فن هندوسي
مراجع

↑  "The Global Religious Landscape - Hinduism". A Report on the Size and Distribution of the World’s Major Religious Groups as of 2010. The pew foundation. مؤرشف من الأصل في 2013-07-07. اطلع عليه بتاريخ 2013-03-31.
↑  "Heart of Hinduism: Sanskrit and Sanskriti (Culture)." 2004, 30 Mar 2009. < http://hinduism.iskcon.com/lifestyle/801.htm نسخة محفوظة 2010-07-29 على موقع واي باك مشين.>.
1 2  Bopearachchi, Osmund. Achaemenids and Mauryans: Emergence of Coins and Plastic Arts in India (بالإنجليزية). Archived from the original on 2020-06-24.
1 2 3 4  Neelis, Jason (2010). Early Buddhist Transmission and Trade Networks: Mobility and Exchange Within and Beyond the Northwestern Borderlands of South Asia (بالإنجليزية). BRILL. pp. 102–103. ISBN:978-90-04-18159-5. Archived from the original on 2020-06-11.
↑  "The folk art typifies an older plastic tradition in clay and wood which was now put in stone, as seen in the massive Yaksha statuary which are also of exceptional value as models of subsequent divine images and human figures." in Agrawala, Vasudeva Sharana (1965). Indian Art: A history of Indian art from the earliest times up to the third century A. D (بالإنجليزية). Prithivi Prakashan. p. 84. Archived from the original on 2020-06-09.
1 2 3 4  Paul، Pran Gopal؛ Paul، Debjani (1989). "Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations". East and West. ج. 39 ع. 1/4: 132–136, for the photograph p.138. ISSN:0012-8376. JSTOR:29756891.
1 2  Srinivasan، Doris (1979). "Early Vaiṣṇava Imagery: Caturvyūha and Variant Forms". Archives of Asian Art. ج. 32: 39–40. ISSN:0066-6637. JSTOR:20111096.
↑  "Various attempts were made by numismatists to identify the human figures holding various attributes, appearing on the Imperial series of the punch-marked coins dated to the 3rd century BCE. The recent article by Wilfried Pieper has proposed a comprehensive survey of these coins with Vaiṣṇava divinities. The god most probably holding a plough in his raised left hand and pestle in his raised right hand is no doubt Balarāma." in Bopearachchi, Osmund. Achaemenids and Mauryans: Emergence of Coins and Plastic Arts in India (بالإنجليزية). Archived from the original on 2020-06-24.
1 2 3  Osmund Bopearachchi, 2016, Emergence of Viṣṇu and Śiva Images in India: Numismatic and Sculptural Evidence نسخة محفوظة 2019-08-19 على موقع واي باك مشين.
1 2  Quintanilla, Sonya Rhie (2007). History of Early Stone Sculpture at Mathura: Ca. 150 BCE - 100 CE (بالإنجليزية). BRILL. pp. 47–49, Fig. 29 and 30. ISBN:9789004155374. Archived from the original on 2020-01-08.
↑  Quintanilla, Sonya Rhie (2007). History of Early Stone Sculpture at Mathura, ca. 150 BCE - 100 CE (بالإنجليزية). BRILL. p. 42. ISBN:9789047419303. Archived from the original on 2020-06-24.
↑  Kumar, Raj (2003). Essays on Indian Art and Architecture (بالإنجليزية). Discovery Publishing House. pp. 50–51. ISBN:9788171417155. Archived from the original on 2020-06-24.
1 2  Paul، Pran Gopal؛ Paul، Debjani (1989). "Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations". East and West. ج. 39 ع. 1/4: 125. ISSN:0012-8376. JSTOR:29756891.
↑  Honour, Hugh; Fleming, John (2005). A World History of Art (بالإنجليزية). Laurence King Publishing. p. 244. ISBN:978-1-85669-451-3. Archived from the original on 2020-01-21.
↑  Paul، Pran Gopal؛ Paul، Debjani (1989). "Brahmanical Imagery in the Kuṣāṇa Art of Mathurā: Tradition and Innovations". East and West. ج. 39 ع. 1/4: 111–143. ISSN:0012-8376. JSTOR:29756891.
↑  Singh, Upinder (2008). A History of Ancient and Early Medieval India: From the Stone Age to the 12th Century (بالإنجليزية). Pearson Education India. p. 439. ISBN:978-81-317-1677-9. Archived from the original on 2020-01-12.
↑  Bautze-Picron، Claudine (2013). "A neglected Aspect of the Iconography of Viṣṇu and other Gods and Goddesses". Journal of the Indian Society of Oriental Arts. XXVIII–XXIX: 81–92. مؤرشف من الأصل في 2020-06-24.
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ضبط استنادي: وطنية :  المكتبة القومية الإسرائيلية (J9U)  مكتبة الكونغرس (LCNAF) 
شاتوفيوها فيشنو: فاسوديفا وأعضاء آخرون من عشيرة فريشني. فاسوديفا (الصورة الرمزية لفيشنو) في المنتصف مع صولجانه ذو الزخرفة الثقيلة على جانبه وممسكًا بمحارة، شقيقه الأكبر بالارما إلى يمينه تحت غطاء الثعبان، وابنه براديومنا إلى يساره (مفقود) وحفيده آنيرودها في الأعلى. القرن الثاني الميلادي، متحف ماثورا.