Study on a class of Hindu demigods.

In Courtesans and Tantric Consorts, Serinity Young takes the reader on a journey through more than 2000 years of Buddhist history, revealing the colourful mosaic of beliefs that inform Buddhist views about gender and sexuality.

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.

Robert DeCaroli seeks to place the formation of Buddhism in its appropriate social & political contexts, by analysis of the early monks & nuns, what beliefs they brought with them from their upbringing & how the new faith offered them revolutionary new mechanisms with which to engage minor deities & spirits.

The Present Work Attempts To Study The Development Of Brahmanical Cults And Associated Iconography (C. 400 B.C. To A.D. 600). In This Connection And In Depth Study Of The Sources Both Literary As Well As Archaeological Have Been Made. The Development Of The Brahmanical Cults Have Been Traced In Chrnological Order For The First Time Which Goes To Show How The Cults Reached From Their Formative Stages To The Climax In 600 A.D. It Also Discuss The Iconographic Treatise Written For Making The Perfect Images Of Cult Deities. It Discusses Vaisnava, Saiva, Mother Goddess And Others Include Yaksas, Nagas, Kinnaras, Gandharvas In Detailed Form, Besides Throws Light On The Concept Of Rituals, Puja And Temples. Contents Chapter 1: Introduction, Chapter 2: Sources, Chapter 3: Development Of The Brahmanical Cults; (I) C. 4Th Century And 2Nd Century B.C., (Ii) C. 2Nd Century To The Begining Of Christian Eara, (Iii) C. 1St Century To 3Rd Century A.D., (Iv) C. 3Rd Century To 6Th Century A.D., Chapter 4: Iconographic Froms In Acient Texts, Chapter 5: Iconography Of The Brahmanical Deities; (I) Vaisnava Images, (Ii) Saiva Images, (Iii) Mother Goddesses, (Iv) Other Deities Yaksas, Naga, Gandharvas And Kinnaras, Chapter 6: Conclusion.

Among the most ancient deities of South Asia, the yakshas 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 yaks from 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.

Post-Enlightenment notions of culture, which have been naturalized in the West for centuries, require that art be autonomously beautiful, universal, and devoid of any practical purpose. The authors of this multidisciplinary volume seek to complicate this understanding of art by examining art objects from across Asia with attention to their functional, ritual, and everyday contexts. From tea bowls used in the Japanese tea ceremony to television broadcasts of Javanese puppet theater; from Indian wedding chamber paintings to art looted by the British army from the Chinese emperor’s palace; from the adventures of a Balinese magical dagger to the political functions of classical Khmer images—the authors challenge prevailing notions of artistic value by introducing new ways of thinking about culture. The chapters consider art objects as they are involved in the world: how they operate and are experienced in specific sites, collections, rituals, performances, political and religious events and imagination, and in individual peoples’ lives; how they move from one context to another and change meaning and value in the process (for example, when they are collected, traded, and looted or when their images appear in art history textbooks); how their memories and pasts are or are not part of their meaning and experience. Rather than lead to a single universalizing definition of art, the essays offer multiple, divergent, and case-specific answers to the question "What is the use of art?" and argue for the need to study art as it is used and experienced. Contributors: Cynthea J. Bogel, Louise Cort, Richard H. Davis, Robert DeCaroli, James L. Hevia, Janet Hoskins, Kaja McGowan, Jan Mrázek, Lene Pedersen, Morgan Pitelka, Ashley Thompson.

From The Rig Veda To Myriads Of Folk Narratives, The Belief In Demons Prevails All Over India, Vividly Illustrating That A Demon Is Something People Fear Because It Is Beyond Their Comprehension And Control. Time And Again, The Menacing And Uncontrollable Forces Of Night, Darkness And Death, Along With Powerful Defeated Enemies And Incomprehensible Natural Phenomena, Are Demonized. The Book Of Demons Presents A Perceptive Overview Of The Various Types Of Demonic Beings And Concepts That Exist In Hindu Literature, Supplemented With A Dictionary Of Individual Demons For Ready Reference. Besides The Well-Known Rakshasas And Asuras, The Author Also Reveals A Densely Populated World Of Lesser-Known, But Equally Fascinating, Demonic Creatures. Andhaka (Blind Darkness), Conceived When Parvati Playfully Covered Shiva S Eyes And The World Was Plunged Into Darkness; Gajamukha, The Elephant-Faced Demon Who Was Transformed Into A Mouse By Ganesha And Then Converted Into His Vehicle; Jambha, The Demon-Leader Who Snatched The Pot Of Immortal Nectar From The Ocean During The Great Churning; Maya, The Demonic Equivalent Of Vishvakarma, Architect Of The Gods, Who Built The Three Cities Of Tripura; And Putana, The Demon Who Tried To Kill Krishna By Suckling Him With Poisoned Breasts. Male Or Female, Human, Animal, Plant, Or Simply A Concept Demons Play A Pivotal Role In Our Mythical Traditions. Blending Insightful Erudition And Lively Description, Nanditha Krishna Brings To Life The Traits And Actions Of A Host Of Complex, Colourful, Monstrous And Intriguing Demons That Inhabit Indian Religion And Mythology.

One of the great contributions of Tibetan Buddhism to the Buddhist tradition as a whole, and one of the things that distinguishes it from the Mahayana traditions that developed via China, has been the clear and systematic articulation of a doctrine of compassion. This text is perhaps the paradigmatic expression of that and as such is vitally important. It will advance Western access to and understanding of Tibetan Buddhism considerably.

One of the first things that strike the Western viewer of Indian art is the multiplicity of heads, arms and eyes. This convention grows out of imagery conceived by Vedic sages to explain creation. This book for the first time investigates into the meaning of this convention. The author concentrates on its origins in Hindu art and on preceding textual references to the phenomenon of multiplicity. The first part establishes a general definition for the convention. Examination of all Brahmanical literature up to, and sometimes beyond, the 1st - 3rd century A.D., adds more information to this basic definition. The second part applies this literary information mainly to icons of the Yaksa, Śiva, Vāsudeva-Kṛsṇa and the Goddess, and indicates how Brahmanical cultural norms, exemplified in Mathurā, can transmit textual symbols. Both Part I and Part II provide iconic modules and a methodology to generate interpretations for icons with this remarkable feature through the Gupta age.