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Material Culture and Asian Religions Text, Linage, Object
Material Culture and Asian Religions Text, linage, Object Edited by Benjamin J. Fleming and Richard D. Mann I~ ~~o~~~~n~~~p NEW YORK AND LONDON First published 2014 b) Routledge 711 Third Avenue, Ne" York, NY 10017 and b) Routledge 2 Park Square, Milton Parl... Abingdon, Oxon OX 14 4RN Routledge is an impri111 q(1he Taylor & Francis Group, a11 informa business C 2014 Taylor & Francis The right of the editors to be identified as the author of the editorial material. and of the: authors for their individual chapters, has been asserted in accordance 11 ith sections 77 and 78 of the Cop)-right, Designs and Patents Act 1988. All rights reserved. No part of this book ma~ be reprinted or reproduced or utilized in an1 form or b1 am electronic, mechanical, or other means, now known or he;eafter ime~ted: including photocop) ing and recording, or in an) information storage or retrieval S) stem, without permission in writing from the publishers. Trademark 1'otice: Product or corporate names ma) be trademarks or registered trademarl~. and are used onl) for identification and explanation "ithout intent to infringe. library ofCongress Ca1alogi11g-in-Publication Dala Material culture and Asian religions: te'l.t, image, object I edited by Benjamin J. Fleming and Richard D. Mann. - 1 [edition]. pages cm. - (Routledge research in religion, media and culture; 4) Includes bibliographical references and index. 1. Asia-Religion. 2. material culture- Asia. 3. Material culture-Religious aspects. I. Fleming, Benjamin J., 1967-, editor of compilation. RLI033.M38 2014 200.95-<lc23 2013041860 ISBr-i: 978-0-415-84378-2 (hbk) ISBN: 978-0-203-75303-3 (ebk) T~ pcset in limes New Roman b) Apex CoVantage , LLC Contents List ofFigures xiii A bbnn.·iations XVII A cknoll'ledgments XIX Introduction: Material Culture and Religious Studies BE'\J,\ \'If'\' J. -
6. Art of Mauryan Period
ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE 1 ARTS OF THE MAURYAN PERIOD 3 Royal Palace 4 Pillars, Sculptures and Rock-cut Architecture 5 Pillars 5 LION CAPITAL, SARNATH 6 Bull Capital , Rampurva 8 Sculptures 9 DIDARGUNJ YAKSHINI 9 Yaksha, Parkham, Mathura 11 Rock Cut Cave- Lomus Rishi 12 Chaitya, karle 14 Stupas 15 Pottery 19 Coins 20 Donors and Patronage 21 ASHOKA THE GREAT : REPRESENTING THE ACME OF INDIAN CULTURE Ashoka occupies a unique place in the history of India. His policies of universal peace, non-violence and religious harmony find no parallel in the monarchs of the world. Ashoka stands out as a monarch who combined successful kingship with idealism and philosophy. Like other rulers, Ashoka too began his reign with war - the conquest of Kalinga. However, the mindless destruction of life and property in this war shattered him so greatly that he vowed never to wage any war again. Instead he adopted the policy of Dhamma Vijaya that is conquest through dhamma. Page !1 of !22 In his thirteenth major Rock Edict, Asoka states that true conquest is by piety (the quality of being religious or reverent) and virtue. Such a decision taken by a king, who lived in an era where military might was the measure of power, earned him a unique place in history. Ashoka was a true humanist. His policies were oriented towards the welfare of his people. His dhamma was based on social responsibility. Besides giving importance to respecting brahmins, and servants, obedience to elders, abstention from killing living beings, dhamma also asked people to live in religious harmony. -
Department of South Asian Languages and Civilizations 1
Department of South Asian Languages and Civilizations 1 Department of South Asian Languages and Civilizations Chair • Whitney Cox Professors • Muzaffar Alam - Director of Graduate Studies • Dipesh Chakrabarty • Ulrike Stark • Gary Tubb Associate Professors • Whitney Cox • Thibaut d’Hubert • Sascha Ebeling • Rochona Majumdar Assistant Professors • Andrew Ollett • Tyler Williams - Director of Undergraduate Studies Visiting Professors • E. Annamalai Associated Faculty • Daniel A. Arnold (Divinity School) • Christian K. Wedemeyer (Divinity School) Instructional Professors • Mandira Bhaduri • Jason Grunebaum • Sujata Mahajan • Timsal Masud • Karma T. Ngodup Emeritus Faculty • Wendy Doniger • Ronald B. Inden • Colin P. Masica • C. M. Naim • Clinton B.Seely • Norman H. Zide The Department The Department of South Asian Languages and Civilizations is a multidisciplinary department comprised of faculty with expertise in the languages, literatures, histories, philosophies, and religions of South Asia. The examination of South Asian texts, broadly defined, is the guiding principle of our Ph.D. degree, and the dissertation itself. This involves acquaintance with a wide range of South Asian texts and their historical contexts, and theoretical reflection on the conditions of understanding and interpreting these texts. These goals are met through departmental seminars and advanced language courses, which lead up to the dissertation project. The Department admits applications only for the Ph.D. degree, although graduate students in the doctoral program may receive an M.A. degree in the course of their work toward the Ph.D. Students admitted to the doctoral program are awarded a six-year fellowship package that includes full tuition, academic year stipends, stipends for some summers, and medical insurance. Experience in teaching positions is a required part of the 2 Department of South Asian Languages and Civilizations program, and students are given opportunities to teach at several levels in both language courses and other courses. -
The Image of the Winged Celestial and Its Travels Along the Silk Road
SINO-PLATONIC PAPERS Number 225 June, 2012 The Image of the Winged Celestial and Its Travels along the Silk Road by Patricia Eichenbaum Karetzky Victor H. Mair, Editor Sino-Platonic Papers Department of East Asian Languages and Civilizations University of Pennsylvania Philadelphia, PA 19104-6305 USA [email protected] www.sino-platonic.org SINO-PLATONIC PAPERS FOUNDED 1986 Editor-in-Chief VICTOR H. MAIR Associate Editors PAULA ROBERTS MARK SWOFFORD ISSN 2157-9679 (print) 2157-9687 (online) SINO-PLATONIC PAPERS is an occasional series dedicated to making available to specialists and the interested public the results of research that, because of its unconventional or controversial nature, might otherwise go unpublished. The editor-in-chief actively encourages younger, not yet well established, scholars and independent authors to submit manuscripts for consideration. Contributions in any of the major scholarly languages of the world, including romanized modern standard Mandarin (MSM) and Japanese, are acceptable. In special circumstances, papers written in one of the Sinitic topolects (fangyan) may be considered for publication. Although the chief focus of Sino-Platonic Papers is on the intercultural relations of China with other peoples, challenging and creative studies on a wide variety of philological subjects will be entertained. This series is not the place for safe, sober, and stodgy presentations. Sino- Platonic Papers prefers lively work that, while taking reasonable risks to advance the field, capitalizes on brilliant new insights into the development of civilization. Submissions are regularly sent out to be refereed, and extensive editorial suggestions for revision may be offered. Sino-Platonic Papers emphasizes substance over form. -
Role of Gandhara in Spread of Styles, Influence of Gandhara Art and Influences on Gandhara Art
2013 Hawaii University International Conferences Arts, Humanities, & Social Sciences January 6th to January 8th Ala Moana Hotel Honolulu, Hawaii Role of gandhara in spread of styles, Influence of Gandhara Art and Influences on Gandhara Art SAMINA SALEEM Quaid-i-Azam University, Islamabad, Pakistan Role of Gandhara in spread of styles (Its influences) 1 Samina Saleem Academic Qualification: Masters in Fine Arts from University of Punjab, Pakistan. Presently: student of M.Phil in Asian Studies, Taxila Institute of Asian Civilizations, Quaid-i-Azam University, Islamabad, Pakistan. Personal Position: Working as Assistant Professor in Fine Arts, in Government Post Graduate College for Women Satellite Town, Rawalpindi, Pakistan. Date of Birth: 18th April, 1963 Nationality: Pakistani Address (Work): Taxila Institute of Asian Civilizations, Quaid-i-Azam University, Islamabad, Pakistan. Title of Research: Role of Gandhara in spread of styles (Comparison of South Asian Civilization of Gandhara; and its influences on Later Eastern and Western Art) Role of Gandhara in spread of styles (Its influences) 2 ABSTRACT BY SAMINA SALEEM Role of gandhara in spread of styles, Influence of Gandhara Art and Influences on Gandhara Art Basic purpose of this paper is to provide the students and researcher a new dimension to look into the art of South Asian region. This art which is known as Gandhara art flourished here from 1st Millennium to the of the 11th century AD. First part of Paper is comprised of brief history of this area, that is a part of subcontinent specially Pakistan. This area has been a trade route from west to East, also been having a magnetic attraction for West since long, because it has versatility in its Geography, climate and also its inhabitants. -
Tantric Exposition of the Dependent Origination According to the Caṇḍamahāroṣaṇatantra, Chapter XVI: Pratītyasamutpāda-Paṭala
ROCZNIK ORIENTALISTYCZNY, T. LXV, Z. 1, 2012, (s. 140–148) MAREK MEJOR Tantric Exposition of the Dependent Origination according to the Caṇḍamahāroṣaṇatantra, Chapter XVI: pratītyasamutpāda-paṭala Abstract The Caṇḍamahāroṣaṇatantra, or “Tantra of Fierce and Greatly Wrathful One”, belongs to the class of Highest Tantras (anuttarayoga, rnal ’byor chen po bla med). The text which has been preserved in the Sanskrit original and in Tibetan translation consists of twenty five chapters (paṭala). The 16th chapter entitled pratītyasamutpāda-paṭala is an exposition of the doctrine of dependent origination. The present author is preparing a critical edition of this chapter from Sanskrit and Tibetan, provided with an annotated translation. In this paper is offered a working translation alone with occasional references the readings of the oldest Sanskrit palm leaf manuscripts, compared with the Tibetan translation (Wanli edition). Keywords: Buddhism, Tantra, doctrine of causality, Sanskrit manuscripts, Tibetan Kanjur 1. The Caṇḍamahāroṣaṇatantra (henceforth abbreviated CMT), or “Tantra of Fierce and Greatly Wrathful One”, belongs to the class of Highest Tantras (anuttarayoga, rnal ’byor chen po bla med).1 According to the fourfold classification in Bu ston’s Catalogue of Tantras (Rgyud ʼbum gyi dkar chag), CMT is farther classified as belonging to the Vairocana cycle (Vairocana-kula).2 CMT has been preserved in the Sanskrit original3 and 1 George 1974: xxxvi: “According to formal Tibetan classification, this work is a Vyākhyātantra, or ‘Explanatory’ Tantra, belonging to the school of the Guhyasamāja Tantra, which in turn is one of the five Mūlatantras, or ‘Basic’ Tantras in the class of Anuttarayogatantras”. See also Skorupski 1996. 2 Eimer 1989: 32: “2.3. -
The Stūpa of Bharhut
CORNELL UNIVERSITY LIBRARY GIFT OF Alexander B. Griswold FINE ARTS Cornell Univ.;rsily Library NA6008.B5C97 The stupa of Bharhut:a Buddhist monumen 3 1924 016 181 111 ivA Cornell University Library Al The original of this bool< is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 92401 6181111 ; THE STUPA OF BHARHUT: A BUDDHIST MONUMENT ORNAMENTED WITH NUMEROUS SCULPTURES ILLUSTRATIVE OF BTJDDHIST LEGEND AND HISTOEY IN THE THIRD CENTURY B.C. BY ALEXANDER CUNNINGHAM, C.S.I., CLE., ' ' ' ^ MAJOE GENERAL, EOYAL ENGINEERS (BENGAL, RETIRED). DIRECTOR GENERAL ARCHffiOLOGICAL SURVEY OF INDIA. " In the sculptures ancL insorvptions of Bharliut we shall have in future a real landmarh in the religious and literary history of India, and many theories hitherto held hy Sanskrit scholars will have to he modified accordingly."— Dr. Max Mullee. UlM(h hu Mw af i\( Mx(hx^ tii ^tate Ux %nVm in €mml LONDON: W^ H. ALLEN AND CO., 13, WATERLOO PLACE, S.W. TRUBNER AND CO., 57 & 59, LUDGATE HILL; EDWARD STANFORD, CHARING CROSS; W. S. WHITTINGHAM AND CO., 91, GRACECHURCH STREET; THACKER AND CO., 87, NEWGATE STREET. 1879. CONTENTS. page E.—SCULPTURED SCENES. PAGE PREFACE V 1. Jata^as, oe pebvious Bieths of Buddha - 48 2. HisTOEicAL Scenes - - - 82 3. Miscellaneous Scenes, insceibed - 93 I.—DESCRIPTION OF STUPA. 4. Miscellaneous Scenes, not insceibed - 98 1. Position of Bhakhut 1 5. HuMOEOUS Scenes - - - 104 2. Desckipiion of Stupa 4 F.— OF WORSHIP 3. Peobable Age of Stupa - 14 OBJECTS 1. -
22 Circumambulating the Bharhut Stupa: the Viewers' Narrative Experience Vidya Dehejia
Picture Showmen Insights into the publications Narrative Tradition in Indian Art Edited by jyotindra jain General Editor PRATAPADITYA PAL Senior Editorial Executives SAVITA CHAN Dl RAMAN I RIVKA ISRAEL 'CO! Editorial Executives ARNAVAZ K. BHANSALI LK. MEHTA Copy Editor (Consultant) MEHER MARFATIA Design Executive NAJU HIRANI Production Executive GAUTAM V. lADHAV Design and Production Assistant VIDYADHAR R. SAWANT Subrata Bhowmick has provided valuable suggestions in the design of this volume Vol.49 No. 3, March 1998 Price: Rs 1850.00 / US $ 59.00 ISBN: 81-85026-39-4 Library of Congress Catalog Card Number: 98-902735 Copyright Marg Publications, 1998 No part of this publication may be reproduced or stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the copyright holders. This edition may be exported from India only by the publishers, Marg Publications, and by their authorized distributors and this constitutes a condition of its initial sale and its subsequent sales. Published by J.J. Bhabha for Marg Publications on behalf of the National Centre for the Performing Arts at 24, Homi Mody Street, Mumbai 400 001. Colour and black and white processing by Reproscan, Mumbai 400 093. Printed by A.S. Vadiwala at Tata Donnelley Limited, Mumbai 400 025, India. Pages 2 and 3, and above Page 1 Details from a jadu patua Mandaheccu image made scroll depicting, Pages 4 and 5 by Nakasis, the traditional respectively, a Santhal Story of Harischandra: artists of Telangana, tribal dance and the Visvamitra ascends to Andhra Pradesh. Mid- Santhal myth of creation. -
Early Architecture and Its Transformations: New Evidence For
E EARLY ARCHITECTURE AND ITS ARLY A TRANSFORMATIONS: NEW EVIDENCE FOR RCHITECTURE VENACULAR ORIGINS FOR THE INDIAN TEMPLE Michael W Meister A ND I TS T SITE RANSFOR The recently excavated Buddhist stūpa at Kanganhalli, Karnataka (Archaeological Survey of India 2000, 2002, 2004), provides, among many important narrative panels from the first centuries BC and M ATIONS AD, unique visual evidence for forms of early built architecture in South Asia.1 Within the visual idiom of Kanganhalli, what you see is what was built, unmediated by the iconic transformation of later : N E stone representations and replications that move away in significant ways from the early impermanent W E architecture of India. Ajay Shankar, then Director General of the Archaeological Survey of India (ASI), VIDENCE gave an important introductory report on the site and its sculptures at the 15th International Conference 2 of the European Association of South Asian Archaeologists in Leiden in 1999. It is important now to F illustrate the depth of evidence for early architecture that this new material provides.3 OR V The excavations at this significant Buddhist centre are located on the left bank of the river Bhima, ENACULAR 5 km northeast of Sannati in Gulbarga District, Karnataka.4 Remains span ‘both Hinayana and Mahayana phases of Buddhism’, according to the ASI (no date),5 and these excavations O have revealed remains of a stūpa measuring 19 m in diameter with preserved lower and RIGINS upper drum up to a height of 3.1 m. The sculptural embellishments of the stūpa show close F affinity with art traditions of Bharhut and Sanchi in Central India in the earlier Hinayana OR T stage, and Amaravati and the Deccan school in the later Mahayana stage. -
Buddha in Art: from Symbol to Image
BUDDHA IN ART : FROM SYMBOL TO IMAGE Kalyankumar Ganguli There is a common impression about Buddhism that its impact was completely lost sight of in India long before the present age. Facts bearing to the contrary are, however, not quite rare to trace. One of the positive outcomes of the impact of Buddhism was probably the realisation of objects of veneration into techtonically formulated shapes held as images which have been used for the prupose of divination and worship. Realisation of divinities in visual form of idols and the worship of the same have been existing as a common phenQmenon among many ancient civilizations of the world. But in India there has been a marked difference in the phenomenon of image worship from the same as existing elsewhere. Here, the figure of the deity put into visual form is found to ha ve evolved as an aid in the endeavour on the part of the worshipper to attain concentration. It came to be tec\lJl.i<;;:ally known as a yantra or instrument which has been processed in order to help the worshipper to imbibe within his or her inner consciousness a complete identity with the object of veneration and full realisation of the essence of the same within one'llown inner self. In every possibility, as traditions may help in establishing, it had been through the endeavours of some thinkers owing allegiance to Buddhism that this aspect of image worship was evolved as a means of absorption and fulfilment. The realisation of this highly efficacious measure had not been accomplished all at once at a particular time. -
Buddhist Art in India
Buddhist Art in India Radha Banerjee Indian art is an expression of Indian life and thought attuned to its vast natural background and its socio- religious traditions. It is not exclusive or sectarian in the narrow sense of the term. Its style, technique or general tenor has nothing to do with any particular religious outlook. It is fed and fostered upon a vast store-house of Indian traditions, symbols and designs. The term Hindu, Jaina or Buddhist art is but a popular nomenclature to distinguish one group of monuments, including painting, cave-temples and architecture, etc., from another stand point of the predominance of one or the other religious theme. Hence, by Buddhist art is meant popularly those monuments and paintings which have for the main purpose the edification or popularization of Buddhism. Fortunately enough in India and outside where Buddhism did exist, or still exists, there are innumerable monuments representing different phases of Buddhism and these help us to visualize the trend of Buddhist art through the ages. In Buddhist legends and Mythology, Gautama Buddha has been represented as superior not only to the popular cult divinities of the soil, such as the Yakshas, Nagas, etc. but also to Indra, Brahma and others of the earlier Brahmanical pantheon. Everything with him has been described as transcendental. This is amply represented in Buddhist art. The Early Symbols and their evolution Buddhist art reflects very faithfully all the important aspects of Buddhism. In primitive Buddhism, Gautama Sakyamuni has been regarded as an ideal human being and quite naturally we find that the early Buddhist art of Bharhut, Sanchi, Bodh-Gaya and Amaravati and other places shows no anthropomorphic representation of the Master. -
A Comparative Approach to Early Chinese Buddhist Translations
JIABS Journal of the International Association of Buddhist Studies Volume 31 Number 1–2 2008 (2010) The Journal of the International Association of Buddhist Studies (ISSN 0193-600XX) is the organ of the International Association of Buddhist Studies, Inc. As a peer-reviewed journal, it welcomes scholarly contributions pertaining to all facets of Buddhist EDITORIAL BOARD Studies. JIABS is published twice yearly. KELLNER Birgit Manuscripts should preferably be sub- KRASSER Helmut mitted as e-mail attachments to: [email protected] as one single fi le, Joint Editors complete with footnotes and references, in two diff erent formats: in PDF-format, BUSWELL Robert and in Rich-Text-Format (RTF) or Open- Document-Format (created e.g. by Open CHEN Jinhua Offi ce). COLLINS Steven Address books for review to: COX Collet JIABS Editors, Institut für Kultur- und GÓMEZ Luis O. Geistesgeschichte Asiens, Prinz-Eugen- HARRISON Paul Strasse 8–10, A-1040 Wien, AUSTRIA VON HINÜBER Oskar Address subscription orders and dues, changes of address, and business corre- JACKSON Roger spondence (including advertising orders) JAINI Padmanabh S. to: KATSURA Shōryū Dr Jérôme Ducor, IABS Treasurer Dept of Oriental Languages and Cultures KUO Li-ying Anthropole LOPEZ, Jr. Donald S. University of Lausanne MACDONALD Alexander CH-1015 Lausanne, Switzerland email: [email protected] SCHERRER-SCHAUB Cristina Web: http://www.iabsinfo.net SEYFORT RUEGG David Fax: +41 21 692 29 35 SHARF Robert Subscriptions to JIABS are USD 55 per STEINKELLNER Ernst year for individuals and USD 90 per year for libraries and other institutions. For TILLEMANS Tom informations on membership in IABS, see back cover.