Psychic Knots: Granthis in Erotic Sculptures

Shringara rasa-the sentiment of erotic love, and first of the nine rasas / navarasas as they are called are the natural states of mind experienced by humans. Of the nine sentiments-nava rasas, shringara occupies an important place in the history of ancient Indian literature and fine arts. Indian temples show the figures of apsaras depicting the sentiment of love, both in the theoretical aspects relating to theatrics (as described in Natyashastra by Bharata Muni around 2nd century AD) as well as in the practical side of life with Kamasutra of Vatsyayana (by sage Vatsyayana, around 2-3 century AD) as its base. Many erotic sculptures depicting union also involve dwarf figures at the base as secondary figures which are in pranayama variations with hatha yoga mudras and are tantra based union figures. (Though based on Patanjali Yoga sutra assigned between 3-4th century AD, Hatha yoga gained prominence beyond 5th century AD). Several commentaries on these topics were written in the subsequent periods and by medieval period the kings who sponsored the construction of temples, the sthapatis and sculptors were all well versed on these topics along with religious and philosophical aspects. The outcome was the inclusion of these topics in a permanent medium of stone in temples for mass communication. This article focuses on how to understand the shades of shringara rasa that are depicted on the outer walls of Indian temples and how tantric themes, are different from non-tantric ones as they are based on different ancient texts.

Hermaion, 2022

2014

This research article attempts to critically analyze some of the erotic carvings available in Nepalese temples that were constructed in Medieval Age Nepal to identify how such carvings as a locus of knowledge can be interpreted as a part of serious intellectual debate, discourse and scholarship. It suggests how carvings of such nature contribute as epistemic system be interpreted hence they imply as a discipline and praxis of epistemology.

2011

Shila, Shilpa, Devata: Invoking the divine in South Indian sculpture -Parul Pandya Dhar A stone (shila) that once rested in a quarry is transformed into a sculpture (shilpa) through the skilful interventions of the sculptor (shilpi). This may hold true for cultures past and present, distant and near. When intended to image a deity, such a stone requires to undergo several ritualistic procedures before it is deemed fit for worship. The visualization of a divine image involves preparatory rites prior to and during image-making, artistic creation of the image, and consecration rites that precede the rites of image worship. Several of these are recorded in ritualistic texts of southern India. The complex processes involved in image making reveal interesting details about the network of relationships between the chief protagonists involved: the artists, the priests and the patrons. The paper explores the relationship between ritualistic image, ritualistic texts and social contexts in the making of medieval south Indian sculptures.

2024

This paper explores the significance of pleats in Gandhara Buddhist sculptures and their conceptual relation to the philosophy of freedom of movement. By examining the intricate pleating techniques employed in creating Gandhara sculptures, this study highlights how these ancient artisans achieved a sense of dynamism and fluidity in stone, mirroring the philosophical underpinnings of Buddhism that emphasize liberation and the transcendence of physical limitations. The study looks at the intersection of stone and fabric by analyzing the pleated draperies of Gandhara sculptures to establish a sense of fashion influences and practices of the time. Furthermore, the research explores the innovative pleating techniques of fashion designer Issey Miyake (1938-2022), to engage its readers with the contemporary significance of artistic practices. It delves into the technical aspects of pleating in sculpture and fashion design, revealing how textile manipulation can convey philosophical ideas and cultural values. Miyake's Pleats Please line, renowned for its aesthetic appeal and functional design, encapsulates a modern interpretation of freedom and movement, echoing the ancient Gandhara philosophy through the medium of fabric. This research underscores the enduring nature of pleats, highlighting their significance beyond mere ornamentation to embody a deeper resonance with bodily emancipation.

Categories of objects, catesories of rnotif.s Althoush the ste la is the medium lnost c()mlnonly metwith in the art of Eastern Inclia' images were also carved on other types of media, particularly on Budclhist sites. Reside the slabs being the female deity from Sirpur preser-ved at the Los Anseles County Museurn of Art.'; These observations can be briefly summarized. AtAjanta, the monks and the layfblk are intesrated within an iconographic scheme, although their exact relation to the Buddha cannot always be properly determined. At Kanheri, the motif develops the function of sustaining or r,vorshipping the Buddha ancl at Ellora, the worshippers gain some independence and look fiom the outside towards the Buddha. This survey also sholvs the introcluction of cult objects held by rnonks, already at Ajanta on the can,ed panels of cave z6 and in the wall-paintings, e.g. in the upper cave 6.'3 These objects are also seen at Kanheri.'i) The monk presents in the lef t hand a florver and in the right one the incense burner.

Panayotov, 2020

Both in India and in Angkor there are erotic sculptures on the walls of the stone frescos depicting nude nymphs. Though in Angkor no copulative activity id denoted Most of the Apsara sculptures are based on different aspects of Shringara rasa, adhering to the rules prescribed in the treatise of Indian theatrics-Natyashastra. Shringara is the rasa used to portray on stage mutual desire and romantic love as primary emotion between a man and