The American Council for Southern Asian Art (ASCAA) Digital Images were first distributed under the aegis of the ACSAA Color Slide Project, a non-profit initiative administered through the former Asian Art Archives of The University of Michigan that from 1974 through 2006 provided high quality original and duplicate 35 mm color slides of the art and architecture of India and greater South Asia, Southeast Asia and Indonesia, and the Himalayan regions to individuals and institutions for teaching and research purposes around the world.

Anne Benolken has a Bachelors from the University of Chicago and a Master of Fine Arts in photography from Maryland Institute College of Art. In 1982 she traveled to India on an American Institute of Indian Studies grant to photograph Indian houses from the time of the Raj. She now creates three-dimensional mixed media digital photo collages about problems in life and spirituality, using the Indian goddess Kali to represent herself. She has shown work both locally and nationally.

Ashwin Jain is an engineer by training. He started photography a couple of years back as a hobby that has now become a passion. His profession often takes him to places never traveled or touched by masses. The photographs of Konark, Udaigiri and many other historical sites from his collection are result of his explorations of such sites in his free time and also his interest in recording marvels of Indian art.

The Indian Baroque architecture style emerged in wake of colonial presence in the subcontinent, due to interactions between Neo-Roman style European architecture and Indian styles. The study and documentation of Baroque Architecture of India was undertaken by Professor Jose Pereira during 1967-1969 for the American Academy of Benares, now the Center for Art and Archaeology of American Institute of Indian Studies. He visited areas in India where the Neo-Roman monuments are found accompanied by the Academy’s photographer Dharampal Nanda. The project covered Neo-Roman or Baroque Architecture of Goa, Daman, Diu, Kerala, Pondicherry and Tamil Nadu. The photographs are preserved in Photo-archives of the Center for Art and Archaeology, Gurgaon.

The Brahadisvara temple at Gangaikondacholapuram was built for Shiva by Rajendra I (1012-1044 CE). Rajendra I chose this location to build a new a great capital city for the Chola Empire most probably during the first quarter of 11th century in order to commemorate his conquest over northern territories. He not only built a city, now in ruins and excavated partially, but also a great temple for Siva. However, there is no inscription of Rajendra himself. The earliest inscription is that of his son, Vira Rajendra (1063-1069 CE) that records the donations of his father. The Brahadisvara temple at Tanjavur had influenced this temple in many ways for example in the vast conception of the layout and massive proportion of the elevation. Moreover, the sanctum with its axial units, the Chandikesvara shrine, the cloister mandapa (hall) with the subsidiary shrines and a gopura (gateway) are similar to Tanjavur. However, the temple has its own unique features and some of the shortcomings in the design of the Brahadisvara at Tanjavur have been overcome. For example, there is a provision for erecting wooden scaffolding in the masonry of the sanctum, and the elevation is more ornate as compared to the Tanjavur temple. The temple has sculptures of exceptional quality. The sub-shrines of Chandesa and Amman were originally built according to the plan of Rajendra I, as well as the Simhakeni (the lion-well). Over time the sub-shrines of Thenkailasha, Ganesha and Durga were added. The authenticity of these additions is supported by the Agamic texts concerning renewal and reconstructions of temples in use.

References:

• M.W. Meister and M.A. Dhaky, 1963, pp.241-249
• UNESCO: https://whc.unesco.org/en/list/250

Candi Badut, Malang, Eastern Java, Indonesia