwal@gmail.com

89 Mohan S. Pardhi, Virag Sontakke ms.pardhi67@gmail.com

and Pradip Meshram

90 Monbinder Kaur monbinder.kaur@gmail.com

91 Mohana R. mohangulya@gmail.com

92 Morakandegoda Ariyawansa ariyawansamora@gmail.com

93 Mugdha Gadgil mugdha.gb@gmail.com

94 MunmunMondal moonmoon131413@rediffmail.com

95 N. Vinodh vinodharch@gmail.com

96 Nalini Avinash Waghmare naliniwaghmare@rediffmail.com

97 Neeraj Yadav neeraj_z_here@yahoo.com

98 Neha Pande nehapande131@gmail.com

99 Niharika K. Sankrityayan niharikasankrityayan@gmail.com

100 Nimisha Thakur nimishathakur2012@gmail.com

101 Nimitha K.P. nivithagcm@gmail.com

102 Nisha Sawant-Kulkarni nisha.sawant@dcpune.ac.in

103 Nitesh Narnolia and Mousam narnolianitesh007@gmail.com

104 Nitin Hadap nitinchar@yahoo.co.in

105 P. C. Sahoo purna.sahoo@dcpune.ac.in

No. Name E-mail

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106 P. S. Joshi and Kanchana Bhaisare kanchana.bhaisare@dcpune.ac.in

107 Prabha Shankar Dwivedi prabhas.dwivedi@gmail.com

108 Pradnya Deshpande prajnyadeshpande@yahoo.com

109 Pradnya Kulkarni pradnya.kulkarni@dcpune.ac.in

110 Priya Thakur priya912@gmail.com

111 Priyanka Kamalakar Shinde priyankas3112@gmail.com

112 Rahul Chemburkar rahul@vaastuvidhaan.in

113 Rajaram Hegde and Prabhakar Rao rajaramainakai@gmail.com

114 Rajasri Mukhopadhyay rajasrichithi@gmail.com

115 Rajkumari Barbina barbinark@gmail.com

116 Ranjana gbranjana25@gmail.com

117 Ranjana Mishra ranjanamishra10@gmail.com

118 Remya V.P. and Sreebarna Ghosh remyavp2010@gmail.com

119 Reshma Sawant drreshma.sawant@gmail.com

120 Rucha Gadkari ruchagadkari217@gmail.com

121 Ruokuonuo Rose Yhome ruokuonuoyhome@gmail.com

122 Saili K. Palande-Datar and sailikdatar@gmail.com

Ambarish V. Khare

123 Sana sanafaisal29@gmail.com

124 Sanchita Ghosh drsanchitasharma@gmail.com

125 Sanjay Manjul dirins.asi@gmail.com

126 Sanjay Paikrao spaikrao265@gmail.com

127 Sarita Dash saritadash.23@gmail.com

128 Satarupa Bal sbalarchaeo@gmail.com

129 Satvik Malipatil satvik.malipatil@gmail.com

130 Saurabh Singh singhcapricon@gmail.com

131 Sawani Rajan Shetye and shetyesawani@gmail.com

Arunkumar M S

No. Name E-mail

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132 Shahida Ansari and V.N. Prabhakar shahida8@gmail.com

133 Shambhoo NathYadav and B. Gartia asishambhoo@gmail.com

134 ShantanuVaidya, Virag Sontakke, maharaj_shiv@yahoo.co.in

Shrikant Ganvir, Rushal Unkule

and Garima Khansili

135 Sharad Goswami sharadgoswami276@gmail.com

136 Shashi Kala Singh shashi.varanasi25@gmail.com

137 Shikha Sonkar shikhasonkar98@gmail.com

138 Shilpa M. Chandran m.shilpa7@gmail.com

139 Shilpa Hadap shilpabhagwathadap@yahoo.in

140 Shilpa Sumant shilpa.sumant@dcpune.ac.in

141 Shivendra Kadgaonkar shivendraje@rediffmail.com

142 Shobhna Meshram shobhnameshram@gmail.com

143 Shrikant Ganvir shrikant.ganvir@dcpune.ac.in

144 Shrinivas V. Padigar svpadigar@gmail.com

145 Shripad Bhat shripadbhat@rediffmail.com

146 Shruti Sharma shruti9190@gmail.com

147 Siddhi Deshpande siddhi.sd03@gmail.com

148 Smriti Agarwal sagarwal@jpr.amity.edu

149 Sneha Kapote kapotesneha@gmail.com

150 Soumya Manjunath Chavan soumyavathi@gmail.com

151 Sovonlal Misra m.sovonlal@gmail.com

152 Sudhir Kumar sudhirkoomar@gmail.com

153 Suken Shah sukenshah1989@yahoo.in

154 Suraj A. Pandit surajpanditkanheri@gmail.com

155 Swadhin Kumar Mandal mandalswadhin@gmail.com

156 Swagata Mukhopadhyay swagata.mukhopadhyay@hotmail.com

157 Swapna Joshi, Siddhi Deshpande and joshiswapna90@gmail.com

Shantanu Subramaniam

No. Name E-mail

172

158 Swati Mondal Adhikari rinaswati@rediffmail.com

159 Tanashree Redij tanashree@gmail.com

160 Tinni Goswami tinnibhattacharya982@gmail.com

161 Trupti D. More and Vijaya P. Valhe trupti.more@dcpune.ac.in

162 Uduwila Uparathan uparathanaud@gmail.com

163 Umesh C. Chattopadhyaya ucc1953@gmail.com

164 V.H. Sonawane vhsonawane@rediffmail.com

165 V.L. Dharurkar vldharurkar@gmail.com

166 Varsha Jha (Singh) vjha@iitk.ac.in

167 Vibhavari Kumar vibhavarikumar@gmail.com

168 Vidula Pharate dvidula@gmail.com

169 Vijaya P. Valhe vijaya.valhe@dcpune.ac.in

170 Vikram V. Kulkarni kulkarnivikram72@gmail.com

171 Vinay Kumar vinaykumar166@yahoo.com

172 Vinay Kumar Rao vinaysrijan@gmail.com

173 Vipul Tiwari vipultiwari01@gmail.com

174 Vipul Tiwari and Madhulika vipulmadhulikabhu@gmail.com

175 Vrushali Bhosale vrushali.bhosale@dcpune.ac.in

176 Wu Chen Ting 2992400690@qq.com

177 Ziyadali B. ziyadalihussain@gmail.com

No. Name E-mail