Epigraphy is an important branch of historical archaeology. It not only provides concrete facts, but also sheds light on various aspects of ancient Indian history‒be it political, social, religious or cultural. In this article an attempt has been made to study and analyse inscriptions engraved on two pieces of lintels which have been recovered from a modern pavement in the Gwalior fort and now preserved in the Gujari Mahal Archaeological Museum of Gwalior. It is in proto-Nāgarī script having twenty two verses in Sanskrit language. Lintels were part of a temple maṇḍapa. A critical study of the lintel inscription situates it in the latter half of the ninth century C.E. both on the basis of palaeography as well as on internal content.
This paper deals with the temple art of the Kachchhapaghātas who ruled over central India in the last decade of 10th century A.D. They were great builders and many temples were constructed under their patronage in central India. Their art style reflects continuity of Gurjara-Pratihara art idiom as well as some new trends both in ground planning and elevation. The ornate style of vitānas, preference for Śkharī type of spires and highly embellished mouldings‒they all indicate the grandeur and magnificence attained in temple architecture during their rule. Several in-situ examples of temple architecture bespeak the glory of art which flourished under Kachchhapaghāta patronage. Many elements described in Samarāṅgaṇasūtradhāra (Bhojadeva, 11th century), Aparājitapŗchchhā (Bhuvandeva late 11th century A.D.), Vāstuvidyā, Dīparṇava, Prāsādamaṇḍana and Kśirārṇava etc. may be identified in Kachchhapaghāta temples.
ANANDA COOMARASWAMY’S CONTRIBUTION TO THE STUDIES ON SRI LANKAN FURNITURE BASED ON MEDIAEVAL SINHALESE ART, 1908
Writing at the turn of the 19th centuryAnanda Kentish Coomaraswamy’s prolific studies on society, culture, and art of Sri Lanka has provided a tangible source of 18th century art, architecture, and crafts recorded in the Kandyan district. His tome Mediaeval Sinhalese Art,1908, published over a century ago still is the foundation for the studies of art and art history is Sri Lanka. Coomaraswamy is emphatic when he writes that what he found practiced in Kandyan district still being a continuation of late historical period art (medieval), however fast disappearing. At the turn of the 20th century he pleads for the preservation of what remains of the rapidly disappearing national art. Coomaraswamy’s references from the Mahavamsa of ivory furniture from ancient Sri Lanka is of immeasurable significance, as no traces of ivory remains from the early period. Extant examples of wooden furniture are still found in the Kandyan region, much of which was first documented in Mediaeval Sinhalese Art. This forms the basis of the author’s research on the evolution of furniture in Sri Lanka.
According to E.H. Carr, History is an unending dialogue between the past and the present. History understands the present through past and builds the foundation for the future. The control over present and future is also sought through history. Thus, understanding of history becomes imperative for us in order to understand the control it exercises over the minds of the present society. For long Medieval state has been understood to be established on the basis of force and the subsequent social structure and social relationship reflected that nature of medieval state. This kind of understanding, which generated from the writings of James Mill and other imperialist writers, was also lapped up by the communalist historians. Mohammad Habib is one of the first Indian historians who challenged the thesis and gave a new meaning to the understanding of medieval past. This paper attempts to understand the medieval past and the role of the ruler, state and society in it through the writings of Mohammad Habib.
RURAL ECONOMIC DEVELOPMENT THROUGH FARMER’S CO-OPERATIVE SEZ: CAN THIS BE A VIABLE ALTERNATIVE TO THE CORPORATE SEZ IN RURAL INDIA?
Inspired by the success of the Special Economic Zones (SEZs) in China, the Indian government introduced a similar policy through the SEZ Act in June 2005. This policy consists of extending fiscal concessions to foreign as well as domestic corporate developers to set up either single or multiple product SEZs. The land needed for these SEZs would be acquired by the government for the private corporate promoter. The aim of this policy was to encourage investment, exports, flow of foreign exchange and employment. That substantial benefits, in terms of foreign exchange inflows, higher employment and general development, can accrue to the country through this kind of development is quite certain. However, the distribution of these is most likely to be skewed. On the one hand are the promoters of SEZ, the companies who will make profits and people who live and work here amidst world class amenities. On the other hand are the farmers whose lands will have to be acquired to build these SEZs who will lose the only income generating asset that they have and get only a one time payment in return. This skewed distribution of the potential benefits is reflected in the responses of the two groups. The corporate sector has responded by flooding the government with applications for setting up such SEZs where as farmers who stand to lose their land are protesting against this policy.
JAPANESE ANIMATION AS A GLOBAL PRODUCT: THE LINGERING TRACES OF NIJONJINRON AND THE RISE OF GLOBALISM AND HYBRIDITY
The present study explores cultural representations in three prominent examples of contemporary Japanese animation, NarutoShippuden, Bleach, and Onigamiden. Lingering traces of Japanese exceptionalism (Nihonjinron) are still present in contemporary Japanese animation such as in the animated movie, Onigamiden. On the other hand two of the most popular animated series, Naruto Shippuden and Bleach, fit a cultural model characterized by hybridity and globalism. Japanese animation has historically reflected the cleavages and conflicts of Japanese society and thus serves as an extension of the public sphere. Japan’s aging population, its increasing heterogeneity, and the country’s economic woes, lead to a period of transition in terms of national identity and how that identity is expressed to insiders and outsiders.
This brief report aims at providing an illustrated commentary on the Kumbah Mela 2013 which is just unfolding at the most sacred place of India‒Sangama or the confluence of holy Gangā and Yamunā rivers at Allahabad.