000			nam a22 7a 4500
999			_c914 _d914
020			_a8120809904
082			_a753 Up12 A _b100769
100			_aOm D. Upadhya
245			_aThe Art of Ajanta and Sopocani: A Comprehensive Study
250			_a1st ed.
260			_aDelhi _bMotilal Banarsidass Publishers _c1994
300			_a340
500			_aPauranic Prana-aesthetics, a finer shade different from that of Vitalistic aesthetics (the earlier having breathing-rhythm of "Kshaya Vriddhi" diminution and augmentation other than the latter's emphasis only on the rhythm of augmentation) has been delineated in this study with examples from the world's two of the best art-monuments: Ajanta (India), now not remaining unknown even to the most casual connoisseur and Sopocani (Yugoslavia), the most significant and monumentally beautiful work ofByzantine art. Tracing Prana aesthetics as the aesthetics of inner-light coded in the creeper motif by the artists of Ajanta, this work emphasises decoding of the creeper-motif by Byzantine artists culminating into the frescoes of Sopocani done in Hellenistic Byzantine aesthetics beatified by Hesycast meditation to which that of Buddhists was not unknown. Comparisons of various determinant aspects, aesthetics and artistic denominators and constraints not allowing similar consummation are properly investigated to substantiate the thesis that Pranaaesthetics transfigures at Ajanta but transubstantiates at Sopocani. The significance of the anabolic aspects of this aesthetics is highlighted especially as a way out from the reductivistic tendencies of the present day visualarts straining them upto the stage of catabolic dissolution.
650			_aMural painting and decoration
650			_aByzantine
650			_aIndic
650			_aSerbian
650			_aIndia Ajanta
650			_aAjanta Caves
650			_aBible
650			_aSerbia Novi Pazar
942			_cBK