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Sitabhinji Group Of Rock Shelters
The Sitabhinji Group of Rock Shelters, also referred to as the Ravanachhaya Mural Rocks, is a 4th to 6th century CE rock-cut monument with a major painted mural and inscriptions near Danguapasi village of Kendujhar (Keonjhar) district of Odisha. Archaeological excavations after the 1950s have unearthed boulder sections with additional inscriptions in Sanskrit and early Odiya, coins and parts of pre-8th-century Hindu temple and artwork from the Bhanja dynasty.T. N. Ramachandran (1951), ''Find of Tempera Painting in Sītābhiñji, District Keoñjhār, Orissa'', Artibus Asiae, Volume 14, Number 1/2, pp. 4-25, The 4th-century Ravanachhaya painted mural is notable for one of the earliest tempera painting ('' chitra'') in India, for its non-religious portrayal of a king's procession, as well as its Sanskrit inscription in the emerging eastern branch of the northern script. The other notable discoveries here include the late-Gupta ''chaturmukha'' (four faced) Shiva Linga dated to aroun ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tempera
Tempera (), also known as egg tempera, is a permanent, fast-drying painting medium consisting of colored pigments mixed with a water-soluble binder medium, usually glutinous material such as egg yolk. Tempera also refers to the paintings done in this medium. Tempera paintings are very long-lasting, and examples from the first century AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by oil painting. A paint consisting of pigment and binder commonly used in the United States as poster paint is also often referred to as "tempera paint", although the binders in this paint are different from traditional tempera paint. Etymology The term ''tempera'' is derived from the Italian ''dipingere a tempera'' ("paint in distemper"), from the Late Latin ''distemperare'' ("mix thoroughly"). History Tempera painting has been found on early Egyptian sarcophagus decorations. Many of the Fayum mummy portraits use tempera, sometimes in comb ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chitra (art)
Chitra, also spelled as Citra, is an Indian genre of art that includes painting, sketch and any art form of delineation. The earliest mention of the term ''Chitra'' in the context of painting or picture is found in some of the ancient Sanskrit texts of Hinduism and Pali texts of Buddhism. Nomenclature ''Chitra'' (IAST: ''Citra'', चित्र) is a Sanskrit word that appears in the Vedic texts such as hymns 1.71.1 and 6.65.2 of the ''Rigveda''. There, and other texts such as ''Vajasaneyi Samhita'', ''Taittiriya Samhita'', ''Satapatha Brahmana'' and ''Tandya Brahmana'', ''Chitra'' means "excellent, clear, bright, colored, anything brightly colored that strikes the eye, brilliantly ornamented, extraordinary that evokes wonder". In the ''Mahabharata'' and the ''Harivamsa'', it means "picture, sktech, dilineation", and is presented as a genre of ''kala'' (arts). Many texts generally dated to the post-4th-century BCE period, use the term ''Chitra'' in the sense of painting, and ''Chi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shurpanakha
Shurpanakha (Sanskrit: शूर्पणखा, , ), also known as Meenakshi, is a ''rakshasi'' (demoness) in Hindu Mythology. Her legends are mainly narrated in the epic ''Ramayana'' and its other versions. She was the sister of Lanka's king, Ravana, and the daughter of the sage Vishrava and the rakshasi Kaikeshi. Shurpanakha's role in the original epic is small, yet significant. Appearance Shurpanakha's appearance has drastic differences in the different versions of the epic. Most versions including the Valmiki's Ramayana mention her to be an ugly woman. When Shurpanakha first sees Rama in the forest, Valmiki describes her as facially unpleasant, pot-bellied, wry-eyed, coppery-haired, ugly featured, brassy-voiced, deplorably oldish, a crooked talker, ill-mannered, uncouth and abominable. In contrast, the Kamba Ramayanam describes her as a lovelorn and beautiful woman, attributing her behaviour to loneliness and thus humanising her. Early life Kaikesi, daughter of Sumali, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Satrubhanja
Satrubhanja ( Odia : ଶତ୍ରୁଭଞ୍ଜ) was a warrior and emperor who belonged to the Vindhyatabi branch of Nagavanshi rulers that ruled from Keonjhar district of Odisha in the early 4th century A.D (possibly between 261 A.D to 340 A.D). The era of Satrubhanja belongs to the pre Gupta rise as an imperial power in India when the other ruling Bharasiva Nagas of India joined hands to overthrow the ruling Devaputras of Pataliputra, also otherwise known as Kushan rulers to the modern historians. The Asanapat village dancing Nataraja Shiva inscription in Sanskrit Language with Post Brahmi or early Kalinga script of Satrubhanja provides a great deal of details about his achievements as a conqueror and spiritual man. The inscription is of thirteen lines which is written partly in verse and partly in prose. Naga rule in Odisha The Naga clan ruled most of central and northern India during the 2nd Century A.D to 4th Century A.D. From the Asanpat inscription we know that Satru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jogimara And Sitabenga Caves
The Sitabenga and Jogimara Caves, sometimes referred to either as Sitabenga Cave or Jogimara Cave, are ancient cave monuments nested in the north side of Ramgarh hills in Puta village, Chhattisgarh, India. Dated between the 3rd-century BCE to 1st-century BCE, they are notable for their non-religious inscriptions in Brahmi script and Magadhi language, and one of the oldest colored frescoes in Asia. Some scholars state that the Sitabenga cave is the oldest performance theatre on the Indian subcontinent, but others question whether it was indeed a theatre and suggest that it may have been a resting place (''dharmashala'') along an ancient trade route. The inscription at the Jogimara cave is equally disputed, with one translation interpreting it as a love-graffiti by a girl and a boy, while another translation interpreting it as a female dancer and a male sculptor-painter creating the two caves together to serve others. The inscription is also the oldest known mention of the word "de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Inscriptions
The earliest undisputed deciphered epigraphy found in the Indian subcontinent are the Edicts of Ashoka of the 3rd century BCE, in the Brahmi script. If epigraphy of proto-writing is included, undeciphered markings with symbol systems that may or may not contain linguistic information, there is substantially older epigraphy in the Indus script, which dates back to the early 3rd millennium BCE. Two other important archeological classes of symbols are found from the 1st millennium BCE, Megalithic graffiti symbols and symbols on punch-marked coins, though most scholars do not consider these to constitute fully linguistic scripts, and their semiotic functions are not well understood. Writing in Sanskrit (Epigraphical Hybrid Sanskrit, EHS) appears in the 1st to 4th centuries CE. Indian epigraphy becomes more widespread over the 1st millennium, engraved on the faces of cliffs, on pillars, on tablets of stone, drawn in caves and on rocks, some gouged into the bedrock. Later t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Rock-cut Architecture
Indian rock-cut architecture is more various and found in greater abundance in that country than any other form of rock-cut architecture around the world. Rock-cut architecture is the practice of creating a structure by carving it out of solid natural rock. Rock that is not part of the structure is removed until the only rock left makes up the architectural elements of the excavated interior. Indian rock-cut architecture is mostly religious in nature. There are more than 1,500 known rock-cut structures in India. Many of these structures contain artwork of global importance, and most are adorned with exquisite stone carvings. These ancient and medieval structures represent significant achievements of structural engineering and craftsmanship. The effort expended often astonishes visitors, but seen from one aspect, a rock-cut structure is a decorated rock quarry; most of the stone removed was typically put to economic use elsewhere. In India, caves have long been regarded as sacr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Art
Indian art consists of a variety of art forms, including painting, sculpture, pottery, and textile arts such as woven silk. Geographically, it spans the entire Indian subcontinent, including what is now India, Pakistan, Bangladesh, Sri Lanka, Nepal, and at times eastern Afghanistan. A strong sense of design is characteristic of Indian art and can be observed in its modern and traditional forms. The origin of Indian art can be traced to prehistoric settlements in the 3rd millennium BCE. On its way to modern times, Indian art has had cultural influences, as well as religious influences such as Hinduism, Buddhism, Jainism, Sikhism and Islam. In spite of this complex mixture of religious traditions, generally, the prevailing artistic style at any time and place has been shared by the major religious groups. In historic art, sculpture in stone and metal, mainly religious, has survived the Indian climate better than other media and provides most of the best remains. Many of the most ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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