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The book gives account of the Vaishnavite temples of Kanci, providing numerous pictures with the structural, architectural and sculptural aspects of the temples. It also throws light on the historical, religious, social and cultural values of the temples.
Kancipuram was the important capital of north Tamil Nadu for a long period — from the first-second century ce to the end of the seventeenth century. It was a beautiful city laid out in the form of a lotus, according to the poem Perumbanarrupadai. It was admired by the world as a place famous for its festivals and noted for its temples. Through the ages, it has been the abode of many religious leaders who devoted their lives to the religious uplift of the people.
This well-illustrated work presents a history of the Vaishnavite temples of Kanci, focusing on the history of the ancient temples from the Sangam Age onwards, the many legends, myths and other accounts that refer to it, and its location and building. It provides a detailed account of some major temples of the city supported by numerous pictures of the temples that cover various aspects of each — the entrance and other parts of each temple structure, its architecture, and its artistic engravings particularly its sculptural beauty. It delves into the Vaishnava tradition for concepts and ideas underlying the construction of the sanctum and the sub-shrines, and portrayal of divine forms on the walls, pillars and other parts of the temple. There is a detailed study of the sculptures in the main walls of the temples and the main deities in the shrines. It also examines the many inscriptions found in the temples to offer insights into the historical, religious, social and cultural value of the temples.
The volume is bound to interest a host of readers, particularly scholars and students of Indology involved in the study of the cultural traditions of south India and its religious art and architecture.
This volume examines how the perceptible form of Buddhist mandalas represents shunya (void), with special reference to the mandalas of Tabo and Alchi. On the basis of the concept of vak (subtle sound) in Trika Shaivism of Kashmir, it investigates where their aesthetic power derives from.
The research undertaken here about Buddhist mandalas is basically designed under the philosophical question how the visible dimensions of forms are related to their invisible contents. The textual sources in reference to Buddhist mandalas teach that the essence of mandalas is shunya (void) and their forms are the reflective images (pratibimba) of shunya. This volume investigates how the colourful form of Buddhist mandalas represents the prime concept of shunya, and what makes these mandalas visually powerful, leaving the impression of ßspiritual enhancementû in the heart of people who do not even know about the Buddhist doctrines.
The mandalas permanently represented in the monastic complexes of Tabo and Alchi in the Western Himalayas have been focused in order to examine a prominent role of visual dimensions of mandalas. In order to comprehend mandalas in the context of Buddhist philosophy, the texts of the Yoga-Tantra class have been looked up. Especially, the references to the tantric visualization-practice throw light on the internal experiences with mandalas.
Considering the fact that the Buddhist mandalas have been developed as a method of Mantrayana, being always combined with mantras and mudras, this volume presents the concept of vak (word, subtle sound, voice) as a key to explain how the ultimate state of shunya and perceptible forms of mandalas are related to each other. The doctrine of vak developed in the tradition of Trika Shaivism in Kashmir provides us with a systematic way to explain the non-dualism between all phenomenal objects and the Supreme Divine. The doctrine of four levels of vak is examined in the book for the purpose of interpreting the aesthetic phenomena and structuring the different levels of meanings of mandalas from the aesthetic perspective. On the basis of the vak theory, the external forms of mandalas have been explored and their visual principles have been technically analysed, in attempt to answer the question: how do the colourful forms of Buddhist mandalas resemble the formless shunya?
Lord Buddha, in his profound wisdom, said that for extinction of human suffering, complete annihilation of desire is the only way. This is the sacred truth of suffering.
Acarya Carvaka, equally profound in his thinking, said that life is a continuous celebration of desire. Kama (desire) and artha (wealth) are the only true goals of life. Beg, steal or borrow, but live life like a king. Enjoy life full as long as one is alive.
Who is correct? Lord Buddha or Acarya Carvaka? What is desire really meant to Indian society, religion and culture through ages?
The book tries to address these and similar questions objectively and diligently.
The book, highlights the essential import of the innocuous-looking, yet enigmatic, diagrams called Yantras surfacing from the occult practices of the tantrics. It examines a range of tantric yantras, with their varieties, applications, modes of construction and above all their iconographic features.
Hinduism is known for the bewildering profusion of its deities, who are represented not only in two or three dimensional anthropomorphic images, but also in abstract configurations, known as yantras. In yantras is, thus, seen almost a parallel with the surfeit of deities in Hindu tradition. Literally meaning an instrument, apparatus or a talisman, yantra is a kind of mystical diagram used, in tantra, for both meditation and invoking a divinity, and is believed to possess/arouse occult powers. Drawn only by the adept: the ones schooled in this arcane, highly intricate process, and energized by siddh mantras, these seemingly innocuous geometrical figures are employed for any number of reasons or desires: whether to attain wealth, ward off disease, beget a son, vanquish enemies, or even to cause somebodys death. This book, the latest from Professor Bunce, highlights the essential import of these innocuous-looking, yet enigmatic, diagrams surfacing from the occult Practices of the tantrics. The author, an internationally known scholar of Oriental Art, examines a range of tantric yantras, with their varieties, applications, modes of construction and, above all, their iconographic features. Also inter- woven in his text are lucid descriptions of all else associated with a yantra, notably, its deity, its specific purpose, its predominant and secondary numbers and its mantra. Carrying beautiful visual representations of over a hundred yantras, Professor Bunces study holds out enduring appeal to the readers concerned not only with the iconography of tantric yantras, but their mystifying under-pinnings as well.
Dr. T. N. Mishra explores the moral and philosophical meanings and significance of yoga and studies the philosophies and practices that bear reference to it. Abounding in illustration, notes and references to scholarly treatises, it explains yoga psychology, its classification, techniques and stages and practice and concentrating on Yoga-tantra and its impact on Indian art and architecture.
The word yoga and the various concepts associated with it are being interpreted and understood with great interest the world over especially in recent years. This work by a noted research scholar, Dr. T. N. Mishra explores the meanings of the word yoga and its moral and philosophical annotations, and conducts an intensive study of the philosophies and practices that bear reference to it. A thorough research, Yoga-Tantra and Sensuousness in Art goes into the theoretical foundations of Yoga, tracing its roots to the sacred scriptures and explaining the goal of Yoga, the discipline it involves, Yoga psychology, its techniques and stages, and classification and practice of Yoga as Mantra-Yoga, Laya-Yoga, Hatha-Yoga and Raja-Yoga. It comprehensively examines the aim and philosophy of Yoga-Tantra and the way to awaken the kundalini through the cakras practising Yoga-Tantra. It makes a detailed analysis of the Yoga-sadhana of the Natha siddhas (the ulta-sadhana) and Yoga-sadhana as found in Vaisnava and Buddhist Sahajiya. Citing interesting examples, it importantly deals with Yoga and Tantra as reflected in Indian art: the impact of the philosophy of Yoga-Tantra with its subtle sensuality on Indian secular and religious architecture and sculpture. Abounding in illustrations and extensive in notes and references to ancient scholarly treatises and exponents of Yoga and to modern researches on the subject, the book will interest all scholars of Indian art, philosophy and spirituality and appeal to general readers on Yoga as well.
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