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For More Than 150 Years The Monuments Of Sanchi, Because Of Their Architectural Grandeur And Sculptural Profusion, Have Been A Center Of Attraction For Casual Visitors As Well As Serious Scholars, Bothindian And Foreign. Sanchi Monuments Are The Most Imposing And The Best Preserved Of All The Monuments That Early Buddhism Has Bequeathed To India. The Four Gateways Of The Great Stupa, The Only Gateway Of The Stupa 3 And The Ground Rail-Pillars Of The Stupa 2 Preserve In Their Bas-Reliefs An Encyclopaedia Of Sights And Scenes Depicting The Culture And Civilization Of The Time. The Depiction Of Sanchi Art Is Numerious As Well As Various. Within The Buddhist Framework The Artists Portrayed The Panorama Of Life In The Expressive Language Of The Buddhist And Non-Buddhist Motifs. Sanchi Art Ranks High As One Of The Earliest Attempts To Represent The Contemporary Life In Its Entirety. The Present Work Life In Sanchi Sculptures By Dr. A.L. Srivastava Is An Attempt For The First Time To Represent A Complete And Comprehensive Socio-Cultural Picture Of Indian Life Between The Second Century B.C. And First Century A.D. As Revealed In Sanchi Bas-Reliefs. Men And Women, Princes And Commoners, Hunters And Hermits, Soldiers And Servants, Arms And Armour, Dress And Ornaments, Coiffures And Cosmetics, Conveyances And Recreations Life In A Thousand Aspects Both Rural And Urban Have Been Minutely Revealed Through This Work. The Book Life In Sanchi Sculptures Is Like A Film Screening War In Progress, Advancing And Fleeing Armies, Fortifications, Dwellings And Shrines, Royal Processions, Kings In Court And People Enjoying Picnic, Drinking, Joy-Riding And Participating In Water-Sports, Dance And Music. Dr. Srivastva Deals With Various Aspects Of The Life And Culture As Gleaned From The Sanchi Panels. His Critical Studies Are Solid Contributions, Graphically Illustrated. The Author Has Made A Good Many Scintillating Contributions On Sri-Lakshmi, Iha-Mrigas, Kinnaras, Symbols And Motifs. He Has Actually Interpreted The Contemporary Culture And Civilization And Human Life In All Its Exuberance Duly Supported By Ancient Archaeological Evidence. 82 Photographic Plates And 436 Line Drawings Enhance The Value Of The Book. These Line Drawings, Which Particularly Illustrate The Objects And Articles Of Daily Use, Fashions In Dress And Drapery, Ornaments And Jewellery, Are A Valuable Aid To The Understanding Of Sanchi Civilization. An Important Feature Is The Appendix Providing A List Of Sanchi Sculptures In Different India And Foreign Museums.The Presentation Is Throughout Critical, Lucid And Comprehensive.
Part of the prestigious Monumental Legacy series, this well illustrated and well informed book explains in lucid language the historical background and architecture of the Buddhist monuments of Sanchi.
"The volume thoroughly examines the origins and principal types of Buddhist architecture in Asia primarily between the third century BCE-twelfth century CE with an emphasis on India. It aims to construct shared architectural traits and patterns alongwith the derivative relationships between Indian and Asian Buddhist monuments. It also discusses the historical antecedents in the Indus Civilization and the religious and philosophical foundations of the three schools of Buddhism and its founder, Buddha. Previously obscure topics such as Aniconic and Vajrayana (Tantric) architecture and the four holiest sites of Buddhism will also be covered in this comprehensive volume. The author further investigates the influences of Buddhist architecture upon Islamic, Christian, and Hindu architecture that have been overlooked by past scholars."
Illustrations: 247 b/w illustrations Description: This book deals with crucial though controversial questions in Buddhist art: the origin of the Buddha image and the iconography of the Buddha images. The earliest Buddhist art of Sanchi and Bharhut is aniconic : The Buddha is represented in symbols only. In the later Buddhist art of Gandhara and Mathura, the Buddha is represented in human form: he is the principal subject of sculptural art. The book seeks to explore the geographical area in which the image of the Buddha first emerged and whether the Buddhist doctrines-Hinayana or Mahayana-had anything to do with this transformation. The Buddha image, as developed eventually at Sarnath, became the model for the Buddha images in whole of Asia, south-east, central and eastern Asia. The iconographic features of the Buddha image are superficially an aberration, being in apparent conflict with the doctrine. The Buddha had cut off his hair at the time of his renunciation; the rules of the order enjoin that a monk must be tonsured and must discard and eschew all riches. However, in his images, the Buddha has hair on his head; later he is also endowed with a crown and jewels. After an exhaustive examination of the views of various scholars, the book answers these questions and resolves the controversies on the basis of literary, numismatic and epigraphic sources. More importantly it makes use of the valuable evidence from the contemporaneous Jaina art : Aniconism of early Jaina art and the iconographic features of Jaina images. The implications of this study are also important : Does India owe idolatry to Buddhism? Was this of foreign inspiration? Was the Buddha image fashioned after the Vedic Brahma and whether the Buddha's usnisa and Buddhist art motifs are rooted in the Vedic tradition? The book is profusely illustrated and provides rich and stimulating fare to students of Indian art in general and of Buddhist art in particular.
Buddhism is popularly seen as a religion stressing the truth of impermanence. How, then, to account for the long-standing veneration, in Asian Buddhist communities, of bone fragments, hair, teeth, and other bodily bits said to come from the historic Buddha? Early European and American scholars of religion, influenced by a characteristic Protestant bias against relic worship, declared such practices to be superstitious and fraudulent, and far from the true essence of Buddhism. John Strong's book, by contrast, argues that relic veneration has played a serious and integral role in Buddhist traditions in South and Southeast Asia-and that it is in no way foreign to Buddhism. The book is structured around the life story of the Buddha, starting with traditions about relics of previous buddhas and relics from the past lives of the Buddha Sakyamuni. It then considers the death of the Buddha, the collection of his bodily relics after his cremation, and stories of their spread to different parts of Asia. The book ends with a consideration of the legend of the future parinirvana (extinction) of the relics prior to the advent of the next Buddha, Maitreya. Throughout, the author does not hesitate to explore the many versions of these legends and to relate them to their ritual, doctrinal, artistic, and social contexts.
Describes the physical, historical, and cultural geography of India, from its major physical features, world heritage sites, and cities, to sites in the union territories and Kashmir region.