Development of Hindu Iconography Jitendranath Bandyopadhyay

The Development of Hindu Iconography by Jitendranath Bandyopadhyay PDF.

Book – Development of Hindu Iconography,
Category – Historical Book,
Book Size – 22 MB,
Pages – 492,

The Development of Hindu Iconography written by Jitendranath Banerjee

Jitendranath Bandyopadhyay wrote the historical book the Development of Hindu Iconography.

The Development of Hindu Iconography has written by Jitendranath Bandyopadhyay. He was a professor at Calcutta University. To show this development the author needs to critically study not only the existing reliefs and single sculptures of the Gupta, Kushan and pre-Kushan eras but also a careful and systematic handling of the numerical and glyptic remains of India at the same time. Also essential.

When sculptural deities have not been found before, ancient Indian coins and sealing instruments are remarkably helpful in dreaming of their mode of representation in the distant past. The type of Buddha in Kanishka’s coinage is Bahasatimita, Agylises and Gaj-Lakshmi instrument in Rajubhula’s coinage and Varaha incarnation, one of the Adibaraha plays of Raja Bhoj of Pratihara of Gurjar. Athar fully shows how they are worn based on contemporary representations of the same deity in the Indian plastics industry.

Collect some Hindu Scripture Books

He felt the need to systematically collect the above materials related to Hindu sculpture and to study them carefully. The result of years of collection is the current work and the rapidity and study to combine not only such archeological information but also many new texts relevant to the subject, which have not yet been fully noticed.

This volume, however, deals mainly with the general principles of Hindu sculpture and the type of primitive sculpture of Hindu deities as determined by ancient Indian coins and seals. Thus it is complete in itself and he wants to follow it with two more fragments of Hinduism and their accessories.

In the first chapter of this book, after giving an idea on the subject, he pointed out that Hindu sculpture should be studied in lines and a variety of materials should be used in its scientific treatment.

Chapters 2 and 3 provide a detailed discussion of the antiquity and origins of idol worship in India. Among them he critically attempts to present the previous color views on the above issues and gives his own views based on literary and archeological information.
Chapters 4 and 5 show how ancient Indian coins and seals could materially help determine the number of Hindu deities and the earliest figurative types of their symbols, many of which would otherwise have remained unknown to them.

In Chapter 6 he discusses in detail the technique of the iconoclastic industry in India with the help of various aboriginal texts, some of which have been critically studied by previous writers on the subject.

He also discussed the various reasons for their contribution to the development of this industry in India and the nature and extent of their personal contributions.
In this 7th chapter various technical terms and terms are explained, which are often found in the texts related to idols, the correct knowledge of which is essential for every student of Hindu iconography.
The eighth and final chapters discuss Indian canons of econometry, which requires a proper understanding of the study of this subject.

During this time he instituted in-depth comparisons with Indian canons that followed Egyptian and ancient Hellenistic artists. It seems necessary to add 3 appendices to his book, in the second of which he has re-edited the iconometric text entitled ‘Pratimamanalakshanam’ with translation and notes.

In all these works he has often quoted the opinions of various previous writers. Whether he accepted them or rejected them – he added his reasons. He submits here that his approach to the above study is largely objective, and he adds to the subject mainly as a student of history and archeology.

He prepared a general index as well as a bibliography for the convenience of his readers. Every effort has been made to make it as comprehensive and comprehensive as possible. The Sanskrit words for technical import are formerly corporate.

Sir Ashutosh Mukherjee was the first to give him the opportunity to study Indian art and archeology. He took this opportunity to dedicate his book as a symbol of gratitude to his sacred memory and the honor which should always be cherished for him. He is indebted to his son Dr. Shyama prasad Mukherjee, President of the Postgraduate Council for the Arts, for the encouragement he has always received from him in his work, for which he should be eternally grateful. All we can say is that he made an honest effort to shed some new light.

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PDF file of the Historical book The Development of Hindu Iconography.

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