The worship of clay images in Bengal
The thesis examines the contemporary Bengali practice of worshipping clay images. By clay is understood 'unbaked' clay. The thesis makes a distinction between 'baked clay' (terracotta) images and 'unbaked' clay (terracruda) images and examines the preference for worshipping terracruda images. The worship of clay images is examined within the context of image worship in general in India, referring to the classical iconographical canons and other texts in which clay is mentioned as a suitable medium for the making of religious icons. The study is restricted to the Hindu religion. The thesis does not restrict itself to a purely iconographical approach. The thesis discusses the artistic tradition that gave rise to the clay images of Bengal,as well as attempting to understand the religious significance of the images. In tracing the tradition, the author has used vernacular sources as well as early records of travellers. In describing the contemporary technique of clay image making, the author has relied on recorded interviews and photo-documentation taken during a three month period of fieldwork in West Bengal. The thesis establishes that there has been a tradition of worshipping clay images in Bengal that is at
Robinson, James Danter
Hindu decoration and ornament ; Idols and images ; Worship ; Religious articles ; Religion ; India ; Bengal ; Bengal (India)
The worship of clay images in Bengal. The thesis examines the contemporary Bengali practice of worshipping clay images. By clay is understood 'unbaked' clay. The thesis makes a distinction between 'baked clay' (terracotta) images and 'unbaked' clay (terracruda) images and examines the preference for worshipping terracruda images. The worship of clay images is examined within the context of image worship in general in India, referring to the classical iconographical canons and other texts in which clay is mentioned as a suitable medium for the making of religious icons. The study is restricted to the Hindu religion. The thesis does not restrict itself to a purely iconographical approach. The thesis discusses the artistic tradition that gave rise to the clay images of Bengal,as well as attempting to understand the religious significance of the images. In tracing the tradition, the author has used vernacular sources as well as early records of travellers. In describing the contemporary technique of clay image making, the author has relied on recorded interviews and photo-documentation taken during a three month period of fieldwork in West Bengal. The thesis establishes that there has been a tradition of worshipping clay images in Bengal that is at
worship clay image bengal examines contemporary bengali practice worship clay image clay understood clay make distinction clay terracotta image clay image examines preference worship images worship clay image examine within_context image worship general india refer classical iconographical canon texts clay mention suitable medium make religious icon study restrict hindu religion restrict purely iconographical approach discus artistic tradition give_rise clay image bengal well attempt religious significance image trace tradition author use vernacular source well early record traveller describe contemporary technique clay image making author rely record interview documentation take period fieldwork west bengal establish tradition worship clay image bengal