{"id":1325,"date":"2019-01-17T16:20:23","date_gmt":"2019-01-17T10:50:23","guid":{"rendered":"http:\/\/conserveheritage.org\/?page_id=1325"},"modified":"2023-09-19T19:44:53","modified_gmt":"2023-09-19T14:14:53","slug":"third-international-seminar","status":"publish","type":"post","link":"https:\/\/reachfoundation.ngo\/index.php\/2019\/01\/17\/third-international-seminar\/","title":{"rendered":"Third International Seminar"},"content":{"rendered":"

Panel \u2013 II<\/strong><\/p>\n

\u201cUnderstanding the Nature of S\u0341aivism: A Study of the Visual Culture of Maha\u0304ku\u0304t\u0323a and A\u0304lampur\u201d<\/em><\/strong><\/p>\n

Dr. Ajeya Vajapeyee <\/strong>(PhD scholar, Department of History, Faculty of Social Sciences, University of Delhi)<\/p>\n

Locked in between the hills of Kaladgi range, Mah\u0101k\u016b\u1e6da is a popular \u015aaivat\u012brtha in the Bagalkot (erstwhile Bijapur) district of Northern Karnataka. It is located on the banks of R. Malaprabha\u0304 and is home to 27 old and new shrines. Invariably dedicated to \u015aiva, all temples stand skirting a masonry tank called Vi\u1e63\u1e47u-Pu\u1e63kari\u1e47\u012b. Maha\u0304ku\u0304t\u0323a became a flourishing S\u0301aiva centre between the 6th century and the 8th century CE and also gained the nomenclature Daks\u0323in\u0323a-Ka\u0304s\u0301i. Similarly, A\u0304lampur, a temple ensemble about 200 miles away from Maha\u0304kut\u0323a in the Kurnool district of Telangana received the same nomenclature. A\u0304lampur also developed between the same time periods and, is home to nine temples dedicated to S\u0341iva. Its temples have been stylistically likened to Maha\u0304ku\u0304t\u0323a by in early scholarship on the region. Maha\u0304ku\u0304t\u0323a and A\u0304lampur developed into S\u0341aiva centres during the time period and patronage of the Early Western Ca\u0304lukyas of Ba\u0304da\u0304mi as reflected in their epigraphy. While Maha\u0304ku\u0304t\u0323a today holds its significance as a modern S\u0301aiva centre, A\u0304lampur stands as the western gateway of S\u0341risailam, a popular S\u0341aivati\u0304rtha, reference to which exists in the Skanda Purana. This paper is an attempt to understand Maha\u0304ku\u0304t\u0323a as an ancient S\u0301aivati\u0304rtha while reflecting on the question of the site’s affiliation to Pa\u0304s\u0301upata S\u0301aiva system. It argues for a stronghold of S\u0301aivism at the site co-existing with scattered non-S\u0301aiva belief systems. While it agrees with the existence of Pa\u0304s\u0301upata S\u0301aivism at Maha\u0304ku\u0304t\u0323a, presence of other forms of S\u0301aivism cannot be neglected. In the end, it will attempt to understand S\u0341aivism at A\u0304lampur in architectural and temporal conjunction with Maha\u0304ku\u0304t\u0323a.<\/p>\n

\u201cA Study of Art Forms Depicted in Bhi\u0304mes\u0301vara Temple at Vemulawada, Rajanna-Sircilla District, Telangana\u201d<\/em><\/strong><\/p>\n

Mr. Ganesh Bhongale <\/strong>(Department of Heritage Telangana, Hyderabad)<\/p>\n

Ms. Poorva Salvi <\/strong>(Department of Heritage Telangana, Hyderabad)<\/p>\n

Bhi\u0304mes\u0301vara temple is located in the village named Vemulawada that lies on the western part in the district of Rajanna-Sircilla, in the state of Telangana (Latitude: 18.4690\u00b0 N, Longitude: 78.8671\u00b0 E) and belongs to the Ve\u0304mulava\u0304d\u0323a\u0304 Ca\u0304lukyas (750-973 CE). According to some scholars like M. A. Dhaky, this temple has been identified as \u2018Baddeges\u0301vara\u2019, which was founded by Baddega I of this dynasty in c. late ninth century CE. The aforementioned temple is crucial as it shows some affinity to contemporary architectural styles from surrounding dynasties like Vengi Ca\u0304lukya dynasty on one hand and Ra\u0304s\u0323t\u0323rakut\u0323a dynasty of southern Karnataka on the other hand but also retains some local peculiarities which later influenced future architectural styles of Telangana.<\/p>\n

Bhi\u0304mes\u0301vara temple exhibits some significant icons such as Lin\u0307godbhavamurti\u0304, Vina\u0304yaka, Pancatantra panels etc. Some architectural features and traits seen in this temple continued and influenced the subsequent dynasties of Telangana like Ka\u0304katiya dynasty and Kalya\u0304n\u0323i\u0304 Ca\u0304lukya dynasty. Hence, the temple serves as a link between architectural styles of certain contemporary dynasties like Vengi Ca\u0304lukyas and Ra\u0304s\u0323t\u0323rakut\u0323a and several succeeding dynasties of Telangana. Bhi\u0304mes\u0301vara temple, therefore, becomes instrumental in comprehending the transformations and development of sculptures from earlier dynasties into the later art of Telangana like Ka\u0304katiyas and Kalya\u0304n\u0323i\u0304 Ca\u0304lukyas. The aim of this paper is to study the dynamics of the Bhi\u0304mes\u0301vara temple by analysing several important sculptures and panels seen in the temple<\/p>\n

\u201cOf Art, Artists, and Patrons: Reading Verbal and Visual Codes on Early Ca\u0304lukya Temples\u201d<\/em><\/strong><\/p>\n

Dr. Parul Pandya Dhar <\/strong>(Associate Professor, South and Southeast Asian Art History, Department of History, University of Delhi)<\/p>\n

Between the mid-sixth and mid-eighth centuries CE, the Ca\u0304lukyas of V\u0101t\u0101pi\u0304 (B\u0101d\u0101mi\u0304) was a dominant political and cultural influence in the Deccan. Even as they conquered and annexed territories to their growing kingdom, they also cultivated a vibrant courtly culture in which poets, performers and artists thrived, received the honour, and also enjoyed a fair degree of creative license. The many signatures, marks, and messages of artists on monuments built during their times along the Malaprabh\u0101 River and beyond are the testimony to these developments, especially at the important Ca\u0304lukya centres of B\u0101d\u0101mi\u0304, Aiho\u1e37e, and Pa\u1e6d\u1e6dadakal in Karnataka, and \u0100lampur in the newly formed Indian State of Telangana (ancient \u0100ndhrade\u015ba). This paper proposes to interpret relationships between patrons and artists; royal objectives and creative aspirations; and the aesthetics and politics of art during the times of the B\u0101d\u0101mi\u0304 Ca\u0304lukyas. It does so by reading verbal and visual codes engraved on select early Ca\u0304lukya temples. Often seen in isolation, the inscribed text, engraved imagery, and their spatial contexts on these monuments reveal significant insights about artists, artistic processes, and patrons when reading in conjunction with each other.<\/p>\n

\u201c<\/em><\/strong>Dakshi\u1e47\u0101patha<\/em><\/strong> in <\/em><\/strong>Ra\u0304s\u0323t\u0323rakut\u0323a<\/em><\/strong> Times: In Context to Telangana \u2013 Karnataka Cultural Interface\u201d<\/em><\/strong><\/p>\n

Dr. Choodamani Nandagopal <\/strong>(Art Historian, Author UNESCO Fellow)<\/p>\n

The term Dekkhan<\/em> represents vernacular pronunciation of the Sanskrit term Daks\u0323ina, meaning southern, designate Indian peninsula lying to the south of the Narmada River.\u00a0 Mauryas and S\u0301atava\u0304hanas shared the historical past of Deccan. S\u0301atava\u0304hanas opened the first chapter of south Indian history from 2nd century BCE to 2nd<\/sup> Century CE, laying strong foundation for cultural interactions and political sovereignty of South India, and more importantly between western Telangana and eastern Karnataka of present times. While Ca\u0304lukya Pulakes\u0301i\u0304 II was praised in epigraphs as Dakshin\u0323a\u0304pathes\u0301vara <\/em>after his victory over Hars\u0323avardhana of north, the Ra\u0304s\u0323t\u0323rakut\u0323as established their complete sway over the region comprising from Narmada to Kaveri, in real sense they were the Dakshin\u0323a\u0304<\/em> Pathavallabhas.<\/em>\u00a0 Nilagunda and Sirur inscriptions of 866CE refer that Amoghavars\u0301a was being worshipped by the lords of Vanga, Anga, Magadha, Malava and Vengi. The testimony of the Arab writer Sulaiman, ranked the Ra\u0304s\u0323t\u0323rakut\u0323a Empire among the four great contemporary empires of the universe, the other three being, the Holy Roman Empire, Byzantine Empire and Chinese Empire. Manyakheta, the capital of Ra\u0304s\u0323t\u0323rakut\u0323as was adjacent to present Telangana region, a hub where parts of Maharashtra, Karnataka and Telangana connected and shared common bond in art, thought, literature and polity.<\/p>\n

This paper explores on two significant characteristics corresponding to cultural interface between Karnataka and Telangana.\u00a0 The first being, directly related to the verses of the first Kannada text Kavi\u0304ra\u0304jamarga eulogising the Ra\u0304s\u0323t\u0323rakut\u0323a territorial expansion of the picture of Dakshi\u1e47\u0101patha.\u00a0 The second is the contributions of Vemulavada to Kannada literature under the patronage of Ari\u0304kesari\u0304 II. A\u0304dikavi\u0304 Pam\u0307pa from Venginadu becomes the court poet of Vemulavada and contributes greatly to Kannada literature and cultural interaction between Karnataka and Telangana. This was the age of cultural confluence that characterised Dakshi\u1e47\u0101patha.<\/p>\n

\u201cTemples art of the Dakshin\u0323a\u0304patha- A study of the Ca\u0304lukyas and Ra\u0304s\u0323t\u0323rakuta Temples (6th<\/sup> to 10th<\/sup> centuries)\u201d<\/em><\/strong><\/p>\n

Dr. Rekha Pandey <\/strong>(Professor, Department of History, HOD, Centre for Women\u2019s Studies at the University of Hyderabad)<\/p>\n

The present paper looks at the temple art in Dakshin\u0323a\u0304patha, with a special focus on paintings with a study of the Ca\u0304lukya and Ras\u0323t\u0323rakuta temples from 6th to 10th centuries. Art has been present in India from ancient times and the temples are a very good example of this. Unfortunately, except for sculpture and architecture very little art of this early period, especially paintings have survived due to the nature of the material used. In fact, even if we look at the paintings in the temple of the Vijayanagara period in 16th and 17th century, we find that they are in a state of decline due to neglect and the lack of resources, will and effort in trying to preserve them. The case is more so in the early period. Here we try to give a glimpse of the art of these two dynasties in order to highlight their contribution to the art and painting of the later periods. Most of the art that we are talking about was confined to the temples. The temples played a very important role in Dakshin\u0323a\u0304patha in the early medieval period. When the archaeological data is corroborated with the inscriptional evidence, we find that land grants were given in a large scale between 5th to the 7th century to priests and the temples and the Eastern Ca\u0304lukyas and the Ras\u0323t\u0323rakutas saw a large scale temple building activity. Most of these painters dedicated themselves to their art and it was an offering to the divine spirit and the subordination of the self.\u00a0 We do not know the names of many of these artists. In Saundarylahari, S\u0301ankara lists even the S\u0301ilpa as pujavidha\u0304n (a process of offering). The way a painting is to be undertaken in an orthodox manner is described in the lines of the Vis\u0323n\u0323udharmottara that directs the painter to sit facing east in devoted fashion and offer prayers before beginning the work The Vis\u0323n\u0323udharmottara even mentions anyachittata, absentmindedness as the cause of the decline of the paintings. Under the Western Ca\u0304lukyas, we look at the art and paintings of the cave temples in Bada\u0304mi\u0304, Aihol\u0323e (and Nagral) and Pat\u0323t\u0323adakal. Under Ra\u0304s\u0323t\u0323rakuta, we examine the Dravidian or Pallava style that was adopted and can be seen in the famous Kailash Temple at Ellora near Aurangabad (Maharashtra) in the three groups of rock-cut temples in Ellora \u2013 Buddhist, Jain, and Brahmanical. The art created during this period was the most forceful and vital creation of the Indian spirit which continues till the later period.<\/p>\nInvitation and Programme Schedule, 2019<\/a>\n

 <\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Panel \u2013 II \u201cUnderstanding the Nature of S\u0341aivism: A Study of the Visual Culture of Maha\u0304ku\u0304t\u0323a and A\u0304lampur\u201d Dr. Ajeya Vajapeyee (PhD scholar, Department of History, Faculty of Social Sciences, University of Delhi) Locked in between the hills of Kaladgi range, Mah\u0101k\u016b\u1e6da is a popular \u015aaivat\u012brtha in the Bagalkot (erstwhile Bijapur) district of Northern Karnataka.<\/p>\n

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