Aryan Books

SILPA IN INDIAN TRADITION: Concept and Instrumentalities

By :- R.N. Misra

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Pages: xii+220

Format: HB

ISBN-13: 978-81-7305-354-2

Place: New Delhi

Edition: 1st

Publisher: ARYAN BOOKS INTERNATIONAL

Size: 19cm x 25cm

Product Year: 2009

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The book attempts to examine certain basic conceptualizations about art (silpa), artists (silpi) and the canon (sastra), the three defining elements in traditional Indian sculptures. It takes up issues concerning the valorization and devaluation of silpa, including its concordance with form (rupa), its secular domain and, for that reason, its vulnerability. Using both textual and epigraphic sources, its section on artists and craftsmen of different order ? Kokasa lineage of a millennium-long standing included ? deals with the question of their historical antecedents, anonymity, organization, operations and activities, work culture, authority, discipline and dissent, pecuniary gains, and the patronage that made their work possible. In the section on the canon (sastra), an attempt has been made to underscore their operational and aesthetic bearings in the works of art, within the framework of traditional Indian poetics and iconography. The book also has an appendix on masons? marks which serve as the silent assertions of ancient artists? identity and have a presence from second century bce to seventeenth century.

Preface List of Illustrations 1. Silpa Prologue; Silpa?s ?Rights? of Passage in Tradition; Secular Terrains of Silpa; Rupa-silpa Interface. 2. Silpin (I) Anonymity Factor; Artists? Outline in History; The Kokasa Lineage (vamsa) 3. Silpin (II): Silpis? Organisation and Operation Artists? Organisation: Collectives and Grouping; Silpis at Work; The Patron; Operations; Stores and Supplies; Working Environment; Sutradhara?s Role; Work Culture and Discipline; Discipline and Dissent; Modes of Payment; Discharge; Final Dispensations; Concluding Remarks. 4. Sastra Interactive Domain of Silpasastra in a kindred Group; Constitutive Elements; Representation-centric Conceptualizations; Creative Process: Anusandhana, Anukarana and Anyathakarana; Laksana; Compositional Structure. Appendix Bibliography Index

Professor R.N. Misra worked in the Universities of Saugar (1959-76) and Gwalior (1976-2001); he was a Professor in the University of Allahabad (1986-87), and in the Jiwaji University, Gwalior (1980-2001). His last assignment, as a Fellow (2002-2005), was in the Indian Institute of Advanced Study, Shimla. He is the author of Bharhut (In Hindi), (Bhopal 1971); Ancient Artists and Art Activity (Shimla 1975); Indian Sculpture (In Hindi), (Delhi 1978, Rep. 2002); Yaksha Cult and Iconography (Delhi 1981); Sculptures of Dahala and Daksina Kosala (Delhi 1987); Prachina Bharatiya samaj, arthavyavastha evam dharma (In Hindi), (Bhopal 1991); Adhinayaka mathadhishon ki sanskritik sadhana (Professor R.K. Mukherjee Memorial Lectures), (In Hindi), (Lucknow University 2004). He has also published more than a hundred papers on Indian art, iconography, artists and culture.

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