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The Loves of Krishna in Indian Painting and Poetry (Ethical and religious classics of the East and West, no. 18)
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The Loves of Krishna in Indian Painting and Poetry (2015)
EN NW EB DLISBN: 9781465546029 bzw. 1465546022, in Englisch, Library of Alexandria, Library of Alexandria, Library of Alexandria, neu, E-Book, elektronischer Download.
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During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art. Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression-the first a style of savage distortion, the second a style of the softest grace-each manner enlivened the common subject. Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry-the lotus swaying in a stream, the flowering creeper embracing a trunk-were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express.
During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art. Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression-the first a style of savage distortion, the second a style of the softest grace-each manner enlivened the common subject. Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry-the lotus swaying in a stream, the flowering creeper embracing a trunk-were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express.
2
The Loves of Krishna in Indian Painting and Poetry (2015)
EN NW EBISBN: 9781465546029 bzw. 1465546022, in Englisch, Library Of Alexandria, neu, E-Book.
Lieferung aus: Niederlande, Direct beschikbaar.
bol.com.
During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness ... During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art. Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression—the first a style of savage distortion, the second a style of the softest grace—each manner enlivened the common subject. Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry—the lotus swaying in a stream, the flowering creeper embracing a trunk—were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost. Such an obstacle to understanding was real enough but, as the eye ranged over this new kind of love-painting, a second difficulty appeared. In many pictures, the lover had special characteristics. He was shown with a crown of peacock's feathers, clad in a golden dhoti and in every case his skin was mauve or slate-blue. Productinformatie:Taal: Engels;Formaat: ePub met kopieerbeveiliging (DRM) van Adobe;Kopieerrechten: Het kopiëren van (delen van) de pagina's is niet toegestaan ;Geschikt voor: Alle e-readers te koop bij bol.com (of compatible met Adobe DRM). Telefoons/tablets met Google Android (1.6 of hoger) voorzien van bol.com boekenbol app. PC en Mac met Adobe reader software;ISBN10: 1465546022;ISBN13: 9781465546029; Engels | Ebook | 2015.
bol.com.
During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness ... During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art. Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression—the first a style of savage distortion, the second a style of the softest grace—each manner enlivened the common subject. Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry—the lotus swaying in a stream, the flowering creeper embracing a trunk—were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost. Such an obstacle to understanding was real enough but, as the eye ranged over this new kind of love-painting, a second difficulty appeared. In many pictures, the lover had special characteristics. He was shown with a crown of peacock's feathers, clad in a golden dhoti and in every case his skin was mauve or slate-blue. Productinformatie:Taal: Engels;Formaat: ePub met kopieerbeveiliging (DRM) van Adobe;Kopieerrechten: Het kopiëren van (delen van) de pagina's is niet toegestaan ;Geschikt voor: Alle e-readers te koop bij bol.com (of compatible met Adobe DRM). Telefoons/tablets met Google Android (1.6 of hoger) voorzien van bol.com boekenbol app. PC en Mac met Adobe reader software;ISBN10: 1465546022;ISBN13: 9781465546029; Engels | Ebook | 2015.
3
The Loves of Krishna: In Indian Painting and Poetry (Illustrated) W G Archer Author
~EN NW EB DLEAN: 2940046117783, vermutlich in Englisch, Sai ePublications & Sai Shop, neu, E-Book, elektronischer Download.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd.
During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art.Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression—the first a style of savage distortion, the second a style of the softest grace—each manner enlivened the common subject.[1] Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry—the lotus swaying in a stream, the flowering creeper embracing a trunk—were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost.
During the twentieth century, a certain type of Indian painting began to fascinate the West. Unlike Mughal art, it was a product of Hindu courts in Rajasthan and the Punjab Hills and unlike Mughal painting, its chief concern was with the varied phases of romance. Ladies would be shown brooding in their chambers as storm clouds mounted in the sky. A girl might be portrayed desperately fondling a plantain tree, gripping a pet falcon, the symbol of her lover, or hurrying through the rainy darkness intent only on reaching a longed-for tryst. A prince would appear lying on a terrace, his outstretched arms striving vainly to detain a calm beauty or welcoming with delight a bashful girl as she slowly advanced. In all these pictures, romantic love was treated as the highest good and physical passion was interpreted with a freshness and innocence unequalled in the world's art.Such paintings were, at first sight, easy to appreciate. Although they alternated between two methods of expression—the first a style of savage distortion, the second a style of the softest grace—each manner enlivened the common subject.[1] Yet in two respects elucidation was vitally necessary. Just as in Japan, the lover might express his longings by cryptic references to Nature, the Indian artist employed poetic symbols to charge his subjects with romantic ardour. Flowers were never merely flowers nor clouds clouds. The symbols of Indian poetry—the lotus swaying in a stream, the flowering creeper embracing a trunk—were intended to suggest passion-haunted ladies. The mingling of clouds, rain and lightning symbolized the embraces of lovers, and commonplace objects such as dishes, vases, ewers and lamps were brought into subtle conjunction to hint at 'the right true end of love.' What, in fact, might seem at first sight to be a simple portrait, proved on closer understanding to be a study in despair, a revelation of delight or a clue to rapture, each image with its sexual implications contriving to express some nuance of longing. In these pictures, only a part of the meaning was apparent and without a comprehension of the poetry, much of its true significance was lost.
4
THE LOVES OF KRISHNA IN INDIAN PAINTING & POETRY W. G. Archer Author
~EN NW EB DLEAN: 2940015723304, vermutlich in Englisch, SAP, neu, E-Book, elektronischer Download.
Lieferung aus: Vereinigte Staaten von Amerika, Lagernd.
CONTENTS ACKNOWLEDGMENTS I INTRODUCTION II THE MAHABHARATA: KRISHNA THE HEROIII THE BHAGAVATA PURANA: THE COWHERD i Birth and Early Adventures ii The Loves of the Cowgirls iii The Death of the Tyrant IV THE BHAGAVATA PURANA: THE PRINCE i The Return to Court ii Marriages and Offspring iii Last Phases iv The _Purana_ Re-considered V THE KRISHNA OF POETRY i The Triumph of Radha ii The _Gita Govinda_ iii Later Poetry iv The _Rasika Priya_ VI THE KRISHNA OF PAINTING NOTES BIBLIOGRAPHY INDEX PLATES AND COMMENTARY SOURCESIINTRODUCTIONDuring the twentieth century, a certain type of Indian painting began tofascinate the West. Unlike Mughal art, it was a product of Hindu courts inRajasthan and the Punjab Hills and unlike Mughal painting, its chiefconcern was with the varied phases of romance. Ladies would be shownbrooding in their chambers as storm clouds mounted in the sky. A girlmight be portrayed desperately fondling a plantain tree, gripping a petfalcon, the symbol of her lover, or hurrying through the rainy darknessintent only on reaching a longed-for tryst. A prince would appear lying ona terrace, his outstretched arms striving vainly to detain a calm beautyor welcoming with delight a bashful girl as she slowly advanced. In allthese pictures, romantic love was treated as the highest good and physicalpassion was interpreted with a freshness and innocence unequalled in theworld's art.Such paintings were, at first sight, easy to appreciate. Although theyalternated between two methods of expression--the first a style of savagedistortion, the second a style of the softest grace--each manner enlivenedthe common subject.[1] Yet in two respects elucidation was vitallynecessary. Just as in Japan, the lover might express his longings bycryptic references to Nature, the Indian artist employed poetic symbols tocharge his subjects with romantic ardour. Flowers were never merelyflowers nor clouds clouds. The symbols of Indian poetry--the lotus swayingin a stream, the flowering creeper embracing a trunk--were intended tosuggest passion-haunted ladies. The mingling of clouds, rain and lightningsymbolized the embraces of lovers, and commonplace objects such as dishes,vases, ewers and lamps were brought into subtle conjunction to hint at'the right true end of love.' What, in fact, might seem at first sight tobe a simple portrait, proved on closer understanding to be a study indespair, a revelation of delight or a clue to rapture, each image with itssexual implications contriving to express some nuance of longing. In thesepictures, only a part of the meaning was apparent and without acomprehension of the poetry, much of its true significance was lost.
CONTENTS ACKNOWLEDGMENTS I INTRODUCTION II THE MAHABHARATA: KRISHNA THE HEROIII THE BHAGAVATA PURANA: THE COWHERD i Birth and Early Adventures ii The Loves of the Cowgirls iii The Death of the Tyrant IV THE BHAGAVATA PURANA: THE PRINCE i The Return to Court ii Marriages and Offspring iii Last Phases iv The _Purana_ Re-considered V THE KRISHNA OF POETRY i The Triumph of Radha ii The _Gita Govinda_ iii Later Poetry iv The _Rasika Priya_ VI THE KRISHNA OF PAINTING NOTES BIBLIOGRAPHY INDEX PLATES AND COMMENTARY SOURCESIINTRODUCTIONDuring the twentieth century, a certain type of Indian painting began tofascinate the West. Unlike Mughal art, it was a product of Hindu courts inRajasthan and the Punjab Hills and unlike Mughal painting, its chiefconcern was with the varied phases of romance. Ladies would be shownbrooding in their chambers as storm clouds mounted in the sky. A girlmight be portrayed desperately fondling a plantain tree, gripping a petfalcon, the symbol of her lover, or hurrying through the rainy darknessintent only on reaching a longed-for tryst. A prince would appear lying ona terrace, his outstretched arms striving vainly to detain a calm beautyor welcoming with delight a bashful girl as she slowly advanced. In allthese pictures, romantic love was treated as the highest good and physicalpassion was interpreted with a freshness and innocence unequalled in theworld's art.Such paintings were, at first sight, easy to appreciate. Although theyalternated between two methods of expression--the first a style of savagedistortion, the second a style of the softest grace--each manner enlivenedthe common subject.[1] Yet in two respects elucidation was vitallynecessary. Just as in Japan, the lover might express his longings bycryptic references to Nature, the Indian artist employed poetic symbols tocharge his subjects with romantic ardour. Flowers were never merelyflowers nor clouds clouds. The symbols of Indian poetry--the lotus swayingin a stream, the flowering creeper embracing a trunk--were intended tosuggest passion-haunted ladies. The mingling of clouds, rain and lightningsymbolized the embraces of lovers, and commonplace objects such as dishes,vases, ewers and lamps were brought into subtle conjunction to hint at'the right true end of love.' What, in fact, might seem at first sight tobe a simple portrait, proved on closer understanding to be a study indespair, a revelation of delight or a clue to rapture, each image with itssexual implications contriving to express some nuance of longing. In thesepictures, only a part of the meaning was apparent and without acomprehension of the poetry, much of its true significance was lost.
5
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The Loves of Krishna in Indian Painting and Poetry (2004)
~EN PB NW RPISBN: 9781414297453 bzw. 1414297459, vermutlich in Englisch, IndyPublish, Taschenbuch, neu, Nachdruck.
Lieferung aus: Vereinigtes Königreich Großbritannien und Nordirland, plus shipping, Shipping area: EUR.
Von Händler/Antiquariat, Revaluation Books, DEVON, Exeter, [RE:3].
168 pages. 9.00x6.00x0.38 inches. This item is printed on demand. Softcover.
Von Händler/Antiquariat, Revaluation Books, DEVON, Exeter, [RE:3].
168 pages. 9.00x6.00x0.38 inches. This item is printed on demand. Softcover.
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Symbolbild
The Loves of Krishna in Indian Painting and Poetry (2004)
~EN PB NW RPISBN: 9781414297453 bzw. 1414297459, vermutlich in Englisch, IndyPublish, Taschenbuch, neu, Nachdruck.
Von Händler/Antiquariat, Revaluation Books [2134736], Exeter, United Kingdom.
168 pages. 9.00x6.00x0.38 inches. This item is printed on demand. Books.
168 pages. 9.00x6.00x0.38 inches. This item is printed on demand. Books.
10
The Loves of Krishna in Indian Painting and Poetry als eBook von W. G. (William George) Archer
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The Loves of Krishna in Indian Painting and Poetry ab 0.99 EURO.
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