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Kama in the Land of Kamakala : Uddiyana Pitha and Erotic Art

Jitamitra Prasad Singh Deo

ISBN 10: 8124606803 / ISBN 13: 9788124606803
Published by D.K. Printworld, 2013
New Condition: New Hardcover
From Vedams eBooks (P) Ltd (New Delhi, India)

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Contents: Preface. Introduction. 1. The Land of Kamakala and Uddiyana-Pitha. 2. The Land of Kamakala and Yogini Cult. 3. Yoginis of the Purushottama Jagannatha Temple. 4. Yoginis and the Cosmic Creative Forces.5. Rare Sculptural Arts. 6. Bhairava Cult and Ganapatya Tantra in Orissa. 7. Mattamayura Saivism in Mahanad Valley. 8. Kosali Style of Temple Architecture. 9. Mysticism of the Tantric Temples of Baudh. 10. Impact of Natha Cult on the Mahanadi Valley. 11. Land of Kamakala: Originator of Purushottama-Jagannatha Cult. 12. Jayadeva and: the Gita-Govinda. 13. The Erection of the Sun Temple in a Folk Tale. 14. Erotic Art and the Land of Kamakala. 15. Erotic Art in Sculptures, Wood and Palm Leaf Manuscripts. 16. Kamakhya and the Yoga of Sexual Transformation. 17. Sensuousness in Art. Glossary. Bibliography. Index.The entire Mahanadi River Valley is stated to be the land of Kamakala, Uddiyana-Pitha and erotic art. Kamakala means the art of desire; the divine Kamakala is symbolized in the shape of two circular components, the overall shape signifying the union of male and female principles. The Uddiyana-Pitha refers to sites where Lord Shiva resides in the Yogini cult that developed in this region.The volume reveals the contributions of the Mahanadi River Valley to the origin of esoteric yogic sadhanas (spiritual practice). Based on a deep study of archaeological remains which include numerous antiquities like sculptures, the book examines the origin and development of the Yogini cult in the Mahanadi River Valley, laying stress on the Yoginis representation of the cosmic creative forces. It delves into the evolution of the Bhairava cult, the Ganapatya Tantra in Orissa, role of Mattamayura Shaivism there, and the origin of the Purushottama Jagannatha cult. Exploring the aspects of sensuousness in art and its link to the tantric cults, it scrutinizes the development of erotic art in Orissa, examining erotic sculptures, erotic art in wood and palm-leaf manuscripts. Abundant in references to ancient texts and modern scholarly works on the subject and with numerous illustrations, this intensive work also explains numerous terms and differences between words and concepts in an attempt to present a thorough study of the subject.It is a good reference for those who are interested in the history of Orissa and various cults of worship, and students and teachers of arts and history, and researchers on Orissan culture, which is wide and varied. (jacket). Bookseller Inventory # 111276

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Title: Kama in the Land of Kamakala : Uddiyana ...

Publisher: D.K. Printworld

Publication Date: 2013

Binding: Hardcover

Book Condition:New

Dust Jacket Condition: New

Edition: 1st Edition

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The entire Mahanadi River Valley is stated to be the land of Kamakala, Uddiyana-Pitha and erotic art. Kamakala means the art of desire; the divine Kamakala is symbolized in the shape of two circular components, the overall shape signifying the union of male and female principles. The Uddiyana-Pitha refers to sites where Lord Shiva resides in the Yogini cult that developed in this region. The volume reveals the contributions of the Mahanadi River Valley to the origin of esoteric yogic sadhanas (spiritual practice). Based on a deep study of archaeological remains which include numerous antiquities like sculptures, the book examines the origin and development of the Yogini cult in the Mahanadi River Valley, laying stress on the Yoginis representation of the cosmic creative forces. It delves into the evolution of the Bhairava cult, the Ganapatya Tantra in Orissa, role of Mattamayura Shaivism there, and the origin of the Purushottama Jagannatha cult. Exploring the aspects of sensuousness in art and its link to the tantric cults, it scrutinizes the development of erotic art in Orissa, examining erotic sculptures, erotic art in wood and palm-leaf manuscripts. Abundant in references to ancient texts and modern scholarly works on the subject and with numerous illustrations, this intensive work also explains numerous terms and differences between words and concepts in an attempt to present a thorough study of the subject. It is a good reference for those who are interested in the history of Orissa and various cults of worship, and students and teachers of arts and history, and researchers on Orissan culture, which is wide and varied.

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