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Journal of History, Art and Archaeology

Journal of History, Art and Archaeology

Frequency :Bi-Annual

ISSN :2582-9637

Peer Reviewed Journal

Table of Content :-Journal of History, Art and Archaeology, Vol:2, Issue:2, Year:2022

WHAT IS WRONG AT THE ROYAL COURT? - THE LITERARY TESTIMONY OF HUON DE BORDEAUX

BY :   Albrecht Classen
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.127-134
Received:28 May 2022 | Revised:26 June 2022 | Accepted :30 June 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.01

Drawing from a variety of literary texts, and especially from the thirteenth-century Huon de Bordeaux, this study argues that the concept of medieval kingship was rather tenuous. More often than not, poets of courtly romances and heroic epics depict the king as a negative figure, evil in character, irrational, unpredictable, untrustworthy, and outright vicious and violent in his actions against detractors and opponents. We cannot universalise this phenomenon, but there is solid evidence for the existence of a long-term discourse on unfit kings who threatened the well-being of their subjects because of their tyrannical attitudes, administrative incompetence, and lack of wisdom. We regularly learn of deeply concerned court councillors who try to advise the king to pursue a different policy, to observe law and order, but they are disregarded and cannot prevent the king from committing serious mistakes and acts of violence which threaten the protagonists’ very existence.

Keywords: evil kings, middle ages, Huon de Bordeaux

Classen, A. (2022). What is Wrong the Royal Court?- The Literary Testimony of Huon De Bordeaux. Journal of History, Art and Archaeology, 2: 2, pp. 127-134. https://doi.org/10.47509/JHAA.2022.v02i01.01


THE VISNU IDOLS OF VALMIKI NAGAR, BIHAR

BY :   Manoj Kumar and Badar Ara
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.135-141
Received:30 May 2022 | Revised:29 June 2022 | Accepted :12 July 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.02

The state of Bihar is rich in artistic remains that indicate the prevalence of religions harmony. West Camparan District situated between 26081*N and 84051*E was a religious centre for Vaishnava, Shaiva, Shakta, Buddhist and Saura communities. The present paper seeks to examine the Visnu sculptures of Valmiki Nagar area of West Champaran District which were found amidst other remains and are presently preserved at the site.

Keywords: Visnu, avatara, Valmiki Nagar, Vaishnava.

Kumar, M., & Ara B. (2022). The Visnu Idols of Valmiki Nagar, Bihar. Journal of History, Art and Archaeology, 2: 2, pp. 135-141. https://doi.org/10.47509/JHAA.2022.v02i01.02


THE HORSE - FACED LION AN ICONOGRAPHIC ENIGMA OF THE MEDIEVAL BENGAL TERRACOTTAS

BY :   Gourav Debnath
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.143-148
Received:11 May 2022 | Revised:12 July 2022 | Accepted :20 July 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.03

Mahi??suramardin?, popularly known as Durg? is undoubtedly the most celebrated dev? in Bengal whose festival has been given the prestigious status of Intangible Cultural Heritage (ICH) by UNESCO in 2021. From the ancient times in Bengal Mahi??suramardin? and her v?hana, the mighty lion went through numerous iconographical transformations and still continuing. In several traditional idols of Mahi??suramardin?, her v?hana the si?ha can be seen having a horse face which is a unique depiction of Bengal. Some scholars have provided their own theories regarding this particular phenomenon but no primary source-based historical research has been done concerning how the horse-faced lion came into her iconography. Therefore, this paper would be an attempt to unfold the enigma of the horse-faced lion of Bengal’s Mahi??suramardin? through the historical analysis of primary evidences.

Keywords: horse-faced lion, ghor?mukh?-si?ha, Mahi??suramardin?, Apar?jitap?ichchh?, vy?la.

Debnath, G. (2022). The Horse – Faced Lion an Iconographic Enigma of the Medieval Bengal Terracottas. Journal of History, Art and Archaeology, 2: 2, pp. 143-148. https://doi.org/10.47509/JHAA.2022.v02i01.03


SURGICAL INSTRUMENTS AT THE ALAHANA PARIVENA HOSPITAL IN POLONNARUWA

BY :   Arjuna Aluwihare
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.149-158
Received:21 August 2022 | Revised:25 September 2022 | Accepted :30 September 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.04

Indigenous medicine systems in India and Sri Lanka and China have been well developed for many hundreds of years. Equally, illnesses of all kinds and results of violence and tumour formation are known to have existed. The Alahena Parivena hospital at Mihintale, is near one of the old capitals of the Sinhalese kingdom at Polonnaruwa, the capital of Sri Lanka after the destruction of Anuradhauram. The discovery of instruments found there - around 900 years old - so closely resemble modern surgical instruments that one can deduce the different types of surgery practiced at that time. They must have treated injuries, tumours, and many conditions similar to what modern surgeons deal with now. Anaesthesia may have been opiates, hypnosis, and tolerating some pain. The discovery of these instruments - a bigger collection than found anywhere else - provides physical evidence of what must have been done and is therefore a very important addition to the history of medical science in ancient South Asia.

Keywords: Surgical instruments, Poonnaruwa, Sri Lanka


Aluwihare, A (2022). Surgical Instruments at the Alahana Parivena Hospital in Polonnaruwa. Journal of History, Art and Archaeology, 2: 2, pp. 149-158. https://doi.org/10.47509/JHAA.2022.v02i01.04


CONTRIBUTION OF O.C. GANGOLY AND S.K. SARASWATI TO THE JOURNAL OF THE GREATER INDIA SOCIETY: A STUDY

BY :   Debarati Ganguly
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.159-166
Received:24 August 2022 | Revised:29 September 2022 | Accepted :10 October 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.05

The idea of Greater India became popular in the twentieth century nationalist environment in which ancient India’s ‘glorious’ impact was traced in the neighbouring Asian especially the South East Asian regions. The scholars believed that the all-inclusive impact of Indian culture led those regions to be transformed into India’s ‘cultural colonies’. These scholars conducted extensive research in socio-cultural aspects, religion, art, political features etc. to show such deep influence of India. In this endeavour, the Journal of the Greater India Society provided a crucial platform for the scholarly investigations and helped in spreading the ideology. In this article I have tried to discuss about the essays of two eminent art historians - O.C. Gangoly and S.K. Saraswati which were published in the journal. The study tries to trace their perspective and wants to examine how far the familiar structural analysis about Greater India was present in their writings. This is significantly related with the evaluation of their approach, an effort to understand whether the writers allowed any space to the role of the local elements in their discussions about the artistic development of different South-East Asian nations or whther they viewed them as completely ‘Indianised’.

Keywords: Greater India, Journal of the Greater India Society, Indian influence, South-East Asian art, indigenous characters, O.C Gangoly, S.K. Saraswati.

Ganguly, D. (2022). Contribution of O.C. Gangoly and S.K. Saraswati to the Journal of the Greater India Society: A Study. Journal of History, Art and Archaeology, 2: 2, pp. 159-166. https://doi.org/10.47509/JHAA.2022.v02i01.05


THE TRIPURA SAMHARA NARRATIVE IN VIJAYANAGARA PAINTINGS AT HAMPI

BY :   R. H. Kulkarni
Journal of History, Art and Archaeology, Year:2022, Vol.2 (2), PP.167-171
Received:15 September 2022 | Revised:22 October 2022 | Accepted :10 November 2022 | Publication:26 December 2022
Doi No.:https://doi.org/10.47509/JHAA.2022.v02i02.06

Tripura Samhara or Tripurarantaka Siva is very interesting image of the deity in Indian lore. Siva killing the sons of Tarakasura was an event which has been celebrated by the divinities. The Sons of Tarakasura, namely Tarakyaksha, Vidyunmali and Vindhyaksha (Viravana) were troubling the divinities. The gods met the lord Siva and request him to save them from the demon brothers. Siva’s son Skandha had already eliminated the demon Tarakasura. Siva agrees to eliminate the demon brothers, and all gods in turn agreed to give away their weapons and energy to Siva who finally kills the demon brothers. This paper is primarily based on a detailed study of the primary source materials, i.e. the paintings.

Keywords: Tripurasura, Tripurantaka, Tripura Samhara, Tarakasura, Tarakyaksha, Vidyunmali and Vindhyaksha (Viravana)



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