broke down after the defeat of Prthviraja, the descendants of the Chauhan

Aphoristic treatise with commentary, on the fundamentals of Hindu sculpture; edited and collated from five medieval manuscripts found in Orissa.

Meeting House Essays in a series of papers reflecting on the mystery, beauty and practicalities of the place of worship. This popular series was begun in 1991, and each resource focuses on a particular aspect of space, design or materials and how they relate to the liturgy.

"The book is as vital today as it was the year it was written, still unmatched for the eloquence of its recognition and celebration of this inspiration of Indian art." --From the foreword This pioneering work opened C. G. Jung's eyes to the psychological and spiritual significance of the Indian mandala, and it remains the clearest introduction to the essence of Indian art and yoga for both the specialist and general reader. Heinrich Zimmer (1890-1943) was the first to identify the radical difference between Western classical and Indian art. His revolutionary approach to understanding the stylized, often sexual, sacred symbols of India was simply to take them on their own terms as techniques of spiritual transformation.

Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.

This introduction to the writings of Frithjof Schuon (1907-1998), the pre-eminent spokesman of the Perennialist or Traditionalist school of comparative religious thought, is the first book to present a comprehensive study of his intellectual and spiritual message. In addition to a clear explanation of Schuon's message of metaphysics and the great religions, Oldmeadow includes an overview of Schuon's paintings and poetry, and insights on prayer and virtue in the spiritual life.

From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.

This edition of renowned philosopher Frithjof Schuon's writings on the subject of art, selected and edited by his wife Catherine Schuon, contains over 270 photographs-200 color and 70 black and white. He then deals with the spiritual significance of the artistic productions of Christianity, Islam, Hinduism, Buddhism, and the Far-Eastern world, while also covering the subjects of beauty and the sense of the sacred, the crafts, poetry, music, and dance, and dress and ambience.

Gaven Kerr provides the first book-length study of St. Thomas Aquinas's much neglected proof for the existence of God in De Ente et Essentia Chapter 4. He offers a contemporary presentation, interpretation, and defense of this proof, beginning with an account of the metaphysical principles used by Aquinas and then describing how they are employed within the proof to establish the existence of God. Along the way, Kerr engages contemporary authors who have addressed Aquinas's or similar reasoning. The proof developed in the De Ente is, on Kerr's reading, independent of many of the other proofs in Aquinas's corpus and resistant to the traditional classificatory schemes of proofs of God. By applying a historical and hermeneutical awareness of the philosophical issues presented by Aquinas's thought and evaluating such philosophical issues with analytical precision, Kerr is able to move through the proof and evaluate what Aquinas is saying, and whether what he is saying is true. By means of an analysis of one of Aquinas's earliest proofs, Kerr highlights a foundational argument that is present throughout the much more commonly studied Thomistic writings, and brings it to bear within the context of analytical philosophy, showing its relevance to the contemporary reader.