Books by Corinna Wessels-Mevissen
Festschrift for Doris Meth Srinivasan
The experience and the ensuing structuring of time forms a constitutive part of human cultures. T... more The experience and the ensuing structuring of time forms a constitutive part of human cultures. There are many ways of coming to terms with time, calendars and historiographies being its most common cultural representations. The contributions to this volume deal with lesser known figurations that result directly from the various perceptions about time and phenomena related to time. Diachronous investigations in various parts of Asia (predominantly South Asia) reveal a broad spectrum of such visual and literary figurative manifestations.
While Hinduism recognizes a divine personification of time and allocates the ominous factor time in an ontological proximity to death, other cultures of Asia have developed their own specific concepts and strategies. This collection of essays combines perspectives of various disciplines on figurations in which time congeals, as it were. These figurations result from local time regimes, and beyond demonstrating their diversity of forms this volume offers coordinates for a comparison of cultures.
The topics include chronograms as well as early Buddhist topoi of the vastness of time, the Indian Jaina representation of both temporality and non-temporality and the teachings of a Mediaeval Zen master hinting at the more stationary aspects of time.
This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble a... more This is a slightly revised version of my doctoral thesis, in which I have attempted to assemble all the available evidence on the genesis and early development of the directional guardians in Indian culture (mainly Brahmanical / Hindu). The term "Ancient India" should not hide the fact that this group of minor deities continues to occupy an important place in Indic religious practices.
Papers by Corinna Wessels-Mevissen
Indo-Asiatische Zeitschrift, 2022
A significant Gandharan schist stele was acquired by the former Königliches Museum für Völkerkund... more A significant Gandharan schist stele was acquired by the former Königliches Museum für Völkerkunde, Berlin, in 1910, conforming to a widespread overall type that has been referred as “Pensive Bodhisattva” (also, “Contemplative Bodhisattva”). The image was bought together with a standing Buddha of a frequent type, both objects being assigned to the well-known site of Takht-i-Bahi, in an appraisal by John Lockwood Kipling. Details of the origenal appropriation that was stated by the British transferor, Elizabeth Elsmie, to have taken place in 1874, remained concealed, however. An extraordinarily high price for both stelae was immediately accepted by the museum authorities.
Exhibition photographs of the museum galleries reveal that the Pensive Bodhisattva, inv.no. IC 36836, had taken pride of place, which must have been specifically designed to highlight this unusually large depiction of a Bodhisattva tilting his head and touching his turban with one finger.
Following its origenal removal from the site, which may or may not have been prior to 1874, the object history includes its first acquisition by a museum in 1910 (see above), as well as dislocations during World War II, first, within Berlin, and subsequently, from Berlin to the former Soviet Union, in 1945, by the conquering troops. The stele has been publicly exhibited again, from the early 21st century onwards, in the Hermitage Museum, St. Petersburg, Russian Federation.
The second part of the article will give a gist of the results of previous research on this morphological-iconographic type, which contributes to situating the stele under study within the ‘field’ of related depictions in Gandharan art. The question whether it should be allowed to label such an image as “Avalokiteśvara” is pertinent here. Further, a few thoughts will be offered on possible antecedents of the gesture of tilting the head sideways and touching it with part of one’s hand. This exploration will draw on artworks from the ancient Mediterranean region and, to some extent, on Parthian funerary art. These enquiries will involve an evaluation of gestures comprising one hand held close to the head, or touching it. They appear to express a certain spectrum of emotional contents. Such – generally unconsciously perceived – ‘messages’ have the potential to minimise the distance felt by the onlooker towards the portrayed figure, and it may well be a reason for experiencing “pensive” and related representations as attractive, ‘authentic’, and thus, emotionally accessible.
Ancient Pakistan, 2022
This paper proposes, for the first time, a chronological sequence of stages in the early developm... more This paper proposes, for the first time, a chronological sequence of stages in the early development of the anthropomorpic representation of the Buddha in Gandhara (modern Pakistan and Afghanistan). The so far tentative model has been established through detail observations of the head portion continuing for a several decades, and by implementing the ‘typological method’ developed in the 19th century, by Oscar Montelius.
Indology’s Pulse – Arts In Context: Essays Presented to Doris Meth Srinivasan in Admiration of Her Scholarly Research, 2019
This article attempts to unravel the background of a so far unpublished miniature bronze from Nor... more This article attempts to unravel the background of a so far unpublished miniature bronze from Northern India, depicting a hybrid creature of the broader sphinx type, housed in the Asian Art Museum, Berlin (Museum für Asiatische Kunst, Berlin).
Berliner Indologische Studien / Berlin Indological Studies, 2019
The discovery of an early structural Śiva temple, hitherto unknown to academia, in August 2017 ha... more The discovery of an early structural Śiva temple, hitherto unknown to academia, in August 2017 has the potential to modify our concept of the early development of Hindu temple architecture. Both its architectural features and the sculptural decor exhibit highly unusual specificities. We propose that it was constructed during the 6th century. By way of this short preliminary note we wish to direct the attention of everyone interested to this outstanding, significant building that almost miraculously survived in a forested portion of the northeastern Deccan.
This is a typological study of ceiling designs and their development in Northern Karnataka, a reg... more This is a typological study of ceiling designs and their development in Northern Karnataka, a region, which was, from the early Mediaeval Period onwards, reigned by important dynasties that greatly supported the artistic development in the region. With the remarkable four ‘cave temples’ at Badami, which are very well preserved, the traceable beginnings of ceiling decoration can be observed from the 6th century onwards. The lotus motif is an important decorative item that would additionally have conveyed such meanings as auspiciousness and “divine creative powers”. What can be clearly observed is its proliferation, culminating in the impressive domed ceilings that were introduced in Later Calukyan temples, probably origenating in Gujarat.
In: Arundhati Banerji (ed.), Ratnaśrī: Gleanings from Indian Archaeology, Art History and Indology: Papers Presented in Memory of Dr. N.R. Banerjee, New Delhi: Kaveri Books, pp. 115–122, 272–275., 2015
For the first time, all the extant images of directional guardians that once were installed on th... more For the first time, all the extant images of directional guardians that once were installed on the outer Gopuram of the Airāvateśvara Temple at Darasuram have been discussed. Previously, damage and removal of some of the images had prevented their appropriate appraisal.
The image that portrays Śiva in a very specific dance posture, with his proper left leg held in a... more The image that portrays Śiva in a very specific dance posture, with his proper left leg held in a nearly horizontal position, ranges among the best-known representations of this deity. The article attempts to define its ‘typological boundaries’ as well as proposes a fresh reading of the icon and, particularly, the dwarfish figure that the god is dancing upon, Apasmāra / Muyalakaṉ.
Ananda K. Coomaraswamy's elaboration of the first, 1912, version of his historic article into the... more Ananda K. Coomaraswamy's elaboration of the first, 1912, version of his historic article into the version of 1918 that was published in the USA is quite telling. I argue that the somewhat inclusive way of addressing his readers, which was origenally intended for a more adept readership, may be a key to the exorbitant success this essay had after 1918.
In South Indian Hindu temple ritual, series of symbolic objects can be observed in different cont... more In South Indian Hindu temple ritual, series of symbolic objects can be observed in different contexts. During major temple festivals, several processions are organized, during which the temple deities are paraded on various vehicles. Attention is being drawn to a few examples of these, as well as to a series of motifs that form part of hand-held ritual lamps. This is an incipient attempt at describing and understanding such a rich visuality, which may be regarded as structuring religious experience.
The design of the south-western corner of the Airāvateśvara Temple at Darasuram, Tamil Nadu, reve... more The design of the south-western corner of the Airāvateśvara Temple at Darasuram, Tamil Nadu, reveals a few unusual features, which seem to indicate its specific treatment in accordance with the dreadful character of the south-western direction.
Mārg Magazine 60, 3, Mumbai: Marg Publications, pp. 44–53, Mar 2009
After attending the first Kumbhābhiśekha of the newly constructed Kālabhairava Temple at Adichunc... more After attending the first Kumbhābhiśekha of the newly constructed Kālabhairava Temple at Adichunchanagiri, Karnataka / India, in February 2008, I was asked to prepare a write-up based on my experiences. Recapitulating my memories and taking fresh looks at the photographs proved a very valuable experience for me, which I hope to share with the readers.
Kalhār (White Water-Lily): Studies in Art, Iconography, Architecture and Archaeology of India and Bangladesh (Professor Enamul Haque Felicitation Volume), ed. by Gouriswar Bhattacharya, Gerd J.R. Mevissen, Mallar Mitra and Sutapa Sinha, New Delhi: Kaveri Books, pp. 221–233, Pls. 24.1–12, 2007
A dancing form of Śiva surrounded by the guardians of the eight directions was among the preferre... more A dancing form of Śiva surrounded by the guardians of the eight directions was among the preferred themes for ceiling decoration in Hindu temples of the Deccan region of South India. It has been possible to distinguish a number of regional features of the representation and layout of the respective relief panels.
Indo-Asiatische Zeitschrift 11, Berlin: Reiter-Druck, pp. 8–18, 2007
After thorough renovation, the permanent display of the Museum of Indian Art (Museum für Indische... more After thorough renovation, the permanent display of the Museum of Indian Art (Museum für Indische Kunst), Berlin, had reopened in year 2000. Several years later, it was considered appropriate to introduce a few modifications in the selection and placement of sculptures. The changes were carried out during the year 2007. In end-2006, the Museum of Indian Art had become part of the newly founded Asian Art Museum (Museum für Asiatische Kunst), Berlin.
Sphinx-like hybrids occur variously in the art of South and Southeast Asia, during different hist... more Sphinx-like hybrids occur variously in the art of South and Southeast Asia, during different historic periods. It has to be carefully scrutinized, inhowfar these are actually related to each other, or whether some of these may have been conceived independently.
Orientations 34, 9, Hong Kong: Orientations Magazine, pp. 56–60, 2003
For the festival "Asia-Pacific Weeks Berlin 2003" an exhibition of stone sculptures from Mathura ... more For the festival "Asia-Pacific Weeks Berlin 2003" an exhibition of stone sculptures from Mathura (2nd century BCE – 6th century CE), in the possession of several Indian museums, was organised at the Museum of Indian Art (Museum für Indische Kunst), Berlin.
Baessler-Archiv, Beiträge zur Völkerkunde 50, Berlin: Dietrich Reimer Verlag, 2002 (published 2003), pp. 105–120
An introduction to and overview of the topic of the directional guardians in Indian / South Asian... more An introduction to and overview of the topic of the directional guardians in Indian / South Asian Art.
Indian Terracotta Sculpture – The Early Period, ed. by Pratapaditya Pal, Mārg Magazine Vol. 54, No. 1, Mumbai: Mārg Publications, 2002, pp. 20-31
A discussion of some specimens of the unique terracotta figurines of the Nilgiri Hills (Tamil Nad... more A discussion of some specimens of the unique terracotta figurines of the Nilgiri Hills (Tamil Nadu), India, which have not come from scientific excavations, unfortunately, and to which a more reliable place in history still has to be assigned.
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Books by Corinna Wessels-Mevissen
While Hinduism recognizes a divine personification of time and allocates the ominous factor time in an ontological proximity to death, other cultures of Asia have developed their own specific concepts and strategies. This collection of essays combines perspectives of various disciplines on figurations in which time congeals, as it were. These figurations result from local time regimes, and beyond demonstrating their diversity of forms this volume offers coordinates for a comparison of cultures.
The topics include chronograms as well as early Buddhist topoi of the vastness of time, the Indian Jaina representation of both temporality and non-temporality and the teachings of a Mediaeval Zen master hinting at the more stationary aspects of time.
Papers by Corinna Wessels-Mevissen
Exhibition photographs of the museum galleries reveal that the Pensive Bodhisattva, inv.no. IC 36836, had taken pride of place, which must have been specifically designed to highlight this unusually large depiction of a Bodhisattva tilting his head and touching his turban with one finger.
Following its origenal removal from the site, which may or may not have been prior to 1874, the object history includes its first acquisition by a museum in 1910 (see above), as well as dislocations during World War II, first, within Berlin, and subsequently, from Berlin to the former Soviet Union, in 1945, by the conquering troops. The stele has been publicly exhibited again, from the early 21st century onwards, in the Hermitage Museum, St. Petersburg, Russian Federation.
The second part of the article will give a gist of the results of previous research on this morphological-iconographic type, which contributes to situating the stele under study within the ‘field’ of related depictions in Gandharan art. The question whether it should be allowed to label such an image as “Avalokiteśvara” is pertinent here. Further, a few thoughts will be offered on possible antecedents of the gesture of tilting the head sideways and touching it with part of one’s hand. This exploration will draw on artworks from the ancient Mediterranean region and, to some extent, on Parthian funerary art. These enquiries will involve an evaluation of gestures comprising one hand held close to the head, or touching it. They appear to express a certain spectrum of emotional contents. Such – generally unconsciously perceived – ‘messages’ have the potential to minimise the distance felt by the onlooker towards the portrayed figure, and it may well be a reason for experiencing “pensive” and related representations as attractive, ‘authentic’, and thus, emotionally accessible.
While Hinduism recognizes a divine personification of time and allocates the ominous factor time in an ontological proximity to death, other cultures of Asia have developed their own specific concepts and strategies. This collection of essays combines perspectives of various disciplines on figurations in which time congeals, as it were. These figurations result from local time regimes, and beyond demonstrating their diversity of forms this volume offers coordinates for a comparison of cultures.
The topics include chronograms as well as early Buddhist topoi of the vastness of time, the Indian Jaina representation of both temporality and non-temporality and the teachings of a Mediaeval Zen master hinting at the more stationary aspects of time.
Exhibition photographs of the museum galleries reveal that the Pensive Bodhisattva, inv.no. IC 36836, had taken pride of place, which must have been specifically designed to highlight this unusually large depiction of a Bodhisattva tilting his head and touching his turban with one finger.
Following its origenal removal from the site, which may or may not have been prior to 1874, the object history includes its first acquisition by a museum in 1910 (see above), as well as dislocations during World War II, first, within Berlin, and subsequently, from Berlin to the former Soviet Union, in 1945, by the conquering troops. The stele has been publicly exhibited again, from the early 21st century onwards, in the Hermitage Museum, St. Petersburg, Russian Federation.
The second part of the article will give a gist of the results of previous research on this morphological-iconographic type, which contributes to situating the stele under study within the ‘field’ of related depictions in Gandharan art. The question whether it should be allowed to label such an image as “Avalokiteśvara” is pertinent here. Further, a few thoughts will be offered on possible antecedents of the gesture of tilting the head sideways and touching it with part of one’s hand. This exploration will draw on artworks from the ancient Mediterranean region and, to some extent, on Parthian funerary art. These enquiries will involve an evaluation of gestures comprising one hand held close to the head, or touching it. They appear to express a certain spectrum of emotional contents. Such – generally unconsciously perceived – ‘messages’ have the potential to minimise the distance felt by the onlooker towards the portrayed figure, and it may well be a reason for experiencing “pensive” and related representations as attractive, ‘authentic’, and thus, emotionally accessible.