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Translation of original commentary into English on the paintings based on the Rāmāyaṇa by various artists which was written by Kolapelli Buchenna, 18th century, Telugu author; also includes the commentary Nayanābhirāmānusēlana.
Original commentary on the paintings based on the Rāmāyaṇa by Nandigam Nāgēśam and Kāmarautu Veṅkatēśam, which was written by Kolapelli Buchenna, 18th century Telugu author; also includes the commentary Nayanābhirāmānusēlana by Śiṣṭlā Śrīnivās.
How is it that this woman's breasts glimmer so clearly through her saree? Can't you guess, my friends? What are they but rays from the crescents left by the nails of her lover pressing her in his passion, rays now luminous as the moonlight of a summer night? These South Indian devotional poems show the dramatic use of erotic language to express a religious vision. Written by men during the fifteenth to eighteenth century, the poems adopt a female voice, the voice of a courtesan addressing her customer. That customer, it turns out, is the deity, whom the courtesan teases for his infidelities and cajoles into paying her more money. Brazen, autonomous, fully at home in her body, she merges her ...
This Volume Has Two Parts, Surveys Of All The Languages And Selections From Three Languages Assamese, Bengali And Dogri.
Between the 14th and the 17th century, the Deccan plateau of south-central India was home to a series of important and highly cultured Muslim courts. Subtly blending elements from Iran, West Asia, southern India, and northern India, the arts produced under these sultanates are markedly different from those of the rest of India and especially from those produced under Mughal patronage. This publication, a result of a 2008 symposium held at The Metropolitan Museum of Art, investigates the arts of Deccan and the unique output in the fields of painting, literature, architecture, arms, textiles, and carpet.