Showing 817–828 of 932 results
The book studies the 360 icons of the Chu Fo Pu-sa Sheng Hsiang Tsan pantheon referring to a rare set of woodcuts distinct among Buddhist pantheons. It analyses the unique features of this pantheon, pointing out the significance of each figure in the mythological/theological framework and minutely describing the iconography of the images.
Beginning with a few aniconic symbols, like footprints, the Bo tree or stupas, in the pre-christian Indian art, Buddhism, over the centuries, came to evolve a be-wildering array of deities in ever-increasing number of pantheons. Interestingly, in Buddhism today, there are perhaps as many pantheons as there are countries, or internal regions or sects within them. Chou Fo Pu-sa sheng Hsiang Tsan, in focus here, is one of these many Buddhist pantheons and acknowledgedly the culmination of Lamaist art. Authored by Rol. pahi.rdo.rje, alias Lalitavajra, (1717-1786): an imperial preceptor of Emperor Chien-lung (1736-1795), it is a rare set of 360 wood-cuts/xylographs, representing varying forms and manifestations of the Buddhas, Bodhisattvas, tantric and tutelary deities, arhats, sages, teachers, dharmapalas and protective divinities. It is also accompanied by 360 `eulogies’ in Chinese. Two internationally distinguished scholars here team up to present afresh the Chou Fo pu-sa Sheng Hsiang Tsan, aptly called a unique pantheon. Drawing together all the 360 wood-cut images in their vividly enlarged/enhanced versions without compromising their aesthetic integrity, the book not only captures their subtle iconic devices, but spells out as well, in meticulous detail, all their iconic attributes, like body postures, faces, arms/hands, mudras, asanas, vahanas, companions, and whether clam or wrathful. The book also incorporates the names of each deity/deity-form in Sanskrit, Manchu, Mongolian, Tibetan, and Chinese. Unveiling, for the first time, the images of a veritably unique pantheon, in their enlarged format, and their accompanying Chinese eulogies, the book is bound to fascinate anyone concerned with Buddhist art and iconography.
The volume studies comprehensively the theory and practice of Tibetan Buddhism: its historical, religious and cultural evolution, its various deities and their symbolism, its basic philosophy and sadhana and the intricacies of the religious experience it involves. It has numerous illustrations and references to original works.
Tibetan Buddhism has held a place of its own in the Buddhist tradition, having preserved and evolved the religious culture of the Vajrayana, the final phase of Buddhism in India. Within that, the Tibetan Tantric belief has a unique significance and it has made a memorable contribution to the literature on Tibetan Buddhism. This authoritative work deals with the theory and practice of Tibetan Buddhism in a comprehensive manner. It presents a study of Tibetan Tantricism beginning with an account of the historical, religious and cultural evolution of Tibetan Buddhism and delving into the intricacies of practice of the religion. Dr. Krishna Ghosh discusses the many deities of the tradition as representing a wide range of religious experience from the primitive to the sublime. She lays bare the complex vision of Tibetan Tantric Buddhist philosophy and sadhana, clearing it of the obscurantism associated with the belief system for long. The work abounds in illustrations line drawings and photographs and has numerous references to original works by Tibetan and other scholars. The book is written in an easy-accessible style to allow a broad range of readers to familiarise themselves with Tibetan Tantric Buddhism. Its penetrating insights into the subject would make it an invaluable work for scholars and practitioners of the tradition.
Time is eternal, all-pervasive, money, a good counsellor, and the best-known medicine. The 100 “quotable” quotes on Work in this book are a gold mine of wisdom that renews his spirit and makes him more creative and help him utilize time better for the self and the society. Each quote has a stimulating painting of Lord Ganesha, the Lord of Peace, Prosperity and Wisdom.
Time is eternal and all-pervasive. It is the most potent factor in human life. It waits for none. Time is money. To remind the significance and criticality of Time, the authors have presented 100 exceptional quotes on Time, each quote is enjoined by a stimulating painting of Lord Ganesha, the Lord of Peace, Prosperity and Wisdom. Some of these enlightening and ever-inspiring quotes are from impeccable personalities, who have rendered invaluable services and contributions to the progress of this world. Everything happened, happens and will happen fall under the ambit of time.
Time is the best-known medicine and a good leveller and counsellor. It enables us to overcome the losses of the past and energize to run towards new goals. Though alpha and omega in nature, time is too short for a human being. Thus it reminds everyone to act wisely and harness it fruitfully as the wise, talented and the enlightened do.
The volume is a comprehensive collection of papers dealing with the philosophical, religious/spiritual, and linguistic aspects of time, and time as understood in Indian art, music and other aspects of culture.
The concept of time has been variously interpreted and debated in the Indian tradition since ancient times. It is referred to by the word kala which has many meanings like time personified, time as death, time as a cycle and so on, and other words like samaya, vela, kshana as well, which refer to various aspects of time.
The volume is a comprehensive collection of papers dealing with the philosophical, religious/spiritual and linguistic aspects of time, and time as understood in Indian art, music and other aspects of culture. Scholars explore themes such as the notion of beginning of time in cosmology, theology and philosophy, time as interpreted by the Indian philosophical systems, use of the notion of time by Bhartrihari, and concepts of time as interpreted by Indian poets. They examine time as experienced in the seasonal, ritual cycles of Indian social, cultural and physical life, use of tala and laya in north Indian music, interpretation of time in the Ragamala painting tradition, perception of time in Indian architecture, and in Indian popular culture.
The Bṛhadāraṇyaka Upaniṣad is the earliest text in its genre, inaugurating the entire history of Indian philosophy. Commented on by numerous teachers of Vedantic schools, its fertility is not exhausted by any or all of them. Unlike later philosophy, it is not a work of explanation but of contemplative praxis towards cosmic and nondual self-realization. Locating it in a countercultural movement and relating it to the ontological vision of Sri Aurobindo, Time-Steps of the Cosmic Horse is a sustained contemplation on the first chapter of this Upaniṣad drawing attention to the phenomenology and rhetorical structure of its linguistic action.
The book details the significance of the toranas arched portals or festoons in ancient and medieval architecture of South and South-east Asia, with special emphasis on Indian representation. The text is richly illustrated with photographs and line drawings from remote sites, museums and archival collections.
The present work discusses in depth the subject of toraªas (arched portals or festoons) in the ancient and medieval architecture of South- and South-east Asia, with special emphasis on Indian representations. Their antiquity and rationale; their continued presence in association with stupas, caves, temples, mosques, cities, forts, and palaces; their myriad forms and transformations; and their aesthetic and symbolic relationship to the structure in question are analyzed stage-by-stage in this book. The rich corpus of toraªas included here has been critically and comparatively analyzed in relation to traditional practice, as well as in the light of the medieval architectural treatises, historical records, and other literary sources. The approach is micro in the sense of being focused on a specific architectural element but macro in its regional and temporal span. In addition, the exposition reveals the grammar as well as the manifold visual formulations of the toraªa as representative of the basic principles of traditional Indian architectural ornament: integral to the structure, functionally apt, aesthetically significant, and visually evocative, with sound and sophisticated design principles. The text is richly illustrated, bringing together material scattered over several well-known as well as remote sites, museums, and archival collections. Whereas a major part of this book details the journey of the toraªa in ancient and medieval India, the section on early beginnings also includes references from Pakistan and Afghanistan, and the final chapter surveys, with a view to compare, parallel yet distinct expressions in Cambodia, Thailand, Champa, Indonesia, Myanmar, Nepal, and Sri Lanka.
The essays here, challenging the boundaries and assumptions of mainstream art history, question many preconceived notions about meaning in representations artistic and art historical. Emphasizing on specific visual cultures within the dynamics of historical processes, they raise critical issues of art production, circulation and consumption and attempt to rescue traditional arts from a past that is hermetically sealed off from the present.
Mainstream art historical writing on Indian art has remained focused on identifying and defining stylistic schools, understanding evolutionary patterns and regional styles as well as understanding iconographic and narrative conventions and structures. The wide-ranging essays in this volume challenge the boundaries and assumptions of mainstream art history. Moving away from an art history structured by an art object-centered approach, this book gestures at a framework-oriented approach that calls attention to the political, social, economic structures that undergird art. It is an attempt to reformulate the discipline in a manner that can explain the field of the visual in a way that goes well beyond the explanatory capacity of conventional modes of studying Indian art. These essays question preconceived notions about meaning in representations artistic and art historical. They contest earlier claims about the objectivity of scholarship in general and history writing in particular as much as they critique the valorization of a purely individuated, subjective art criticism. In its attempt to historicize the practice of art, the book examines the economic, political and social implications of art that enable the re-situation of Art History among social science disciplines. The emphasis is on the study of specific visual cultures within the dynamics of historical processes. These essays raise critical issues of art production, circulation and consumption as well as production of meaning. Traditional arts have been studied from a critical perspective that extricates them from a past that is hermetically sealed off from the present. The opposition of High Art and non-art (read popular or mass visual culture) has been challenged. Breaking outside the ambit of high art, studies in the book extend from popular, mass-produced art to MTV imagery to digital art.
This book offers a novel interpretation of conflict deriving from basic principles for dealing with fundamental differences. It suggests a qualitatively new technique that can bypass historical impasses and usher in a stable peace.
Truth has been a contested concept between men of religion, philosophers and ideologues, generating conflicting social-economic-political paradigms. The Towering Wave, a literary work by philosopher B.K Mallik first published in 1953, explores these clashing alternatives while seeking answers to problems of conflict and existential uncertainty. Mallik lived through two world wars in Oxford which had raised uncomfortable questions about the assumptions underlying European self-understanding and led to new attempts to configure a post-colonial international order. These form the background to the questions raised in this book.
Mallik offers a novel interpretation of conflict deriving from basic principles for dealing with fundamental differences. He suggests a qualitatively new technique that can bypass historical impasses and usher in a stable peace.
This anthology explores the lived experiences and positioning of women in diverse Indian social, religious and cultural contexts. It deals with issues varying from the intricacies of the gender concepts embedded in contemporary traditionmodernity debates to detailed consideration of women currents of thought, action and life and the problem of understanding that they throw up.
The anthology Tradition and Modernity: Essays on Women of India includes essays ranging from the philosophical and analytical to the descriptive and the explorative and the experimental perspectives. It explores the lived experiences and positioning of women in diverse Indian social, religious and cultural contexts. The essays deal with issues varying from the intricacies of the gender concepts embedded in contemporary traditionmodernity debates to detailed consideration of women currents of thought, action and life and the problem of understanding that they throw up.
While a majority of the papers rightly reflect on the unequal and oppressive situation of the women in highly patriarchal and hierarchical settings, yet there are quite a few which sensitively touch upon the theme of human spirit and the beauty of love and relationships between man and woman in the midst of caste and gender hierarchies. There is reflection on the theme of the growing awareness about the women, environment and development, particularly the relationship between violence of nature and women.
This collection of writings will appeal to readers of all hues as well as students and scholars of culture and religion, in particular of India, gender equality, democracy and difference and feminist theory.
This work is a dedicated effort at defining rasa and post-structuralist theories in clear and graphical terms while focusing on intercultural application of these theories by applying rasa to canonical English poems and post-structuralism Western theories to classical Sanskrit works.
Rasa, the Indian literary theory, and the post-structuralism, the Western literary theory, constitute two important areas of study in literary criticism and literature. This volume tries to define rasa and post-structuralist theories in clear and graphical terms. It focuses on inter-cultural application of these two classical theories. This involves the attempt to apply the Indian literary theory of rasa to canonical English poems including those of the epic stature like Dantes Divine Comedy and John Miltons Paradise Lost. It also applies the Western literary theory of post-structuralism, those of Derrida, Lacan and Foucault, to canonical works of Sanskrit poetry like Bhartrharis Shringarashataka, Shudrakas Mrcchakatika, Dandins Dashakumaracarita and Mudrarakshasa of Vishakhadatta among others.
The comparative study that involves a deep and engrossing study of various situations in the epics and other works, unfolds the uniqueness of the latter. It reveals the similarities in the two theories such as their goal of generation of value, quite realistically. It discusses the distinction in the rasa and post-structuralist formations, such as the idea of communication being one of the important principles of the conceptualisation of form and structure of rasa, while the art of communication is not so evolved in post-structuralism.
The structure of the study is planned in a sequential order to enable readers to easily understand the theories and their application. The book is bound to be useful to scholars and students of Indology, particularly Indian literature and literary criticism, and those interested in cross-cultural studies in this field.
This English version of Vicaracandrodaya elucidates the basic concepts of Advaita Vedanta as a dialogue between a guru and his disciple. A true knowledge seeker who studies this text under a brahmanistha guru will get to know the secrete knowledge of Vedanta. Also, it is a ready reference to the basic concepts in Pancadasi of Vidyaranya and Vicarasagara of Niscaladasa.
A prakarana in old Hindi (one of the regional mixed dialects), Vicaracandrodaya elucidates the basic concepts of Advaita Vedanta in the form of questions and answers. Pandit Pitambar, the author of the text, presents this work as a dialogue between a guru and his disciple. This book is an English translation of Vicaracandrodaya, by S. Bhuvaneshwari. It is spread across 249 questions and their answers, and takes the reader into the essence of the entire Vedantashastra. It also has a Laghu-vedanta-kosha explaining the basic Vedantic terms and a chapter as index providing quick reference to the basic concepts of Advaita Vedanta.
The author enunciates that a true knowledge seeker who studies this text under a brahmanishtha guru will get to know the secrete knowledge of Vedanta. And this knowledge will dispel darkness from his mind as the rising moon dispels darkness from the world. However, he insists that it should be studied from a guru with shraddha as Vedanta cannot be grasped without the guidance of an enlightened teacher. Also, this book serves as a ready reference to the basic concepts as discussed in Pancadashi of Vidyaranya and Vicarasagara of Nishcaladasa.
This volume is both a guide to the beginners in Vedanta and a text for nididhyasana. It will benefit all the people who dwell in the domain of Vedanta.
This English version of Vicaracandrodaya elucidates the basic concepts of Advaita Vedanta as a dialogue between a guru and his disciple. A true knowledge seeker who studies this text under a brahmanistha guru will get to know the secrete knowledge of Vedanta. Also, it is a ready reference to the basic concepts in Pancadasi of Vidyaranya and Vicarasagara of Niscaladasa.
A prakarana in old Hindi (one of the regional mixed dialects), Vicaracandrodaya elucidates the basic concepts of Advaita Vedanta in the form of questions and answers. Pandit Pitambar, the author of the text, presents this work as a dialogue between a guru and his disciple. This book is an English translation of Vicaracandrodaya, by S. Bhuvaneshwari. It is spread across 249 questions and their answers, and takes the reader into the essence of the entire Vedantashastra. It also has a Laghu-vedanta-kosha explaining the basic Vedantic terms and a chapter as index providing quick reference to the basic concepts of Advaita Vedanta.
The author enunciates that a true knowledge seeker who studies this text under a brahmanishtha guru will get to know the secrete knowledge of Vedanta. And this knowledge will dispel darkness from his mind as the rising moon dispels darkness from the world. However, he insists that it should be studied from a guru with shraddha as Vedanta cannot be grasped without the guidance of an enlightened teacher. Also, this book serves as a ready reference to the basic concepts as discussed in Pancadashi of Vidyaranya and Vicarasagara of Nishcaladasa.
This volume is both a guide to the beginners in Vedanta and a text for nididhyasana. It will benefit all the people who dwell in the domain of Vedanta.
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Void and Fullness in the Buddhist, Hindu and Christian Traditions 1 x ₹900.00 |
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Ways to Truth (PB) 1 x ₹288.00 |
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Assimilation of Brahmanism into Buddhism 1 x ₹1,890.00 |
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Vedic View of the Earth 1 x ₹630.00 |
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Visistadvaita's Critique of the Advaita Hermenqutics 1 x ₹450.00 |
