DOCSLIB.ORG

Chapter Iii Iconography of Hindu Gods and Goddesses

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CHAPTER III ICONOGRAPHY OF HINDU GODS AND GODDESSES "Iconography of Hindu Gods and Goddesses'1 An linage of the god is only his symbol which the worshipper keeps in front of his eyes so that he can concentrate on certain attributes of the divinity* Though the Hindu artists had to adhere to sastric rules, they were not averse to beauty in their images. Every Agama and Tantra insists on making the Images pleasant* And the Hoysala artists excelled in their art as each and every image is so beautifully chiselled. The contours and bends in the body give the necessary movement to the figure which also enhances the beauty and adds vigour to the icon. The artists did not lack in originality in handling their subjects. They were also true to nature and in their representations of animals and birds they were often unsurpassed. The Hoysala artists had not only an eye for beauty but also for humour, which they have so well expressed through the madanika figures in the Belur temple. Bat they never forgot the religious motive behind their 65 workmanship. Because of this awareness we have such an abundant collection of icons of gods and goddesses on the temple walls* Freedom for the display of thought and feeling through art constitutes the very life of all art, and the art of image making cannot be treated as an exception* The icons of the Hoysala period bear this out as these icons are visuals of beauty and grace* The following are the representations of these beautiful idols so well depicted on the Hoysala temple walls* The numerous gods and goddesses of the Hindu pantheon are classified under the following sub-sections for the convenience of study t a) Major gods t Brahma, Visnu, Siva b) Minor gods t Ganesa, Karttikeya, Surya, Indra c) Devfs or goddesses d) Folk and secular icons • Astadikpalakas, surasundarls and erotic sculptures All these icons which have been studied mainly appear on the part of the temple known as 'padavargam* which compared to the human body, constitutes the area between the navel and the knee* 66 Visnu t He is the god of 'preservation' and 'protection', as his vary name suggests* Ha is, generally, shown with four hands in which he carries 'sankha' symbolising the sound of the inner supreme self or conscience, 'padma' which indicates the final goal of human evolution, 'gada' draws the attention to the law of nature and 'chakra' shows the inevitable end or destruction* His head-gear is known as makuta which signifies his supreme sovereignty and overlordship of the world* His vehicle is 'Garuda' with a human face and body of an eagle* He is the god whose various avataras are also depicted on the temple walls or are enshrined in the sanctums* There are three principal attitudes in which Visnu Images are shown, viz*, Sthanaka, Asana and Sayana* His various forms, can be classified thus t- chaturvimsati - murtayah, (twentyfour manifestations) Dalavataras, minor avataras or forms and chaturvyuhas or chaturmurtls* The sthanakamurtls mainly constitute the chaturvimsati- murtayahs or the twenty-four forms in which Visnu is always depicted as standing in saraabhanga on a padmasana, and with four arms* Ha has a Kirltamakuta on his head and is adorned with all the ornaments• The difference is only in the order in which he holds his ayudhyas. Though we have Trivikrama, Vamana and NarasiAha in the Chaturvimsati form, they are mainly Vlsnu's avataras. But in the avatara form, we have trivikrama shown always with his right leg raised upwards, Vamana as a dwarf and NarasiAha killing Hiranyakasipu* The following chart gives the details of the Chaturvimsatimurtayah as prescribed by Rupamandana • Form Back Back Front Front R Hand L Hand L Hand R Hand Keiava sankha chakra gada padma Narayana padma gada chakra sankha • Hadhava chakra sankha padma gada Qovinda gada padma sankha chakra Visnu padma sankha chakra gada • • Madhusudana sankha padma gada chakra Trivikrama gada chakra sankha padma Vamana chakra gada padma sankha Srldhara chakra gada sankha padma Hrlshikesa chakra padma sankha gada • Padmanabha padma chakra gada sankha Damodara sankha gada chakra padma G8 form Back Back Front Front R Hand L Hand L Hand R Hand Samkarshana sankha padma chakra gada • Vasudeva saftkha chakra padma gada Pradyumna sankha gada padma chakra Anlruddha gada sankha padma chakra Purushottama padma sankha gada chakra Adhokshaja gada sankha chakra padma Harasimha padma gada sankha chakra Achyute padma chakra sankha gada Janardana chakra sankha gada padma Upendra gada chakra padma sankha Harl chakra padma gada sankha Kriana gada padma chakra sankha Wow we will see the similarity and the differences in these images in the various temples and the walls on which they are found. 69 S 1 CD k CM 1 1 ro 1 1 I *H iH 1 i 1 • I 1 1 1 H r-i rH rH CM (N lO 1 H tH 1 1 1 I 10 i i S'fi i i SI a 0 i 1 •I 2 i t « 3 i 2 H • 0 e Q 0 H 1 * 8 1 M N 8 S S £ w I 0 I I 0 0 10 0 M 3 M 0 i 0 e 0 H a M g >1 > > Si 0 M c s- 0 50) 10 0 • «*) © *w «o aMj >, > i4>>i i >> V M «wi «U (0 0 "J 10 U^ UAJ CO *» 35 0 >MIIH 3 C fl a 0 0 • 0 0 > > > > 5 i 0 * It! <T3 «W «M •dtO *.,) iSiSSSiSSiS•an S 70 1 *H 1 1 1 m *H 1 1 iH 1 I 1 1 tH 1 1 I 1 1 1 1 H I I I I I if 3 t S • • U 3 • t I 1 Si 3 5 s rj •H 1 i a I 3 i i i i I a OB i 1 '13 1(0 Iti c H Irj 3 ^ « m oi 10 (0 G n 2 5C w to 5 S- JK 3 id (0 •3 * I t Vu >i IM J a (0 0 | i I- r ("3 •I * •I •t •a ! 71 1 1 1 1 1 (0 X 1 1 TH 1 r-4 1 1 1 •H 1 as* -4 TH 1 1 1 .J I I 6 I I I 5 « t «t i l< fa 01 I # 4 • • t B I 5 23 S CO O 5 S J5 H | i S 1 III i I 1 a i s i I A 3 « S € 2 si 6 £ 63 3 i; fi 3 S 3'g a 5 B B 6 6 i 5 •a •a »1 w u 72 1 1 1 1 *s H 1 1 *H W 3: i 1 1 1 *-« 1 rH n 1 W 3K 1 1 1 1 1 1 1 1 • 55 % 1 1 1 1 *H 1 1 1 1 % I I I Li I i i i Si 1 1 9 « « Jl f t S .3 « • .3 2 « c 1 H 5 H I \ ! % 1 : U i en « S &, 8 ft S 5 ig J J i •1 Bill ? f S l s Ii $ Q (0 W 1(0 •JJJ si n«r•in * 3 s S's 51 g I 1 B i i i I 'I •2 •2 I 73 83 CD i cn t en LL LI 1 1 1 1 1 T-l »-l • 1 CO H • fH t-4 «-* 1 1 r4 «H 1 »•« 1 1 1 1 1 1 1 2 1 f • 1 1 1 1 1 1 s i i t t !L3 a x i i I I 1 8 • 8 8 P« 2 8 « 8 8 PM I «n * ox ft TT s T 3 id (J 3 S (O f-i (15 i ! 1 1 S 1 I ^ ••H 1D> CO 1 I 4 I ag 1 5 i £ 2 I- I I * I .J .i * O I 3 i i § 8) (0 9 wo tunH s 6 JS •H 3s li l g t i'l 74 1 1 CD S3 1 1 1 1 *4 iH 1 *4" 1 1 *H 1 w 3: 1 T4 »H T-« 1 r« 1 1 iH T-4 1 1 MS 1 1 1 1 1 1 1 1 1 1 1 1 H 1 1 1 1 *H 1 1 1 1 1 ri I I I • I I I 1 1 1 II I « » c t • fa Hto M on « • 9 9 % 9 9 9 9 fa I * t CO S r • OS K '! 11 1 5 2 05 A i I ! I o •8 a a 0) I 2 53 CO a§ 5 I as 1 h 1 a 1 1 J5 4! S « it-1 •3 S 11 U' S id w to «n (DM) c (0 an ni<o « 1 H a c •5! I I3 75 sat I I I I 1 1 1 *H 1 1 w as I W H *4 H rH 1 1 T« ri MS I I I I 1 1 1 1 ! 1 *3r * I f I 1 1 T-* 1 1 1 I I I I I I 8 9 I I I I I I 1 as t 8 5 t t t B • • fa wn 'i s t B ,5 U i .3 3 <3 s O 3 <D ^ (0 y. •H S •H g i H a> CO 3 ?-> 5 s s W 3 i a I I 3 <o 03 CO 1 s I* <D i lis 3 S 5 0 u > # u * u i iS 3 3'S Him «n id « <o |S a ^ IM > a M a e J c I 1 I • 03 76 1 CD 1 f« 1 1 W SB 1 1 *-l *H 1 1 I I w s 1 1 1 1 1 1 I I 55 * H 1 • 1 1 1 I I I I I I X I I I I I I 3 I • S fa tl 10 s M 3 5 I 5 d H 8 2 H i 2 - § I o B 30 d I I I to 5 I i * S 1 8 15 Is B iID f10 8 I,| g > to 1 a |i to a to > M u *m (0 Is 8 X IM 4 c 3'S c 3'S S I 3 8 I 0 « M • ' I 77 1 «H 1 r4 M 1 1 ri iH 1 1 ** 1 J 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ^ 1 T"» 1 rH fH 1 »H rH I I I III I I I i 'i I III I R 1(0 i.
Recommended publications
  • Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir

    Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir

    Abhinavagupta's Portrait of a Guru: Revelation and Religious Authority in Kashmir The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:39987948 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Abhinavagupta’s Portrait of a Guru: Revelation and Religious Authority in Kashmir A dissertation presented by Benjamin Luke Williams to The Department of South Asian Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of South Asian Studies Harvard University Cambridge, Massachusetts August 2017 © 2017 Benjamin Luke Williams All rights reserved. Dissertation Advisor: Parimal G. Patil Benjamin Luke Williams ABHINAVAGUPTA’S PORTRAIT OF GURU: REVELATION AND RELIGIOUS AUTHORITY IN KASHMIR ABSTRACT This dissertation aims to recover a model of religious authority that placed great importance upon individual gurus who were seen to be indispensable to the process of revelation. This person-centered style of religious authority is implicit in the teachings and identity of the scriptural sources of the Kulam!rga, a complex of traditions that developed out of more esoteric branches of tantric "aivism. For convenience sake, we name this model of religious authority a “Kaula idiom.” The Kaula idiom is contrasted with a highly influential notion of revelation as eternal and authorless, advanced by orthodox interpreters of the Veda, and other Indian traditions that invested the words of sages and seers with great authority.
  • Numinous It Is Doubtful That Anyone Ever Came to Believe in God by Force of Philosophical Argument

    Numinous It Is Doubtful That Anyone Ever Came to Believe in God by Force of Philosophical Argument

    Picton, T. W. (2013) Creature and Creator: Intersections between Science and Religion (pp. 238-244) Sense of the Numinous It is doubtful that anyone ever came to believe in God by force of philosophical argument. The leap of faith is not a rational process: For, honestly, all these arguments leave me cold. Even if they were sound – and none of them is watertight – they would only quiet my intellectual questionings. They would never motivate me to absolute dedication .... Arguments are devised subsequent to our deep conviction, not preceding our conviction. They bolster faith; they do not create it. … But there is a wholly different way of being sure that God is real. It is not an intellectual proof, a reasoned sequence of thoughts. It is the fact that men experience the presence of God.1 Those who believe in God’s existence often say that they directly experience God through a sense of the “numinous”. The word comes from the magical “nodding” (Greek neuein) of a divine idol when it approves of being worshipped or grants a wish. Confronted by God, we would feel wonder and a certain shrinking – a sense of inadequacy to cope with such a visitant and of prostration before it – an emotion which might be expressed in Shakespeare’s words “Under it my genius is rebuked.” This feeling may be described as awe, and the object which excites it as the Numinous.2 This concept goes back to Rudolf Otto’s 1917 book Das Heilige.3 The perception of the numinous or the mysterium tremendum can be considered “creature-feeling,” the sense of being in the presence of one’s creator.
  • The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4

    The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4

    The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Kisari Mohan Ganguli The Project Gutenberg EBook of The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4, by Kisari Mohan Ganguli This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Mahabharata of Krishna-Dwaipayana Vyasa Bk. 4 Author: Kisari Mohan Ganguli Release Date: April 16, 2004 [EBook #12058] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK THE MAHABHARATAM, BK. 4 *** Produced by John B. Hare, Juliet Sutherland, David King, and the Online Distributed Proofreading Team The Mahabharata of Krishna-Dwaipayana Vyasa BOOK 4 VIRATA PARVA Translated into English Prose from the Original Sanskrit Text by Kisari Mohan Ganguli [1883-1896] Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. THE MAHABHARATA VIRATA PARVA SECTION I (_Pandava-Pravesa Parva_) OM! Having bowed down to Narayana, and Nara, the most exalted of male beings, and also to the goddess Saraswati, must the word _Jaya_ be uttered. Janamejaya said, "How did my great-grandfathers, afflicted with the fear of Duryodhana, pass their days undiscovered in the city of Virata? And, O Brahman, how did the highly blessed Draupadi, stricken with woe, devoted to her lords, and ever adoring the Deity[1], spend her days unrecognised?" [1] _Brahma Vadini_--Nilakantha explains this as _Krishna-kirtanasila._ Vaisampayana said, "Listen, O lord of men, how thy great grandfathers passed the period of unrecognition in the city of Virata.
  • THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay

    THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay

    The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M.
  • Arsha Vidya Newsletter Rs

    Arsha Vidya Newsletter Rs

    Arsha Vidya Newsletter Rs. 15/- Vol. 18 September 2017 Issue 9 2 Arsha Vidya Newsletter - September 2017 1 Arsha Vidya Pitham Trustees: Dr.V.Prathikanti,G.S.Raman Swami Dayananda Ashram Ramesh Bhaurao Girde Dr.L.Mohan rao, Dr Bhagabat sahu, Sri Gangadhareswar Trust Avinash Narayanprasad Pande Rakesh Sharma,V.B.Somasundaram Purani Jhadi, Rishikesh Madhav Chintaman Kinkhede and Bhagubhai Tailor. Pin 249 201, Uttarakhanda Ramesh alias Nana Pandurang Ph.0135-2431769 Gawande Arsha Vidya Gurukulam Rajendra Wamanrao Korde Fax: 0135 2430769 Swamini Brahmaprakasananda Institute of Vedanta and Sanskrit Website: www.dayananda.org Sruti Seva Trust Email: [email protected] Arsha Vidya Gurukulam Anaikatti P.O., Coimbatore 641108 Institute of Vedanta and Sanskrit Tel. 0422-2657001 Board of Trustees: P.O. Box No.1059 Fax 91-0422-2657002 Saylorsburg, PA, 18353, USA Web Site http://www.arshavidya.in Founder : Tel: 570-992-2339 Email: [email protected] Brahmaleena Pujya Sri Fax: 570-992-7150 Swami Dayananda 570-992-9617 Board of Trustees: Saraswati Web Site : http://www.arshavidhya.org BooksDept:http://books.arshavidya.org Founder: Chairman & Brahmaleena Pujya Sri Managing Trustee: Board of Trustees: Swami Dayananda Saraswati Swami Suddhananda Saraswati Founder : Paramount Trustee: Brahmaleena Pujya Sri Vice Chairman: Swami Dayananda Swami Sadatmananda Saraswati Swami Tattvavidananda Saraswati Swami Shankarananda Saraswati Saraswati President: Trustee & Acharya: Swami Viditatmananda Saraswati Chairman: Swami Santatmananda R. Santharam Saraswati Vice Presidents: Swami Tattvavidananda Saras- Trustees: wati Trustees: Swami Jnanananda Swami Pratyagbodhanada Ravi Sam Saraswati Saraswati S. Pathi Sri M.G. Srinivasan Ravi Gupta Sri Rajinikanth Secretary: R. Kannan Sri M. Rajalingam Swami Jnanananda Saraswati Swami Parabrahmananda Saraswati Asst.
  • South-Indian Images of Gods and Goddesses

    South-Indian Images of Gods and Goddesses

    ASIA II MB- • ! 00/ CORNELL UNIVERSITY* LIBRARY Date Due >Sf{JviVre > -&h—2 RftPP )9 -Af v^r- tjy J A j£ **'lr *7 i !! in ^_ fc-£r Pg&diJBii'* Cornell University Library NB 1001.K92 South-indian images of gods and goddesse 3 1924 022 943 447 AGENTS FOR THE SALE OF MADRAS GOVERNMENT PUBLICATIONS. IN INDIA. A. G. Barraud & Co. (Late A. J. Combridge & Co.)> Madras. R. Cambrav & Co., Calcutta. E. M. Gopalakrishna Kone, Pudumantapam, Madura. Higginbothams (Ltd.), Mount Road, Madras. V. Kalyanarama Iyer & Co., Esplanade, Madras. G. C. Loganatham Brothers, Madras. S. Murthv & Co., Madras. G. A. Natesan & Co., Madras. The Superintendent, Nazair Kanun Hind Press, Allahabad. P. R. Rama Iyer & Co., Madras. D. B. Taraporevala Sons & Co., Bombay. Thacker & Co. (Ltd.), Bombay. Thacker, Spink & Co., Calcutta. S. Vas & Co., Madras. S.P.C.K. Press, Madras. IN THE UNITED KINGDOM. B. H. Blackwell, 50 and 51, Broad Street, Oxford. Constable & Co., 10, Orange Street, Leicester Square, London, W.C. Deighton, Bell & Co. (Ltd.), Cambridge. \ T. Fisher Unwin (Ltd.), j, Adelphi Terrace, London, W.C. Grindlay & Co., 54, Parliament Street, London, S.W. Kegan Paul, Trench, Trubner & Co. (Ltd.), 68—74, iCarter Lane, London, E.C. and 25, Museum Street, London, W.C. Henry S. King & Co., 65, Cornhill, London, E.C. X P. S. King & Son, 2 and 4, Great Smith Street, Westminster, London, S.W.- Luzac & Co., 46, Great Russell Street, London, W.C. B. Quaritch, 11, Grafton Street, New Bond Street, London, W. W. Thacker & Co.^f*Cre<d Lane, London, E.O? *' Oliver and Boyd, Tweeddale Court, Edinburgh.
  • The Iconography of the Honey Bee in Western Art

    The Iconography of the Honey Bee in Western Art

    Dominican Scholar Master of Arts in Humanities | Master's Liberal Arts and Education | Graduate Theses Student Scholarship May 2019 The Iconography of the Honey Bee in Western Art Maura Wilson Dominican University of California https://doi.org/10.33015/dominican.edu/2019.HUM.06 Survey: Let us know how this paper benefits you. Recommended Citation Wilson, Maura, "The Iconography of the Honey Bee in Western Art" (2019). Master of Arts in Humanities | Master's Theses. 6. https://doi.org/10.33015/dominican.edu/2019.HUM.06 This Master's Thesis is brought to you for free and open access by the Liberal Arts and Education | Graduate Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Master of Arts in Humanities | Master's Theses by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. This thesis, written under the direction of the candidate's thesis advisor and approved by the department chair, has been presented to and accepted by the Master of Arts in Humanities Program in partial fulfillment of the equirr ements for the degree of Master of Arts in Humanities. An electronic copy of of the original signature page is kept on file with the Archbishop Alemany Library. Maura Wilson Candidate Joan Baranow, PhD Program Chair Joan Baranow, PhD First Reader Sandra Chin, MA Second Reader This master's thesis is available at Dominican Scholar: https://scholar.dominican.edu/humanities- masters-theses/6 i The Iconography of the Honey Bee in Western Art By Maura Wilson This thesis, written under the direction of the candidate’s thesis advisor and approved by the program chair, has been presented to an accepted by the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts in Humanities Dominican University of California San Rafael, CA May 2019 ii iii Copyright © Maura Wilson 2019.
  • Syncretic Icons Aim at the Reconeilation And

    Syncretic Icons Aim at the Reconeilation And

    374 - f Chapter : VIII : COMPOSITE IMAGES j' i i The origin and evolution of the composite images is well : known phenomena in the history of the religion and iconography. t' The composite or syncretic icons aim at the reconeilation and ^tapproachment between the rival religious creeds. In the realm i i,l of Siva iconography Ardhariarl^vara, ArdhanarT-Ganapati , Mart t and a-j- 2 - 3 _ 4 t Bhairava , Krsna-Karttikeya » Harihara-Surya-Buddha , Siva- P Lokesvara5, Harihara, Hariharapitamah and $ariharapitamaharka are ! such syncretistic icons that are discovered from various parts j 6 ! of India . I, !' 1 1 i The7 hermaphrodite figures in the Greek mythology and a hideous being of two-fold sex and two-fold lust in the Phrygian j mythology, also show similar trends. [ f I' "The sentiment of the cult syncretism beautifully expressed f jj in the famous couplet of the Dirghatamas hymn (R.V.i, 164, 46) j ii long before the evolution of the various cults never lost its || 8 - - ji force in subsequent times The Rgvedie Rsi rightly emphasized i that the sages call the one externally existing principle (in j this context the Sun God); and the names denoting this principle may be different, such as Indra, Agni the celestial sun—bird, f Garutman, Matarisva etc. 375 - The Brahmana eomentaries of Veda indicate the prominence of iliva and Visnu. They are also referred to in the Mahabharata9. * n It also indicates the growth of syncretistic tendencies in which identification of various deities as aspects of supreme reality is well knwon. This led to the growth of composite images, Throughout the Indian religions literature, this tendency is seen.
  • Single Footed Deities: Glimpses from Art and Literature

    Single Footed Deities: Glimpses from Art and Literature

    Single Footed Deities: Glimpses from Art and Literature Prachi Virag Sontakke1 1. Arya Mahila P.G. College, Varanasi, Uttar Pradesh, India (Email: prachi.kushwaha @gmail.com) Received: 28 June 2015; Accepted: 03 August 2015; Revised: 10 September 2015 Heritage: Journal of Multidisciplinary Studies in Archaeology 3 (2015): 608‐617 Abstract: Deities of religious pantheon are divine and hence they are attributed divine forms. The divinity of Gods is further glorified by conceiving their appearance as super natural. That is why we find Gods and Goddesses with multiple arms, heads and even limbs. These traits assert the power, superiority and divinity of deities before man. It is therefore very interesting to note that there is one such deity who is defined in literature and sculptural examples as having a single foot. Current paper is an attempt to understand the concept of emergence and development of this very single footed deity in India. In course of aforesaid trail, issues relating to antiquity of such a tradition, nomenclature of such deity, its identification with different Gods, respective iconography are also dealt with. Keywords: Ekpada, Antiquity, Art, Literature, Identification, Iconography, Chronology Introduction Iconography, though meant for art, is actually a science. Every aspect an icon is not only well defined but also well justified according to the iconographic principles laid down in the texts. When it came to sculpture making, artist’s freedom of portrayal and experimentation was rather limited. But this did not account for the lack of creativity and imagination in ancient Indian art. We have many examples where unrealistic depictions/forms were included in an icon to highlight the divine, supreme and all powerful aspect of deity and to make it different from ordinary humans.
  • Yogic Mindfulness: Hariharānanda Āraṇya's Quasi-Buddhistic

    Yogic Mindfulness: Hariharānanda Āraṇya's Quasi-Buddhistic

    J Indian Philos (2013) 41:57–78 DOI 10.1007/s10781-013-9174-7 Yogic Mindfulness: Hariharānanda Āraṇya’s Quasi-Buddhistic Interpretation of Smṛti in Patañjali’s Yogasūtra I.20 Ayon Maharaj Published online: 26 January 2013 © Springer Science+Business Media Dordrecht 2013 Abstract This paper examines Swami Harihara¯nanda A¯ ranya’s unique interpre- ˙ tation of smṛti as “mindfulness” (samanaskatā) in Patan˜jali’s Yogasūtra I.20. Focusing on his extended commentary on Yogasūtra I.20 in his Bengali magnum opus, the Pātañjaljogdarśan (1911), I argue that his interpretation of smṛti is quasi- Buddhistic. On the one hand, Harihara¯nanda’s conception of smṛti as mindfulness resonates strongly with some of the views on smṛti advanced in classic Buddhist texts such as the Satipaṭṭhānasutta and Buddaghos´a’s Papañcasūdanī. On the other hand, he also builds into his complex account of the practice of smṛti certain fundamental doctrines of Sa¯mkhyayoga—such as mindfulness of the Lord ˙ (“īśvara”) and mental identification with the Puruṣa, the transcendental “Self” that is wholly independent of nature—which are incompatible with Buddhist meta- physics. I will then bring Harihara¯nanda’s quasi-Buddhistic interpretation of smṛti of Yogasūtra I.20 into dialogue with some of the interpretations of smṛti advanced by traditional commentators. Whereas many traditional commentators such as Va¯caspati Mis´ra and Vijn˜a¯nabhiksu straightforwardly identify smṛti of I.20 with ˙ “dhyāna” (“concentration”)—the seventh limb of the aṣṭāṇgayoga outlined in Yogasūtra II.28-III.7—Harihara¯nanda argues that smṛti is the mental precondition for the establishment of dhyāna of the aṣṭāṇgayoga.
  • Praying Through Politics, Ruling Through Religion

    Praying Through Politics, Ruling Through Religion

    Praying through Politics, Ruling Through Religion: The Rajarajeswaram as an Instrument of Economic and Political Unification in the Chola Empire Preeti Talwai Andrew Shanken, GSI Kartikeya Date Architecture 170A 23 November 2010 Talwai 1 Introduction Sacred spaces throughout architectural history are rarely limited to reflecting religious ideology. Many layers of socio-cultural, political, or economic motives can be peeled away from famous religious buildings over time. The Hindu temple of South India is no exception. At first a purely religious institution, it evolved into an imperial political and economic instrument with an influence far beyond the religious sphere. This paper will examine the temple which is canonically considered the apex of Hindu temple architecture, which marked the shift to royal temple patronage: the Rajarajeswaram temple (Sri Brihadeshwara) at Tanjore, in modern day Tamil Nadu, India. Completed in 1010 C.E. during the reign of Rajaraja Chola I, the Rajarajeswaram is a monumental institution that relies on double-coding in its architectural forms to both religiously appeal to the masses as well as to politically control and economically benefit a vast empire. The paper will first lay out the background of the bhakti (devotional) temples to show their contrast with the royal temple. It will then address the temple’s architectural elements of structure, art, sculpture, and inscription in each main part of its layout, with respect to the novel political and economic meanings that the temple pioneered. Finally, the paper will discuss temple management and the monetary system of devadana, or land grants, the sustaining backbone of this new economic system.
  • Shiva Nataraja Griot Content Outline

    Shiva Nataraja Griot Content Outline

    TDX ArtStories Content Outline Editorial Authored by Risha Lee Draft date 7/29/14 Edited by TG Edit date 8/25/2014 Reviewed by RL Final date 10/20/2014 ABOUT Tombstone Accession # 29.2 Title Shiva Nataraja (Lord of the Dance) Artist / Geo Near Pondicherry, Tamil Nadu, India Date Late 11th or early 12th century Additional Same as shown in TMS? Yes No Intro Text – 110 words He dances wildly, his left leg lifting in a powerful, graceful gesture and his arms swaying elegantly across his body. This is the god Shiva in his Nataraja form, the embodiment of his supreme powers. The sculpture is the MIA’s first donated work of Indian art and one of the cornerstones of the collection. Ancient texts speak of Shiva’s dance, ananda tandava (literally Risha Lee ! 9/24/2014 11:15 AM Deleted: was translated as “furious bliss”), as wreaking havoc and destruction—sending false prophets scampering and humiliating rival gods and goddesses. 1 TDX ArtStories Content Outline Can we put in a comparative image here? If so, I’d like to show the Nataraja from the Dallas Museum http://museum.dma.org:9090/emuseum/view/objects/asitem/2038/54/title- desc?t:state:flow=2fcca545-3705-49a8-8245-eefbd4f1a17b DETAILS Annotation 1 – 35 words Title (2-3 words) Demon or dwarf Text Shiva stands on the back of a fat, child-like creature clutching a snake. The creature’s identity is still debated. Some scholars believe it represents a Risha Lee ! 9/24/2014 10:22 AM Deleted: child- dwarf, which turns up in early texts as an assistant to Shiva’s dance.