The early Buddhist architectural vocabulary, being the first of its kind, maintained its monopoly for about half a millennium, beginning from the third century BCE. To begin with, it was oral, not written. The Jain, Hindu, and other Indian sectarian builders later developed their vocabulary on this foundation, though not identically. An attempt is made here to understand this vocabulary and the artisans who first made use of it.

In the epigraphic ledger, the first reference to the mythical creator of the universe, the Visvakarma (Visakama), is made on the thupas at Sanchi and Kanaganahalli; the earliest excavators of cave temples, comprising five specialists – selavdhaki, nayikamisa, kadhicaka, mahakataka and mithaka –  as well as a team of master-architects and supervisors, called the navakamis, appear at Kanheri. Besides these, there were also others called avesanis, atevasinas, acaryas, and upajjhayas all over the Buddhist world. The list does not end with these, because there were yet others called vadhakis (carpenters), seli-vadhakis (stonecutters), sela-rupakas (stone sculptors), mithakas (polishers), and so on. All these artisans who have recorded their life stories on the stone surface are identified, and their professional contributions evaluated here for the first time.

The Ramayana traditions of South India and Southeast Asia are examined at multiple levels in this volume. The research presented here offers in-depth investigations of chosen moments in the development of the epic tradition together with broader trends that help in understanding the epic?s multivalence. The journey and localization of the R?m?ya?a is explored in its manifold expressions ? from classical to folk, from temples and palaces to theatres and by-lanes in cities and villages, and from ancient to modern times. Regional R?m?ya?as from different parts of South India and Southeast Asia are placed in deliberate juxtaposition to enable a historically informed discussion of their connected pasts across land and seas. The three parts of this volume, organized as visual, literary, and performance cultures, discuss the sculpted, painted, inscribed, written, recited, and performed Ramayanas. A related emphasis is on the way boundaries of medium and genre have been crossed in the visual, literary, and performed representations of the R?m?ya?a.These are rewarding directions of research that have thus far received little attention. Bringing together 19 well-known scholars in Ramayana studies from Cambodia, Canada, France, India, Indonesia, Malaysia, Singapore, Thailand, UK, and USA, this thought-provoking and elegantly illustrated volume engages with the inherent plurality, diversity, and adaptability of the R?m?ya?a in changing socio-political, religious, and cultural contexts and with shifting norms, tastes, traditions, and ideologies.

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