The essays during this quantity interact at once with topical concerns round paintings and gender, globalization, cultural distinction, and curating, in addition to explorations of key artists and hobbies and a few much less well-documented paintings via modern artists.
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Additional resources for Art & Visual Culture 1850-2010: Modernity to Globalisation
220 P Pal, “[Book review about The Art of Ancient India by S L Huntington]”, Arts of Asia 17, 3 (1987), p. 129. 221 P Pal, Light of Asia. Buddha Íåkyamuni in Asian Art (Los Angeles: County Museum of Art, 1984), p. 132. 222 Pal, Light of Asia…, p. 138. ”, pp. 401–408. 218 48 the aniconic symbols portray worship and adoration at sacred Buddhist sites and the practices of pilgrimage associated with them. Foucher saw early on connections between aniconic symbols and pilgrimage. He did, however, see these symbols as evolving from souvenirs from the holy Buddhist sites, souvenirs that later became aniconic symbols of the Buddha.
Monash Papers on Southeast Asia, No. 3 (Clayton: Centre of Southeast Asian Studies, Monash University, 1975 (1933)), pp. 7–9. ”, p. 11. , pp. 18–19. , pp. 20–21. 156 Bhårhut Inscriptions, Edited by H Lüders, Revised by E Waldschmidt and M A Mehendale. Corpus Inscriptionum Indicarum, Vol. 2, Part 2 (Ootacamund: Archaeological Survey of India, 1963), p. 96. 150 39 veneration. 157 However, he did not build any all-inclusive theory, he only said that in Bhårhut there were no such representations. 5 Buddhologies Doctrines about the nature of the body of the Buddha, buddhologies, have been referred to as explanations of aniconism.
Pp. 68–74, 99–100. , p. 99. 181 Loc. cit. 182 J Williams, “On Viewing Såñc¥”, Archives of Asian Art 50 (1997–98), p. 95. ”, p. 95. 184 A Coomeraswamy, Mediaeval Sinhalese Art, 3rd Edition (New York: Pantheon Books, 1979 (1908)), p. 153. , pp. 154–163. , p. 48. ”187 in the mind of the artist. To come in contact with the divinity or the ideal mentality, the artist in Indic tradition practised yoga or meditation. In 1918 he wrote, “The practise of visualization ... is identical in worship and in art.