Preeta Nayar | University of Kerala (original) (raw)

Papers by Preeta Nayar

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

Veena is a stringed musical instrument originated in ancient India. It has been in use since the ... more Veena is a stringed musical instrument originated in ancient India. It has been in use since the days of Rigveda. There are different types of veena, mainly depending on the place and position of its various components and method of playing. The present study shows that there are four types of veena, viz., traditional veena, tumburu, bowed veena and stick zither, found along with different gods, goddesses, saints, female terrestrials and musicians in procession in the sculptural depictions of Kerala. They are
mainly sculptured in wood and rarely in stone. These musical instruments identified from the sculptural heritage of Kerala are smaller and portable compared to the present-day veena which is heavier and bigger. All the instruments depicted in the sculptural art of Kerala are almost extinct today.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

This study investigates metal artefacts reported from Chalcolithic sites in Gujarat, offering ins... more This study investigates metal artefacts reported from Chalcolithic sites in Gujarat, offering insights into the cultural and economic shifts within the Harappan civilization. Focusing on the Regionalization, Integration and Localization Eras, the analysis reveals contrasting trends. The Integration
Era, marked by urbanization, advanced metallurgy, and robust trade, yielded diverse artefacts like axes, knives, fishhooks, and bangles, indicative of centralized production and technological innovation. In
contrast, the Localization Era witnessed a decline in settlement size, craft production, and trade. Metal artefacts from this period were utilitarian, limited in variety and quality, reflecting a decline in technological sophistication. The scarcity of high-value goods like gold and semi-precious stones further emphasizes diminished trade and wealth. This comparative analysis underscores the transition from the Integration Era's prosperity and innovation to the Localization Era's decentralization and survival. The study contributes to understanding the decline of the Harappan civilization by examining the changing distribution, diversity, and context of metal artefacts, highlighting broader socio-economic and cultural shifts in Harappan Gujarat.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

The episode of Kamadahana is a popular narrative in Hindu mythology. It describes Shiva’s sacred ... more The episode of Kamadahana is a popular narrative in Hindu mythology. It describes Shiva’s sacred act of reducing Kama to ashes. Ramayana is the earliest known scripture that mentions about Shiva burning down Kama. This popular subject is observed in the sculptural art across India with a
greater number of images in southern India. Shiva is often portrayed in these sculptures as a powerful ascetic in the form of Dakshinamurti, while Kama is depicted with his distinctive dhanush and pushpabana, symbolizing desire and attraction. Sculptural representations of this episode capture the dramatic moments when Shiva incinerates Kama with the fiery gaze of his third eye. Kamadahana sculptures are found in good number in Kerala. Unlike in other parts of India, all these images are
sculptured in wood. They are surveyed and described for the first time. They appear in monoscenic or sequential representations.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

Shri Padmanabhaswami temple located in Thiruvananthapuram city of Kerala is one of the 108 Vishnu... more Shri Padmanabhaswami temple located in Thiruvananthapuram city of Kerala is one of the 108 Vishnu temples sacred to Vaishnavites in India. The presiding deity is the Anantashayi Vishnu. Kulashekhara mandapam of this temple built during the reign of Karthika Thirunal Maharajah (1758-
1798) situated at the right side, outside of nalambalam, stands in north-south direction. The inner ceiling bracket panels of the low corridor made of stone elaborately depicts scenes from Ramayana. There are 108 such panels. The narration illustrates 42 important episodes from Ramayana. It starts with the depiction of Dasharatha and his four sons, Rama, Bharata, Lakshmana and Shatrughna, and Maharshi Vishwamitra taking Rama and Lakshmana to his ashrama, and ends with Shrirama pattabhisheka. The
present paper provides a brief narration of the Ramayana episodes as reflected in the panels and elaborately describes panel by panel the characters and their actions as sculptured in them.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2024

Grinding and pounding tools hold a prominent place in the archaeological records, as they provide... more Grinding and pounding tools hold a prominent place in the archaeological records, as they provide a window into the daily lives and cultural practices of ancient communities. In India, these tools are not only preserved in material form but also depicted in rock paintings, sculptures and murals, highlighting their significance across a wide range of activities from food processing to religious rituals. The sculptural and mural depictions of grinding and pounding tools serve as a valuable source for understanding the practical and symbolic roles played by them in ancient Indian society.

KALA Vol.27, 2022

Saptatalabhedana is a feat performed by Rama to prove his prowess to Sugriva, the younger brother... more Saptatalabhedana is a feat performed by Rama to prove his prowess to Sugriva, the younger brother of Vali, the Vanara king of Kishkinda. Sculptures depicting this event could be observed from 7 th to 19 th centuries CE. Main components essentially presented in the portrayal of Saptatalabhedana in the early period were the seven Tala trees and Rama
shooting an arrow at them. In later presentations, serpent became an important component as narrated in different versions of Ramayana and their associated texts. Multiple ways of depiction and composition of these components, though limited they are in number, have brought about great diversity to the portrayal of this story in sculptural art. A comprehensive diversity analysis was carried out, taking into account the morphological features of different components in the depiction, based on twenty representative Saptatalabhedana sculptures, both in stone and wood, identified from different parts of India. Saptatalabhedana sculptures
are found occurring more in southern parts of the country and interestingly, those in wood are confined to Kerala.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract: Tumburu (Tumbaru, Tamburu, Tumbura,Tumvuru or Timburu) is one of the most celebrated ce... more Abstract: Tumburu (Tumbaru, Tamburu, Tumbura,Tumvuru or Timburu) is one of the most celebrated
celestial musicians in Indian mythology. He is usually recognized with his horse head. This horse faced
gandharva is described in ancient Indian literatures as a master of music, skilled in dancing, good in playing
stringed instruments. He leads the gandharvas in music and singing. The present paper throws light on
references to them in various literature and their depictions in various visual arts.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract : Demon is an equivocal term administered to an aggregate concept that is discerned to b... more Abstract : Demon is an equivocal term administered to an aggregate concept that is discerned to be a negative phenomenon beyond human control. In India, each state, village, community, caste, or tribe has its own variant of demons to whom any ill luck, disease or negative phenomenon is ascribed by the inhabitants. The Asuras, Rakshasas, Daityas, Pishachas, Bhutas etc. encompass the realm of Indian demonology. The Vedas, Brahmanas, Samhitas, Puranas, Ramayana, Mahabharata, and majority of other literary works deal with a plethora of evil demonic beings. Along with the paramount demons such as Ravana, Kamsa, Vrtra etc. who are the major villains, minor demons often have an impactful cameo in these works. The character of Kabandha is one such demonic personality in the Ramayana, who has an eventful role in helping the sons of Dasharatha on their quest to retrace Sita and avenge upon Ravana. This paper deals with the events involving the demon Kabandha, that influenced Rama and Lakshmana followed by a succinct analysis of the depiction of the demon in sculptural and other arts of Kerala.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract: Garuda was originally the sun conceived as a bird. Later, he got identified with the bi... more Abstract: Garuda was originally the sun conceived as a bird. Later, he got identified with the bird Garuda and subsequently, as the vahana of Vishnu. In the Kushana period, Garuda was represented as a complete bird but in later periods, he happened to be depicted in hybrid form, a human with sharp beak and two wings. In the early Gupta period, Garuda was sculptured with human body and prominent outspread wings. During the 8th /9th century CE, the bird form started disappearing and the human form became dominant. Garuda evolved further to a merely winged human or a complete human giving a suggestion of flight. Sculptures of Garuda have been observed in Kerala since the 13th century CE. They occur mainly in stone and wood. Two handed Garuda images are commoner and four handed is rare in Kerala. Garuda in anjali mudra, Garuda in flight, Garuda with nagas, Garuda with Vishnu, Garuda in Gajendramoksham, Garuda with Jimutavahana and Garuda with Vibhavasu and Suprateka are the important forms met with in temples of Kerala. The paper discusses the mythological aspects of Garuda, his evolution from bird to human and the fidelity of Garuda sculptures in Kerala with important iconographic texts like Vishnudharmottara Purana, Agni Purana, Shilparatna and Shritattwanidhi.

Heritage: Journal of Multidisciplinary Studies in Archaeology 9 , 2021

We lost an illustrious scholar of Buddhist Art with the demise of Prof. John C. Huntington. The e... more We lost an illustrious scholar of Buddhist Art with the demise of Prof. John C. Huntington. The end came on 28 th November 2021 after a slightly prolonged ailment. He was 84.

Heritage Journal of Multidisciplinary Studies in Archaeology , 2021

The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Ker... more The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Kerala harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16 th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in the light of the prescription provided for this form in Shilparatna.

Syncretism in Sculptural Art of South and South East Asia , 2023

Harihara, the composite form of Vishnu and Shiva, came into being primarily to express the onenes... more Harihara, the composite form of Vishnu and Shiva, came into being primarily to express the oneness of Vishnu and Shiva. The form was later popularized as a syncretic icon to subdue the influence of Buddhism and promote harmony between the two rival groups, Vaishnavites and Shaivites. This syncretic form of Harihara has played a significant role in the revival and harmonization of Hindu religion in its critical periods. Interestingly, Hinduism did not face sharp sectarian rivalry in Kerala. Kerala provided enough space for Vaishnava Shaiva integration as could be seen from the age old act of free rendering of Shiva aspects in Vishnu temples and Vishnu aspects in Shiva temples and the execution of Harihara images in Shiva and Vishnu temples. The syncretic form of Harihara was created to proclaim the oneness of Hinduism. While it remained so in the social fabric of Kerala through centuries, in many parts of the country it had to be used to philosophize oneness amidst the followers of Vaishnavism and Shaivism-the two strong sects of Hinduism-in the face of sectarianism emerged between them.

Kinnara-Shiva: A New Form of Shiva from Kerala, 2022

The shrikovil wall of Trikkuratti Mahadeva temple, situated in Mannar in the Alappuzha district o... more The shrikovil wall of Trikkuratti Mahadeva temple, situated in Mannar in the Alappuzha district of Kerala, harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in light of the prescription provided for this form in Shilparatna.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2021

Pattanam is a hamlet located in Paravur taluka of Ernakulam district in Kerala. Archaeological ex... more Pattanam is a hamlet located in Paravur taluka of Ernakulam district in Kerala. Archaeological excavations carried out at Pattanam from 2007 to 2015 unearthed a large number of Indian and non-Indian artifacts belonging to different cultures and periods. Beads constituted one of the most common categories of artifacts. Glass beads were in maximum number followed by stone beads. Glass beads were of diverse colour and shapes. Drawn beads, wound beads, segmented beads, eye beads and collar beads comprise the glass bead assemblage. They revealed their manufacturing techniques as they were preserved in good condition. Stone beads were of Carnelian, Agate, Serpentine, Quartz, Quartz Crystal, Amethyst, Garnet and Onyx. There were a few beads in terracotta and gold. A typotechnological assessment of glass and stone beads is attempted in this paper based on their texture, shape and other associated features.

Heritage: Journal of Multidisciplinary Studies in Archaeology , 2021

The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Ker... more The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Kerala harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16 th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in the light of the prescription provided for this form in Shilparatna.

Proceedings of INDIAN ART HISTORY CONGRESS XXIX Session 2022 Chennai, 2023

Edited Book

Proceedings of Indian Art History Congress XXVIII Session, 2019, Patiala, 2020

Edited Book

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

Veena is a stringed musical instrument originated in ancient India. It has been in use since the ... more Veena is a stringed musical instrument originated in ancient India. It has been in use since the days of Rigveda. There are different types of veena, mainly depending on the place and position of its various components and method of playing. The present study shows that there are four types of veena, viz., traditional veena, tumburu, bowed veena and stick zither, found along with different gods, goddesses, saints, female terrestrials and musicians in procession in the sculptural depictions of Kerala. They are
mainly sculptured in wood and rarely in stone. These musical instruments identified from the sculptural heritage of Kerala are smaller and portable compared to the present-day veena which is heavier and bigger. All the instruments depicted in the sculptural art of Kerala are almost extinct today.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

This study investigates metal artefacts reported from Chalcolithic sites in Gujarat, offering ins... more This study investigates metal artefacts reported from Chalcolithic sites in Gujarat, offering insights into the cultural and economic shifts within the Harappan civilization. Focusing on the Regionalization, Integration and Localization Eras, the analysis reveals contrasting trends. The Integration
Era, marked by urbanization, advanced metallurgy, and robust trade, yielded diverse artefacts like axes, knives, fishhooks, and bangles, indicative of centralized production and technological innovation. In
contrast, the Localization Era witnessed a decline in settlement size, craft production, and trade. Metal artefacts from this period were utilitarian, limited in variety and quality, reflecting a decline in technological sophistication. The scarcity of high-value goods like gold and semi-precious stones further emphasizes diminished trade and wealth. This comparative analysis underscores the transition from the Integration Era's prosperity and innovation to the Localization Era's decentralization and survival. The study contributes to understanding the decline of the Harappan civilization by examining the changing distribution, diversity, and context of metal artefacts, highlighting broader socio-economic and cultural shifts in Harappan Gujarat.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

The episode of Kamadahana is a popular narrative in Hindu mythology. It describes Shiva’s sacred ... more The episode of Kamadahana is a popular narrative in Hindu mythology. It describes Shiva’s sacred act of reducing Kama to ashes. Ramayana is the earliest known scripture that mentions about Shiva burning down Kama. This popular subject is observed in the sculptural art across India with a
greater number of images in southern India. Shiva is often portrayed in these sculptures as a powerful ascetic in the form of Dakshinamurti, while Kama is depicted with his distinctive dhanush and pushpabana, symbolizing desire and attraction. Sculptural representations of this episode capture the dramatic moments when Shiva incinerates Kama with the fiery gaze of his third eye. Kamadahana sculptures are found in good number in Kerala. Unlike in other parts of India, all these images are
sculptured in wood. They are surveyed and described for the first time. They appear in monoscenic or sequential representations.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2023

Shri Padmanabhaswami temple located in Thiruvananthapuram city of Kerala is one of the 108 Vishnu... more Shri Padmanabhaswami temple located in Thiruvananthapuram city of Kerala is one of the 108 Vishnu temples sacred to Vaishnavites in India. The presiding deity is the Anantashayi Vishnu. Kulashekhara mandapam of this temple built during the reign of Karthika Thirunal Maharajah (1758-
1798) situated at the right side, outside of nalambalam, stands in north-south direction. The inner ceiling bracket panels of the low corridor made of stone elaborately depicts scenes from Ramayana. There are 108 such panels. The narration illustrates 42 important episodes from Ramayana. It starts with the depiction of Dasharatha and his four sons, Rama, Bharata, Lakshmana and Shatrughna, and Maharshi Vishwamitra taking Rama and Lakshmana to his ashrama, and ends with Shrirama pattabhisheka. The
present paper provides a brief narration of the Ramayana episodes as reflected in the panels and elaborately describes panel by panel the characters and their actions as sculptured in them.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2024

Grinding and pounding tools hold a prominent place in the archaeological records, as they provide... more Grinding and pounding tools hold a prominent place in the archaeological records, as they provide a window into the daily lives and cultural practices of ancient communities. In India, these tools are not only preserved in material form but also depicted in rock paintings, sculptures and murals, highlighting their significance across a wide range of activities from food processing to religious rituals. The sculptural and mural depictions of grinding and pounding tools serve as a valuable source for understanding the practical and symbolic roles played by them in ancient Indian society.

KALA Vol.27, 2022

Saptatalabhedana is a feat performed by Rama to prove his prowess to Sugriva, the younger brother... more Saptatalabhedana is a feat performed by Rama to prove his prowess to Sugriva, the younger brother of Vali, the Vanara king of Kishkinda. Sculptures depicting this event could be observed from 7 th to 19 th centuries CE. Main components essentially presented in the portrayal of Saptatalabhedana in the early period were the seven Tala trees and Rama
shooting an arrow at them. In later presentations, serpent became an important component as narrated in different versions of Ramayana and their associated texts. Multiple ways of depiction and composition of these components, though limited they are in number, have brought about great diversity to the portrayal of this story in sculptural art. A comprehensive diversity analysis was carried out, taking into account the morphological features of different components in the depiction, based on twenty representative Saptatalabhedana sculptures, both in stone and wood, identified from different parts of India. Saptatalabhedana sculptures
are found occurring more in southern parts of the country and interestingly, those in wood are confined to Kerala.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract: Tumburu (Tumbaru, Tamburu, Tumbura,Tumvuru or Timburu) is one of the most celebrated ce... more Abstract: Tumburu (Tumbaru, Tamburu, Tumbura,Tumvuru or Timburu) is one of the most celebrated
celestial musicians in Indian mythology. He is usually recognized with his horse head. This horse faced
gandharva is described in ancient Indian literatures as a master of music, skilled in dancing, good in playing
stringed instruments. He leads the gandharvas in music and singing. The present paper throws light on
references to them in various literature and their depictions in various visual arts.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract : Demon is an equivocal term administered to an aggregate concept that is discerned to b... more Abstract : Demon is an equivocal term administered to an aggregate concept that is discerned to be a negative phenomenon beyond human control. In India, each state, village, community, caste, or tribe has its own variant of demons to whom any ill luck, disease or negative phenomenon is ascribed by the inhabitants. The Asuras, Rakshasas, Daityas, Pishachas, Bhutas etc. encompass the realm of Indian demonology. The Vedas, Brahmanas, Samhitas, Puranas, Ramayana, Mahabharata, and majority of other literary works deal with a plethora of evil demonic beings. Along with the paramount demons such as Ravana, Kamsa, Vrtra etc. who are the major villains, minor demons often have an impactful cameo in these works. The character of Kabandha is one such demonic personality in the Ramayana, who has an eventful role in helping the sons of Dasharatha on their quest to retrace Sita and avenge upon Ravana. This paper deals with the events involving the demon Kabandha, that influenced Rama and Lakshmana followed by a succinct analysis of the depiction of the demon in sculptural and other arts of Kerala.

Mythical Hybrid Beings in Sculptural Art of Asian Region, 2023

Abstract: Garuda was originally the sun conceived as a bird. Later, he got identified with the bi... more Abstract: Garuda was originally the sun conceived as a bird. Later, he got identified with the bird Garuda and subsequently, as the vahana of Vishnu. In the Kushana period, Garuda was represented as a complete bird but in later periods, he happened to be depicted in hybrid form, a human with sharp beak and two wings. In the early Gupta period, Garuda was sculptured with human body and prominent outspread wings. During the 8th /9th century CE, the bird form started disappearing and the human form became dominant. Garuda evolved further to a merely winged human or a complete human giving a suggestion of flight. Sculptures of Garuda have been observed in Kerala since the 13th century CE. They occur mainly in stone and wood. Two handed Garuda images are commoner and four handed is rare in Kerala. Garuda in anjali mudra, Garuda in flight, Garuda with nagas, Garuda with Vishnu, Garuda in Gajendramoksham, Garuda with Jimutavahana and Garuda with Vibhavasu and Suprateka are the important forms met with in temples of Kerala. The paper discusses the mythological aspects of Garuda, his evolution from bird to human and the fidelity of Garuda sculptures in Kerala with important iconographic texts like Vishnudharmottara Purana, Agni Purana, Shilparatna and Shritattwanidhi.

Heritage: Journal of Multidisciplinary Studies in Archaeology 9 , 2021

We lost an illustrious scholar of Buddhist Art with the demise of Prof. John C. Huntington. The e... more We lost an illustrious scholar of Buddhist Art with the demise of Prof. John C. Huntington. The end came on 28 th November 2021 after a slightly prolonged ailment. He was 84.

Heritage Journal of Multidisciplinary Studies in Archaeology , 2021

The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Ker... more The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Kerala harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16 th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in the light of the prescription provided for this form in Shilparatna.

Syncretism in Sculptural Art of South and South East Asia , 2023

Harihara, the composite form of Vishnu and Shiva, came into being primarily to express the onenes... more Harihara, the composite form of Vishnu and Shiva, came into being primarily to express the oneness of Vishnu and Shiva. The form was later popularized as a syncretic icon to subdue the influence of Buddhism and promote harmony between the two rival groups, Vaishnavites and Shaivites. This syncretic form of Harihara has played a significant role in the revival and harmonization of Hindu religion in its critical periods. Interestingly, Hinduism did not face sharp sectarian rivalry in Kerala. Kerala provided enough space for Vaishnava Shaiva integration as could be seen from the age old act of free rendering of Shiva aspects in Vishnu temples and Vishnu aspects in Shiva temples and the execution of Harihara images in Shiva and Vishnu temples. The syncretic form of Harihara was created to proclaim the oneness of Hinduism. While it remained so in the social fabric of Kerala through centuries, in many parts of the country it had to be used to philosophize oneness amidst the followers of Vaishnavism and Shaivism-the two strong sects of Hinduism-in the face of sectarianism emerged between them.

Kinnara-Shiva: A New Form of Shiva from Kerala, 2022

The shrikovil wall of Trikkuratti Mahadeva temple, situated in Mannar in the Alappuzha district o... more The shrikovil wall of Trikkuratti Mahadeva temple, situated in Mannar in the Alappuzha district of Kerala, harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in light of the prescription provided for this form in Shilparatna.

Heritage: Journal of Multidisciplinary Studies in Archaeology, 2021

Pattanam is a hamlet located in Paravur taluka of Ernakulam district in Kerala. Archaeological ex... more Pattanam is a hamlet located in Paravur taluka of Ernakulam district in Kerala. Archaeological excavations carried out at Pattanam from 2007 to 2015 unearthed a large number of Indian and non-Indian artifacts belonging to different cultures and periods. Beads constituted one of the most common categories of artifacts. Glass beads were in maximum number followed by stone beads. Glass beads were of diverse colour and shapes. Drawn beads, wound beads, segmented beads, eye beads and collar beads comprise the glass bead assemblage. They revealed their manufacturing techniques as they were preserved in good condition. Stone beads were of Carnelian, Agate, Serpentine, Quartz, Quartz Crystal, Amethyst, Garnet and Onyx. There were a few beads in terracotta and gold. A typotechnological assessment of glass and stone beads is attempted in this paper based on their texture, shape and other associated features.

Heritage: Journal of Multidisciplinary Studies in Archaeology , 2021

The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Ker... more The shrikovil wall of Trikkuratti Mahadeva temple situated in Mannar in Alappuzha district of Kerala harbours a beautiful two-handed sculpture of Shiva. It is identified as Kinnara-Shiva, a new iconic form in Shaiva Iconography. The only ancient text that prescribes the iconography of Kinnara-Shiva is Shilparatna of the 16 th century CE. The sculptural representation of this aspect of Shiva is reported for the first time. This paper describes the iconography of Kinnara-Shiva and discusses it in the light of the prescription provided for this form in Shilparatna.

Proceedings of INDIAN ART HISTORY CONGRESS XXIX Session 2022 Chennai, 2023

Edited Book

Proceedings of Indian Art History Congress XXVIII Session, 2019, Patiala, 2020

Edited Book

Carved Wonders in Wood: Rare Sculptures of Kerala, India , 2024

Demonology in South and Southeast Asian Sculptural Art , 2024

A preliminary study on demons consisting of well-known as well as less known characters in sculpt... more A preliminary study on demons consisting of well-known as well as less known characters in sculptural art from a pan Asian perspective is the main focus of this volume. Scholars working on different aspects of demonology related to Buddhism and Hinduism contributed to this volume. It contains twelve papers of fourteen authors belonging to five countries dealing with demonic characters of four countries.

Demonology in South and Southeast Asian Sculptural Art , 2024

A preliminary study on demons consisting of well-known as well as less known characters in sculpt... more A preliminary study on demons consisting of well-known as well as less known characters in sculptural art from a pan Asian perspective is the main focus of this Volume. Scholars working on different aspects of demonology related to Buddhism and Hinduism contributed to this volume. It contains eleven papers of thirteen authors belonging to five countries dealing with demonic characters of four countries.

Vaishnava Sculptures of Kerala, India- An Iconographic Study , 2024

Vaishnava Sculptures of Kerala, India- An Iconographic Study, 2024

An authentic reference for Art Historians, Archaeologists , Indologists besides Museum and Temple... more An authentic reference for Art Historians, Archaeologists , Indologists besides Museum and Temple Authorities