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100   $a20110801d2021      uy             0
101 0 $aeng
135   $aurmnummmmuuuu
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 10$aLives of Indian Images$fDavis, Richard H
205   $aFirst paperback printing.
210  1$aPrinceton :$cPrinceton University Press,$d[20--?]
210  3$aBaltimore, Md. :$cProject MUSE,$d2021
210  4$d©[20--?]
215   $a1 online resource (xiii, 331 p. )$cill. ;
311   $a0-691-00520-6 
311   $a0-691-02622-X 
320   $aIncludes bibliographical references (p. [293]-315) and index.
327   $tFrontmatter --$tContents --$tIllustrations --$tAcknowledgments --$tTranslation and Transliteration --$tAbbreviations --$tIntroduction --$t1. Living Images --$t2. Trophies of War --$t3. Images Overthrown --$t4. Visnu's Miraculous Returns --$t5. Indian Images Collected --$t6. Reconstructions of Somanatha --$t7. Loss and Recovery of Ritual Self --$tConclusion: Identities and Manifestations --$tNotes --$tBibliography --$tBibliographic Appendix --$tIndex
330   $aFor many centuries, Hindus have taken it for granted that the religious images they place in temples and home shrines for purposes of worship are alive. Hindu priests bring them to life through a complex ritual "establishment" that invokes the god or goddess into material support. Priests and devotees then maintain the enlivened image as a divine person through ongoing liturgical activity: they must awaken it in the morning, bathe it, dress it, feed it, entertain it, praise it, and eventually put it to bed at night. In this linked series of case studies of Hindu religious objects, Richard Davis argues that in some sense these believers are correct: through ongoing interactions with humans, religious objects are brought to life.Davis draws largely on reader-response literary theory and anthropological approaches to the study of objects in society in order to trace the biographies of Indian religious images over many centuries. He shows that Hindu priests and worshipers are not the only ones to enliven images. Bringing with them differing religious assumptions, political agendas, and economic motivations, others may animate the very same objects as icons of sovereignty, as polytheistic "idols," as "devils," as potentially lucrative commodities, as objects of sculptural art, or as symbols for a whole range of new meanings never foreseen by the images' makers or original worshipers.
606   $aArt and anthropology$zIndia
606   $aHindu gods in art
606   $aHindu sculpture
606   $aRELIGION / Hinduism / General$2bisacsh
610   $aAbraham.
610   $aAlpers, Svetlana.
610   $aBahmani Sultanate.
610   $aBanks, Joseph.
610   $aBonaventure.
610   $aBritish Museum.
610   $aDelhi Sultanate.
610   $aEsalam bronzes.
610   $aEverest Art Gallery.
610   $aFestival of India.
610   $aGandhi, Rajiv.
610   $aGangas of Orissa.
610   $aHedges, William.
610   $aHussain, G. Magbool.
610   $aJayalalitha.
610   $aKampana.
610   $aKampili kingdom.
610   $aMecca.
610   $aMughals.
610   $aPlace, Lionel.
610   $aSambandhar.
610   $aSkelton, Robert.
610   $aTirupati.
610   $aart market.
610   $abiography.
610   $acultural property.
610   $adispensation.
610   $aidols.
610   $alabels.
610   $anavakalevara.
610   $ataxonomic shift.
610   $atemple Hinduism.
615  0$aArt and anthropology
615  0$aHindu gods in art.
615  0$aHindu sculpture.
615  7$aRELIGION / Hinduism / General.
676   $a704.948945211
700   $aDavis$b Richard H$0103204
801  0$bMdBmJHUP
801  1$bMdBmJHUP
906   $aBOOK
912   $a996248147903316
996   $aLives of Indian Images$92378382
997   $aUNISA