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Authoritative commentaries on 187 Indonesian bronzes, ranging from devotional icons, to jewelry, to items created for domestic use. -- Metropolitan Museum of Art website.
An in-depth look into the foundations of mysticism and alchemy, this book describes both physical and spiritual aspects of the various theories and practices of transformation, with attention to the beliefs of Buddhism, Christianity, Hinduism, Islam, Judaism, Sufism, Tantrism, Taoism and Yoga. The connection between early mystical pursuits and the development of alchemy from ancient China, India, and Egypt through Moorish Spain and into Latin Europe are illuminated, along with the activities of early alchemists. The book, which is heavily illustrated, describes the beliefs, experiments, and secret messages that drew the believers and dreamers of the world together in search of wealth and immortality.
The Hindu-Buddhist Sculpture of Ancient Kashmir and Its Influences is primarily based on the study of the largely unpublished corpus of sculpture, mostly of stone, in the Sri Pratap Singh Museum in Srinagar, and of other examples in situ elsewhere in the valley. The disparate nature and fragmentary condition of these sculptures as well as their artistic and iconographical influences have for long defied accurate analysis. The method used in the classification of these sculptures is based on close analysis of their style concentrating on recurring features such as facial and physical typology, modelling, dress and ornamentation. Comparisons are made with other examples of Kashmir bronze, ivory and stone sculpture in private and public collections both within India and abroad.
The first ever comprehensive survey work on the art and architecture of Thailand from the earliest times until the establishment of the Thai-speaking kingdoms. A systematic and elucidating history of pre-fourteenth-century Thailand in a volume indispensable to historians of art, religion, politics, and society.
The present volume, Publications of The Metropolitan Museum of Art, 1964-2005, is a successor to a volume published by the Museum in 1965 entitled Publications of The Metropolitan Museum of Art, 1870-1964. These two bibliographic volumes endeavor to list all the known books, pamphlets, and serial publications bearing the Museum's imprint, and issued by the institution during the first 135 years of its existence (through June 2005). The first volume was compiled by Albert TenEyck Gardner, at the time an Associate Curator of American Paintings and Sculpture, and the present volume has been compiled from the Annual Reports issued by the Museum during the relevant years. Together the two volumes testify to the tremendous contributions made to knowledge by the curators and conservators of the Metropolitan and by the many other experts who have contributed to the Museum's exhibition catalogues. Various issues of the Bulletin emphasize the great sweep of the Museum's acquisitions during these years, and the exhibition catalogues--a number of them Alfred H. Barr Jr., Award or the George Wittenborn Award--testify to the continuity of the institution's dedicated program to enrich people's lives through knowledge of art. (This title was originally published in 2006.)
Wagering on Transcendence explores the question of ultimate meaning in literature. Through essays, Mount Mary College professors from various disciplines analyze several pieces of literature from a variety of genres and authors to show how each depicts the human struggle to find meaning. The essays analyze concrete examples of spiritual journeys, the ways in which nature can be an avenue of transcendence, the transforming effect that the search for meaning can have on the individual, how transcendence can be experienced through community, the roles of language and story in the quest for transcendence, and the wager itself: how our bets about the existence of the Divine determine how we live our lives.
The study of historical Buddhism in premodern and early modern Southeast Asia stands at an exciting and transformative juncture. Interdisciplinary scholarship is marked by a commitment to the careful examination of local and vernacular expressions of Buddhist culture as well as to reconsiderations of long-standing questions concerning the diffusion of and relationships among varied texts, forms of representation, and religious identities, ideas, and practices. The twelve essays in this collection, written by leading scholars in Buddhist Studies and Southeast Asian history, epigraphy, and archaeology, comprise the latest research in the field to deal with the dynamics of mainland and (pen)insular Buddhism between the sixth and nineteenth centuries C.E. Drawing on new manuscript sources, inscriptions, and archaeological data, they investigate the intellectual, ritual, institutional, sociopolitical, aesthetic, and literary diversity of local Buddhisms, and explore their connected histories and contributions to the production of intraregional and transregional Buddhist geographies.
A pioneering study of the emergence of Buddhist art in southern India, featuring vibrant photography of rare works, many published here for the first time Named for two primary motifs in Buddhist art, the sacred bodhi tree and the protective snake, Tree & Serpent: Early Buddhist Art in India is the first publication to foreground devotional works produced in the Deccan from 200 BCE to 400 CE. Unlike traditional narratives, which focus on northern India (where the Buddha was born, taught, and died), this groundbreaking book presents Buddhist art from monastic sites in the south. Long neglected, this is among the earliest surviving bodies of Buddhist art, and among the most sublimely beautiful. An international team of researchers contributes new scholarship on the sculptural and devotional art associated with Buddhism, and masterpieces from recently excavated Buddhist sites are published here for the first time—including Kanaganahalli and Phanigiri, the most important new discoveries in a generation. With its exploration of Buddhism’s emergence in southern India, as well as of India’s deep commercial and cultural engagement with the Hellenized and Roman worlds, this definitive study expands our understanding of the origins of Buddhist art itself.