Unfinished Work at Mamallapuram or, What Is an Indian Art Object?

Parker, Samuel K.

doi:10.2307/3249962

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“…A stone of 4 feet height may take about 60 days to carve. (PARKER, 2001) The overall construction method is comprised of three phases:…”

Section: Construction Technique -Development Of Construction Methodsmentioning

confidence: 99%

Pancha rathas, the five stone temples of the Mahabalipuram site

Ahmed

2020

Paranoá

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Heritage and landscape development may take place within the heritage assemble procedure. The study presents a case of Stone heritage, characterized by an important intangible Vedic chanting heritage which again linked to the seashore forest and Pallava temple architecture. The purpose is to search diverse physiognomies of what opportunity exists in natural context and its playing role with the built heritage and eco-tourism. The methodology includes an extensive literature review of previous texts and collecting key factors out of those literary and pictorial data for historical evidence proved analysis. The results developed from a scientific approach over such case where ethnology, ancient technology and architectural style might have lost its authenticity and integrity for robust deforestation of associated garden heritage over different courses of time just because of the absence of boundary and buffer zone concept. It revealed three major opportunities for future sustainable accomplishment in this historic site: significance of effective network comprising authorities and stakeholders, over excessive tourism can also be regarded as curse for local landscape because of rapid urbanization and finally ecological bounties, recapture of areas and aggregation need a strong legitimation to justify buffer zone and site boundary from all possible direction.

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“…A stone of 4 feet height may take about 60 days to carve. (PARKER, 2001) The overall construction method is comprised of three phases:…”

Section: Construction Technique -Development Of Construction Methodsmentioning

confidence: 99%

Pancha rathas, the five stone temples of the Mahabalipuram site

Ahmed

2020

Paranoá

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“…While allowing for cases of works that remained unfinished by force majeur, due to reversals in the fortunes of clients, there are such a great number of unfinished temples in India, and in such a vast context, that one cannot help suspecting some ideological choice. On this topic, see Parker 2001, who also offers a concise review of the most significant preceding contributions. 22 We owe identification of the relief as the "Penitence of Arjuna" to J.…”

Section: -Swayamḅ Hū Tirtha: An Indian Input?mentioning

confidence: 99%

Art and Landscape : Buddhist Rock Sculptures of Late Antique Swat/Uḍḍiyāna

Filigenzi¹

2015

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W i t h c o n t r i b u t i o n s b y l u c A M A r i A o l i v i e r iA n d A n o t e b y P e t e r r o c k W e l l FOREWORDThe project that has given birth to this long-awaited volume has its roots in the very beginning of the Italian activity in Swat. The first rock reliefs, not counting those introduced by Sir Aurel Stein, were in fact published in 1958 by Giuseppe Tucci in his seminal Preliminary Report on an Archaeological Survey in Swat which presented to the scholarly community the results of his survey of 1955.Belonging to a late chronological horizon close to that of Padmasambhava, these Buddhist sculptures were no doubt one of the reasons that led to IsMEO's decision to invest efforts and resources in Swat.The dates of arrival in the IsMEO photographic archive of images of rock reliefs from Swat gives a clear idea of how since 1955 more than one generation of scholars has shown an interest in this class of artefacts, if only in the shape of photographs and a few notes on the discovery of new reliefs: from the 1950s to the 1980s, new records were accumulated by Domenico Faccenna, Francesca Bonardi, Maurizio Taddei, Alfredo Vallazza, Pietro Guj, Enrico Cimmino, Umberto Scerrato, Francesco Noci and Pierfrancesco Callieri. In 1987, in his capacity as director of the IsMEO Italian Archaeological Mission, Domenico Faccenna set up a comprehensive project to survey and study these rock reliefs, entrusting its execution to Anna Filigenzi and Luca Maria Olivieri, who had both recently joined the Mission. Anna Filigenzi had been one of the most brilliant students of Maurizio Taddei at the Oriental University of Naples, while Luca Maria Olivieri was a graduate of the Department of Historical, Archaeological and Anthropological Sciences of the University of Rome La Sapienza. The choice was intended to provide the study with a global approach in which the record of the topographical context was accorded equal importance with the iconographic interpretation of the reliefs.Since 1987 the systematic activity of surveying and recording carried out by Luca Maria Olivieri has made considerable progress. Along with the main groups of reliefs already known, which were surveyed again using a new and more thorough methodological approach, further complexes as well as isolated reliefs were identified and surveyed, and the area of research was extended to new areas adjoining Swat, in particular Puran and Buner. The study of the topographical distribution of the reliefs has proved to be of the greatest interest, suggesting new functional interpretations.Most of the activity of survey and recording was completed in a relatively short space of time, as it was merged with that undertaken for the project of the Archaeological Map of Swat. The long hiatus between that period and this publication is due not only to the political events which have affected the recent history of Swat but also to the reasons that Anna Filigenzi describes so effectively in her Preface and Introduction and which allowed her to resist with incredible...

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Unfinished Work at Mamallapuram or, What Is an Indian Art Object?

Cited by 2 publications

References 0 publications

Pancha rathas, the five stone temples of the Mahabalipuram site

Pancha rathas, the five stone temples of the Mahabalipuram site

Art and Landscape : Buddhist Rock Sculptures of Late Antique Swat/Uḍḍiyāna

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