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AUTHOR Ridley, Sarah TITLE : Expressions of Hindu Devotion. Guide for Educators. INSTITUTION , Washington, DC. Arthur M. Sackler Gallery. PUB DATE 1996-00-00 NOTE 41p.; Accompanying videotape and three posters not available from ERIC. AVAILABLE FROM Office of Public Affairs, Arthur M. Sackler Gallery/Freer Gallery of , MRC 707, Smithsonian Institution, Washington, DC 20560 ($26). For full text: http://www.asia.si.edu/pujaonline. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Cultural Context; Foreign Countries; Global Education; Indians; Middle Schools; Multicultural Education; Non Western Civilization; Religion Studies; *Religious Cultural Groups; Secondary Education; Social Studies IDENTIFIERS ; *;

ABSTRACT This teaching packet serves as a unit by itself or as part of preparation unit for a visit to the Arthur M. Sackler Gallery to see the exhibition "Puja: Expressions of Hindu Devotion." Focusing on Hindu religious objects found in an , the packet suggests connections between art and world studies themes. In addition, these highly symbolic objects provide much material for discussion of the creation of images, whether in two or three dimensions, in speech, or in music. In this way, study of the objects provides a springboard for creativity in art, language , and music. This guide explains that puja is the act of showing reverence to a god, or to aspects of the divine, through invocations, , songs, and . An essential part of puja for the Hindu devotee is making a spiritual connection with a (often facilitated through an element of nature, a sculpture, a vessel, a painting, or a print). The guide's materials seek to give insight into Hindu pujas and to portray the role of art objects as links to the divine. Student learning objectives include to:(1) explain the basic beliefs of Hinduism;(2) identify several of the major Hindu gods and ; (3) describe the practice of puja;(4) demonstrate an understanding of how objects are used in puja ceremonies; and (5) integrate concepts learned from the study of puja into other curriculum areas. (BT)

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MILER o SACKLER GALLERY o SM11THSO NMI° "illN 2

PUTA Expressions of Hindu Devotion

Sarah Ridley Education Department Arthur M. Sack ler Qallery Smithsonian Institution

© 1996 Arthur M. Sack ler Gallery The exhibition Puja: Expressions of Photo credits: pages 10, 12, 14: Smithsonian Institution Hindu Devotion is made possible by a Stephen P. Huyler; page 19: Robb Washington, D.C. generous grant from the Smithsonian Harrell; page 25: Sarah Ridley. All other Institution Special Exhibition Fund. photos: Neil Greentree. Line drawings by Keena Hammond, Rebecca These educational materials have Lepkowski, and Kristin Reynolds. Maps been supported by a grant from the by Gene Thorp/Cartographic Concepts. Smithsonian Institution's Educational All posters © Ratna, 35 Coronation Outreach Fund. Building, Chowk Fatehpuri, Delhi, India. 3A- 4 Acknowledgments

5 Introduction

6 How to Use This Packet

7 The Modern Hindu World

8Background Information for Teachers

8 What is puja?

8 What are the basic beliefs of Hinduism?

12 Where do ?

15 When do Hindus worship?

15 How is puja performed?

16 How are sculptures of used in Hindu worship?

18 How do I identify the different deities?

24 A Discussion with Young American Hindus

26Activities for Students

34Glossary and Pronunciation Guide

36Annotated Bibliography

39Resources for Teaching About India and Hinduism

L. _I n-3117 ih9t-:2,4 I am indebted to Dr. Stephen P. Huy ler for his enthusiastic work as curatorial consultant for the exhibitionPuja: Expressions of Hindu Devotion,on which this packet is based. I would also like to thank the following people for their invaluable advice, assistance, and insights: Nathan Antila, Arin Basu, Dr. Dehejia, Susannah Gardiner, Shruti , Nithya Nagarajan, llma Nagarajan, Beth Schlenoff, Anuradha Subramanian, Arathi Subramanian, Sanjay Subramanian, and A. C. Warden.

Sarah Ridley Education Department Arthur M. Sackler Gallery

5 DMA Palo: Expressdons ©f Hdrtada.a Dee Von

Puja is the act of showing reverence to a god or to aspects of the divine through invocations, prayers, songs, and rituals. An essential part of puja for the Hindu devotee ismaking a spiritual connection with a deity. Most often that contact is facilitated through an object: an element of nature, a sculpture, a vessel, a painting, or a print.

The goals of this packet are o to give insight into Hindu pujas o to portray the role of art objects as links to the divine

Students will be able to o explain the basic beliefs of Hinduism o identify several of the major Hindu gods and goddesses o describe the practice of puja o demonstrate an understanding of how objects are used in puja ceremonies o integrate concepts learned from the study of puja into other curriculum areas How go Use This ?mace

This packet may serve as a teaching unit by itselfor as part of preparation for a visit to the Arthur M. Sack ler Gallery to see the exhibitionPuja: Expressions of Hindu Devotion.The materials may be used by a single teacher or in collaboration with teachers of different disciplines.Focusing on Hindu religious objects found in an art museum, the packet suggests connections betweenart and world studies themes. In addition, these highly symbolic objects provide much material fordiscussion of the creation of images, whether in two or three dimensions, in speech,or in music. In this way, study of the objects provides a springboard for creativity in art, languagearts, and music.

Coneenits of the packet

In addition to the written materials, Videos Posters of this packet contains a video and three There are three video segments on one There are three posters of Hindu deities posters of Hindu deities. Suggestions tape. The first segment, which is nar- included with this packet. They depict for how to use these materials are listed rated, is repeated in an open-captioned a the god , his wife, , in the section entitled "Activities for version. It provides an introduction to and their son Students." the concept of puja, giving a useful a the god and his wife, overview of the practice of puja and La ksh m i how objects are used in puja cere- monies. The second is a short segment a the that shows a woman worshiping at her household in India. It offers a more detailed look at the practice of puja in a Hindu home. The third seg- ment focuses on people worshiping at an outdoor shrine to the goddess in Pun District in Orissa. It shows puja as it is practiced in a rural, outdoor shrine in India. All of the segments run continuously in the exhibition. Faces 1b©aHiradaabrin a One in every seven people in the While Hindus in each region have world is a Hindu living in India. altered their religion to suit the needs a Hinduism is the world's third-largest of the surrounding culture, all Hindus religion, after Christianity and . a There are also significant Hindu share a common set of traditions. minorities in Bangladesh and , a Today there are about 650 million and smaller groups in , a Hinduism was not founded by one Hindus worldwide. , , Africa, Europe, , individual. Rather, it is a fusion of and the . many religious beliefs and philosophi- ' The majority of Hindus live in India, cal schools. Accordingly, Hinduism is where the religion was born. a About three-quarters of a million said to be a religion of a million and Hindus live and work in the United one gods. States.

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Puja is the act of showing reverence to a god, a spirit, or another aspect of the divine through invoca- tions, prayers, songs, and rituals. An essential part of puja for the Hindu devotee is makinga spiritual connection with the divine. Most often that contact is facilitated throughan object: an element of nature, a sculpture, a vessel, a painting, or a print. During puja an image or other symbol of the god serves as a means of gaining access to the divine. This icon is not the deity itself; rather, it is believed to be filled with the deity's cosmicenergy. It is a focal point for honoring and communicating with the god. For the devout Hindu, the icon's artistic merit is important, but is secondary to its spiritual content. The objectsare created as receptacles for spiritual energy that allow the devotee to experience direct communication with hisor her gods.

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Most Hindus believe in an immense unifying force that governs all existence and cannot becom- pletely known by humanity. Individual gods and goddesses are personifications of this cosmic force. In practice, each Hindu those few deities that he or she believes directly influence hisor her life. By selecting one or more of these deities to worship, and by conducting the rituals designed to facilitate contact with them, a Hindu devotee is striving to experience his or her unity with that cosmic force. While scholars, philosophers, and debate the finer points of Hindu theology, laywor- shipers call upon familiar gods to help with their everyday hopes and problems. There are three primary Hindu deities: .. Shiva (the Creator and Destroyer), who destroys the old while creating the new. His consorts include the loving Parvati and the ferocious Durga, who represent the feminine aspects of hiscom- plex nature. .. Vishnu (the Preserver) and his two most popular , and . .. (the Protecting Mother), sometimes known simply as the Goddess, who appears in some form in every region of India. She is often identified as the creativeenergy of the universe, and is considered by her followers the equal of Vishnu and Shiva. Many worshipers pay homage to local manifestations of these gods.

-bAcKag IMO INA nuJ H T A Imniz-r1U2 MEd am the al ,r,fils of Hfirachasyn? AND Hinduism was born in India, but it was AIMSACHA' not founded by one individual. Rather, PRADESH it is the fusion of many religious beliefs IPUNJA[c,), and philosophical schools. Accord- HARYANA ARUNACHAL ingly, Hinduism is said to be a religion Dohs, RRADESH.-1 of a million and one gods. Its origins wt, UTTAR PRADESH are mixed and complex. ,N6IJALAND One strand can be traced to the MEGHALAYAV fMA IPUR , the sacred literature written in TRIP MADHYA between 1200 and 1000 B.C. PRADESH el;EYlE8A1 by people. The were °u) Calcutta Indo-European groups who trickled steadily into the Indian subcontinent MAHARASHTRA between 1800 and 1200 B.C. (In Bombaye Sanskritaryameans "noble.") They brought with them a group of sacred hymns known as the Vedas ("knowl- edge"), composed in the ancient Sanskrit language in praise of deities Arabian Bay ARNATAKA who were often personifications of the Sea Madras of natural elements. Another strand of Bengal Hinduism drew on the beliefs prevalent among groups of indigenous people in India, especially their faith in the power of the Mother Goddess and in the effi- cacy of fertility symbols. Hinduism in its present-day form emerged at the start of the Christian era. The three most popular deities of Indian Ocean modern Hinduism are the god Shiva, the god Vishnu, and the goddess Devi. Hindus generally address their worship to one of these three deities or their manifestations.

1 0 Why are there so many Why are there so many painted on cloth, they may remain in one spot for centuries or even thou- dafferentt ©d End eUfereya forms of 2he sands of years. In some , how- ©dense's? &Ries? ever, the icon of the principal deity is sculpted of an impermanent material The presence of so many different Hinduism could be called a religion of and may be destroyed or left to disinte- gods is often puzzling to non-Hindus. opposites. Western religions tend to grate after the puja. Shrines themselves Hindus suggest that one may view draw clear distinctions between good may also be transitory. Some rituals are the divine force as a diamond with and evil: good is of God while evil is of enacted only once a year in conjunc- innumerable facets: each deity is one the Devil. Many Hindu deities, how- tion with a seasonal change, while oth- of these facets. One or another of the ever, embrace the light and the dark. ers respond to a specific need, such as facets may have particular significance They are the sum of all of existence: relief from drought or protection from and appeal to an individual. By right and wrong, masculine and femi- epidemic. For any of these irregular acknowledging the power of an indi- nine, sadness and happiness, creation events, a temporary shrine may be built vidual facet, however, the believer does and destruction, disease and health. and then dismantled after use. not deny the existence of others. On Each deity may have several manifesta- Many images of deities are anthro- the contrary, Hindus affirm the exis- tions, each one representing a different pomorphic, that is, they are painted or tence of many aspects of the divine. side of the deity's personality. In addi- sculpted to represent the deity in tion, Hindus believe in reincarnation, or superhuman form. Others and some of the deities themselves are abstract or amorphousa tree, a have many incarnations. The god rock, a pot, a cone, or a stake. Any of Vishnu, for example, is said to have these objects, whether anthropomor- had ten incarnations. phic or abstract, can be invested with Most images in Hindu and the holy and powerful spirit of the shrines are permanent and imperme- deity. able. Carved of stone, cast in metal, or

Outdoor shrine: impermanent shrine shrine: permanent shrine

1 1 Sundara and Paravai: anthropomorphic image

Linga: abstract image of the god Shiva

12 Wham do rAhldao woffshfip?

Hindus commonly conduct pujas in shrines in three different environments: in temples, in the home, and in outdoor public spaces. It is equally common for any of the deities to be worshiped in any of these three types of shrines. Hindus believe that if proper care is not taken of a temple's images, the deity will abandon the temple. Hence priests reside at the temple and take care of the gods' needs. Priests perform puja at sunrise, noon, sunset, and midnight. For a layperson, however, visiting a temple every day or even regularly is not mandatory, and many devout Hindus worship at home. The essential aspect of puja is not congregational worship but an individual's offering to a deity. Worship in the home usually takes place daily.

Warship dim the deity. The character of each shrine symbolic image of the god. Some peo- is determined by the deity being wor- ple believe it derives its shape from sex- itemplles shiped. ual symbolism, but most Hindus view this imagery as simply a representation A is believed to be the of the god's potency in every area of earthly seat of a deity and the place Case Study: A Temple existence. where the deity waits for its devotees. Dedricated t© Shirkre Often an image of Nandi, the As such, temple structures are sacred In a temple dedicated to the god Shiva, sacred bull on which Shiva rides, faces spaces where gods partake of human the sacred, inner sanctum is always the linga. Nandi signifies single-minded offerings and in which the people can simple. It holds the most precious devotion and the peaceful strength of be with the gods. Many temples re- image of Shiva: a linga. The linga is a faith. Sets of bronze may hang at semble palace architecture; this is not the front of the shrine. At the surprising, as deities are often consid- beginning of puja and during ered kings. prayers, they are rung by wor- Temples are normally dedicated to shipers to request the god's one primary god. Often they are elabo- attention. Above the linga may rately decorated on the outside with be a vessel filled with holy water stone or plaster carvings depicting reli- that is allowed to drip onto the gious stories, and their decoration is top of the linga during puja, specific to the deity being worshiped. symbolically anointing it in Mythological scenes are juxtaposed order to honor the deity. At the with scenes of everyday life and impor- front of the shrine there are tant political events, such as royal usually oil lamps that are lit coronations, conquests, and celebra- during worship. Other objects tions, or with portraits of royal and that may be used during puja are secular patrons. These divine images a small pot to hold holy water; a and mythological scenes on the outer spoon for ladling the water onto walls of the temple help worshipers the linga; an burner; and recall the sacred stories they have a handbell that is rung by the heard or read. during the puja. One should remove one's shoes In all Hindu shrines one before entering a Hindu temple in order moves clockwise around the to pay appropriate respect to the deity central image before approach- within the temple. ing the god. The innermost sanctuary of the temple contains the principal image of Priest dressing a ainga 13 Worsiutp bv. homes in Household worship is the focus of the second section of the video.

The heart of every Hindu home is its shrine: the sacred space set apart for honoring and worshiping the gods. While a particularly devout Hindu may visit a temple every day, others go there only to request a favor of the deity, to fulfill specific vows, or on festival days. The pujas that take place in the house- hold shrine are the foundation of all family actions and decisions. Temple worship requires the intervention of a priest, but in the home the contact between devotee and deity is direct. The size and decoration of a house- hold shrine do not matter. The shrine may be large and impressive, an entire room or a beautifully designed edifice, or it may be simply a tiny niche, or even just a row of religious prints pasted on a wall. Hinduism does not proselytize. Although children grow up following family beliefs, they are encouraged as young adults to make their own choices of which gods or goddesses they find personally inspiring. Conse- quently, household shrines contain images of deities that pertain to the belief systems of all a home's inhabi- Uma Nagarajan at her household shrine in Bethesda, Maryland tants, and it is not uncommon to find several small individual shrines in one household. Case Study: Worshlp at a As a part of daily puja, the deities' Puja is usually performed by at least Household Shir fine presence is honored by washing each one member of the household every sculpture with water and other sacred day. Puja is a means of honoring the The shrine in the photograph above is substances, dressing it, and adorning it gods or goddesses, whose presence in typical of one that might be found in a with and powdered vermilion, a the home is believed to protect the fam- middle-class Hindu home. Members of red dye. During worship, each devotee ily and to engender good fortune. The the family choose objects specific to gives to the gods offerings of more paraphernalia used include an incense their devotion to place in the shrine. flowers and . burner and a tray with flowers, , Many objects are handed down and food. through generations, while others may be purchased during a pilgrimage or commissioned from a craftsperson in response to a special need.

14

Kaii-Iva shrine in eastern Uttar Pradesh

W©McifCoa,gEoloor time priest or caretaker. Instead, mem- have been given, they are transformed shilines bers of the community will take turns by the goddess and no longer have any cleaning and caring for the image, re- value. They are left beneath the tree to placing flowers and offerings as part of crumble and disintegrate, to be EZ Worship at a tree shrine vows to the goddess in return for her replaced when another devotee's beneficence. prayers are answered. to the Goddess is the In these photographs of a shrine to focus of the third section Case Study: Ka Dii-Mla Shrine the goddess -Ma, the presence of the goddess is announced by three Kali-Ma, one of many forms of the of the video. symbols: first, the sacred tree that Goddess, is viewed in north central India as the Mother Goddess and is throughout India indicates a divine Many shrines in India are outside, with petitioned for aid when any kind of presence: second, the small cone () of sculpted clay representing either no external structure or only a problem strikes a family. Many believe small niche or edifice to designate their her to be both the cause and the cure the goddess Kali-Ma, which is unique to her worship in eastern Uttar presence. Often deities are worshiped of smallpox, cholera, and measles. Pradesh; and third, the iron through natural landmarks, such as When stricken with one of these dis- (trishula) that is the weapon she uses mountains, rivers, large rocks, or trees. eases, a person is said to be inhabited to kill her evil foes. Surrounding these The streets of most communities are by Kali-Ma. Part of the cure is to honor three symbols are terra-cotta elephants punctuated with many such shrines: a the goddess within. Often the wor- given to her during her pujas. sacred stone grappled by the roots of a shiper will promise to give the goddess tree, a tiny niche tucked into terra-cotta elephants if she answers his the side of a building, an ancient carv- or her prayers. These elephants are ing resting on a cement platform at a believed to become real animals in the crossroads. Frequently the deity hon- spirit world the instant they are placed ored is a goddess who is viewed as the in the shrine, and many believe that mother of the community and all its Kali-Ma rides them in her nightly bat- affairs. The shrine may not have a full- tles against evil. Once the elephants 15 IIrJ

Wripen do Hi Indus worm*?

Hindu worship may take place whenever an individual wishes. Worship is usually performed daily at each household shrine by one or more family members on behalf of the whole household. Temple worship is often associated with a particular request being made of the deity, or it may follow the granting of that wish. Festivals to each of the gods take place during the year, and a follower of a certain deity may choose to participate in the ceremonies associated with that deity either at home or in a temple.

Howpuja, peaibmed?

Wherever puja is performed it includes three important components: the seeing of the deity; puja, or worship, which includes offering flowers, fruits, and foods; and retrieving the blessed food and consuming it. By performing these sacred acts the worshiper creates a relationship with the divine through his or her emotions and senses. During a household puja, the head of the household chants prayers to the god or goddess. The worshipers offer the deity a seat, wash its feet, and give it water. An image may be symbolically bathed, clothed in new garments, and embellished with ornaments. Perfumes and ointments may be applied, and flowers and may be placed before it. Incense is burned, and a lighted lamp is waved in front of the deity. Foods such as cooked rice, fruit, butter, and sugar are offered. Family members bow before the image, sip the water they have given the god, and receive a portion of cooked food. The food and water are now considered to have been blessed by the deity for the devotees. At the temple, where the gods are believed to dwell as royalty, puja is usually performed at sunrise, noon, sunset, and midnight. Worshipers may also arrange for a puja to be done by a priest to mark a special event such as a birth or death or to ask for a particular favor. Puja is a multisensory experience. One observes the offering of the lighted lamps, touches the objects and feet of the deity (where possible), hears the ringing of the bells and the sacred chants being recited, smells the incense, and tastes the blessed food offered at the end of the ritual.

16 7--

How mrre scufipturres of de es [used orn) IGEndmWM'Shilp?

Hindu sacred sculptures are used to help devotees understand the incomprehensible divinity. These images may be anthropomorphicthat is, having a human likenessor they may be abstract. Whether made of clay or of gold, all these sculptures are considered equally sacred. Hindu images serve as visual metaphors to express the invisible divine reality. Although many images of Hindu gods, goddesses, and saints are believed to be always filled with the spirit of the deity they represent, others are bathed and dressed to invite the deity or saint to enter the image temporarily. The bronze sculpture below depicts the saint Sundara and his wife, Paravai, followers of the god Shiva. On the right it is shown dressed as it would be when carried through the streets of a southern Indian city during a . For most of the year, an image such as this is kept in its own shrine in a large temple. Once a year during an elaborate puja, it is washed with sacred water, then with , yogurt, honey, paste, and ashes before being dressed incer- emonial robes. It is lavishly adorned with garlands of flowers and may also be decorated with jewelry. Priests then invoke the spirit of the deity or saint depicted to enter the bronze. For the duration of the ceremony the image is thought to contain the divine being's presence. In an elaborateproces- sion many sacred images are paraded through the streets accompanied by thousands of devotees.

Hindus believe that even a glimpse of an image filled with the spirit of the god or saint facilitatesa direct visual communication (darshan) with the deity, which will bring to the worshiper. Darshan is a reciprocal act between the worshiper and the deity. Not only does the devotee "see" the deity, but the deity is understood to "see" the worshiper. For this reason, Hindu images often have strikingly large eyes to facilitate this exchange of glances between devotee and deity. Sundara was an eighth-century follower of the god Shiva whose focused devotion and perfor- mance of countless miracles with Shiva's aid were greatly responsible for the spread of the worship of Shiva in southern India. His wife, Paravai, is honored for her steadfast loyalty to both her god and her husband.

Figures of Sundara and Paravai before and after being dressed for worship. Tar nil Nadu, 16th century. Bronze, 57.2 x 37.1 x 19 cm. Gift of Arthur M. Sadder, 51987.902

17 Why are offer&fr s boen Why do the' dea:lies haul aD,,irtnages of illdeities? raaallftoge arms and heads? Offerings are an essential part of wor- ship. During puja a devotee presents Deities are often portrayed with mul- gifts that, according to tradition, the tiple arms, especially when they are particular god or goddess likes: often battling cosmic forces. The multiplicity flowers, special foods, grains, coco- of arms emphasizes the deity's im- nuts, or oils. If the offering is made in a mense power and ability to perform temple, a portion of it is kept for use by several acts at the same time. The por- the temple, and the rest is returned, trayal of a deity in human form but with now blessed by the deity. Offerings multiple arms is the artist's attempt to made in the household shrine are later express the deity's superhuman power. divided among family members. Demons are frequently depicted with Reciprocity, the process of giving and multiple heads to convey their superhu- receiving, is an essential aspect of man power as well. Hinduism. Hindus are taught that by Occasionally a deity is shown with giving, they receive, and that when more than one head in an attempt to they receive, they should respond with describe various aspects of the charac- gifts. When a Hindu prays for a specific ter of that deity. For example, when the favor from a deity, he or she may vow god Shiva is portrayed with a triple to present a special gift to the god or head, the central face indicates his goddess or to perform an arduous duty essential character and the flanking if the wish is granted. Much of the faces depict his fierce and blissful apparent wealth of a temple and many natures. of the good deeds carried out in a com- munity are the direct results of honor- ing those religious commitments.

Contemporary lindian poster of the goddess Durga

18 1=fl©w do I kentWy the &torrent deltks? limp do 11 idenegfy grinares to destroy his demon foes. Frequently he holds a drum rattle whose sound ©f ehe 1:,od Shgua and htls creates life as it reverberates through famdlly? the cosmos. The beads of his rosary symbolize all time (past, present, and Shiva future) and its transcendence. The The god Shiva, the Creator and three horizontal lines often seen on Destroyer, is often shown with a cobra, Shiva's forehead represent three the Naga, symbol of fertility and aspects of the divine: the Creator, the strength, wrapped around his neck. Preserver, and the Destroyer. During The god usually has four arms, signify- puja, many devotees of Shiva mark ing his superhuman power, each with a their own foreheads with these three hand holding one of his attributes. He lines in sacred ash or sandalwood uses the trishula, or trident, like a paste.

Contemporary poster of the god Shiva and his family

trishula

drum rattle

three (horizon tai lines x9 Parvati beginning any new endeavor. He is Common Symbols of Shiva The god Shiva is frequently depicted in usually portrayed with a round belly Themost common symbol of the god a powerful masculine form accompa- and a happy expression. According to Shiva is the linga. A linga, often seen nied by Parvati, his wife. Parvati, the one legend, Parvati posted her son resting in a , is a symbolic image of Mother of All Creation, is usually por- Ganesha as guardian of her bath and the god that signifies the union of trayed as sublimely feminine, her gaze insisted that he let no one enter. Shiva opposites (male and female, good and fixed upon Shiva, suggesting the union had been away for a long time, so evil, light and dark). Some people of male and female so integral to wor- when he returned, Ganesha did not believe it derives its shape from sexual ship of this deity. Like all the other recognize his father. Shiva demanded symbolism, but most Hindus view it as deities, Parvati may be worshiped on to see his wife, but the faithful boy simply a representation of the god's her own. In conjunction with Shiva, refused and was beheaded. Parvati, dis- potency in every area of existence. she is the feminine complement to his traught, declared that she would have masculine divinity, completing the no relations with her husband until her Nandi essential balance of opposites. son was returned to life: Shiva therefore Nandi, the sacred bull that Shiva rides, decreed that Ganesha would be given is another commonly recognizable Ganesha the head of the next being that symbol of Shiva worship. Nandi repre- Ganesha, son of Shiva and Parvati, is appeared. When an elephant came sents strength, faith, and constancy in one of the most popular gods in India. along, Ganesha received that animal's belief. Images of Nandi often sit direct- It is said that no home of followers of head and was brought back to life in ly outside a shrine to Shiva, facing the Shiva is complete without an image of the form now beloved by millions of deity. Ganesha to protect its activities. devotees. Worshipers pray to the elephant- headed god to ensure success before

71.1.,72!

Bronze sculpture of the elephant-headed Ganesha, one of the most popular gods in [India. or Bangladesh, late 11th century. 4.5 x 3.5 x 2.4 cm. Gift of Dr. David ILNalin, 51992.47 20 How do 11 kleridify bnciges blue skin to accentuate his otherworld- of the g©d Vtislinaa hL liness. A stylized representation of his footprints appears on his forehead. waft, Lakshnad, and their This V-shaped symbol of the god is drtucannatIons? also applied in sandalwood paste to the foreheads of worshipers of Vishnu during puja. Vishnu Vishrrou's Vishnu, the god of home and family footprints values, represents stability and order. Vishnu's wife, Lakshmi, is the Goddess Vishnu is recognizable by the four of Abundance and Prosperity. She is symbols he often carries: the discus, frequently depicted standing on a lotus conch, club, and lotus. The discus and throne and holding lotuses in her Incarnations of Vishnu club are both weapons, signifying his hands. As the goddess of prosperity, The god Vishnu is viewed as a savior absolute might in destroying evil. The she is often shown with gold coins who has been reborn on earth many lotus represents fertility and regenera- spilling from her hands. Lakshmi is times to conquer and balance evil. In tion, the nourishment of the soul that associated with light and is honored each reincarnation, Vishnu is accompa- occurs through devotion to this deity. with lighted lamps and fireworks in nied by an of Lakshmi The conch shell is blown in India like a every household on Divali (or proving the everlasting power of marital trumpet during many sacred rituals. It Deepavali), the Hindu New Year, one of love. The two most popular forms in is considered to make the purest India's most popular festivals. Lamps which Vishnu has been reincarnated sound, from which creation springs. In depicting Lakshmi, sometimes riding are Rama and Krishna. Vishnu's hand the conch symbolizes an elephant, are filled with clarified purity and auspiciousness. In paintings butter and lighted as a part of puja to and prints, Vishnu is often shown with Vishnu or his incarnations.

Contemporary poster of the god Vishnu and his wife, Lakshmi

BEST COPY AVAILABLE

21 lotus

Rama and worthiness, and selfless service to crawled away from his mother to steal Vishnu's incarnation as the princely the gods. butter. Other images depict Krishna hero Rama epitomizes loyalty, bravery, dancing on the snake . This strength, and responsibility. Rama's Krishna and refers to a famous legend in which the beloved Sita, one of Lakshmi's many Krishna, shown below with his beloved hero-god conquered a demon serpent. forms, is the traditional ideal Hindu Radha, is an incarnation of the god Images of the youthful Krishna playing woman: feminine, faithful, resilient, Vishnu. He is worshiped by more his flute are also popular. Later, as the and pure. They are often accompanied Hindus than any other of Vishnu's wise hero of the ancient epic the by the monkey god . many forms. Krishna was born human, ,he established the Hanuman, the gods' messenger, and the stories of his childhood and fundamental principles of practical symbolizes the power to achieve the adolescence exemplify his mischievous Hinduism. impossible and embodies a conscien- character. One story often illustrated by tious sense of duty, absolute trust- artists describes how, as an infant, he

Rama (center), Sita (right), and a kneeling A contemporary Indian poster of 1-ilanuman, in a modern poster from India Krishna and Radha

22 22

Right: Figures of Parvati and Shiva, West Bengal or Bangladesh, 11th century. Bronze, 22.7 x 12.7 x 00.4 cm. Gift of Dr. David R. Nalin and Dr. Richard y. Nalin, S1992.62 ab

Far right: Bronze sculpture of Durga as Mahisha Mardini. West Bengal or Bangladesh, 12th century. 15.7 x 10.1 x 8.2 cm. Gift of Dr. David R. Na lin, S1992.46

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Today hundreds of millions of Hindu temples today is masculine, worship of Durga men and women conduct regular pujas the Goddess coexists in shrines and Durga, the great Warrior Goddess, is to the deity known as Devi, or some- temples throughout India. one of many manifestations of Parvati. times simply the Goddess. For some She represents the lethal energy of she is their primary deity, while for oth- Forms of the Goddess divine anger when turned against evil. ers she is part of a greater pantheon. The Goddess has innumerable forms Legend states that the world was once Embodying the feminine principle, she and manifestations. Nearly every under attack by the worst of all has innumerable aspects and manifes- Hindu community in India has its own demons, Mahisha. The male gods, tations. All Hindu goddesses, in fact, specific deity that governs its existence, fearing total annihilation, endowed can be seen as different forms of Devi. and usually that deity is considered a Durga with all their powers, symbol- In some she is benign and gentle, goddess. ized by her multiple arms, each of while in others she is dynamic and which carries a different god's weapon. ferocious, but in all forms she is helpful Parvati Riding a lion into battle, she fought to her devotees. Primarily she is the Parvati is the wife of Shiva, the femi- Mahisha, who took many different Mother Goddess, from whom all cre- nine complement to his masculine forms, including that of a buffalo. ation is born. For many Hindus, how- energy. In the sculpture shown above, Durga slew the buffalo by cutting off ever, the most important aspect of the she is seated on her husband's lap, its head and then destroyed the spirit Goddess is Durga, the warrior deity their arms around one another and of the demon as he emerged from the who fights adversity. The Goddess may their heads tilted so that they can gaze beast's neck. The goddess's face por- also appear as the consort or feminine into each other's eyes. From their trays her calm serenity even while con- complement of a major male deity. union the universe was created; fronting such adversity. Goddess worship was widespread through their union it is sustained. in early prehistoric India. Later, invad- Lakshmi ing populations brought with them Householders worship Lakshmi for the new ideas and elevated the popularity health and welfare of their families; of male gods. Although the primary business men and women offer her deity worshiped in most major Hindu prayers to ensure the success of their

23 Figure of the Goddess (Mata). Bastar District, , 19th-20th century. Bronze, 45.6 x ,-c-MADHYA PRADESH 12.1 x 9.9 cm. Lent by Paul F. Walter, LTS1992.10.102 ab

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endeavors. A goddess in her own right, age to be his equal partner and his deity herself is represented only by a Lakshmi is also Vishnu's wife, reincar- wellspring of strength. Lakshmi is fre- wooden post or log, although her nated alongside the god in each new quently shown standing in her lotus image may also be carved in stone or throne and holding lotus buds, sym- cast in bronze. bols of beauty and fertility. Cascades of Bronze images of Mata in her many gold coins flow from her hands, sug- forms are given to the goddess by her gesting that those who worship her devotees in gratitude for answered will gain wealth. prayers. They become a link between the devotee and the deity that will be Mata reaffirmed at each subsequent puja. The people of the Gond tribe in Bastar These small bronzes are not normally District in central India often worship on view. They are stored in a basket or the Mother Goddess, generically box and placed in the shrine only for known as Mata. Descended from the special occasions. At that time they are subcontinent's earliest inhabitants, the washed with holy water and mustard Gonds have been influenced by Hindus oil and adorned with leaves, rice, and who have settled in the region. Over flowers. Pt shaman then invites Mata's time they have synthesized their ances- spirit into his body. In a trance he tral worship with Hindu rituals. speaks with the voice of the goddess, Although they worship male gods as accepting the new bronze image and well, most often their focus of devotion acknowledging its donor. is the Mother Goddess. Frequently the

Contemporary poster of Lakshmi, the Goddess of BEST COPYAVAILABLE Abundance and Prosperity

24 Below is the transcript of a discussion among five young American Hindus who live in the Washington, D.C., area. It focuses on aspects of puja and Hindu life for young Americans. The participants were all born in the United States, except for Sanjay, who was born in England. Their parents had left India to further their own education. They each travel to India every two or three years to see their grandparents and other relatives. They are very proud to be Hindus and wish that Hinduism were better understood by Americans.

Sanjay Hinduism emphasizes duty and Sanjay People ask, "Why do gods have Nithya You don't have to go to temple honor. If you do the basic things, like if multiple arms?" Well, have you ever to worshipwhich is good because up you look after your family, your friends, said, "I wish I had more armsI can't to ten years ago there was no temple and those around you, that's the best do everything"? If you had eight pairs in this area. Our parents kept the reli- way of worshiping God. You can sit of arms you could do a lot more. gion alive at home with the religious and worship an idol or you can pray People ask, "Why does the god holidays. You learn about Hinduism every day, but if you [aren't dutiful and Ganesha have an elephant's head?" from your parents. honorable], it doesn't mean anything. Well, the elephant is considered one of People think of Indians as having the wisest animals, and Ganesha is a Shruti My parents made it fun for me. many gods. But Hinduism is not poly- very wise god. His big ears mean he My mother told me stories about the theistic, it's monotheistic. It's just that listens a lot. His mouth is generally gods, about celebrating festivals in God can be viewed in different ways. A covered, which means he doesn't India, and now we celebrate them here. Christian may go to and pray to speak too much. He is very wise God, "Please, God, help me with my because he doesn't talk too much and Arathi You start reading comic books exam," whereas a Hindu could pray to he listens. So the elephant head is a [based on the Hindu epics the , the Goddess of Knowledge. simple way of reminding us of this. Mahabharata and the ] at a When you pray to Saraswati, you are Each idol provides a focus so that young age. I remember my parents and just focusing on one particular aspect you can concentrate on that one grandparents reading them to me. of God. Since God has no form, you aspect of religion. You aren't praying to can view God in many different ways. the idol, it is just a path to God. Some Anura When gods interact with one people need something to focus on, another in a story, it's to teach a les- Anura You don't need idols [to wor- others don't. It's there if you need it. son. A lot of these things are symbolic. ship], but they are very helpful for visu- The stories help you understand a par- al learning. If I have a picture of the god AnuraI love going to the temple ticular idea. A story is the best way to in my head, it helps me concentrate on because of the mood and setting, and explain the idea. the idea better. seeing all of the images of the gods together. You know that the gods are Sanjay The comic books get your Nithya Each of the images tells a story there all around you. We are taught interest. For the guys they have the war: and each story has a lesson that is try- that God is always all around you, but for the girls they have the love stuff. But ing to be portrayed through the image. when you go to the temple and see all later on you start to understand the of the images of the gods, you can real- message. ly visualize it. It paints a picture.

0-12M22 lUIRM CAHTaiNan 25 Shruti There is lots of symbolism in Arathi If you had to sum up Hinduism Arathi Duty and honor are the basis of the stories. I know many of the stories. you would say it's about duty, honor the religion. I think all of the gods are I began learning them when I was two. and family. only stories to portray those ideas. You can't quickly explain all of these They are meant to teach us how we stories. Sanjay There is one story that sums it should live. How to be righteous and up: Shiva and Parvati are sitting with peaceful. That's the reason why we Anura In each story there is a moral their sons, Ganesha and Karttikeya. pray to God. We have the gods to that you can use in daily life.I love They have one mango between them show us what we are trying to be. For learning new stories. Half of the reli- and Ganesha and Karttikeya are fight- the main concepts of Hinduism you gion I know has been taught to me ing over the mango. Shiva says, "OK, I don't need all of the gods and all of the through Indian dance. I've been taking will give the mango to whichever of stories. To be called a Hindu you just lessons since I was six or seven. The you goes around the universe and need to be good. dances are all about the gods: what comes back first." So Karttikeya speeds they act like, what they look like. They off and goes around the universe and each tell a story. The stories are passed comes back. But when he gets back down through the dances. They tell so Ganesha has finished the mango. much about the culture. Karttikeya asks, "Father, how can this be? Ganesha didn't pass me. I was Nithya Every time you go to an Indian always in the lead. How could he have concert to hear music or see dance, come back before me?" And Shiva you hear the stories. If you listen to the says, "He walked around his parents. words in the songs, you are listening to That should be the universe to every Hindu religion. child."

Left to right: Nithya Nagarajan, 26 years old, works for the United States Trade administration. Sanjay Subramanian, 22 years old, is studying for his B.A. in finance and economics and wants to be a mutual fund manager. Anuradha (Anura) Subramanian, 16 years old, wants to be a doctor like her mother.Hersister Arathi Subramanian, 03 years old, wants to go into business like her father. Anura and Arathi are both cousins of Sanjay. Shruti Murti, 13 years old, wants to be a lawyer.

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This section includes activities for your students and suggests ways of incorporating the Discussion with Young American Hindus, the video, the posters, and the exhibition. The activities for students are divided into those to use o before you visit the museum or to begin your unit of study o during your visit to the museum or as a research project o after your visit to the museum or after completing the unit

These activities provide a model for you to modify and adapt to your own curriculum and classroom.

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The Discussion with Young American Objectives Teaching about India and Hinduism, Hindus may be photocopied and dis- At the end of discussing the reading, pages 39-40). Read a comic book ver- tributed to students to be read and dis- students will be able to sion of a Hindu epic as a class and cussed in small groups or as a class. .0. recognize that there are practic- analyze the moral of the story. This activity may be used before a visit ing Hindus in the United States '' Have students create lists of familiar to the museum to introduce students .0. explain how different art forms visual images and metaphors that are to some of the ways in which objects are used as methods for teaching used to help explain abstract ideas. are used as a focus during worship or about Hinduism Discuss the worldwide use of after a visit to enhance student under- 4. discuss the use of visual images metaphors to help explain unknowns standing of the role of objects in wor- and metaphors to help explain (creation , scientific models, ship. The discussion among young abstract ideas etc.). Americans who are Hindus highlights 4. Ask students to debate the state- students' understanding of Hindu gods ment "Hindus use objects as a focus and the use of images of the gods and Activity for worship rather than a focus of other art forms for teaching worshipers 4. Discuss with students the basic worship." about Hinduism. beliefs of Hinduism that the young Hindu's emphasized in their discussion .0. Compare the central beliefs of (duty, honor, family). Explore the dif- Hinduism with other religions and ferent methods for teaching about philosophies. Hinduism that the young people high- lighted in their discussion (family, sto- ries, comic books, images, dance, music). In addition to this reading, you may want to bring into the classroom Indian music, a video of Indian dance, or comic book stories from the Mahabharata or the Ramayana (for sources of materials see Resources for

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27 ,z/ The god Shiva, his wife, Parvati, The god Vishnu and his wife, The goddess Durga and their son Ganesha Lakshmi

The posters that accompany this pack- Activity 29-30 to help identify different sym- et may be put on bulletin boards in the o Before showing the posters to the bols associated with each deity. Notice classroom in order for students to students, divide the class into pairs. that as long as the drawings include familiarize themselves with the some of Give one person from each of the pairs certain key elements they can be asso- the Hindu deities. Identifying the differ- a photocopy of one of the posters and ciated with a particular poster and a ences between the various deities the other person a blank sheet of paper. particular god or goddess. requires careful looking, so you may Tell the students that they must imag- want to ask the students to try one of ine that they are in separate buildings 2 Compare, Contrast, the following activities to practice their and are talking to one another over the Research looking skills. phone (one person might be in India and the other one in the United Objectives At the end of this exercise students will 0 Distance, Dscü©, States). In other words, no peeking. and Drawing Ask each student with a poster to o recognize the importance of describe it clearly so that his or her symbols to identify different gods Objectives partner can draw the image. When the o recognize the need for careful At the end of this exercise students will pairs have finished describing and looking drawing, have the students compare o recognize the importance of a understand the need for detailed their drawings with the poster images. symbols to identify different gods description in order to identify Mix up all of the drawings and put <> recognize the need for careful different gods them with the posters on one wall. looking Working with the whole class, without Activity a understand the need for detailed the originators of the drawings reveal- a Have students compare the different description in order to identify ing their sources, have the group try to posters. Ask students to describe the different gods decide which of the gods is represented demeanor of each of the deities, list in each drawing. As a class, discuss the symbols that the gods hold, and, which drawings look most like the using their imagination, describe the posters. You may want to use the work- personality and character of each of sheet Symbols of the Gods on pages them. 28 26 a Have the students work in groups to Objectives a With students, view the second sec- research each of the deities and the After viewing the video students will tion of the video, which shows house- symbolism of the objects associated be able to hold worship, and the third section, with the deities. Ask the groups to a explain some of the basic con- which shows worship of the Goddess report their findings to the class and to cepts of Hinduism in the form of a tree at a rural, outdoor compare their impressions of the shrine. a define puja deities before and after researching the a Discuss the differences between a explain some of the steps characteristics of the gods. Have stu- worship in the three locations: the involved in puja dents read a story associated with their temple, the home, and outdoors (see deity to the class or turn the story into a identify Hinduism as a religion pages 12-14). a skit and perform it for the class. that is actively practiced around the a Discuss the worldwide spread of world today Hinduism and explore the practice of Hinduism in the United States. Va'deo Activity a View the first section of the video, The video may be viewed before or which provides a brief overview of the after a visit to the museum, or at the practice of puja, with students. Then, beginning of a unit of study. It may be using the information provided in this used to introduce students to puja as packet entitled Background Informa- it is conducted in three different set- tion for Teachers on pages 8-23, tingsthe temple, the home, and out- review the basic concepts of Hinduism, doorsand to explain that Hinduism define puja, and list some of the steps is practiced around the world today, involved in puja. including in the United States.

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In order to allow worshipers to identify The following page is an activity Activity the deity depicted in a sculpture or sheet for you to photocopy for use dur- a In the gallery, have students explore painting, artists developed conventions ing your visit to the museum or as a the exhibition looking for representa- for portraying each deity. These con- research project in the classroom. It tions of the deities and their symbols. ventions usually relate to the symbols requires students to identify some of Have students read the labels to find the deity holds or the standard ways the symbols associated with particular out what the symbols signify and to gods are depicted in favorite stories. Hindu gods. identify the god portrayed. In the class- One deity may have several symbols room, have students research different and tales associated with it, but few Objective Hindu deities and identify the symbols images include all of these symbols At the end of this activity students will associated with them. and references in one piece. Usually a be able to deity can be identified if two or more of a identify and explain the meaning its associated symbols are present. of symbols associated with some Remember that one symbol may repre- Hindu deities sent more than one deity. It is the com- bination of symbols that identifies specific deities.

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Shown below are a number of symbols associated with various Hindu gods. Identify each symbol and explain its meaning. List the deity or deities it is associated with.

0 Name of symbol This represents Associated with the-deity

2 Name,of,s7bol This represents Associated with the deity

3 Name of symbol This represents Associated with the deity

4 Name of symbol This represents Associated with the deity

5 Name of symbol This represents Associated with the deity

6 Name of symbol This represents Associated with the deity 30 Name of symbol This represents Associated with the deity

8 Name of symbol _ This represents Associated with the deity--

9Name of symbol This represents Associated with the deity

(IC Name of symbol This represents Associated with the deity

Name of symbol This represents Associated with the deity

02Name of symbol This represents Associated withthedeity

03Name of symbol This represents Associated with the deity

Name of symbol

This represents Associated with the deity

31 Answers 6 Hanuman II Conch Shell Hanuman, the messenger of the gods, The conch shell is blown in India like a is most commonly associated with trumpet during many sacred rituals. It I Naga Vishnu's incarnation as Rama. He is is considered to make the purest The Naga, or cobra, is a symbol of also worshiped independently in sound, from which creation springs. In fertility and strength. The god Shiva is shrines throughout India. Hanuman Vishnu's hands the conch symbolizes often depicted with a Naga draped symbolizes the power to achieve the purity and auspiciousness. around his neck. impossible and embodies a conscien- Vishnu Shiva tious sense of duty and selfless service to the gods. 12 Three Horizontal Lines 2 Discus Rama and Vishnu The three horizontal lines often seen The discus is a symbolic weapon. In on Shiva's forehead represent three Vishnu's hands it signifies his absolute 7 Vishnu's footprints aspects of the divine: the Creator, the might in destroying evil. A V-shaped symbol is often shown on Preserver, and the Destroyer. During Vishnu Vishnu's forehead, a stylized represen- puja, many devotees of Shiva mark tation of his footprints. This same mark their own foreheads with these three 3 Club is applied in sandalwood paste to the lines in sacred ash or sandalwood The club is a divine weapon. When foreheads of worshipers of Vishnu paste. held by Vishnu the club signifies his during puja. Shiva absolute might in destroying evil. Vishnu Vishnu 13 Crawling Baby 8 Nandi Krishna, an incarnation of the god 4 Linga Nandi, the sacred bull, is the mount of Vishnu, is worshiped by more Hindus A linga is a symbolic image of the god the god Shiva. Nandi represents than any other of Vishnu's many Shiva. It signifies the union of oppo- strength, faith, and constancy in belief. forms. Krishna was born human, and sites (male and female, good and evil, Images of Nandi often sit directly out- popular stories describe his childhood light and dark). Some people believe it side a shrine to Shiva, facing the deity. and his exploits. A common image derives its shape from sexual symbol- Shiva portrays how, as an infant, he crawled ism, but most Hindus view the linga as away from his mother to steal butter. a representation of the god's potency 9 Ganesha Krishna and Vishnu in every area of existence. Ganesha, the elephant-headed son of Shiva Shiva and Parvati, is one of the most 14 Trishula, or Trident popular gods in India. Worshipers pray A symbolic weapon used by deities to 5 Lion to Ganesha to ensure success before destroy demon foes, the trishula is an Durga, the great Warrior Goddess, is beginning any new endeavor. He is important symbol of Shiva and of the often shown riding a lion into battle. usually portrayed with a round belly goddess Kali-Ma. She is one of many manifestations of and a happy expression. Shiva or Kali-Ma Parvati and represents the lethal energy Shiva of divine anger when turned against evil. 10 Youth Playing the Flute Durga Krishna is the most popular of the god Vishnu's incarnations, and images of the youthful Krishna playing the flute are particularly well-loved. Krishna was born human, and the stories of his childhood and adolescence exemplify his mischievous character. Krishna and Vishnu

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II Anallogfies, Metaphorrs, 2 Muse and RecycIle Objective At the end of this activity students will and PeTsonuficatkon Images of Hindu gods may be made of be able to Hindu images may be seen as an precious materials such as gold and sil- 4 discuss the nature of shrines, the attempt to describe powers greater than ver or from everyday items such as notion of sacred space, and the use humankind. Knowable forces such as and clay. of offerings the forces of nature serve as metaphors to help us understand the power of the Objectives divine. The god Shiva is seen as both At the end of this activity students will Activity the Preserver and the Destroyer. The 4 recognize that Hindu images 4 Discuss the nature of shrines, the divine power of Shiva can be under- may be made of different materials notion of sacred space, and the use of offerings in world religions. Have stu- stood by using an analogy from the 4- understand that the materials dents, working as individuals or in a natural world such as the destructive used do not alter the efficacy of the group, create an installation that is a power and the rejuvenating aspects of image as a means of communicat- shrine to a deity. Have students select a hurricane. Although a hurricane with ing with the gods its fierce winds and heavy rains can a twentieth-century "deity" to "wor- create massive destruction, the result is ship" (e.g., time, television, junk food). Activity often a sudden burst of new plant Create an appropriate "sacred space" 4- Read the description of the dressing growth. and select and arrange objects to use of images in a temple (see page 16) and within the shrine. the use of terra-cotta images at an out- Objective door shrine (see page 14). Have stu- At the end of this activity students will dents, working as individuals or in a be able to Other aeRhAgies group, select a Hindu god to sculpt. 4- discuss the use of visual images, Before they begin, have them list char- Hindu Art analogies, metaphors, and acteristics of the god they would like to Include other art forms in your class- personification to help explain include in the image. Just as images of room. Hindu stories are an integral part abstract ideas Hindu gods may be sculpted in gold of Hindu culture. They are shared in and decked in jewels or fashioned from oral tradition and in comic books, and Activity a tree or a lump of mud, have students they form the basis of much Indian 4 Define and discuss analogy, create an image from recycled materials music and dance. metaphor, and personification. The or "dressed" with fabric and home- activity sheet on the next page may made jewels. A Visit to a Hindu Temple be photocopied and distributed to stu- Arrange to visit a temple in your area. dents working as individuals or in 3 Cli.eate a ShrIne: There are hundreds of Hindu temples small teams to create a visual image, across the United States, and most a written description, or a verbal report ilnstallllation Allt welcome school groups. Look in your that uses a metaphor to describe a Every Hindu devotee makes his or her yellow pages under "Churches" to find power greater than humankind (divine own choice as to which gods and out if there is a temple near you. power, nuclear power, nature). goddesses he or she will worship. The household shrine made by each A Visit from a Hindu Neighbor devotee is dedicated to those personal Ask a practicing Hindu in your commu- deities. A sacred space is created and nity to speak to your class. He or she the objects included in the shrine are might explain some of the beliefs and selected and arranged by each house- practices of Hinduism and discuss holder in the way that he or she what it is like being a Hindu in the believes best pays homage to the United States. deities. 33 111

Create a visual image, a written description, or a verbal report that uses a metaphor to describe a power greater than humankind (divine power, nuclear power, nature). Come up with two images of the superhuman power, one that is a personification and another that is an abstract representation. Consider creating a representation of the abstract idea that would be understood by using senses other than sight: convey your idea of the superhuman power using music, food, or an environment. Could you create a musical, edible, or tactile personification of the force?

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34 abstract Devi (Day-vee) lotus When referring to religious images, A widely used name for the multiple The lotus, frequently associated with abstract means that an object is not a forms of the Hindu Goddess. the goddess Lakshmi, represents fertili- realistic representation of a deity, but ty and regeneration. rather a symbol such as a tree, a rock, discus a pot, a cone, or a stake. The discus is a symbolic weapon. In Mahabharata (Mahah-bahrahtah) Vishnu's hands it signifies his absolute This great epic poem tells of the strug- anthropomorphic might in destroying evil. gle for power between two noble and In humanlike form. Sometimes gods related families. It has the distinction are represented with a figure that looks drum rattle of being the longest epic poem in the like a person, although it may have A symbol frequently held by Shiva.The world, having grown over a period of additional superhuman characteristics. sound of the drum rattle creates life as centuries (perhaps 1000 to 500 B.c.) it reverberates through the cosmos. to a length of 100,000 couplets. Aryans A people who spoke Indo-European Durga (DOOR-gah) Naga (Nah-gah) languages and who occupied the Durga, the great Warrior Goddess, is The Naga, or cobra, is a symbol of Iranian plateau before they entered one of many manifestations of Parvati fertility and strength. The god Shiva is India between 1800 and 1200 B.C., and represents the lethal energy of often depicted with a Naga draped conquering and amalgamating with divine anger when turned against evil. around his neck. earlier non-Indo-European inhabitants. Ganesha (Geh-nay-sha) Nandi (Nahn-dee) club Ganesha, the elephant-headed son of Nandi, the sacred bull, is the mount of A divine symbol that, when held by Shiva and Parvati, is one of the most the god Shiva. He represents strength, Vishnu, signifies the god's absolute popular gods in India. Worshipers pray faith, and constancy in belief. might in destroying evil. to Ganesha to ensure success before beginning any new endeavor. pinda (pin-dah) conch shell A small cone of sculpted clay that rep- The conch shell is blown in India like Lakshmi (Lahk-shmee) resents the goddess Kali-Ma in eastern a trumpet during many sacred rituals. Vishnu's wife, Lakshmi, is the Goddess Uttar Pradesh. It is considered to make the purest of Abundance and Prosperity. sound, from which creation springs. In puja (poo-jah; first syllable rhymes Vishnu's hand the conch symbolizes linga (LING-gah) with "zoo") purity and auspiciousness. The linga is a symbolic image of the Puja is the act of showing reverence to god Shiva that signifies the union of a god, a spirit, or another aspect of the darshan (dar-shahn) opposites (male and female, good and divine through invocations, prayers, Hindus believe that even a glimpse evil, light and dark). Some people songs, and rituals. An essential part of of an image filled with the spirit of a believe it derives its shape from sexual puja for the Hindu devotee is making a god or saint facilitates a direct visual symbolism, but most Hindus view it as spiritual connection with the divine. communication (darshan) with the simply a representation of the god's Most often that contact is facilitated deity, which will bring blessings to potency in every area of existence. through an object: an element of the worshiper. nature, a sculpture, a vessel, a painting, or a print.

22RAMMED ,P)1HUNC_PtL_:" 35 Ramayana (Rahmah-yehneh) Shiva (SHIV-ah) Vedas (Vay-dahs) The Ramayana, or the "goings" of The god Shiva, the Creator and The earliest Hindu sacred literature, Rama, may be likened to the Odyssey Destroyer, is often shown with a cobra, consisting of hymns, prayers, and of Greek mythology in that it describes the Naga, symbol of fertility and liturgical formulas written in Sanskrit the adventures of a great warrior king, strength, wrapped around his neck. by Aryan people. elevated in time to the status of a god. The god often has four arms, signifying Rama, hero of theRamayana,is the his superhuman power. Vishnu (VISH-noo) seventh incarnation of Vishnu. Vishnu, the Preserver, represents stabil- Sita (SEE-tah) ity and order. Vishnu is recognized by reciprocity Rama's beloved Sita, one of Lakshmi's the four symbols he carries: discus, Reciprocity, the process of giving and many forms, is the traditional ideal conch, club, and lotus. In paintings receiving, is an essential aspect of Hindu woman: feminine, faithful, and prints, Vishnu is often shown with Hinduism. Hindus are taught that by resilient, and pure. blue skin, a device to accentuate his giving, they receive, and that when otherworldliness. they receive, they should respond with symbol gifts. When a Hindu prays for a specific A symbol is an object or a design that Vishnu's footprints favor from a deity, he or she may vow represents, or stands for, something A V-shaped symbol is often shown on to present a special gift to the god or else: a crown is a symbol of a king; a Vishnu's forehead, a stylized represen- goddess or to perform an arduous duty trident is a symbol of Shiva; a lotus is a tation of his footprints. This same mark if the wish is granted. symbol of Lakshmi. is applied in sandalwood paste to the foreheads of worshipers of Vishnu rosary beads three horizontal lines during puja. The god Shiva often wears a rosary The three horizontal lines often seen whose beads represent all time on Shiva's forehead represent three yoni (YO-nee) (past, present, and future) and its aspects of the divine: the Creator, the The yoni represents the feminine com- transcendence. Preserver, and the Destroyer. During plement to Shiva's masculine divinity. puja, many devotees of Shiva mark Some people believe that the yoni, like Sanskrit (SAN-skrit) their own foreheads with these three the linga, derives its shape from sexual An ancient Indic language that is the lines in sacred ash or sandalwood imagery, but to most Hindus it is sim- classical language of India and of paste. ply an abstract symbol. Hinduism. trishula (trish- OO -lah), or trident A symbolic weapon used by deities to destroy demon foes. Thetrishulais an important symbol of Shiva and of the goddess Kali-Ma.

36 Qeraerell Texthooks Kalman, Bobbie. India, the People. /Nugent,Nicholas. India. World in The Lands, Peoples, and Cultures View Series. Austin, Tex.: Steck- ,Elementary Series. New York: Crabtree Publishing. Vaughn, 1991. ISBN 0-8114-2441-3. / Bailey, Donna and Malcolm Rodgers. Co., 1990. ISBN 0-86505-211-5. L.C. DS407.N84. L.C. HN683.5.K35. India: Where We Live. Austin, Tex.: Survey of the history, government, Steck-Vaughn, 1990. Discusses history up to modern times, economy, natural resources, people, ISBN 0-8114-2548-7. L.C. DS421.B19. people, family life, village life, city life, cultures, and future prospects of India. languages and education, occupations, Illustrated story of a girl named Sita and problems. Glossary. High School who describes her life in present-day The Asia Society. India: A Teacher's Rajasthan. Middle School Quide. Focus on Asian Studies. Allen, Carole. India: Past, Present and New York: The Asia Society, 1985. Cumming, David. India. New York: Future. Carthage, Ill.: Good Apple, L.C. DS407.A7. Bookwright Press, 1989. 1993. ISBN 0-86653-739-2. Grades 4-8. ISBN 0-531-18271-1. L.C. DS407.C79. Teacher's guide to India. Includes Introduction to India, highlighting This social studies activity book guides classroom activities and student read- students through an exploration of ings on caste, Hinduism, values, and features that give it its particular char- India's social and political past, pres- marriage. acter. Describes what it is like to live ent, and future. Topics investigated there today. Glossary. Bibliography. include the Indian economy, architec- Clark, James I. India Including Pakistan ture, and geography. and Bangladesh. Peoples & Cultures Kalman, Bobbie. India, the Culture. Series. Evanston, Ill.: McDougall & The Lands, Peoples, and Cultures Isenberg, Irwin. The Indian Subcon- Littell, 1989. ISBN 0-8123-5779-5. Series. New York: Crabtree Publishing tinent. 4th ed. Scholastic World L.C. DS437.K8. Accompanied by Co., 1990. ISBN 0-86505-212-3. Cultures Series. New York: Scholastic, teacher's manual (ISBN 0-8123-5780-9) L.C. DS421.K34- 1986. ISBN 0-590-34601-6. by Joan Curtis. Discusses religion, the importance of Covers India, Pakistan, Bangladesh, Covers ancient cities; Hindu gods; the Ganges River, art, crafts, clothing, and Sri Lanka. Discusses the variations empire builders and invaders; India and festivals, performing arts, and food. among these countries in village life, the West; independence and partition; Glossary. city life, the caste system, and reli- glimpses of Indian culture through its gions. Each chapter is followed by literature; and city and village life. Kalman, Bobbie. India, ,the Land. review and discussion questions. The Lands, Peoples, and Cultures Student guide directs attention to Pronunciation guide. Accompanied by important concepts in each chapter. Series. New York: Crabtree Publishing teaching guide that identifies and Teacher's manual provides summaries Co.: 1990. ISBN 0-86505-210-7. defines concepts and attitudes to be of main points, suggestions for discus- L.C. DS407.K35. developed. Includes questions, discus- sions and activities, and map exercises. Describes geography, climate, rivers, sion topics, and activities. Includes tests and a list of resource people, village life, city life, farming and materials, including audiovisual aids. industry, transportation, and wildlife. McNair, Sylvia. India. Enchantment of Glossary. the World Series. Chicago: Childrens Press, 1990. ISBN 0-516-02719-0. L.C. DS407.M39. Discusses India's geography, history up to independence, and people and culture.

ANN UAnPITIT 37 Jensen, Anne Ferguson. India: Its 'High School High School

Culture and People. New York: , Blurton, T. Richard. Hindu Art. Markandaya, Kamala. Nectar in Longman, 1991. ISBN 0-8013-0343-5. : The British Museum Press for a Sieve. New York: Signet, 1982. L.C. DS423.J43. the Trustees of the British Museum, ISBN 0-451-16836-4. 1992. ISBN 0- 7141 1442 -I. L.C. P27.M3394.Ne3. Covers geography, climate, religions, and history up to independence. This full-color textbook provides an Story of a woman in India who never Glossary. excellent overview of Hindu art. The lost her faith in life or her love for her survey provides an introduction to the husband and childrendespite her Wolpert, Stanley. India. Berkeley and Hindu temple architecture, sculpture, endless battle against relentless:nature, Los Angeles: University of California and painting of the Indian subcontinent changing times, and dire poverty. Press, 1991. ISBN 0-520-07783-0. over more than two thousand years. L.C. DS407.W56. Vimal, P. The Talisman: Written by a UCLA historian of India. 'Huntington,Susan L. and John C. Stories and Poems in and Huntington. Art of Ancient India; Concrete and detailed overview. English. London: Forest Books', 1990 Buddhist, Hindu, Jain. New York: Includes bibliographic references on (distributed in the U.S. by Dufour Weatherhill, 1985. ISBN 0-8348-0183-3. environment, history, religion and Editions, Chester Springs, Pa.). philosophy, society, arts and sciences, L.C. N7301.H86. ISBN 0-948259-57-4. and politics and foreign policy. An important reference tool for the Collection of Indian contemporary lit- Bibliography. serious student of , this text erature, short stories, and poems pub- provides an in-depth look at the differ- lished in Hindi and English. ent periods of Hindu art beginning Jr with pre-history. Mindaa Stales K-12 Asian Art Museum of San Francisco. kheraguire Elementary Color MeQanesha, the Elephant- Beach, Milo C. The Adventures of Headed God. San Francisco: Asian Art Middle School Rama. Washington, D.C.: Freer Gallery Museum of San Francisco, 1986. Godden, Rumer and Jon Godden. of Art, 1983. ISBN 0-934686-51-3. The drawings in this coloring book are Indian Dust. London: MacMillan, 1989. L.C. 83-1473. based on details from objects in the ISBN 0-333-51871-3. Astonishing creatures and colorful Asian Art Museum. Stories set in the rice fields of Bengal, characters appear in this shortened the streets of Calcutta, and the moun- version of the tales of Rama. Lavishly Bellerophon Books. A Coloring Book tains of Kashmir explore themes of illustrated with paintings from the of Ancient India. Santa Barbara, Calif.": courage, love and faith, the coming of Freer Gallery of Art. Bellerophon Books, 1989. manhood, the worship of different ISBN 0-88388-135-7. gods, and the cultural clash between /Hull,Robert. Indian Stories Retold by Many of the pictures in this coloring East and West. Robert Hull. New York: Thomson book are from ancient stone carvings, Learning, 1994. ISBN 1-56847-189-0. which were originally painted with Rana, Indi. The Roller Birds of Rampur. L.C. PZ8.1.H8831n. beautiful colors. Some text explana- New York: Henry Holt, 1993. Collection of eight traditional tales tions of the pictures. ISBN 0-8050-2670-3. L.C. PZ7.R149Ro. from India, including "Shiva Goes Grades 7-12. Fishing" and "How Ganga Came Down J. Paul Getty Trust. Arts in India; Dropped by her English boyfriend to Earth." Glossary. Bibliography. Glenview, Ill.: Crystal Productions, because of his family's racism and 1994. ISBN 0-89236-315-0. faced with the arranged marriage of her Five posters of Indian art objects; on Indian friend, an Indian teenager leaves the reverse is text to place each object England to return to India to find her in cultural context. Includes timeline, identity. medium, discussion questions, and activities. Accompanied by a teacher's guide. 38 Shepard, Aaron. Sauitri: A Tale of Rao, Rameshwal. The "Kolomon,Joan. Sweet-Tooth Sunil. The Ancient India. Morton Grove, III.: Children's Mahabharata. Hyderabad: Way We Live Series. London: Hamish Albert Whitman & Co., 1992. Orient Longmans Ltd.,1989. Hamilton, 1984. ISBN 0-241-1120I-X. ISBN 0-8075-7251-9. ISBN 0-86131-266-X. Tells the story of Divali, the Hindu L.C. BLI138.4.S28S44. Grades 3-6. L.C. BL 1138.22.R37. Festival of Light, through the eyes of Retelling of a classic tale of courage, Indian national epic tells the story of Sunil. love, wit, and will from India's national the warrior princes, called the Kauravas epic, the Mahabharata. Full-page illus- and the , who lived in India trations reflect visual elements of centuries ago. It tells of their rivalries jVliddle School Indian art. and their adventures and of the great Kadodwala, Dilip. Hinduism. World war they fought on the field of Religions Series. New York: Thomson Learning, 1995. ISBN I-568-47-377-X. /14iddle School . Chatterjee, Debjani. The Elephant- L.C. BL I203.K33. Grades 5-7. Headed God and Other Hindu Tales. High School Introduction to important beliefs and New York: Oxford University Press, Ions, Veronica. Indian Mythology. rituals. Examples and case studies from 1992. ISBN 0-19-598112-9. New York: Peter Bedrick Books, 1983. a variety of perspectives emphasizing

L.C. BL 1 1 1 I .2C43. ISBN 0-911745-55-6. L.C.BL2003.16. Hinduism's vitality in today's culture Collection of twelve traditional tales of Discusses Indian religion and history, all over the world. Glossary. ancient India. Stories of gods and god- early deities, and mythologies of desses, kings and , heroes and Hinduism, , and . Wangu, Madhu Bazaz. Hinduism. beggars, angelic beings and demons Bibliography. World Religion Series. New York: contain much of the enduring wisdom Facts on File, 1991. ISBN 0-8160-2447-2. L.C. BL 1203.W35. of India. Hbachallsyn Discusses the modern Hindu world, Dalal-Clayton, Diksha. The Adventures the growth of Hinduism, the gods and / Elementary of Young Krishna, the Blue God of devotionalism, political changes and India. New York: Oxford University Bennett, Olivia. , Hindu Festival their influence on Hinduism, the Hindu of Spring. London: Hamish Hamilton, Press, 1992. ISBN 0-19-508113-7. temple, icons and worship, and mod- L.C. BLI220.D34. 1987. ISBN 0-241-11986-3. ern Hinduism. Glossary. Bibliography. L.C. BL 1239.82.H65. Collection of the adventures of the Hindu god Krishna beginning with the With text and pictures tells how High School story of his birth and his escape as a English children experience the Hindu Eck, Diana L. Darsan: Seeing the baby from his cruel uncle. These tales festival of Holi. Divine Image in India. 2d rev. ed. illustrate the eternal battle between Chambersburg, Pa.: Anima Publical good and evil. Glossary. List of gods /Mitchell,Pratima. Dance of Shiva, tions, 1985. ISBN 0-89012-042-0. and goddesses. an Introduction to Natyam. L.C. BL 1205.E25. London: Hamish Hamilton, 1989. Darsan, or darshan, is a Sanskrit word ISBN 0-241-12550-2. meaning "seeing." Guide to seeing the Text and photographs of girls learning divine in Indian sculpture, temples, traditional Indian "Dance of Shiva." symbols, times, and places. Asian Art Museum of San Francisco Center for Asian Studies Center for South Asian Studies Education Department University of Texas at Austin University of California at Berkeley Golden Park W.C. Hogg Building 4.132 (G9300) 201 Moses Hall San Francisco, CA 94118 Austin, TX 78712-1194 Berkeley, CA 94720-2310 Contact: Richard Mellott, Head of Contact: Yvette Rosser Contact: Simona Sawhney, Outreach Education Telephone: (512) 471-5811 Coordinator Telephone: (415) 668-8921/8922 Fax: (512) 471-4469 Telephone: (510) 642-3608 Fax: (415) 668-8928 E-mail address: Fax: (510) 643-5793 E-mail address: Publishes materials for teachers as well outreach @uts.cc.utexas.edu [email protected] as offering tours and programs for Has the following materials available teachers. Teachers can also acquire for loan: videos, both feature films and Offers the Resource hands-on teaching kits and videos documentaries; slides (some include Directory for K -12 Teachers (listings of through the museum. Contact the scripts, readings, teacher's notes, fact resources for teaching about South Education Department to receive its sheets, or map); and curriculum mate- Asia). annual newsletter. rials. Requests for materials must be sent two weeks in advance with an Center for South Asian Studies Asia Society alternate date. Materials must be University of Virginia 725 Park Avenue returned within four weeks. 110 Minor Hall New York, NY 10021 Charlottesville, VA 22903 Contact: Education Department Center for South Asian Studies Program Contact: Cindy Benton-Groner, Telephone: (212) 288-6400 Jackson School of International Studies Outreach Coordinator Fax: (212) 517-8315 University of Washington at Seattle Telephone: (804) 924-8815 E-mail address: Publishes curriculum materials on Asia. 303 Thompson Hall [email protected] Contact the Education Department for University of Washington, DR-05 Seattle, WA 98195 a complete catalogue. Has an extensive list of films and Contact: Maureen Haley Tarada, Asst. videos available on loan, as well as a Director and Outreach Coordinator Bala Books resource list on contemporary India. 12520 Kirkham Court, #7 Telephone: (206) 543-4800 Distributes the South Asia Resource Fax: (206) 685-0668 Poway, CA 92064 Directory for K -12 Teachers. Contact: Philip Gallelli, Director E-mail address: Telephone: (800) 679-2252 [email protected] Fax: (619) 679-6908 This program is supported by the U.S. Carries a short list of folk tales, Department of Education and is responsible for academic programs religious stories, and cookbooks. related to South Asia at the University Children's books, videocassettes, of Washington. It sponsors a variety of audiocassettes, and posters are also outreach programs in the community. available.

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nhu - 40 Metropolitan Museum of Art South Asia Gopher South Asia Regional Studies Uris Library and Resource Center 304 International Affairs University of Pennsylvania 1000 Fifth Avenue Columbia University 820 Williams Hall New York, NY 10028-0198 420 West 1 18th Street Philadelphia, PA 19104-6305 Contact: John D'Addario, Assistant, New York, NY 10027-7296 Contact: Robert Young Teacher Programs, Education Contact: David Magier, South Asia Telephone: (215) 898-7475 Telephone: (212) 650-2756 Librarian E-mail address: Fax: (212) 570-3972 Telephone: (212) 854-8046 [email protected] Fax: (212) 854-2495 Has materials available for two-week Contact Dr. Young for a listing of E-mail address: loan free of charge. Must be picked up materials available. in person. Teacher packets include: magier @columbia.edu South Asia, Glorification of the The South Asia Gopher (SAG) is a col- Southern Asia Institute Goddess in India, The Ramayana, and lection of worldwide network-acces- Columbia University The Story of Krishna. sible information resources relating to 420 West 1 18th Street South Asia. Offers bibliographic re- New York, NY 10027 Nataraj Books sources, links with other South Asia Contact: Barbara Gombach, Assistant 7073 Brookfield Plaza related online resources worldwide, Director Springfield, VA 22150 South Asia teaching resources, etc. Telephone: (212) 854-3616 Contact: Vinnie Mahajan The URL is gopher://gopher.cc. Fax: (212) 854-6987 Telephone: (703) 455-4996 columbia.edu:7I /11 /clioplus/scholarly/ E-mail address: Fax: (703) 912-9052 South Asia. Or you may gopher to [email protected] and Major national distributor of books Provides KI2 teaching resources. For then navigate down through the about and from India. Excellent source a listing of materials available, write to menus as follows: of specialized books including Indian this address, or use the South Asia CLIOPIus /SELECTED TOPICS.../ comic book versions of the Gopher (see above). Mahabharata and the Ramayana, South Asia. Or you may telnet to posters and postcards of deities, and . books of Hindu prayers. Sends out monthly catalogues. South Asia Program Cornell University 170 Uris Hall Ithaca, NY 14853 Contact: Durga Bor Telephone: (607) 255-8493 Fax: (607) 254-5000 Video lending library has sixty VHS videocassettes about South Asia avail- able for educational purposes free of charge. Subjects include city life, dance, Buddhism, music, history, Hinduism, etc. Also offers an outreach program to schools in the Ithaca area.