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Mainly Based on THE SADHANAMALA and Cognate Tantric Texts of Rituals
The contributions to this book address a series of ‘confrontations’—debates between intellectual communities, the interplay of texts and images, and the intersection of monumental architecture and physical terrain—and explore the ways in which the legacy of these encounters, and the human responses to them, conditioned cultural production in early South Asia (c. 4th-7th centuries CE). Rather than an agonistic term, the book uses ‘confrontation’ as a heuristic to examine historical moments within this pivotal period in which individuals and communities were confronted with new ideas and material expressions. The first half of the volume addresses the intersections of textual, material, and visual forms of cultural production by focusing on three primary modes of confrontation: the relation of inscribed texts to material media, the visual articulation of literary images and, finally, the literary interpretation and reception of built landscapes. The second part of the volume focuses on confrontations both within and between intellectual communities. The articles address the dynamics between peripheral and dominant movements in the history of Indian philosophy.
Among the most ancient deities of South Asia, the yaksha straddle the boundaries between popular and textual traditions in both Hinduism and Buddhism and both benevolent and malevolent facets. As a figure of material plenty, the yaksis epitomized as Kubera, god of wealth and king of the yaks In demonic guise, the yaksis related to a large family of demonic and quasi-demonic beings, such as nagas, gandharvas, raks, and the man-eating pisaacas. Translating and interpreting texts and passages from the Vedic literature, the Hindu epics, the Puranas, Kālidāsa's Meghadūta, and the Buddhist Jātaka Tales, Sutherland traces the development and transformation of the elusive yaksfrom an early identification with the impersonal absolute itself to a progressively more demonic and diminished terrestrial characterization. Her investigation is set within the framework of a larger inquiry into the nature of evil, misfortune, and causation in Indian myth and religion.
Illustrations: Numerous B/w Illustrations Description: Horse has been one of the noblest animals whose use came quite handy to man at very early age. For its nobility, energy and power horse was very soon universally acknowledged for the progress of human civilization. In its tremendous energy and power, man discovered something unusual and something divine and as such all over the ancient world some sort of divine flavour came to be attached to it by countries evolving different civilizations. The usefulness of this animal was also felt by our ancestors who attributed it to a high position and allowed the same to be symbolic theriomorphically of some of their very important gods and goddesses. Religious recognition which the horse received from the early Indians had also inspired Indian artists to compose meaningful and fascinating themes in stone, terracotta and in colour with horse as the pivotal character. Only a few books and articles have so far been written on animals in Indian art and in each case the studies have been very summarily undertaken. The present work for the first time studies exhaustively a single animal viz., the horse. Various aspects of horse including its history, its place and position in Indian mythology and its depictions in early Indian art have been dealt with utter devotion and affectionate sympathy.