Doris Srinivasan | SUNY: Stony Brook University (original) (raw)

Uploads

Papers by Doris Srinivasan

Archives of Asian Art, Apr 1, 2022

The Journal of Asian Studies, Nov 1, 1991

University of British Columbia Press eBooks, 2007

Artibus Asiae, 1985

Johanna van Lohuizen - de Leeuw fut un des historiens de l'art de l'Asie les plus creatif... more Johanna van Lohuizen - de Leeuw fut un des historiens de l'art de l'Asie les plus creatifs. Elle ecrivit sur les antiquites d'Afghanistan, du Pakistan, de l'Inde, du Sri-Lanka et du Sud-Est asiatique, aussi bien sur l'architecture, la sculpture ou la peinture, en rapport avec les trois grandes religions hindouiste, bouddhiste et jainiste. Son oeuvre et sa biographie

Journal of the Royal Asiatic Society

The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumenta... more The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumental sculpture. Aśoka reigned between 270–235 BC and the Dhauli elephant is dated c. 257 BC. Only the elephant's forefront is sculpted; about half of the animal's bulk remains within the rock (Figure 1). One art historian claims that Emperor Aśoka is in the vanguard presenting himself to the people of Kaliṅga. Usually, however, the Dhauli elephant is considered symbolic of the Buddha. The well-known story that Māyā dreamt that Siddhārtha entered her womb as a white elephant motivates this view; to wit śeto (i.e. śveta), ʻthe white one’, is inscribed at the end of the 6th Rock Edict.

The rise and origins of urbanization in India, Pakistan and Nepal is discussed in this work by sc... more The rise and origins of urbanization in India, Pakistan and Nepal is discussed in this work by scholars in a wide range of disciplines.

On the Cusp of an Era, 2007

This is a book published by E.J.Brill.

European Journal of Vascular and Endovascular Surgery, 2017

This paper brings together studies published over the last fifteen years which clarify aspects of... more This paper brings together studies published over the last fifteen years which clarify aspects of the so-called Oeso/Śiva problem. Essentially, the problem revolves around the identification of the figure on Kuṣāṇa coins and seals which has some 'Śiva' markers but is inscribed 'Oeso'. The prevailing opinion that the figure is Śiva cannot be maintained in light of the information from the recent findings, discussed below, in the following sequence: I. 1. A brief comparison of Kuṣāṇa śaiva images in Mathura and Gandhāra indicates basic regional differences, thus laying the ground that Gandhāra incorporated outside, non- Indian iconographic elements to fashion its śaiva forms. 2. The Northern śaiva images have more in common with Kuṣāṇa coins and seals than with Mathura śaiva icons. It is these coins and seals that carry the 'Oeso' inscription. 3. Itemization of the new, recent studies on the subject. 4. Descriptions and analyses of recently published seals, end...

... It is infused with nomadic themes especially in its portrayal of combat. The corpus includes ... more ... It is infused with nomadic themes especially in its portrayal of combat. The corpus includes decorative arts with remains from clothing, furniture, per-sonal adornments and architectural fragments. But most of all, Kuᅯa art comprises religious art. ...

Journal of the Royal Asiatic Society

This paper is the first assessment of the different sources and shapes in a selection of Gandhāra... more This paper is the first assessment of the different sources and shapes in a selection of Gandhāran furniture. Two main types of furniture legs are discussed. These are thought to be originally wooden legs attached to chairs, stools, and beds that are depicted in Kushan sculpture from Gandhāran. The two types are defined by their decoration. The first type is the geometric, lathe-turned furniture leg, the second type of leg is carved, not lathe-turned and depicts figures. The foreign origins of both types are traced and analyzed. A list, plus illustrations of reliefs showing representative contexts for each type, is given. Several heretofore unpublished reliefs are included. In some cases the Gandhāran examples can be interpreted as well as their developments into Central Asian furniture types.

Journal of the American Oriental Society, 1986

Journal of the American Oriental Society, 1986

Orientalistische Literaturzeitung

The Journal of Hindu Studies, 2016

Archives of Asian Art, Apr 1, 2022

The Journal of Asian Studies, Nov 1, 1991

University of British Columbia Press eBooks, 2007

Artibus Asiae, 1985

Johanna van Lohuizen - de Leeuw fut un des historiens de l'art de l'Asie les plus creatif... more Johanna van Lohuizen - de Leeuw fut un des historiens de l'art de l'Asie les plus creatifs. Elle ecrivit sur les antiquites d'Afghanistan, du Pakistan, de l'Inde, du Sri-Lanka et du Sud-Est asiatique, aussi bien sur l'architecture, la sculpture ou la peinture, en rapport avec les trois grandes religions hindouiste, bouddhiste et jainiste. Son oeuvre et sa biographie

Journal of the Royal Asiatic Society

The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumenta... more The elephant at Dhauli, site of Aśoka Maurya's inscriptions, is the earliest Indian monumental sculpture. Aśoka reigned between 270–235 BC and the Dhauli elephant is dated c. 257 BC. Only the elephant's forefront is sculpted; about half of the animal's bulk remains within the rock (Figure 1). One art historian claims that Emperor Aśoka is in the vanguard presenting himself to the people of Kaliṅga. Usually, however, the Dhauli elephant is considered symbolic of the Buddha. The well-known story that Māyā dreamt that Siddhārtha entered her womb as a white elephant motivates this view; to wit śeto (i.e. śveta), ʻthe white one’, is inscribed at the end of the 6th Rock Edict.

The rise and origins of urbanization in India, Pakistan and Nepal is discussed in this work by sc... more The rise and origins of urbanization in India, Pakistan and Nepal is discussed in this work by scholars in a wide range of disciplines.

On the Cusp of an Era, 2007

This is a book published by E.J.Brill.

European Journal of Vascular and Endovascular Surgery, 2017

This paper brings together studies published over the last fifteen years which clarify aspects of... more This paper brings together studies published over the last fifteen years which clarify aspects of the so-called Oeso/Śiva problem. Essentially, the problem revolves around the identification of the figure on Kuṣāṇa coins and seals which has some 'Śiva' markers but is inscribed 'Oeso'. The prevailing opinion that the figure is Śiva cannot be maintained in light of the information from the recent findings, discussed below, in the following sequence: I. 1. A brief comparison of Kuṣāṇa śaiva images in Mathura and Gandhāra indicates basic regional differences, thus laying the ground that Gandhāra incorporated outside, non- Indian iconographic elements to fashion its śaiva forms. 2. The Northern śaiva images have more in common with Kuṣāṇa coins and seals than with Mathura śaiva icons. It is these coins and seals that carry the 'Oeso' inscription. 3. Itemization of the new, recent studies on the subject. 4. Descriptions and analyses of recently published seals, end...

... It is infused with nomadic themes especially in its portrayal of combat. The corpus includes ... more ... It is infused with nomadic themes especially in its portrayal of combat. The corpus includes decorative arts with remains from clothing, furniture, per-sonal adornments and architectural fragments. But most of all, Kuᅯa art comprises religious art. ...

Journal of the Royal Asiatic Society

This paper is the first assessment of the different sources and shapes in a selection of Gandhāra... more This paper is the first assessment of the different sources and shapes in a selection of Gandhāran furniture. Two main types of furniture legs are discussed. These are thought to be originally wooden legs attached to chairs, stools, and beds that are depicted in Kushan sculpture from Gandhāran. The two types are defined by their decoration. The first type is the geometric, lathe-turned furniture leg, the second type of leg is carved, not lathe-turned and depicts figures. The foreign origins of both types are traced and analyzed. A list, plus illustrations of reliefs showing representative contexts for each type, is given. Several heretofore unpublished reliefs are included. In some cases the Gandhāran examples can be interpreted as well as their developments into Central Asian furniture types.

Journal of the American Oriental Society, 1986

Journal of the American Oriental Society, 1986

Orientalistische Literaturzeitung

The Journal of Hindu Studies, 2016