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Art of South India: Deccan

K.V. Soundara Rajan (Author)

The legitimacy of the study of the Deccan for a finite regional cultural assessment is as unassailable as it is logical by the ecological distinctiveness of this region.

Moulded constantly by centripetal rather than centrifugal forces, especially in architecture as diffusing into its triple physiographic divisions of coastal (Aparanta), central (Marathwada) and interior (Vidarbha) tracts; these were assimilatd to become a new and modified art metier.

The foundations for this were laid in the halcyon Satavahana era. Arterial merchant-routes passed through the heart of this region from Avanti to Pratishthana, bound via Tagara for Dhanyakataka in Andhra; and from Magadha, via pauni (Vidarbha) and Naskikya to sopara on the West Coast. The maritime Roman contacts and their interior traffic further intensified it. The Vakatakas provided thereafter the requisite cave art motivations in a big way, followed close on heels by the redoubtable Chalukyas of Vatapi and Rashtrtakutas of Elapura and Manyakheta carrying this art medium to new and as yet unscaled heights. The seeds of the modern political configuration was ultimately laid in the 11th-13th century A.D. by the Yadava-Seuna empire centred at Devagiri, when it blended its structural models from among those of the neighbouring Malwa, Gujarat and Lower Deccan.

This book is perhaps the first attempt at an integrated picture of Deccan art picking up the beaconlights of art on the panorama.

In nine chapters periodizing the viable stages of cultural denouement followed by a crisp, if brief, Data Sheet and profusely aided by illustrations and analytical charts, it offers a definitive articulation of the early art-vesture of the Deccan.

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About the author

K.V. Soundara Rajan

K.V. Soundara Rajan (b. 1952) who additionaol Director General, Archaeological Survey of India, needs no introduction to scholars and academics in art, archaeology and architecture, in India and outside. His contributions to Indian Culture have the mark of secular values, being related to not only Hinduism and its allied facets of Buddhism and Jainism but also to the creative art productions of Islam in architecture. Trained by Mortimer Wheeler and F.E. Zeuner in field archaeology and Prehistoric studies, in which career he has excavated several sites of varying nature in different parts of India, from the Harappan, through the Megalithic to Indo-Roman centres, it is his primary grounding in Sanskrit and its ancient legacy that made him a legitimatae and effective practitioner in interpretative thrusts in both archaeological and traditional studies in an integrative manner. He has a score of books and hundreds of research articles in his name and had, besides being an alumnus of Allahabad University, been the chairperson of several learned societies traveled in the Old world and the New, having lectured and studied their monuments and museums and is respected for his fluent exposition of our cultural heritage. His ‘Essence of Hinduism’ with its succedding Dictionary Volumes of Hindu usages, is perhaps the creation closest to his heart as the quintessential presentation of our cultural legacy. His abiding interests include also Classical music and the Stage.

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Bibliographic information

Title Art of South India: Deccan
Format Hardcover
Date published: 01.01.1980
Edition 1st ed.
Publisher Sundeep Prakashan
Language: English
isbn 8175740183, 9788175740181
length xii+224p., Figures; 65 Plates; 3 Maps; Appendix; Bibliography; Index; 26cm.