Essay name: Arts in the Puranas (study)
Author:
Meena Devadatta Jeste
Affiliation: Savitribai Phule Pune University / Bhandarkar Oriental Research Institute Pune
This essay studies the Arts in the Puranas by reconstructing the theory of six major fine arts鈥擬usic, Dance, Architecture, Sculpture, Painting, and Literature鈥攆rom the Major and Minor Puranas. This thesis shows how ancient sages studied these arts within the context of cultural traditions of ancient India.
Chapter 4 - Sculpture in the Puranas
34 (of 64)
External source: Shodhganga (Repository of Indian theses)
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Kalki. The Purana describes him as 'a powerful man angry in
mood, riding on horse back with a sword in his raised hands
which can be recognised in the last figure of the Dasavat膩ra
slabs.
The Matsya Purana Ch. 47, V. 106 includes Mandh膩t膩 in
the list of the Avataras of Visnu.
SIVA
Siva is the supreme god, one of the three members of
the Hindu Trinity. The Vedic counterpart of Siva was Rudra.
with the evidence of archaeological data, the scholars have
opined that the worship of Siva-Pasupati was in vogue among the
early Indus Valley people of the Pre-historic period.
The great importance of this deity is suggested by his
various names such as Pasupati, Bhutapati, Mahadeva, Mahe svar a
etc. He is the lord of all created beings, he is the greatest
of the gods. A number of Saivagamas and Tantras are devoted to
this supreme deity. Saivism is a very ancient religion. The
sculptures of Siva and Sivalingas are innumerable and have been
found all over India.
The
The
From a fairly early period the Saivas used to place the
emblem of siva as the principal object of their worship.
linga form has been universally adopted by the devotees.
Agni Purana, Chapter 53 and the Matsya Purana, Chapter 263,
describe the essential points of the Phallic emblem.
The
Vismudharmottara Chapter 74 also gives some details about linga.
