The Construction of'Mule' in Indian Temple Architecture Renaissance Ideals/ in Norm and Form: Studies in the Art of the Renaissance, London, 1966, pp.88-89. 54. Adam Hardy, Indian Temple Architecture: Form and Transformation. TheKamata Dravida Tradition, 7th to 13th Centuries, New Delhi, 1995, p. 5. 55. Hardy, ibid., and 'Patterns of Thought and Form in Hindu Temple Architecture,' Architecture and Design, September-October 1986, pp.28-38; November-December 1986, pp.38-55. 62 56. Tapati Guha-Thakurta, The Making of a New 'Indian 'Art, and Partha Mitter, Art and Nationalism in Colonial India, are two quite different, recent analyses of the episteme of 'art' within the epistemology of colonialism and nationalism. 5 7. Dhaky, Indian Temple Forms, p. 28. 58. The Kamikagama qualifies Vesara's form as having / vicitranga' (peculiar, strange, or unusual features), suggesting that the text must record a contemporary viewer's response to temples, not the knowledge of the makers of these temples themselves. See Kamikagama, chapter 49, verse 17, given in Kramrisch, The Hindu Temple^ p. 431. 59. Dhaky, Indian Temple Forms^ p. 26. 60. Ajay J. Sinha, "Architectural Inventions in Sacred Structures: The Case of Vesara Temples of southern India'', Journalof:the Society ofArchitectural Historians, December 1996, pp. 382-99. 61. Dhaky, Indian Temple Forms, p. 27. 62. Dhaky, ibid. For those proto-Nagara temples, see Krishna Deva, Tanduvamsis of Sripura and Nalas', in Encyclopaedia of Indian Temple Architecture, North India: Foundations of North Indian Style, eds. Michael W. Meister and M.A. Dhaky, Princeton,1988. Also see Michael W. Meister, 'Siva's Forts in Central India: Temples in Daksina Kosala and their "Daemonic" Plans', in Discourses on Siva: Proceedings of a Symposium on the Nature of Religious Imagery, edited by Michael W. Meister, Philadelphia, 1984, pp. 119-42. 63. Dhaky's monograph has fully explored the representation of various regional types of contemporary shrine models on Vesara monuments as evidence of architectural knowledge in eleventh-twelfth century Karnataka. 64. Dhaky, Indian Temple Forms, p. 27. 65. Dhaky, ibid., p. 28. 66. Dhaky, ibid., p. 26. 67. The ninth-century doorway of the Jaina temple at Pattadakal is one prominent example of this regional variant, distinguished by long, frothy tails of the makaras dangling on either side of the pilasters on which they perch. 68. The phrase is from Stella Kramrisch, The Hindu Temple, p. 165. 69. Michael W. Meister, 'On the Development of a Morphology for a Symbolic Architecture: India', Res 12, Autumn 1986, pp. 33-50. 70. Meister, 'Siva's Forts in Central India'. Also see Donald Stadtner, 'Ancient Kosala and Stellate Plan', in Kaladarsana, American Studies in the Art of India, edited by Joanna G. Williams, New Delhi, 1981, pp. 137-45. 71. Bhagavadgita, Chapter 1, verses 41-43. 72. Dhaky, Indian Temple Forms, p. 3. The inscription is in Epigraphia Camatica, Vol. 8, Sorab no.275, (ed.) B. L. Rice. 73. Dhaky summarizes another late-twelfth century inscription from the Amritesvara temple at Holal, where the architect again declares himself as a veritable divine architect on the basis of his mastery of the 'four classes of temples (namely) Nagara, Kamiga, Dravida, and Vesara'. See Indian Temple Forms, p. 3. 74. Homi Bhabha, The Location of Culture, London and New York, 1994, pp. 5-9, especially photographer, Alan Sekula's imagery of harbours in 'Fish Story'. 75. Frederic Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act, Ithaca, 1981, 76. For 'national' and 'diasporic' imaginings, see Apinan Poshyananda, 'Roaring Tigers, Desperate Dragons in Transition', pp. 23-53, and Geeta Kapur, 'Dismantling the Norm', pp. 60-70, in the Contemporary Art in Asia: Traditions and Tensions, edited by Apinan Poshyananda, catalogue of the exhibition at Asia Society Galleries, New York, 1996. Also see Nation and Migration: The Politics of Space in the South Asian Diaspora, edited by Peter Van Der Veer, Philadelphia, 1995. Journal of Arts & Ideas