L'image de l'Âdimurti Vâsudeva au Bihar et au Bengale, du 5e au 12e siècle, Annali dell'Istituto Universitario Orientale, Naples, vol. 45, 1985, pp. 437-481.

Journal of Bengal Art, vol. 25, 2020

Tribus, Jahrbuch des Linden-Museums, Stuttgart, Band 38, 1989, pp. 71-90.

Journal of Bengal Art, 2017

It is a well-known fact that the artistic production of Bengal reached its peak between the 9th and 12th centuries, with major centres of production mainly located in North and South Bengal. The Brahmanical iconography went notably through one of its most creative period with huge amounts of images being produced and with numerous “new” icons being created and added to an already very rich visual pantheon. Some of these creations remain isolated with only one or a few examples being known to us and no available textual description and even if inscribed, the name given to it may remain unknown in texts and there may be no consensus when similar images are inscribed and labelled with different names. Two such examples are published here: both were produced in Bengal, both illustrate a female deity who is not Vaiṣṇavī but show evident signs of being very closely related to the most commonly met with image of Viṣṇu in Bengal, being practically its female echo.

The term iconography is derived from two Greek words, "eikon" and "graphe" which mean "image" and "writing" respectively. There is also one another word Iconology, it explains the detailed study of iconography. It means a holy painting or carving of a divine-human being on different mediums like wood and stone. However, iconography explains the religious figures and drawings which can found enormously in temples of different sects. In India icons are generally called Vigraha / Vigraham whereas the main icon in a temple is called Mūrthi. Religions in India have different types of icons which are regarded as icon or representatives of God. Such believes makes the changes and it leads to the sculptural development of icons. The icons have different symbolic meanings. Such meanings have emerged from different postures, gestures, arms, weapons, dress, ornaments, consorts, and vehicles. Odisha has witnessed ceaseless human endeavor in the field of art, craft, icon, and temple building activities for about 1500 years with the began her recorded history. Endowed with nature's beauty and bounty, Odisha boasts of a rich cultural heritage and tradition of music, dance, dramatics, art & crafts of many splendoured varieties and forms; which elegantly emanate from its magnificent monuments, ancient caves, rock-cut icons, and innumerable temples found still intact with all its prestine glory and grandeur. The early-medieval iconography of the Sundar valley can be reconstructed mainly on cultural materials that have been recovered in the form of temple architectural fragments, icons, and inscriptions. A review in the Sundar valley suggests that the settlements in the region during the early medieval period were centered on religious establishments affiliated to both Brahmanical and Jaina religious ideologies.

2024

This paper explores the historical and iconographic evolution of Jainism in Madhya Pradesh from its inception around the 6th century BCE to the medieval period. Jainism, which emphasizes non-violence and universal compassion, developed in response to the ritualistic and hierarchical Vedic traditions. Archaeological evidence of Jainism's early presence in Madhya Pradesh is sparse, with notable findings from the Gupta period onwards. Key discoveries include inscribed Tirthankara images from Vidisha, illustrating the spread and development of Jain art. During the Gupta era, Deogarh emerged as a significant center for Jain art, which continued to flourish under the Candellas in the 9th century, leading to the construction of iconic Jain temples at Khajuraho. The paper provides detailed iconographic analysis of various Mahavira images, highlighting their stylistic transitions from Kushan to Gupta periods and their continued evolution in medieval times. These artifacts underscore the rich artistic heritage and the socio-religious patronage that sustained Jainism in this region.

Kalā The Journal of Indian Art History Congress, Vol.XXIV, 2018

Our Heritage Journal of the Sanskrit College and University, Vol.48, 2019

Across the South of Asia: A Volume in Honor of Professor Robert L. Brown, edited by Robert DeCaroli and Paul A. Lavy, 2019

This study statistically sorts the iconography of bronze and stone sculptures from Nalanda, Kurkihar, Antichak, and Ratnagiri. The 750+ sculptures considered reveal some broad patterns of image production and sheds light on the importance of tantric or Vajrayana imagery at these sites.