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Protection, power and politics: An ...

Glowski, Janice Marie.

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Protection, power and politics: An iconographic study of Kumari Baha mandala in Kathmandu .

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Protection, power and politics: An iconographic study of Kumari Baha mandala in Kathmandu ./
作者:	Glowski, Janice Marie.
面頁冊數:	425 p.
附註:	Adviser: Susan L. Huntington.
Contained By:	Dissertation Abstracts International63-07A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3059253
ISBN:	9780493747866

Protection, power and politics: An iconographic study of Kumari Baha mandala in Kathmandu .
Glowski, Janice Marie.

Protection, power and politics: An iconographic study of Kumari Baha mandala in Kathmandu . - 425 p.

Adviser: Susan L. Huntington.

Thesis (Ph.D.)--The Ohio State University, 2002.

The royal (raj) Kumari's home, or chem&dotbelow;, in Kathmandu City is the largest and most patronized of the extant Kumari residences, and houses one of the most important deities in the Kathmandu Valley---the goddess Kumari. Also known as Kumari Baha, this three-storey, open courtyard structure was established by King Jayaprakasa Malla in C.E. 1757. Kumari Baha is the most well preserved and iconographically articulated of the Kumari chem&dotbelow;, making it an important primary document in its own right. However, the monument has received only cursory attention from scholars.

ISBN: 9780493747866Subjects--Topical Terms:

635474
Art History.

Protection, power and politics: An iconographic study of Kumari Baha mandala in Kathmandu .
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520 $a The royal (raj) Kumari's home, or chem&dotbelow;, in Kathmandu City is the largest and most patronized of the extant Kumari residences, and houses one of the most important deities in the Kathmandu Valley---the goddess Kumari. Also known as Kumari Baha, this three-storey, open courtyard structure was established by King Jayaprakasa Malla in C.E. 1757. Kumari Baha is the most well preserved and iconographically articulated of the Kumari chem&dotbelow;, making it an important primary document in its own right. However, the monument has received only cursory attention from scholars.
520 $a This study analyzes Kumari Baha's major iconographic features and interprets it within the context of Nepal's history, sacred histories, and socio-religious practices and compares them with that of other Kumari chem&dotbelow;, Newar Buddhist monasteries, and shrines dedicated to other goddesses in the Valley. This study suggests that the monument's art articulates layers of man&dotbelow;d&dotbelow;alic patterns, some of which are created by the so-called "man&dotbelow;d&dotbelow;alic goddesses," the As&dotbelow;t&dotbelow;amatr&dotbelow;ka and the Navadurga. The specific man&dotbelow;d&dotbelow;alas articulated by Kumari Baha's iconography include the Cakrasam&dotbelow;vara/Vajravarahi Man&dotbelow;d&dotbelow;ala, the Guhyasamaja Man&dotbelow;d&dotbelow;ala, Dharmadhatu Man&dotbelow;d&dotbelow;ala, and a Durga Man&dotbelow;d&dotbelow;ala. The monument is also conceived as a microcosm of the Kathmandu Valley, which many Newars conceive to be a self-manifested Cakrasam&dotbelow;vara/Vajravarahi Man&dotbelow;d&dotbelow;ala. The presence of the great goddesses Taleju, Vajrayogini, Durga, Mahalaks&dotbelow;mi, Kali, and Guhyesvari are also implied at the Kumari Baha.
520 $a This study suggests that Kumari Baha can be read as a multi-sectarian monument, and the Sakta rubric unifies the distinctive, but non-exclusive, religious traditions and their imagery. Further, this study suggests that the impetus for Kumari Baha's construction was an attempt on the part of Jayaprakasa Malla to protect his kingdom from the Gorkha onslaught, to harness the power of the goddess (sakti ), and to legitimize his reign. Finally, given Jayaprakasa Malla's objective to harness the multiple expressions and power of sakti as it manifests throughout the Valley, his only real option was to propitiate the goddess Kumari, since she is conceived as the embodiment of absolute creative potential and, therefore, embodies the creative potential of the Valley's most powerful goddesses---Taleju, Vajrayogini, Durga, Mahalaks&dotbelow;mi, Kali, and Guhyesvari.
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