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Post-Enlightenment notions of culture, which have been naturalized in the West for centuries, require that art be autonomously beautiful, universal, and devoid of any practical purpose. The authors of this multidisciplinary volume seek to complicate this understanding of art by examining art objects from across Asia with attention to their functional, ritual, and everyday contexts. From tea bowls used in the Japanese tea ceremony to television broadcasts of Javanese puppet theater; from Indian wedding chamber paintings to art looted by the British army from the Chinese emperor’s palace; from the adventures of a Balinese magical dagger to the political functions of classical Khmer images—the authors challenge prevailing notions of artistic value by introducing new ways of thinking about culture. The chapters consider art objects as they are involved in the world: how they operate and are experienced in specific sites, collections, rituals, performances, political and religious events and imagination, and in individual peoples’ lives; how they move from one context to another and change meaning and value in the process (for example, when they are collected, traded, and looted or when their images appear in art history textbooks); how their memories and pasts are or are not part of their meaning and experience. Rather than lead to a single universalizing definition of art, the essays offer multiple, divergent, and case-specific answers to the question "What is the use of art?" and argue for the need to study art as it is used and experienced. Contributors: Cynthea J. Bogel, Louise Cort, Richard H. Davis, Robert DeCaroli, James L. Hevia, Janet Hoskins, Kaja McGowan, Jan Mrázek, Lene Pedersen, Morgan Pitelka, Ashley Thompson.
On the cult of Gaṅgā, Hindu deity.
"In the Mithila region of north Bihar there is an old tradition of painting the walls of the nuptial chamber. The paintings are an assemblage of symbolic images of the lotus plant, the bamboo grove, fishes, birds and snakes in union, and represent fertility and the proliferation of life. According to conventional ritual practice, the bride and the groom spend three nights in this chamber without cohabiting, and on the fourth, amidst the paintings, consummate the marriage." "Ganga Devi, both as a person and as an artist, was rooted in the tradition of Mithila painting. While the tradition was deeply ingrained in her and was a source of inspiration in her work, and of courage in her tormented personal life, she was one of the few Mithila artists to respond spontaneously and sensitively to the new possibilities offered by the availability of paper in the region." "The creative expression of rural and tribal artists has always been seen by most art historians as a product of ethnic collectivity whose authenticity lies in the remoteness of time and space. This study is the first of its kind, tracing the growth of a rural artist's work from her early paintings to her venturing out into narrative and autobiographical work, and the invention of a new pictorial vocabulary."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
With 600 signed, alphabetically organized articles covering the entirety of folklore in South Asia, this new resource includes countries and regions, ethnic groups, religious concepts and practices, artistic genres, holidays and traditions, and many other concepts. A preface introduces the material, while a comprehensive index, cross-references, and black and white illustrations round out the work. The focus on south Asia includes Afghanistan, Bangladesh, India, Pakistan, and Sri Lanka, with short survey articles on Tibet, Bhutan, Sikkim, and various diaspora communities. This unique reference will be invaluable for collections serving students, scholars, and the general public.
Chris Pinney demonstrates how printed images were pivotal to India's struggle for national and religious independence. He also provides a history of printing in India.
The book discusses in detail Chaar Dhaam, Himalayan Chaar Dhaam, Sapt Puri, Dwadash Jyotirlingam, Panch Sarovar, Sapt Sarita, Divya Desam, Shakti Peetha, Yatras and also some of the famous temples in India. Enhanced with vivid and exclusive pictures, the book brings the places alive and inspires one to make a pilgrimage to these holy shrines. #v&spublishers
In his composition Srī Rāmacaritamānasa, Gosvāmi Tulasīdāsa declares that the Rāma kathā is most profound; many are the gems hidden in it. Just as a specialist is needed to discern the location of precious stones buried in the mountains, so also is it the case for the gems embedded in the Rāma kathā. Swami Tejomayananda through his discourses manifests the self-effulgent jewel of bhakti in simple words soaked in devotion. In the process he sheds light on numerous facets of spiritual life. The crux of listening to or reading this story is to awaken and steadily deepen love for Srī Rāma. This is what Swamiji emphasizes again and again. Devotion for Sri Rama enhances and embellishes knowledge. We believe that the prayer of all seekers will be for such love to take root in their heart: priya lāgahu mohi rāma.
Iswar Chandra Vidyasagar, a scholar of Sanskrit, remarked that if the great poet Kalidas had not composed any other epic, he would still be considered the unparalleled poet of Sanskrit in India. Kalidas was born in the third or fourth century A.D. in Ujjaini, now in Madhya Pradesh, India. In his epic, Kalidas brings to life the natural world, including rivers, rivulets, hills, forests, villages, cities, trees and flowers to bring relief to Yaksha, who has been banished. He also depicts the lifeless cloud taking on the consciousness of Yaksha and running to deliver a message to Yaksha’s wife. When a cloud appears, the hills weep, the rivers respond, and Kalidas describes the cloud’s path in vivid detail. His epic is full of beautiful descriptions, such as the sweet smell of wet soil, the beauty of the Kadamba forest, and the buds of the land Champa, all of which transform the reader into a dream world. Kalidas did not set a specific precedent for future poets; instead, he was immersed in his own world of genuine creativity. His epic is described as “eyes becoming pleasant upon seeing, hearts becoming happy, the world becoming a happier abode, a stream of honey pouring into the ears, drawing out the heart like honey.” It is peerless work. In the Raghubangsha epic, Kalidas said, “At the end of yoga I shall leave my body. When my body becomes old, through yoga-like torn clothes, it can be thrown out and then achieve a new body.” So this yoga was in vogue at the time of Kalidas. It is presumed that the great poet Kalidas practised “yoga” which helped him know and analyse the mind of matter as well as humans and non-humans, thus success came to him.