{"title":"古印度雕塑中的羊头神","authors":"Agnieszka Staszczyk","doi":"10.15804/aoto202002","DOIUrl":null,"url":null,"abstract":"Starting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature);1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha – one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis,2) however, I would like to focus on less popular fig-","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"31 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Goat-headed deities in ancient Indian sculpture\",\"authors\":\"Agnieszka Staszczyk\",\"doi\":\"10.15804/aoto202002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Starting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature);1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha – one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis,2) however, I would like to focus on less popular fig-\",\"PeriodicalId\":240161,\"journal\":{\"name\":\"Art of the Orient\",\"volume\":\"31 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Art of the Orient\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.15804/aoto202002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art of the Orient","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.15804/aoto202002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Starting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature);1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha – one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis,2) however, I would like to focus on less popular fig-