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Unit 39 Developments in Religion
UNIT 39 DEVELOPMENTS IN RELIGION Structure Objectives Introduction Emergence of Bhakti in Brahmanism 39.2.1 Syncretism of Deities 39.2.2 Adaptation of Tribal Rituals 39.2.3 Royal Support to Temples and Theism. Spread of Bh&ti to South India Bhakti Movement in South India Protest and Reform in the Bhakti Movement of the South and later Transformation of the Bhakti Movement Emergence of Tantrism 39.6.1 some Main Features of Tantrism 39.6.2 Tantrism and the Heterodox Religions Let Us Sum Up Key Words Answers to Check Your Progress Exercises OBJECTIVES The purpose of this Unit is to briefly discuss the major features of Eligious developments in the early medieval period with focus on the shape which Bhakti ideology and Tantrism took. After going through this Unit you should be able to : know about the origins of Bhakti in Brahmanical religious order, know the character and social context of the characteristic of later Brahmanism, know how the character and social context of Bhakti changed in the e&ly medieval period, realise how royal support to.Bhakti cults gave them wealthy institutional bases, know about the origin and role of Tantrism and its character in the early medieval period, and know hbw Tantrism penetrated into Buddhism and Jainism. INTRODUCTION You are by now familiar with certain broad stages of the religious history of early India. While archaeological material suggests that certain elements of Indian religions were present in the archaeological cultures dating prior to the Vedas, the hymns of the Rig Veda give us for the first time, an idea of how prayers were offered tc deities to please them. -
Sonagiri: Steeped in Faith
T A B L E O F C O N T E N T S Datia Palace: Forgotten Marvel of Bundelkhand Sonagiri: Steeped in Faith Dashavatar Temple: A Gupta-Era Wonder Deogarh’s Buddhist Caves Chanderi and its weaves The Beauty of Shivpuri Kalpi – A historic town I N T R O D U C T I O N Jhansi city also serves as a perfect base for day trips to visit the historic region around it. To the west of Jhansi lies the city of Datia, known for the beautiful palace built by Bundela ruler Bir Singh Ju Dev and the splendid Jain temple complex known as Sonagir. To the south, in the Lalitpur district of Uttar Pradesh lies Deogarh, one of the most important sites of ancient India. Here lies the famous Dashavatar temple, cluster of Jain temples as well as hidden Buddhist caves by the Betwa river, dating as early as 5th century BCE. Beyond Deogarh lies Chanderi , one of the most magnificent forts in India. The town is also famous for its beautiful weave and its Chanderi sarees. D A T I A P A L A C E Forgotten Marvel of Bundelkhand The spectacular Datia Palace, in Datia District of Madhya Pradesh, is one of the finest examples of Bundelkhand architecture that arose in the late 16th and early 17th centuries in the region under the Bundela Rajputs. Did you know that this palace even inspired Sir Edward Lutyens, the chief architect of New Delhi? Popularly known as ‘Govind Mahal’ or ‘Govind Mandir’ by local residents, the palace was built by the powerful ruler of Orchha, Bir Singh Ju Dev (r. -
Elements of Hindu Iconography
6 » 1 m ELEMENTS OF HINDU ICONOGRAPHY. ELEMENTS OF HINDU ICONOGRAPHY BY T. A. GOPINATHA RAO. M.A., SUPERINTENDENT OF ARCHiEOLOGY, TRAVANCORE STATE. Vol. II—Part II. THE LAW PRINTING HOUSE MOUNT ROAD :: :: MADRAS 1916 Ail Rights Reserved. i'. f r / rC'-Co, HiSTor ir.iL medical PRINTED AT THE LAW PRINTING HOUSE MOUNT ROAD, MADRAS. MISCELLANEOUS ASPECTS OF SIVA Sadasivamurti and Mahasada- sivamurti, Panchabrahmas or Isanadayah, Mahesamurti, Eka- dasa Rudras, Vidyesvaras, Mur- tyashtaka and Local Legends and Images based upon Mahat- myas. : MISCELLANEOUS ASPECTS OF SIVA. (i) sadasTvamueti and mahasadasivamueti. he idea implied in the positing of the two T gods, the Sadasivamurti and the Maha- sadasivamurti contains within it the whole philo- sophy of the Suddha-Saiva school of Saivaism, with- out an adequate understanding of which it is not possible to appreciate why Sadasiva is held in the highest estimation by the Saivas. It is therefore unavoidable to give a very short summary of the philosophical aspect of these two deities as gathered from the Vatulasuddhagama. According to the Saiva-siddhantins there are three tatvas (realities) called Siva, Sadasiva and Mahesa and these are said to be respectively the nishJcald, the saJcald-nishJcald and the saJcaW^^ aspects of god the word kald is often used in philosophy to imply the idea of limbs, members or form ; we have to understand, for instance, the term nishkald to mean (1) Also iukshma, sthula-sukshma and sthula, and tatva, prabhdva and murti. 361 46 HINDU ICONOGEAPHY. has foroa that which do or Imbs ; in other words, an undifferentiated formless entity. -
Aspects of Ancient Indian Art and Architecture
ASPECTS OF ANCIENT INDIAN ART AND ARCHITECTURE M.A. History Semester - I MAHIS - 101 SHRI VENKATESHWARA UNIVERSITY UTTAR PRADESH-244236 BOARD OF STUDIES Prof (Dr.) P.K.Bharti Vice Chancellor Dr. Rajesh Singh Director Directorate of Distance Education SUBJECT EXPERT Dr. S.K.Bhogal, Professor Dr. Yogeshwar Prasad Sharma, Professor Dr. Uma Mishra, Asst. Professor COURSE CO-ORDINATOR Mr. Shakeel Kausar Dy. Registrar Author: Dr. Vedbrat Tiwari, Assistant Professor, Department of History, College of Vocational Studies, University of Delhi Copyright © Author, 2019 All rights reserved. No part of this publication which is material protected by this copyright notice may be reproduced or transmitted or utilized or stored in any form or by any means now known or hereinafter invented, electronic, digital or mechanical, including photocopying, scanning, recording or by any information storage or retrieval system, without prior written permission from the Publisher. Information contained in this book has been published by VIKAS® Publishing House Pvt. Ltd. and has been obtained by its Authors from sources believed to be reliable and are correct to the best of their knowledge. However, the Publisher and its Authors shall in no event be liable for any errors, omissions or damages arising out of use of this information and specifically disclaim any implied warranties or merchantability or fitness for any particular use. Vikas® is the registered trademark of Vikas® Publishing House Pvt. Ltd. VIKAS® PUBLISHING HOUSE PVT LTD E-28, Sector-8, Noida - 201301 -
Rajput Temples in Bundelkhand Region Neeta
P: ISSN NO.: 2321-290X RNI : UPBIL/2013/55327 VOL-IV* ISSUE-IV*December-2016 E: ISSN NO.: 2349-980X Shrinkhla Ek Shodhparak Vaicharik Patrika Rajput Temples in Bundelkhand Region Abstract Hindu temple is a symbol or rather a synthesis of various symbols. It is conceived in terms of the human organism which is the most evolved living form. the names of the various limbs of the human body from the foot to the hair on the crown of the head are applied in the 1 architectural texts to different parts of the temple structure. Through out the greater part of the country, the sanctuary as a whole is known as the vimana, of which the upper pyramidal or tapering portion is called the shikhara, meaning tower or spire. The garbha Graha or womb-house for the reception of the divine symbol was a dark chamber which was entered by a doorway on its inner, and usually eastern side.. In front of the Grabha graham was a pillared hall or mandapa for the assembly of those paying their devotions to the divine symbol. From about the beginning of the 7th century, the sanctum was roofed by a tall, curvilinear spire (Shikhar) which constituted the most striking cognizance of the Northern Temple. The spire was initially of three vertical projections which gradually increased to five and occasionally seven. All these projections are covered with a mesh of Chaitya- dormers and the corner ones display in addition a series of small amalakas at the angles to demarcate the division of the spire into compressed storeys. -
The Role of Five Elements of Nature in Temple Architecture Ar
International Journal of Scientific & Engineering Research Volume 8, Issue 7, July-2017 1149 ISSN 2229-5518 The Role of Five Elements of Nature In Temple Architecture Ar. Snigdha Chaudhary Abstract— Examine the extensive influence of the selected theories of nature in Architecture namely element of nature effects the role of five ele- ments in Temple Architecture. “Theory of five elements of nature in context to the Temple Architectural Design ‘To make student understand the basic principles of five elements of nature so that it forms the basics for study of temple design through these topics.One should have a reasonable under- standing of its operational and economic implications, and lastly “To Evaluate the understanding of the relationship between space and design through five elements of nature’’ with the help of Hindu Temple Architecture. Index Terms— Temple architecture, five elements of nature, human perception of architectural expression, and temple concept through cosmology and philosophy —————————— —————————— 1 INTRODUCTION NDIA is well known for its rich heritage and variety of India, however while the basic elements of the temple are the I culture. Temples have always played an important role in same, the form and scale varied. For example as in the case of India's history and culture. There are more than 6 lakh the architectural elements like Sikhara (pyramidical roofs) and temples in India and about 1,80,000 temples in South India. Gopurams (the gateways). India is not only famous for various states but also for the cultures and such historic background that the past still has 2 ELEMENTS OF HINDU TEMPLE so much power on the present world. -
Hinduism and Buddhism, Vol I
Hinduism and Buddhism, Vol I. Charles Eliot Hinduism and Buddhism, Vol I. Table of Contents Hinduism and Buddhism, Vol I.........................................................................................................................1 Charles Eliot............................................................................................................................................1 PREFACE................................................................................................................................................2 LIST OF ABBREVIATIONS. The following are the principal abbreviations used:..............................3 INTRODUCTION................................................................................................................................................3 BOOK II. EARLY INDIAN RELIGION. A GENERAL VIEW.......................................................................47 CHAPTER I. RELIGIONS OP INDIA AND EASTERN ASIA..........................................................47 CHAPTER II. HISTORICAL................................................................................................................52 CHAPTER III. GENERAL CHARACTERISTICS OF INDIAN RELIGION.....................................60 CHAPTER IV. VEDIC DEITIES AND SACRIFICES........................................................................68 CHAPTER V. ASCETICISM AND KNOWLEDGE...........................................................................78 CHAPTER VI. RELIGIOUS LIFE IN PRE−BUDDHIST INDIA.......................................................84 -
Temple Structure
DR. JYOTI PRABHA ASSISTANT PROFESSOR DEPARTMENT OF HISTORY M.R.M. COLLEGE, L.N.M.U., DARBHANGA 2ND SEMESTER, SESSION: 2019-21 CC- 8: SOCIETY AND ECONOMY IN INDIAN HISTORY UNIT- 2: ART AND ARCHITECTURE Temple Structure Most of the art and architectural remains that survive from Ancient and Medieval India are religious in nature. That does not mean that people did not have art in their homes at those times, but domestic dwellings and the things in them were mostly made from materials like wood and clay which have perished. This chapter introduces us to many types of temples from India. Although we have focused mostly on Hindu temples, at the end of the chapter you will find some information on major Buddhist and Jain temples too. However, at all times, we must keep in mind that religious shrines were also made for many local cults in villages and forest areas, but again, not being of stone the ancient or medieval shrines in those areas have also vanished. Temple Architecture Gupta period marks the beginning of Indian temple architecture. Manuals were written regarding how to form temples. The Gupta temples were of five main types: 1) Square building with flat roof shallow pillared porch; as Kankali Devi temple at Tigawa and the Vishnu Varaha temples at Eran. The nucleus of a temple – the sanctum or cella (garbhagriha) – with a single entrance and apporch (Mandapa) appears for the first time here. 2) An elaboration of the first type with the addition of an ambulatory (paradakshina) around the sanctum sometimes a second storey; examples the Shiva temple at Bhumara(M.P.) and the lad-khan at Aihole. -
M.A. in Sanskrit CBCS Pattern
Bankura University Department of Sanskrit CHOICE BASED CREDIT SYSTEM (CBCS): The CBCS provides an opportunity for the students to choose courses from the prescribed courses (Core Courses, Foundational Courses, Elective Courses). The courses can be evaluated following the grading system. M A in Sanskrit Programme details: Programme Objectives: This programme tries to aware students of the holistic approach of Sanskrit literature and as well as the modern studies, researches and approaches towards Sanskrit Studies. There are papers from different disciplines of Sanskrit studies, such as Veda, Literature, Grammar, Philosophy etc. Not only that the programme has comparative studies on western methods of literary theory, and interpretation. In the philosophy section one unit describes western methods of logic. Computational Linguistics is also introduced. Understanding of the idea of the research will be nurtured through the course on writing term paper. Major elective courses will initiate the student in a selected area providing in depth and comprehensive understanding of that area. The main aim of this programme is to train students in a way that they would able to do further research on their respective fields. This programme would also help student to be competent as a next- generation teacher of Sanskrit. Programme Specific Outcome: This programme will enable students to have a comprehensive idea of Sanskrit literature. It is expected that the course would form the knowledge and basic skills for the students to take up various teaching assignments and to pursue further research in the field. Assessment Methods: In most of the courses, especially in core courses and in major elective courses the medium of instruction in the class primarily will be Sanskrit. -
The Badoh-Pathari Saptamātṛ Panel Inscription
Indo-Iranian Journal 62 (2019) 191–226 brill.com/iij The Badoh-Pathari Saptamātṛ Panel Inscription Dániel Balogh British Museum [email protected] Abstract Located in Vidisha District, Madhya Pradesh, the area of Badoh-Pathari is home to a rock shelter with a sculpted panel depicting seven mother goddesses. A weathered inscription next to the sculptures was reported as early as 1926. The inscription is date- able to the fifth century on the basis of its palaeography and the art-historical dating of the site. Though partly effaced beyond hope of decipherment, roughly half of the text can be read with confidence, while some of the rest may be restored conjecturally, and some speculatively. The epigraph pays homage to Rudra and Skanda in addition to the Mothers themselves, and is thus a key resource concerning mātṛ worship in the Gupta period. It mentions the otherwise unknown local ruler Jayatsena of Avamukta (a region also named in the Allahabad pillar inscription), and may refer to the reign of Kumāragupta (I). Keywords Badoh-Pathari – Saptamātṛ – mother goddesses – Gupta period – Eastern Malwa – San- skrit epigraphy 1 Introduction Off the beaten path in Eastern Malwa there is a pair of villages, Badoh and Pathari. The surrounding landscape (Fig. 1) is dotted with monadnocks that tell a tale of geological time, microliths in the soil speak of human prehistory, rock paintings bridge the gap to history, and stone monuments—some now hidden in the soil—bear witness to the Gupta period and later historic times.1 Because 1 The environs have been extensively described by Anne Casile (2007, 2014). -
Auspicious Lucky Items
Auspicious Lucky Items OM (AUM) Shiva Linga Mother Goddess Kali Dancing Ardhanarishvara (Shiva Shakti) Lord Shiva as Bhairava Garuda Wall Hanging Mask Embedded with Gemstones Ardha-Narishvara: Half Shiva, Half Shakti Elephant Pair with Upraised Trunks (Supremely Auspicious According to Vastu) (Small Sculpture) Small Elephant Pair with Upraised Trunks (Supremely Auspicious According to Vastu) Lord Ganesha Vanquishing the Demon Shiva Linga with Shiva’s Snakes Crowning It Naga-Kanya (The Snake Woman) Shiva Linga with Lotus Offering Lord Vishnu's Narasimha Avatara Ardhanarishvara Bust (Shiva-Shakti) The Spider Nine-Pronged Dorje Hanging to Ward off Evil Assembly to Bath Shiva Linga with Dripping Vase for Milk Shiva Linga Bhairava Head Naga-Kanya Ulupi, The Great Pandava Arjuna’s Wife Guru Padmasambhava Holding the Vase of Immortality Mahakala Wall Hanging Mask Patanjali Feng Shui Tortoise Goddess Kali Panchamukha Gangadhara Shiva Ardhanarishvara Mahakali, or Kali The Ten Syllables of the Kalachakra Mantra Mandala Wall Hanging Plate with Ashtamangala (Vishva Vajra Inside the Mantra) Kundalini Batuk Bhairava Tribal Face Five-Pronged Gold Plated Dorje with Gemstones Budh - One of the Navagraha Goddess Kali Saint Patanjali - Founder of Yoga Vajrayogini Yantra (Small Sculpture) The Auspicious Mahakala Mask Shiva Linga with the Great Serpent Shesh Canopying Over It Shiva Linga with Nagas 'Wearing' The Offerings of Her Devotees The Five Directional Forms of Shiva (Pancha-Mukhalingam) Himachal Folk Goddess Skull Mukhalinga Durga in Ferocious Form -
Bulletin of Tibetology
6th NOVEMBER. 1914 PR.INTED BY THE MANAGBIl. SIJ(KIM GOVEIlMNENT PREIS AND PUBLISHED BY THE DIRECTOR, NAMGY AL INSTITUTE OF TIBETOLOGY GANGTOK , ' SIR TASHI NAMGYAL MEMORIAL LECTURES 1974 BUDDHIST ART AND ARCHITECTURE IN INDIA AND NEPAL By KRISHNA DEVA ARCHAEOLOGICAL ADVISER INDIAN COOPERATION MISSION KATHMANDU (NEPAL) CONTINI'S Pages I. Buddhist Art in India 5 II. Buddhist Architecture in India 12 III. Buddhist Art in Nepal 29 IV. Buddhist Architecture in Nepal 46 PREFACIL I am indeed grateful to the Chogyal of Sikkim and Dr. A.M. 0' Rozario, the Pre~ident and Director rei>pectively of the N;:mgyd lf1stAfute of Tibetology, for h<,ving invited me to deliver the 1974 Sir Tashi Namgyal Memorial Lectures. I have been a stmknt c,f Indian art and archItecture including Buddhist art during my long senice with the Archa.eologicd Survey Jt/india and have als(l <;tudied the art and architect me oj NepJ during the last ten years and more intensively during the lest two years as l\r,~haeological Ad,:i~er to His Majesty's Government of Nepal. Nepal has been open to the artistic and religious influences fl( wing from her great southern neighbour India. and her great northei n neighbour Tibet and has had tire genius to' (so catalyse these inflm ncf' that her at and culture have become truly Nepali. Sikkim h~,.s like wise ben' ( Fen to the cultur<ll, religious and artistic impacts coming fn-.m not only India and Tibet but also from Nepal and has similarly had the genius to assimilate them into her culture.