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What exactly needs to be said in solicitation copy for the VERY LAST VOLUME OF LONE WOLF AND CUB? It's the moment you've all been waiting years and years to read. It's the end of the long path the ronin father and son have been on since the boy's birth. Through unimaginable violence and bad weather, across hundreds of miles of blood-soaked roadbeds, over years of tragedy and anguish, to this final still-epic story, Itto and Daigoro have kept us holding on to what little hope exists in a world where honor is all but forgotten and warriors are obsolete. It's a bloody battle all the way to the finish, with dramatic twists and turns right up to the final page. Stay with us as we conclude the translation of what will always be considered one of the finest examples of comic-book mastery ever created, Lone Wolf and Cub. This volume contains the following stories: Corpse Tree Flute and Wave The Lotus Throne Empty Stirrups Arms
A Vietnamese family is forced to flee from their homeland to escape a devastating civil war.
It's the end of the long path the ronin father and son have been on since the boy's birth. Through unimaginable violence and bad weather, across hundreds of miles of blood-soaked roadbeds, over years of tragedy and anguish, to this final 320 pages of still-epic story, Itto and Daigoro have kept us holding on to what little hope exists in a world where honor is all but forgotten and warriors are obsolete. It's a bloody battle all the way to the finish, with dramatic twists and turns right up to the final page. Stay with us as we conclude the translation of what will always be considered one of the finest examples of comic-book mastery ever created, Lone Wolf and Cub.
To many Buddhists, The Lotus Sutra is one of the most important, if not the most important, sutras in the Buddhist canon. To the beginning student of Buddhism, however, The Lotus Sutra often presents a difficult challenge. For this reason, the authors have developed "An Introduction" to The Lotus Sutra, making it easy to understand this central scripture of Mahayana Buddhism.
Illustrations: 50 B/w Illustrations Description: The present work is an analysis of Buddhist symbolism in historical perspective. In author's view Buddhist symbolism, in art or religion, is but a part of the main current of Indian religion and art and has to be studied in that context. Early Indian art is, thus, essentially the continuation of a mainly aniconic Vedic style and the compositions are comprehensible only with reference to Vedic notions. The present work studies the fundamental elements of Buddhist symbolism which predominate in the early aniconic art and are never dispensed with in the later imagery, though they are subordinated to the human icon. The present study is divided into two parts: in Part 1, the Tree of Life, Earth-Lotus and World-Wheel (and other cognate symbols) have been analyzed; Part II deals with the place of the lotus-throne. A study of these reveals that they represent a universal Indian symbolism and set of theological concepts.
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.