Iconography and Ritual of Siva at Elephanta, The

SUNY Press
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The beautiful rock-cut Siva temple on Elephanta Island in Bombay Harbor is one of the finest monuments of Indian religion and art. Until now, interpretation of its magnificent sculptured scenes has been neglected.

In this book, Collins systematically surveys the pertinent Vedic, Epic, and early Puranic literature as well as the contributions of India’s foremost poet and dramatist, Kalidasa, to reveal sources for and interpretations of the subjects of the relief sculptures. This survey shows strong associations with areas formerly controlled by the classical Gupta dynasty in northern India. This book provides the first detailing of this link, intimated by others before, which helps to explain the grandeur of style found in the colossal reliefs.

By applying certain aspects of ritual texts of the Lakulisa-Pasupata, the sect that probably used Elephanta originally, exceptional clarity is revealed for the worship of the sculptures in a counterclockwise sequence, quite unusual in India, but appropriate to this particular sect. Lakulisa-Pasupata texts are invoked in Collins’ theory of how the cave-temple at Elephanta was used. This area of investigation has been virtually untouched by other scholars for any early Hindu shrine in India.
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About the author

Charles Dillard Collins is Associate Professor of Fine Arts at the Rochester Institute of Technology.

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Additional Information

Publisher
SUNY Press
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Published on
Jan 1, 1988
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Pages
331
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ISBN
9780791499535
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Language
English
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Genres
Art / Sculpture & Installation
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Content Protection
This content is DRM protected.
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Eligible for Family Library

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Is there art after modernism? Many of today's art students and professionals are finding the answer — "yes" — lies in the long-neglected field of figurative sculpture, a demanding form of expression that requires extremely rigorous technical training. Most modern schools, however, are simply not equipped to provide the necessary technical background. The republication of this highly valuable text by Edouard Lanteri, renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him "my dear master, my dear friend"), makes it possible for serious students to gain the requisite skills and bridge the gap between artistic concept and figurative realization. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.
Beginning with a detailed study of modelling a head from a cast model, Lanteri gives meticulous descriptions of the anatomical features that comprise the head. Next, there are instructions for sculpting a bust from a live model: how to place the model, use the clay, take measurements, set up the all-important framework, put on hair, etc. The author also covers modelling the figure from nature, including such factors as the scale of proportions, posing the model, the chief line, contrasts of line, building up the figure, and more.
Part III covers sculpting in relief (poses, fixing the background, tools, superposition of planes, color, change of light, etc.); drapery (arrangement of folds, principles of radiation, flying drapery, etc.); and medals (proportion, working the mold, inscriptions, etc.). Also discussed are principles of composition, both in relief and in the round. Profusely illustrated with hundreds of photographs, drawings, and diagrams, this work is the kind of comprehensive resource that should be a lifelong studio companion to the figure sculptor. 107 full-page photographic plates, 27 other photographs, 175 drawings and diagrams.
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