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Dance Images in Temples of Mainland Southeast Asia
Page 1: Dance Images in Temples of Mainland
Page 5 and 6: Dance Images in Temples of Mainland
Page 8 and 9: Acknowledgements The research takin
Page 10: Tiivistelmä Väitöskirja analysoi
Page 14 and 15: List of Illustrations Chapter 2: Tr
Page 16 and 17: fig 4/11 King Suryavarman II in the
Page 18 and 19: Contents 1 introduction 23 1.1 Danc
Page 22 and 23: 1 Introduction This study seeks to
Page 24 and 25: This study argues that the dance im
Page 26 and 27: Smith has pointed out (1999, 119 -1
Page 28 and 29: The question concerning the gesture
Page 30 and 31: previous sub-chapter, it is obvious
Page 32 and 33: The present author has been able to
Page 34 and 35: 2 Transformation of Dance Images in
Page 36 and 37: For the purposes of this study the
Page 38 and 39: Central Javanese period (Ibid., 114
Page 40 and 41: cast in two pieces utilising the so
Page 42 and 43: It is obvious that the iconography
Page 44 and 45: een interpreted to indicate that th
Page 46 and 47: fig 2/4 dancers on a pillar of a ja
Page 48 and 49: fig 2/5 flying kinnari, madhya prad
Page 50 and 51: many of these symbols and iconograp
Page 52 and 53:
fig 2/8 karana reliefs at the chida
Page 54 and 55:
ody movements, mime, dance, music e
Page 56 and 57:
(Higham, 2002: 131). This suggests
Page 58 and 59:
The role of the Brahmans in this tr
Page 60 and 61:
- The Western Chalukya dynasty rule
Page 62 and 63:
gesturing or marking rhythms with r
Page 64 and 65:
In the fi eld of the performing art
Page 66 and 67:
Manuscripts could also contain thin
Page 68 and 69:
programmes of the religious structu
Page 70 and 71:
circular and represent the heavens.
Page 72 and 73:
The common feature of both these ka
Page 74 and 75:
kind of fi gure, in the same pose a
Page 76 and 77:
fig 2/17 wayang style relief, candi
Page 78 and 79:
are derived from the Indian traditi
Page 80:
During the Central Javanese period
Page 83 and 84:
photograph author
Page 85 and 86:
elongs to the Srivijaya culture, wh
Page 87 and 88:
vernacular types of buidings, in or
Page 89 and 90:
Theravada sect. Numerous local vari
Page 91 and 92:
circular mountain range. The univer
Page 93 and 94:
From the point of view of this stud
Page 95 and 96:
collections of museums and thus the
Page 97 and 98:
98 fig 3/5 “tra kieu dancer” fr
Page 99 and 100:
Indian Pallava and Sri Lankan infl
Page 101 and 102:
102 fig 3/9 dancer, champa 12 th ce
Page 103 and 104:
One of the features of this syncret
Page 105 and 106:
fig 3/12 dancers and musicians in a
Page 107 and 108:
versions Shiva is also frequently f
Page 109 and 110:
poses derived from the Indian tradi
Page 111 and 112:
Their arms are in rather square pos
Page 113 and 114:
clearly resemble Indian dance (Vats
Page 115 and 116:
As already mentioned, the Dvaravati
Page 117 and 118:
Although this kinnari fi gure is no
Page 119 and 120:
group of stylistically and technica
Page 121 and 122:
The pose of the Cham dancer has bee
Page 123 and 124:
dance this position can serve as th
Page 125 and 126:
and stucco or in bronze. There may
Page 127 and 128:
fig 3/26 dancer in a stucco-covered
Page 129 and 130:
130
Page 131 and 132:
photograph veli rosenberg
Page 133 and 134:
fig 4/1 plan of angkor wat. freeman
Page 135 and 136:
Groslier concludes that “both mem
Page 137 and 138:
138 fig 4/2 central towers of angko
Page 139 and 140:
as well. In fact, the “apsaras”
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