Vastu-shastra (Vol. I: Hindu Science of Architecture; Vol. II: Hindu Canons of Iconography and Painting) v2.c75.43

v2.c75.43

A reoriented classification of the varieties of the principal deities, like Viṣṇu or Śiva has been put forward. Similarly the relative importance and ideology and their bearing on our cultural traditions, affecting deeply the Indian life as a whole, of some of the varieties of these principal deities, classed as minor or miscellaneous forms by Śri Rao, have been reoriented and re-established. Vāsudeva-Viṣṇu, Anantaśāyī Nārāyaṇa, Sadāśiva, Mahāsadāśiva and Dvādaśa-kalā-sampūrṇa Sadāśiva are some of the many such notable examples, found dealt with, in this new angle. A good many images though described in the manuals and said to be unrepresented in the monuments (the rich sculptural heritage of India) have also been resurrected. A very striking example is that of Simhavāhinī Lakṣmī, described in Hemādri's Caturvarga-cintāmaṇi but said to be unrepresented by Sri Brindavan Bhattacharya (cf. I. I.) in Indian sculpture, has been pointed out here to have been represented alright—vide Khajuraho sculptures. A bold assertion on the basis of the indegenous texts and their ideology regarding the Buddha image has been made to bring home to the readers that the evolution of Buddha image is not cent per cent a foreign contribution. It is fundamentally Indian and accordingly a new critique of Gandhara art has been advanced. A confusion prevailing among the scholars regarding the characteristic traits of Gandharvas and Kinnars has been cleared—vide the correct interpretation of the Mānasāra text describing these demi-gods. This is only a bare outline of this critical and comparative angle of treatment, an appraisal of which can be made only after fully going through all these eight chapters, full of ideas and innovations. This brief indication only aims at enkindling a curiosity in this fascinating study of immortals.