19. Spink W. Jogeshwari: A Brief Analysis, c. 1-35, ил. I-VI.
20. Cp. Panigrahi, K. D. “Sculptural Presentations of Lakuli§a and Other PaSupata Teachers”, 1969, c. 635-643.
21. Тема Мировой Оси, представленная в Элефанте, просматривается и в буддийской скульптуре; ср. Coomaraswamy А. К. Elements of Buddhist Iconography, 1935, с. 53,54, ил. VII, «Будда, проповедующий бодхисаттвам на горе Гридхракута» (Карли).
22. Ramanujan А. К. Speaking of Siva, с. 144,149-151,153-161,164,166,168
в его переводах гимнов Алламы Прабху.
23. «Кандария» означает «пещерный». Наименование Храма Канда-рия Махадевы XI века означает «Великий Бог пещеры»; ср. Кгат-risch S. “Linga”, 1977, с. 365; Filliozat J. “Les images d’un jeu de Siva a Khajuraho“, 1961, c. 284 № 10.
24. В горах Панджаба XVIII и XIX столетий, особенно из Манди (в стиле Саджну) (ср. Archer W. G. Indian Paintings from the Panjab Hills, т. I, c. 365, т. II, ил. 60), а также в живописи из Гархвала Шива с его семьей изображен в пещере.
25. Ramanujan А. К. Speaking of Siva.
26. Ср. Sivaramamurti С. The Art of India, c. 362, фиг. 379.
27. Шива «Саптасварамья», деталь, см. Frederic Louis. The Art of India, c. 165, ил. 133; Sivaramamurti C. The Art of India, c. 176; Lippe A. Indian Medieval Sculpture, ил. 7. В левой руке каждой (по-видимому) из семи фигур — чаша. Этот аспект Шивы еще не был описан иконографически.
28. Ср. Spink IV. М. “Jogeshwari: A Brief Analysis”, с. 3-6,16.
29. Ср. Coomaraswamy А. К. History of Indian and Indonesian Art, ил. XXXI,
фиг. 135. Также см. Zimmer Н. Art of Indian Asia, t. 11, ил. 85.
30. Ср. Shah U.P. Sculptures from Samalaji and Roda, 1960, ил. 25,42. Они сочетают изобилие объемов с легким «классическим» шармом.
31. Spink IV. М. “Jogeshwari: A Brief Analysis”, ил. VI, фиг. 31; и Chandra Р.
A Guide to the Elephanta Caves.
32. См. Hirananda Sastri and Ratan Parimoo. A Guide to Elephanta, ил. 15.
33. Обо всем рельефе «грота» см. Frederic L. The Art of India, c. 162, ил. 129. Левая поднятая рука простерта под диагональным уклоном к движению фигуры от коленного сустава вверх к вершине углубления, где оно резко обрывается потолком ниши.
34. Zimmer Н. Art of Indian Asia, т. II, ил. 223.
35. Для анализа восприятия и характеристики см. Chatham D.C. “Stylistic Sources and Relationships of the Kailasa Temple in Ellora”, 1977.
36. Zimmer H. Art of Indian Asia, т. II, ил. 40, 41.
37. Ср. Gopinatha Rao T. A. Elements of Hindu Iconography, t. 2, ч. 1, c. 217; и Sharma B. «Ravana Lifting Mount Kailasa in Indian Art», 1973, c. 327.
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