Showing 37–48 of 158 results
This collection of scholarly papers focuses on the centrality of the Indian contribution in defining the Asian cultural matrix and brings under one rubric the views of Indian as well as Eurasian experts on the subject.
The reality of the Indian presence in Asian cultures is undeniable. Recent scholarship in the field of Asian cultural studies has laid much stress on the essential oneness of the substratum that defines what may be termed as an Asian identity. Buddhism and Hinduism, having originated in India, travelled beyond the frontiers of the land of their origin, and in many ways, moulded the beliefs and faith of the people of Asia. Trade, political ambitions, and religious pursuits led to a dissemination of Indian ideas and forms across Asia. In each area of Indian influence, the assimilation of Indian traditions with indigenous practices led to the development of a new idiom of expression with a distinctive localized identity. This collection of scholarly papers focuses on the centrality of the Indian contribution to Asian cultures and brings under one rubric, the views of experts from India, Nepal, Tibet, Sri Lanka, Afghanistan, Cambodia, Thailand, Indonesia, Mongolia, China, Korea, Japan, Belgium, Bulgaria, and the United Kingdom. Such an international representation, the consequence of a Seminar held in the National Museum Institute in collaboration with the Indian Council for Cultural Relations, New Delhi, is unique not only in providing the Indian point of view but also in revealing Eurasian perspectives on the subject of Indias pivotal role in defining the Asian cultural matrix.
This book delves into the classical period of Indian history – through art, culture and sculptures – when contacts among India, Eastern Central Asia and China were at a flourishing phase. It underscores the spread of Buddhism through many regions – the Tarim Basin, Mongolia, Dunhuang and China.
“This book delves into the classical period of Indian history – through art, culture and sculptures – when contacts among India, Eastern Central Asia and China were at a flourishing phase. The study underscores the spread of Buddhism through many regions – the Tarim Basin, Mongolia, Dunhuang and China. These places on the Silk Road, served as a crucial passage for the transference and upsurge of Buddhism. The process of dissemination of a world religion, like Buddhism, was intricate and this book addresses the subject from the perspective of art, thus each and every chapter takes a look into Buddhist objects such as painting, sculpture and also religion and philosophy. The deities that have been discussed are carefully studied, and their nature, iconography and description from the point of view of the various Indian Buddhist religious texts and the artistic creations from India and several other countries in Asia are well covered. As one makes a careful study of the entire area which is rich in history, culture and art, one cannot help but appreciating the diversity of the depictions of Buddhist art.
This book, highly illustrated, consisting of evocative images across the region under study, should be of great interest to scholars/students who are interested in this subject and also in the history of the Silk Road. They will find this study as a useful contribution for the study of Buddhist art in Central Asia.”
The book explores various facets of Indian social and cultural thought and life that make the country an attractive tourist site: its people, history, arts, food and drink, customs and lifestyle. It includes a variety of discussions and data on tourism: tourism-related organisations and conventions, eco-tourism and Indias wildlife scenario, for instance.
The book is a detailed exploration of various facets of Indian thought and life that make it a popular cultural tourist site for visitors from all over the world. It presents an account of Indias people, history, national flag and national anthem, dance, drama, music, painting, textile, pottery, food and drink, and customs and lifestyle that comprise the multifaceted components of Indias culture. It describes all the major places of pilgrimage and festivals and scenic beauty in India, and lists state-wise a number of historical cities and sites that stud the length and breadth of the country, its attractive monuments steeped in history and its museums laden with treasures from the past. It brings out the special attractions in India for the western tourist who is primarily interested in those aspects of Indian culture that give a deeper meaning to life at physical, spiritual, mental and moral levels. The work offers, for students of tourism, data on various aspects to cover their syllabus: national and international tourist flow, tourism-related organisations and conventions, eco-tourism, Indias natural heritage as, for instance, its wildlife. It also gives an account of historical evolution of tourism in the world context. For professionals in tourism, there is information on organisation of package tours, tour circuits, tour planning, training of guides and marketing of tourism. Appendices discuss institutions where tourism is taught, tourist information centres in India and abroad, and tourism related periodicals.
The book explores various facets of Indian social and cultural thought and life that make the country an attractive tourist site: its people, history, arts, food and drink, customs and lifestyle. It includes a variety of discussions and data on tourism: tourism-related organisations and conventions, eco-tourism and Indias wildlife scenario, for instance.
The book is a detailed exploration of various facets of Indian thought and life that make it a popular cultural tourist site for visitors from all over the world. It presents an account of Indias people, history, national flag and national anthem, dance, drama, music, painting, textile, pottery, food and drink, and customs and lifestyle that comprise the multifaceted components of Indias culture. It describes all the major places of pilgrimage and festivals and scenic beauty in India, and lists state-wise a number of historical cities and sites that stud the length and breadth of the country, its attractive monuments steeped in history and its museums laden with treasures from the past. It brings out the special attractions in India for the western tourist who is primarily interested in those aspects of Indian culture that give a deeper meaning to life at physical, spiritual, mental and moral levels. The work offers, for students of tourism, data on various aspects to cover their syllabus: national and international tourist flow, tourism-related organisations and conventions, eco-tourism, Indias natural heritage as, for instance, its wildlife. It also gives an account of historical evolution of tourism in the world context. For professionals in tourism, there is information on organisation of package tours, tour circuits, tour planning, training of guides and marketing of tourism. Appendices discuss institutions where tourism is taught, tourist information centres in India and abroad, and tourism related periodicals.
This book presents a proper meaning of the Ramcharitmanas chaupai, Dhola gamvara sudra pasu nari , ye sab tadana ke adhikari using the actual meaning of the word, tadana, in Avadhi language, and by delving into the deep philosophical references of the Pancabhutas, ether, air, fire, water, and earth of the Samkhya and Vaishesika darshanas, as intended by Goswami Tulsidas.
This book presents a proper meaning of the Ramcharitmanas chaupai, Dhola gamvara sudra pasu nari , ye sab tadana ke adhikari using the actual meaning of the word, tadana, in Avadhi language, and by delving into the deep philosophical references of the Pancabhutas, ether, air, fire, water, and earth of the Samkhya and Vaishesika darshanas, as intended by Goswami Tulsidas.
This work attempts to show that the coastlands were cultural melting pots, mediating, absorbing and often transcending the art of the interiors, i.e. the classical schools of Indian sculptural art at Mathura, Gandhara and Sarnath. The discussions in the nine chapters cover a broad range of sculptural art created in the Indian littoral regions between 300 bce and ce 500.
Scholars of early Indian art traditions have mostly viewed the coastlands as being marginal to the cultural efflorescences that happened in the interiors of the subcontinent. The classical schools of Indian sculptural art which blossomed at Mathura, Gandhara and Sarnath in the first half of the first millennium ce, have become axioms in the study of early Indian sculptural art. No discussion on early sculptural art can be complete without allusion to one or other of the schools. This work attempts to show that the coastlands, while influenced by the great schools of art, were nevertheless cultural melting pots in their own right, often transcending the art of the interiors. As staging areas of long distance maritime exchanges, the Indian coastlands have long mediated between the far civilizations of the Indian Ocean world (Egyptian, Arabian, Persian, East African and Southeast Asian) and the Indic cultural sphere. The coastlands are viewed as cross-cultural realms, places most conducive for absorption of new ideas and for syncretic manifestations. The discussions in the nine chapters cover a broad range of sculptural art created in the Indian littoral regions between 300 bce and ce 500. These include friezes in the rock cut caves of the Western and Eastern Ghats, decorated pillar capitals and free standing creations in stone and terracotta. Many of the observations are based on the author’s fieldwork on the Indian coastlands. Cover photo: Yakua image of stone inside a sacred grove in Haigunda Island, Uttar Kannada Dist., Karnataka, 4th century ce.
Physical postures (asanas) are the most important and often the only constituent of modern Yoga. Many practitioners believe that the postures derive from an ancient original set of eighty-four asanas. This book, for the first time, traces traditions of eighty-four postures by examining original materials, including drawings, descriptions in older Indic texts and modern publications which reflect contemporary traditions. It also takes up a number of broad issues related to the topic of Yoga postures so as to provide the reader with a larger context.
Physical postures (àsanas) are the most important and often the only constituent of modern Yoga. Many practitioners believe that the postures derive from an ancient original set of eighty-four àsanas. This book, for the first time, traces traditions of eighty-four postures by examining original materials, including drawings, descriptions in older Indic texts and modern publications which reflect contemporary traditions. It also takes up a number of broad issues related to the topic of Yoga postures so as to provide the reader with a larger context.
Physical postures (asanas) are the most important and often the only constituent of modern Yoga. Many practitioners believe that the postures derive from an ancient original set of eighty-four asanas. This book, for the first time, traces traditions of eighty-four postures by examining original materials, including drawings, descriptions in older Indic texts and modern publications which reflect contemporary traditions. It also takes up a number of broad issues related to the topic of Yoga postures so as to provide the reader with a larger context.
Physical postures (àsanas) are the most important and often the only constituent of modern Yoga. Many practitioners believe that the postures derive from an ancient original set of eighty-four àsanas. This book, for the first time, traces traditions of eighty-four postures by examining original materials, including drawings, descriptions in older Indic texts and modern publications which reflect contemporary traditions. It also takes up a number of broad issues related to the topic of Yoga postures so as to provide the reader with a larger context.
The work studies basic principles of ancient Indian art and architecture. It deals with Hindu thinking and practice of art including the Hindu view of Godhead, iconography and iconometry and symbols and symbolism in Hindu art. It surveys Indian art and temple architecture from the ancient times and makes comparative studies of religious art in India.
The book is a study of the fundamental principles of ancient Indian art and architecture, dealing with essentials of Hindu thinking and practice of art like the Hindu view of Godhead, iconography and iconometry, and symbols and symbolism in Hindu art. Referring to major classical Indian literary works shedding light on art and architecture, it undertakes a survey of Indian art and temple architecture from the 3rd century bc through the medieval period, highlighting the directional changes that marked the history of art, specifically sculpture and painting. It elaborately views the various terms and concepts associated with the field of art and iconography like mudras, asanas, pithas, explaining the nature of Buddhist and Jain deities as well as those of Hindu sects like Saivism, Vaisnavism and Saktism. Pointing out the importance of studying Hindu temple architecture in order to fully appreciate Hindu art which was meant for propagation of dharma, it analyses the basic features of the temple architecture and its regional variants. Tracing the differences in conception and delineation of a Hindu temple, a Muslim mosque and a Christian church, the research focuses particularly on the principles of visualisation of symbols and signs in Hinduism and Christianity. It also reveals how the West has viewed Indian literature and art, exposing the inner contradictions of some European thinkers who while praising literary works of Kalidasa and others condemned the Hindu images. The work contains more than 200 illustrations, half-tone and line drawings, that make the discussion easy to comprehend for a range of readers — scholars, students as well as laymen
The work studies basic principles of ancient Indian art and architecture. It deals with Hindu thinking and practice of art including the Hindu view of Godhead, iconography and iconometry and symbols and symbolism in Hindu art. It surveys Indian art and temple architecture from the ancient times and makes comparative studies of religious art in India.
The book is a study of the fundamental principles of ancient Indian art and architecture, dealing with essentials of Hindu thinking and practice of art like the Hindu view of Godhead, iconography and iconometry, and symbols and symbolism in Hindu art. Referring to major classical Indian literary works shedding light on art and architecture, it undertakes a survey of Indian art and temple architecture from the 3rd century bc through the medieval period, highlighting the directional changes that marked the history of art, specifically sculpture and painting. It elaborately views the various terms and concepts associated with the field of art and iconography like mudras, asanas, pithas, explaining the nature of Buddhist and Jain deities as well as those of Hindu sects like Saivism, Vaisnavism and Saktism. Pointing out the importance of studying Hindu temple architecture in order to fully appreciate Hindu art which was meant for propagation of dharma, it analyses the basic features of the temple architecture and its regional variants. Tracing the differences in conception and delineation of a Hindu temple, a Muslim mosque and a Christian church, the research focuses particularly on the principles of visualisation of symbols and signs in Hinduism and Christianity. It also reveals how the West has viewed Indian literature and art, exposing the inner contradictions of some European thinkers who while praising literary works of Kalidasa and others condemned the Hindu images. The work contains more than 200 illustrations, half-tone and line drawings, that make the discussion easy to comprehend for a range of readers — scholars, students as well as laymen
With about 8,000 articles, this Encyclopaedia presents a panorama of Buddhist deities, demigods, godlings, demons the whole range of good and evil forces with the spotlight on the concretized, recognizable forms and their subtle symbolism.
Beginning with a few aniconic symbols, like foot prints, a throne, the Bo tree or stupas, in the prechristian Indian art, Buddhism came to evolve a variety of picturesque representations of a Self-Existent, Superimmanent Principle: in myriad forms and emanations that range from the superbly magnificent to sheerly grotesque. Endowed with diverse iconographic attributes, Buddhist deities/saints/demons have grown, over the rolling centuries, into bewildering numbers, legions. Which all, leave alone the neophytes, not even the best of scholars can recognize! The names of the divinities and their cultural/regional perceptions owing largely to the plurality of Buddhist pantheons, have only gone on to further complicate their identification. Unveiled, for the first time, in the pages of this Encyclopaedia, is a panorama of Buddhist deities, demigods, godlings, saints and demons, with spotlight on the concretized, recognizable forms and the subtle symbolism they involve. In its nearly 8000 alphabetically arranged articles of varying lengths, it mixes gods and demons, bhiksus and btsans, the aesthetic and the grotesque in fact, nearly the whole range of good and evil forces which the inspired among the adherents of the Buddhist faith conceived so ingeniously! Professor Bunce has painstakingly marshalled a wealth of data from authoritative language sources, notably, Sanskrit, Pali, Tibetan, Newari/Nepalese, Chinese, Mongolian, Japanese, Siamese/Thai, Annamese/Viet Namese, Javanese, and Sinhalese, in his effort to capture almost the entire framework of Buddhist divinities: a multi-pantheonic framework, together with its classes, groups and hierarchies, ranging from Adi-Buddha to Arhats and yet beyond. Himself a distinguished scholar of Oriental/Buddhist Art, Dr. Bunce incorporates, in scrupulous detail, the iconographic attributes of deities: like colours, heads/eyes, hands, objects held, body, feet, asanas, mudras, ornaments, vahanas, emanations, and whether calm or wrathful which, with a generous supplement of illustrations: about 300 elegant line-drawings and several colour plates, highlight the distinctiveness of each individual figure. Also included in the Encyclopaedia are users guide, glossaries (of asanas, mudras and attributes), identification charts, a hierarchic table, and bibliographic references. Growing from years of Professor Bunces persevered research and study, this compilation is certainly the first ever to draw together most of the Buddhist divinities/mythological characters, in their distinctly recognizable forms. And is, therefore, indispensable to both the specialists and non-specialists trying to identify each from a whole host of these figural representations.
It studies iconic representations of gods, godlings, demons, witches and tyrants of Hindu mythology, focussing on the concretized form of each pantheonic figure and exploring the iconic language of Hindu images.
Beginning with a few aniconic symbols, like foot prints, a throne, the Bo tree or stupas, in the prechristian Indian art, Buddhism came to evolve a variety of picturesque representations of a Self-Existent, Superimmanent Principle: in myriad forms and emanations that range from the superbly magnificent to sheerly grotesque. Endowed with diverse iconographic attributes, Buddhist deities/saints/demons have grown, over the rolling centuries, into bewildering numbers, legions. Which all, leave alone the neophytes, not even the best of scholars can recognize! The names of the divinities and their cultural/regional perceptions owing largely to the plurality of Buddhist pantheons, have only gone on to further complicate their identification. Unveiled, for the first time, in the pages of this Encyclopaedia, is a panorama of Buddhist deities, demigods, godlings, saints and demons, with spotlight on the concretized, recognizable forms and the subtle symbolism they involve. In its nearly 8000 alphabetically arranged articles of varying lengths, it mixes gods and demons, bhiksus and btsans, the aesthetic and the grotesque in fact, nearly the whole range of good and evil forces which the inspired among the adherents of the Buddhist faith conceived so ingeniously! Professor Bunce has painstakingly marshalled a wealth of data from authoritative language sources, notably, Sanskrit, Pali, Tibetan, Newari/Nepalese, Chinese, Mongolian, Japanese, Siamese/Thai, Annamese/Viet Namese, Javanese, and Sinhalese, in his effort to capture almost the entire framework of Buddhist divinities: a multi-pantheonic framework, together with its classes, groups and hierarchies, ranging from Adi-Buddha to Arhats and yet beyond. Himself a distinguished scholar of Oriental/Buddhist Art, Dr. Bunce incorporates, in scrupulous detail, the iconographic attributes of deities: like colours, heads/eyes, hands, objects held, body, feet, asanas, mudras, ornaments, vahanas, emanations, and whether calm or wrathful which, with a generous supplement of illustrations: about 300 elegant line-drawings and several colour plates, highlight the distinctiveness of each individual figure. Also included in the Encyclopaedia are users guide, glossaries (of asanas, mudras and attributes), identification charts, a hierarchic table, and bibliographic references. Growing from years of Professor Bunces persevered research and study, this compilation is certainly the first ever to draw together most of the Buddhist divinities/mythological characters, in their distinctly recognizable forms. And is, therefore, indispensable to both the specialists and non-specialists trying to identify each from a whole host of these figural representations.
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