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Thinker, Thought and Knowledge critically and analytically reasons that some of the philosophical expositions like “thought has created the thinker” and “higher-order thoughts are themselves conscious” hinder us from explaining our sense of unity of consciousness. This book presents and elucidates some observations — thought cannot create thinker; along with thinker and thought, thinking too is quintessential for individual experience to take place; thinker, thinking and thought are fundamentally one in self-consciousness; thought becomes the object of self-consciousness; and the modern science attempts to undermine the principle of causation — from the East—West perspective, and registers its disproval with the philosophical views of scholars like J. Krishnamurti and a few other modern philosophers. Coming to the knowledge aspect, the volume delineates the relative existence and knowledge dealing with the absolute reality, and discusses it on the basis of Advaita Vedanta and the Yogacara Vijiianavada of the Buddhist philosophy along with Immanuel Kant’s theory of knowledge. The researcher’s approach employed in this volume should help the students of philosophy and other discerning readers take an analytical and critical positioning towards many a philosophical problem that they come across.
The book speaks about the philosophy of Narayana Guru as guidance to study and compare the philosophies of the acaryas, particularly those of Shankara, Ramanuja and Madhva. It also explores the concepts of avidya and maya, atomicity of the self, consciousness and the self, tat tvam asi, karma and reincarnation and the ultimate liberation.
Shankara, Ramanuja and Madhva are considered the three acaryas of South India who commented on the three basic texts of Vedanta, that is, the Upanishads, the Brahma-Sutras and the Bhagavad-Gita, and therefrom originated the three major schools within the Vedanta fold — Advaita, Vishishtha advaita and Dvaita respectively. This volume is concerned with the philosophy of the famous saint-teacher Narayana Guru and his perspectives on the philosophies of the three acaryas.
The book uses the philosophy of Narayana Guru as the guide to study and compare the philosophies of the acaryas. It begins with the life sketches of the three acaryas and discusses their philosophies, especially the various specific viewpoints they maintained and the points on which they disagreed. It explores the ideas of the acaryas on avidya and maya, atomicity of the self, consciousness and the self, tat tvam asi, karma and reincarnation and the ultimate liberation. It also scrutinises their use of terms like that of atha which literally means now then. It examines the perception of Narayana Guru vis-a-vis the particular philosophical positions in a unified manner. It also contains the full text, transliteration and translation of the original Vedanta-Sutras of Narayana Guru.
The volume will interest students and scholars who are engaged in advanced studies on the philosophy of Vedanta, and persons keen on acquainting themselves with the philosophy of Narayana Guru.
This volume primarily concerns itself with the elaboration and analysis of the Vaidika ethics as one of the exemplars of DharmaEthics, to answer the basic question as to why should one be moral. A sustained analysis has been carried out to explain the sense of transcendence of the empirically existent, in terms of abhyudaya, mukti for which this DharmaEthics is a supportive ladder.
Notwithstanding the profound and vast dimension of the concept of Dharma as such, Through the Lens of Dharma-Ethics, the author has endeavoured to put forward some of the metaphysical affirmations on which the feasibility of Dharma-Ethics as a discipline reposes. This volume primarily concerns itself with the elaboration and analysis of the Vaidika ethics as one of the exemplars of Dharma-Ethics, to answer the basic question as to why should one be moral.
An attempt has been made in this volume to rearrange and reformulate the answer by discussing the concepts of Dharma and its allied concepts, different kinds of karmas prescribed for the individuals, the fourfold scheme of purushartha, psychology of human volition, roles of different psychological traits, nature of motivational force conveyed through the imperative statements and many other relevant issues.
A sustained analysis has been carried out to explain the sense of transcendence of the empirically existent, in terms of abhyudaya, mukti for which this Dharma-Ethics is a supportive ladder. If there is hope for man, why should there not be hope for mankind? possibility of this sort has also been addressed. The human-centric Dharma-Ethics has been deciphered as a description and also as a prescription for the embodied humans with their various sort of indebtedness, about how they live and how they ought to live in the truth of Dharma.
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.
| Tirumurai is the sacred poetry in the Saiva tradition of ancient Tamilnadu. Sung to the rhythm of percussion, string and reed instruments, the devotional outpouring of saints and poets known as Nayanars of the fifth to the twelfth century CE reflect the religious and cultural mores of the people. This book attempts to capture the grandeur of this vast, fascinating subject by presenting a detailed overview of the salient features. Beginning with an introduction to Nataraja Tattvam and Tamil Isai, all twelve Tirumurai are explained. Each chapter begins with the life story of the Nayanar followed by an analysis of the poetry with explanation of paN (raga) and sthala puranam. A few select songs from each Tirumurai are presented in the original Tamil with Romanized transliteration as well as English translation, made available in an online audio album complementing this book. Foreword by Lakshmi Viswanathan |
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.
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