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Arts and Aesthetics in Hindu Studies
... "Sundaram" word originates from Sanskrit language and literally, themeaning of that word is right, well, and the handsome or beautiful. (Frazier, 2010). Aesthetics is a branch of philosophy and arts. ...
... Music and architecture show the freedom of expression or feeling to someone and poetry is the highest form of arts. (Frazier, 2010;Gupta, 2017). There are two broad categories in which schools of Indian Philosophy is divided, the schools of orthodox (astika) and heterodox (nastika). ...
... As Balinese people, art and religion are identical, so to study the aesthetic perspectives of Pejaten pottery, the concept of Hindu aesthetics derived from Vedic teachings is used in this analysis, namely: satyam (truth), sivam (holiness), and sundaram (beauty and balance) [2]. Literature data were collected through a systematic review with a focus on research results related to Hindu aesthetics, such as Beldio's research [9], Kleive [10], Hallman [11], Frazier [12], Barbato [13]. Data correlated to the dualistic concept in Balinese life as a source of creating Pejaten pottery ornamentation received important attention in this study, such as sacred and profane, kaja-kelod (north-south), sekala-niskala; taksu, and jegah were analyzed using the concept of rwa bhineda. ...
Pejaten pottery is one of the aesthetically unique potteries. The pottery has various ornaments such as god ornaments, god weapons, barong, and animals and plants. These ornaments are often found in Hindu worship ceremonies. This shows that, aesthetically, Pejaten pottery cannot be separated from Hindu aesthetics, so it is interesting to study. The problem is how the implementation of Hindu aesthetics in Pejaten pottery works and how Hindu aesthetics is used as a strategy for preserving Hindu aesthetics in Pejaten pottery. This study aims to determine the basis for applying Hindu aesthetics as a strategy for preserving Pejaten pottery. This qualitative research took the location of Pejaten Village, Kediri District, Tabanan Regency, Bali. Data were collected by direct observation, interviews, and also collecting literature data related to Hindu aesthetics. The aesthetic analysis process of Pejaten pottery is carried out using the concepts of Rwa bhineda (balance), satyam (truth), sivam (holiness), sundaram (beauty), and Pangider Bhuana (Pangider-ider). This study indicates that the ornaments and various forms of Pejaten pottery have a strong Hindu philosophical foundation, and this shows the religious nature of the Pejaten pottery craftsman. The conclusion is that the religiosity of the Pejaten pottery craftsmen is very influential in their creative process, and this is significantly able to maintain the preservation of the Hindu aesthetics of Pejaten pottery, Bali
... & 2010) suggested, Hermenutics as the best approach to explore and analyze the Sanskrit literature and hindu-scriptures [4,5]. Thus qualitative analysis using Hermeneutical circle will be used to explain the meaning of mind and cognition from the study. ...
Background and Objectives : Medical sciences have developed tremendously but yet it has to understand the brain, mind, consciousness and cognition process. In this article, authors have made an attempt to present a process of cognition with a model of mind explained in yoga sutra of Patanjali. Material and Methods : Understanding the mind with the modern scientific tools is often difficult. Here an attempt has been made to understand mind with the help of various literature in yoga especially in yoga sutra of patanjali, a valid text of yoga. Hermeneutical approach, a method used in qualitative method of inquiry is used for this study. Reading, re-reading the texts and finding the meaning out of the text is the process used. Results : A model of mind has been proposed as finding of the study. This model of mind has a ‘chitta’ (Mind stuff) as a cognitive apparatus and important component for cognition. ‘Chitta’ interacts with the external manifested world (Prakriti). ‘Chitta’ has Mana, Buddhi and Ego as Antakahrana (internal organ) and ‘Indriyas’ (Five Gyanendriyas and Five Karmaindriyas) as external organ. This concept of mind and cognition works for the plane of ‘chitta-vritti’ state where vrittis are the external world. But YSP also talks about next plane of cognition which is beyond the scope of this study. Conclusion : A cognitive model explaining the concept of mind forms a major finding of this research. This finding may initiate future researches in the field of understanding the mental processing and acts as links between ancient wisdom of yoga and modern concept on mind and cognition and how they can complement each other. This model of concept of mind can also be used as concept for psychological counseling and psychological therapy. DOI: http://dx.doi.org/10.3126/jmcjms.v2i1.11390 Janaki Medical College Journal of Medical Sciences (2014) Vol. 2 (1): 10-16
... & 2010) suggested, Hermenutics as the best approach to explore and analyze the Sanskrit literature and hindu-scriptures [4,5]. Thus qualitative analysis using Hermeneutical circle will be used to explain the meaning of mind and cognition from the study. ...
Background and Objectives: Medical sciences have developed tremendously but yet it has to understand the brain, mind, consciousness and cognition process. In this article, authors have made an attempt to present a process of cognition with a model of mind explained in yoga sutra of Patanjali.
Material and Methods: Understanding the mind with the modern scientific tools is often difficult. Here an attempt has been made to understand mind with the help of various literature in yoga especially in yoga sutra of patanjali, a valid text of yoga. Hermeneutical approach, a method used in qualitative method of inquiry is used for this study. Reading, re-reading the texts and finding the meaning out of the text is the process used.
Results: A model of mind has been proposed as finding of the study. This model of mind has a ‘chitta’ (Mind stuff) as a cognitive apparatus and important component for cognition. ‘Chitta’ interacts with the external manifested world (Prakriti). ‘Chitta’ has Mana, Buddhi and Ego as Antakahrana (internal organ) and ‘Indriyas’ (Five Gyanendriyas and Five Karmaindriyas) as external organ. This concept of mind and cognition works for the plane of ‘chitta-vritti’ state where vrittis are the external world. But YSP also talks about next plane of cognition which is beyond the scope of this study.
Conclusion: A cognitive model explaining the concept of mind forms a major finding of this research. This finding may initiate future researches in the field of understanding the mental processing and acts as links between ancient wisdom of yoga and modern concept on mind and cognition and how they can complement each other. This model of concept of mind can also be used as concept for psychological counseling and psychological therapy.
Keywords: Yoga, Cognition, cognitive apparatus, Mind
When working within the context of chaplaincy in a community setting, ecological studies seem essential to consider self-care and ongoing well-being in the community. The main purpose of this paper is to examine the casual relations of boundaries within the workforce, exploring awareness to learn competencies and visiting meaning-making to accept conditions. In Trauma and Moral Injury: A Guiding Framework for Chaplains, the Chaplaincy Innovation Lab (2020) introduces a conception of awareness by Kaethe Weingarten (2003). This particular conception regards moral injury which becomes a highlight of chaplaincy studies. The primary concern I found in the field as a professional care-giver, particularly as an eco-psychology counselor, regards how and why children may lack a sense of agency during social interaction. Thus, the main objective behind this evaluation is to display the function of self-awareness and social awareness, while sharing an explanation for how professional care-givers may work together within the conditions found in human development while pairing key competencies. Overall, the ultimate goal is to encourage a research focus on how one may feel and experience a moral dimension within daily life and interpersonal interactions—upon professionalism.
This work closely examines the architectural and sculptural "texts" of the Vaikuntha Perumal Temple built for Vishnu/Krishna at Kanchipuram in the 8th century. The keys to unlock the meaning of these "texts" are in a poem written about the temple by Tirumangai Alvar shortly after it was built. Sacred texts and liturgical practices are also analyzed to understand the vision this Vishnu-house was intended to embody for sophisticated Bhagavatas of the time. The three-story temple, conceived as a mandala, houses figures representing various aspects or formations of the supreme Vishnu, and it is covered with some fifty-six panels of figures representing scenes from sacred texts, primarily the Bhagavata Purana. Not only are the stories illustrated by the panels important but also their physical placement, which takes into account metaphysical and cosmological implications of where they are situated on the building and their positions relative to one another. Pancharatra doctrine informs and is illustrated by the panels, opening up complex and subtle relations between the stories and teachings represented. The sculptural program also portrays the spiritual progress of the builder, the emperor Nandivarman Pallavamalla. His life and career are illustrated on the interior of the surrounding walls.
Foreword by John Stratton HawleyPrefaceA Note on Sanskrit PronunciationIntroduction1. Jayadeva: The Wandering Poet2. The Lyrical Structure of Jayadeva's Poem3. Jayadeva's Language for Love4. Krishna: Cosmic Cowherd Lover5. Radha: Consort of Krishna's Springtime PassionNotesGitagovinda: Translation
Following a sequence of visually stunning dance routines accompanied by sounds of sung poetry, the climax for most popular Indian films is the intense exchange of gazes between the lover and beloved. This exchange of penetrating gazes not only expresses sexual desire but, in a move beyond voyeurism, signifies a physical interaction through vision. This intense and even tactile gaze relies on two different notions of vision: that of drishti, activated in Indian religious contexts, and of nazar, so essential for the ex position of love in Persianate poetry. The lyrics of film songs rely for their affectivity on these notions of drishti and nazar. Committed to memory by film viewers, this repertoire of film songs generates a poetics of sight and visual display within the film-going public. By framing and focusing in on eyes and thereby simulating moments of intense visual interaction, Bollywood film directors have poetically nuanced a modern visual genre for contemporary Indian audiences which actively employs notions of vision and visuality that are specific to South Asia. Moreover, in cueing ocularity to the aural, Bollywood films constitute a subaltern modernity that disrupts the minimalist silences and ocular centricity of most 'Western' modernisms, This signals the polyscopic, intersensual and poetic character of modern Indian visual experiences, both portrayed on, and enacted off, the screen.
Hanuman, simian sidekick to the principal human hero of the Ramayana tradition, has evolved within comparatively recent times into one of the most popular and ubiquitous of Hindu deities. He is revered by tens of millions as their ishta-deva or 'chosen, personal deity', and his shrines have proliferated in both urban and rural areas. The visual repre sentation of this deity has likewise evolved conventions that, through the mass repro duction and gradual homogenisation characteristic of 20th century popular art, have crystallised in a number of readily-recognisable icons. After briefly surveying the range of Hanuman's historical representations, this essay focuses on a subset of 20th century images in which the divine monkey appears as afurless, humanised, and (of late) heavily muscled hero with only vestigial simian characteristics, and situates these images within the context of a number of contemporary trends in popular visual culture. Finally, it attempts to link this new visual convention to a widespread body of discourse concerning the 'scientific' rationalisation and historicisation of Hindu sacred legend.
For many centures, Hindus have believed that the religious images they place in temples and shrines for purposes of worship are alive. Hindu priests bring them to life through a complex ritual "establishment" that invokes the god or goddess into material support. Priests and devotees then maintain the enlivened image as divine person through ongoing liturgical activity. In this linked series of case studies of Hindu religious objects, this book argues that in some sense these believers are correct: through ongoing interactions with humans, religious objects are brought to life. Davis draws largely on reader-response literary theory and anthropological approaches to the study of objects in society in order to trace the biographies of Indian religious images over many centuries. He shows that Hindu priests and worshippers are not the only ones to enliven images: bringing with them differing religious assumptions, political agendas and economic motivations, others may animate the very same objects as icons of sovereignty, as polytheistic "idols", as "devils", as potentially lucrative commodities, as objects of sculptural art, or as symbols for a whole range of new meanings never forseen by the images' makers or original worshippers.
The tumultuous last decades of British colonialism in India were catalyzed by more than the work of Mahatma Gandhi and violent conflicts. The concurrent upheavals in Western art driven by the advent of modernism provided Indian artists in post-1920 India a powerful tool of colonial resistance. Distinguished art historian Partha Mitter now explores in this brilliantly illustrated study this lesser known facet of Indian art and history. Taking the 1922 Bauhaus exhibition in Calcutta as the debut of European modernism in India, The Triumph of Modernism probes the intricate interplay of Western modernism and Indian nationalism in the evolution of colonial-era Indian art. Mitter casts his gaze across a myriad of issues, including the emergence of a feminine voice in Indian art, the decline of âoriental art,â and the rise of naturalism and modernism in the 1920s. Nationalist politics also played a large role, from the struggle of artists in reconciling Indian nationalism with imperial patronage of the arts to the relationship between primitivism and modernism in Indian art. An engagingly written study anchored by 150 lush reproductions, The Triumph of Modernism will be essential reading for scholars of art, British studies, and Indian history.
Mass-produced images have long been produced and used in India by religious and nationalist movements â the emergence of Indian-run chromolithograph presses in the late 1870s initiated a vast outpouring that have come to dominate many of Indiaâs public and domestic spaces. Drawing on years of archival research, interviews with artists and publishers, and the ethnographic study of their rural consumers, Christopher Pinney traces the intimate connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists is set against the intensification of the nationalist struggle, the constraints imposed by colonial state censorship, and fifty years of Indian independence. The reader is introduced to artists who trained within colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who are self-taught former sign painters. Photos of the Gods is the first comprehensive history of Indiaâs popular visual culture. Combining anthropology, political and cultural history, and the study of aesthetic systems, and using many intriguing and unfamiliar images, the book shows that the current predicament of India cannot be understood without taking into account this complex, fascinating, and until now virtually unseen, visual history.
What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the mass media.
In this fascinating study, Partha Mitter traces the history of European reactions to Indian art, from the earliest encounters of explorers with the exotic. East to the more sophisticated but still incomplete appreciations of the early twentieth century. Mitter's new Preface reflects upon the profound changes in Western interpretations of non-Western societies over the past fifteen years.
Book description: This book addresses aspects of popular/public culture in a manner that connects with contemporary political controversy i.e. liberalization, Hinduvata, etc. This volume concentrates mainly on film and mass media, and includes contributions by Ravi Vasudevan, Patricia Uberoi, Sara Dickey, Nicholas Dirks and a number of first-rate South Asian scholars.
Beyond Appearances? Visual Practices and Ideologies in Modern India, p. xiii
- Sumathi Ramaswami
Sumathi Ramaswami, 2003. Beyond Appearances? Visual Practices and Ideologies in
Modern India, p. xiii. New Delhi: Sage Publications.
Impact of " god posters " on Hindus and their devotional traditions Media and the Transformation of Religion in South Asia. Philadelphia: University of Pennsylvania Press
- See Daniel Smith
See Daniel Smith, 1995. 'Impact of " god posters " on Hindus and their devotional
traditions'. In: L.A. Babb, S. Wadley, (Eds.), Media and the Transformation of Religion in
South Asia. Philadelphia: University of Pennsylvania Press; Gerald Larson, (Ed.), 1997.
Changing Myths and Images: Twentieth Century Popular Art in India.
A History of Sanskrit Poetics, p. 268. Calcutta: Firma KLM
- K De
K. De, 1960. A History of Sanskrit Poetics, p. 268. Calcutta: Firma KLM.
s essay 'Bhakti, democracy and the study of religion
- John Stratton
John Stratton Hawley's essay 'Bhakti, democracy and the study of religion'. In:
Three Bhakti Voices: Mirabhai, Surdas and Kabir in Their Times and Ours, (Oxford: Oxford
University Press, 2005).
Darśan: Seeing the Divine Image in India
- Diana Eck
Diana Eck, 1981. Darśan: Seeing the Divine Image in India, p. 41. USA: Anima Books.
Hinduism and the Religious Arts, p. 130. London: Cassell. 23 Ibid
- Heather Elgood
Heather Elgood, 1999. Hinduism and the Religious Arts, p. 130. London: Cassell.
23 Ibid, p. 12.
24 Ibid, p. 129.
Rasa: Performing the Divine in India
- Susan Schwartz
Susan Schwartz, 2004. Rasa: Performing the Divine in India, p. 52. New York: Columbia
University Press.
s translation in The Gītagovinda of Jayadeva: Love Song of the Dark Lord
- Barbara Stoler
- Miller
Barbara Stoler Miller's translation in The Gītagovinda of Jayadeva: Love Song of the
Dark Lord, pp. 121, 125. India: Motilal Banarsidass, 1984.
Abhinavagupta on Indian Aesthetics, p. 48. Delhi: Ajanta Publications
- S Walimbe
S. Walimbe, 1980. Abhinavagupta on Indian Aesthetics, p. 48. Delhi: Ajanta
Publications.
20 See n 18, p. 13.
Glancing: visual interaction in Hinduism'
See n 2. See also Lawrence Babb, 1981. 'Glancing: visual interaction in Hinduism'.
Journal of Anthropological Research 37, 4; Alfred Gell, 1998. Art and Agency: An
Anthropological Theory. Oxford: Clarendon Press.
Impact of " god posters " on Hindus and their devotional traditions Media and the Transformation of Religion in South Asia
- See Daniel
See Daniel Smith, 1995. 'Impact of " god posters " on Hindus and their devotional
traditions'. In: L.A. Babb, S. Wadley, (Eds.), Media and the Transformation of Religion in
South Asia. Philadelphia: University of Pennsylvania Press; Gerald Larson, (Ed.), 1997.
Changing Myths and Images: Twentieth Century Popular Art in India.
Gods in the bazaar: the subjects of calendar artEvolving a monkey: hanuman, poster art, and postcolonial anxiety'. In: Beyond Appearances? Visual Practices and Ideologies in Modern India
Bloomington: University of Indiana; Kajri Jain, 1998. 'Gods in the bazaar: the subjects
of calendar art' South Asia 21(1) 91–108; Philip Lutgendorf, 2003. 'Evolving a monkey:
hanuman, poster art, and postcolonial anxiety'. In: Beyond Appearances? Visual
Practices and Ideologies in Modern India. New Delhi: Sage Publications; etc.
Changing Myths and Images: Twentieth Century Popular Art in India
- Gerald Larson
Gerald Larson, (Ed.), 1997.
Changing Myths and Images: Twentieth Century Popular Art in India.
Hawley's essay 'Bhakti, democracy and the study of religion
- See John Stratton
See John Stratton Hawley's essay 'Bhakti, democracy and the study of religion'. In:
Three Bhakti Voices: Mirabhai, Surdas and Kabir in Their Times and Ours, (Oxford: Oxford
University Press, 2005).
Three Bhakti Voices: Mirabhai, Surdas and Kabir in Their Times and Ours
- John Stratton Hawley
John Stratton Hawley, 2005. Three Bhakti Voices: Mirabhai, Surdas and Kabir in Their
Times and Ours, p. 11. Oxford: Oxford University Press.