This book is primarily intended to be an Investigation into the Meaning and Religious significance of the important Vedic term dhi, which has been variously and often inadequately translated.

The experience of the divine in India merges the three components of sight, performance, and sound. This book is about the power and importance of seeing in the Hindu religious tradition. In the Hindu view, not only must the gods keep their eyes open, but so must we, in order to make contact with them, to reap their blessings, and to know their secrets. When Hindus go to temple, their eyes meet the powerful, eternal gaze of the eyes of God. It is called Darsan, Seeing the divine image, and it is the single most common and significant element of Hindu worship. This book explores what darsan means. This is also a book about the divine image in the Hindu tradition. What do Hindus see in the images of the gods? What is meant by these multi-armed gods, with their various weapons, emblems, and animals? How are these images made and consecreted? How are they treated in a ritual context? In exploring the nature of the divine image, this book not only considers the images of the gods, but also the Hindu temple and the Hindu place of pilgrimage.

Tat tvam asi is an extraordinary book enveloping the gamut of the Upanishadic insights in all their profundity and splendour. Its author is a literary genius with about40 books and compositions to his credit. The book, which has received over 12 awards from various institutions in India, is written in a style that is quiteUpanishadic and not easily comprehensible to the ordinary man. It also uplifts the imagination of the reader. This translation is an attempt to make Tat tvam asi reach aglobal audience unfamiliar with Upanishadic terms and concepts. It could not have been achieved without a background in Philosophy, both Indian and WesternNevertheless it was an arduous exercise to find suitable words to convey the correct meaning intended by the author. I am grateful to the author for giving me freedom to accomplish it in my own way as well as for accepting the translation as authentic Undertaking the work of translation was a highly satisfying and enrichingexperience. This translation, one hopes, will generate a renaissance in Upanishadic knowledge at an international level, as Tat tvam asi did in Kerala, when it was firstpublished.

This book introduces a new approach to the comparative study of sacred texts - here the Christian Bible, the Islamic Koran, the Hindu Veda and the Buddhist Tipiaka. The author demonstrates that, in spite of their great differences, these works show a fundamental analogy.Considered as canonical within their own religious context, each text possesses absolute authority in comparison with other authoritative texts from their respective religious traditions. This fundamental analogy allows one to describe the growth and history of these canons, step by step, as a process that takes place in analogous phases that are clearly distinguishable. The author follows a strictly phenomenological method: he tries to understand the development of these canons in terms of a potential that lies within the phenomena themselves, i.e. the texts, while refraining in any way from assessing their claim to absolute authority. In part I the author describes the development from the 'revelation' of the texts to a climax with respect to reflection on the canons. This climax has been reached in all four cases. Part II investigates the crisis that these canons are currently undergoing as a consequence of the modern intellectual climate. Can we expect that this crisis will be overcome by the canons? And if so, will they be in a position of mutual exclusion or will they form a sort of unity such as, for example, the Old and New Testament in the Christian Bible? Finally the author traces what the religions themselves have postulated about the future of their respective canons. The result is surprising: the current crisis is only faint reflection of what, according to age-old predictions, awaits the canons in the future.

The Bhagavadgita is one of the most renowned texts of Hinduism because it contains discussions of important issues such as liberation and the nature of action as well as the revelation of the Krishna as the highest god and creator of the universe. It is included in the ancient Indian Mahabharata epic at one of its most dramatic moments, that is, when the final battle is about to begin. In contrast to many other studies, this book deals with the relationship between the Bhagavadgita and its epic contexts. On the basis of a thorough analysis of the text Angelika Malinar argues that its theology delineates not only new philosophical concepts and religious practices but also addresses the problem of righteous kingship and appropriate use of power. Malinar concludes by considering the Bhagavadgita's historical and cultural contexts and those features of the text that became paradigmatic in later Hindu religious traditions.

This book reconstructs the original and origins of the Rig Veda, (between 5.000 to 2.500 B.C, ) the first Indo-European written document ever to show the origin of cultures and the power of music in the recitation and construction of the original hymns. Here we find the original geometries, original forms, original sacrifice of any form to claim supremacy over the others and the continued movement of human life. This book brings together early humans with modern neurobiological discoveries and shows the origins of multiple centers of knowing (the gods), the movement of the singer and the song in a world that avoids idolatry of substances by insisting in the constant movement of singer, song, and music. If you thought you knew all there is to know about the language you use, read this book and find out the idolatry of its imagery and the possible sacrifice needed for a happy, communal and divine life.

Authorship of the great sanskrit language epic poem of India, the Mahabharat, is attributed to the sage krsna Dvaipayana Vyasa. This study focuseson the depictionof vyasa in the Mahabharata, where he is an important character in the tale he is credited, with composing. The interpretation of vyasa is enriched by the different perspectives provided by other literature, including dramas, Jataka tales, Arthasastra, and Puranas.