- Page 1 and 2: Dance Images in Temples of Mainland
- Page 6: To Raimo
- Page 9 and 10: Marja-Leena Heikkilä-Horn from Mah
- Page 12: Abstract This dissertation analyses
- Page 15 and 16: fig 3/6 Flexible arms being trained
- Page 17 and 18: fig 6/12 Miniature painting showing
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- Page 23 and 24: eligious structures of the region.
- Page 25 and 26: artists, such as sculptors, carvers
- Page 27 and 28: of temple-related dance images of S
- Page 29 and 30: positions. Furthermore, they are al
- Page 31 and 32: 2. Analysis of the subject matter o
- Page 33 and 34: and the belief system of the cultur
- Page 35 and 36: As mentioned already in the Introdu
- Page 37 and 38: Vatsyayan’s legacy has been follo
- Page 39 and 40: fig 2/1 tympanum of a dong son bron
- Page 41 and 42: In many fi elds of art and culture
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- Page 45 and 46: shares common aesthetic norms, icon
- Page 47 and 48: (c) semi-gods or intermediate gods
- Page 49 and 50: The Shiva Nataraja represents Shiva
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(1990, 22-31) and Jyotindra Jain (1
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movements, gestures etc. may have b
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the interaction between the downstr
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conceptions of art as well as porta
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love-making, pleasantries, fi ghtin
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fig 2/11 mock combat or training of
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cases still are, regarded as sacred
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storyteller to explain the stories
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fig 2/13 plan of the borobudur stup
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72 fig 2/14 dancer performing at co
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fi xed iconographical conventions c
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specultaion about the reason for th
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texts. The stories that originated
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fig 2/20 rama as archer. candi loro
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3 The Localisation of Indian-Derive
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3 The Localisation of Indian-Derive
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By critically employing this scatte
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which regularly took place in pilla
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the lack of textual evidence it is
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The earliest existing cosmological
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covers the period from the 7 th to
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fig 3/3 shiva nataraja, badami, wes
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One reutilised Shiva tympanum has s
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fig 3/7 pedestal with dancers, cham
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As the two pedestals referred to ab
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y an audience etc. The majority of
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approximately the 8 th century onwa
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unambiguous as to whether a certain
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The dance pose of this deity is cle
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When one considers how little is kn
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with a similar style and side ornam
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fig 3/19 dancing kinnari or a human
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fig 3/21 mon-period miniature gold
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(Aasen 1998, 39). The chedi shows C
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fig 3/23 dancing tantric goddess, 9
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of the Theravada Buddhist cosmos. I
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fig 3/25 terracotta relief showing
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The small towers are capped with fo
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4 Angkor Wat: Dance and the Hindu-K
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4 Angkor Wat: Dance and the Hindu-K
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with great fuss by the western colo
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According to the textual sources it
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The 1 st enclosure, with its magnif
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fig 4/4 dancing female figures, usu