32 SOCIAL SCEINTIST Khajuraho' has been sent for Prof. R.S. Sharma Felicitation Volume, ed. by D.N. Jha. Meanwhile S.N. Chaturvedi presented a paper on Saiva Siddhanta at the U.G.C. National Seminar held at Khajuraho in 1987, which further reaffirms my position. 126. The Misra religion combining Tantric and Vedic elements was recognised by the Puranas, viz, the Bhgavata, Padma and Kurma. See P.V. Kane, op.cit., V, ft, p. 924; V.S. Pathak op.cit., p. 2, 51 ff. Pathak suggests Misra Smarta religion at Khajuraho. 127. Devangana Desai, 'Vaikunthaas Daityari at Khajuraho', in Vaisnavism in Indian Arts and Culture, ed. R. Parimoo, pp. 254-260. 128. Devangana Desai, 'Sculptural Representation on the Lakshmana Temple of Khajuraho in the light of Prdbodhachandrodaya\ Journal of the National Centre for the Performing Arts, Vol. XI, 1982, pp. 99-108. 129. Prabodhachandrodaya of Krsna Misra, Sanskrit text with Eng. tr. by Sita Krishna Nambiar, Delhi, 1971. 130. Devangana Desai, 'Puns and ...' in Kusumanjali, p. 384. 131. R. Awasthi, 'Two Unique Sadasiva Images of Khajuraho', Journal of Indian History, Vol. 53, 1975, pp. 211-215; J.N. Banerjee, Religion in Art and Archaeology (Vaisnavism and Saivism), Lucknow, 1968, pp. 79-80. 132. Devangana Desai, 'Placement and Significance of Erotic Sculptures at Khajuraho', in Discourses on Siva, ed. Michael Meister, Philadelphia, 1984. 133. Ibid.,pl. 160. No. 1098 of the Khajuraho Museum. The name 'Urdhavasiva (Urdhasiva) was read by A. Cunningham, Archeaological Survey of India, Report 1883-84 Vol. 21, p. 63, and by Krishna Deva » in personal communication. 134. V.S. Pathak in Bharati No.3 pp. 28-50, Also J. Van Troy in Indica, Vol. II, 1974. 135. H. Dantel Smith (ed^ and annotated), Pancaratraprasada-prasadhanam, (chapters 1-10 of the Kriyapada, Padmasamhita)—A Pancaratra Text on Temple-Building, Madras, 1963, pp. xviii-xix, 9. 136. Ibid., The Chief artisan—variously called in the Pancharatra Samhitas as sthapati, silpin, rathakara, takshaka—works in close association with the acharya who hired him and to whom he is directly responsible. See also S. Kramrisch. The Hindu Temple, pp. 9-10. It is significant in this context to mention an inscriptional evidence on Udega, the Chief architect of the Sarasvati temple at Gadag who was a disciple of Sri Kriyasakti Pandita (a Kalamukha acharya) of the nearby Trikutesvara temple. See S.H. Ritti, 'Udega the Chief Architect of the Sarasvati Temple at Gadag* in Indian Epigraphy, Its Bearing on the History of Art, pp. 213-214. 137. Arnold Hauser clarified in The Philosopphy of Art History, 1959, p. 8, 'All art is socially conditioned, but not everything in art is definable in sociological terms. Above all, artistic excellence is not so definable; it has no sociological equivalent'. Also Herbert Marcuse, The Aesthetic Dimension—Toward A Critique of Marxist Aesthetics, 1979 edition, London, pp. 7 ff, 24, 25, 29, discusses 'the metasocial dimension' of art and certain qualities of art which transcend the specific social content and form and give art its universality.