Hindu art

HİNDUİZM'İN ÖNEMLİ TANRI VE TANRIÇA HEYKELLERİ Öz Heykel sanatının konusu, uzun süre çok tanrılı dinlerde yer alan Tanrı ve Tanrıça-ların insan bedenleri biçiminde idealize edilmiş tasviri olmuştur. Bu durum Hindu-izm için de geçerlidir. Hinduizm inancında aslında tek ve görünmez bir Tanrı var-dır fakat bu durum sanatsal temsil açısından zordur. Bu nedenle Hindu'lar somut olarak görülen ve ibadet edilebilen insan bedenlerinde betimlenmiş Tanrı ve Tanrı-çalara değişik karakter ve görevler tanımlayarak heykel ve resimlerini yapmışlar-dır. Hinduizm'in temel tanrıları Üçleme (Trimurti) olarak tasvir edilmiştir. Bunlar Vişnu, Şiva ve Brahma'dır. Araştırmada bu üç Tanrının yanı sıra diğer önemli Tan-rı ve Tanrıçalardan Lakşimi, Durga, Sarasvati, Krişna, Rama, Hanuman, Ganeşa, Kali, Nandi, Ganga ve Buda isimli tanrılardan bahsedilmiştir. Her birinin kendine özgü özellikleri ve görevleri vardır. İlk bakışta birbirine benzemekle birlikte Hindu inancı ile ilgili bazı kavram ve semboller tanımlandığında birbirlerinden farkları açıkça ortaya çıkmaktadır. Çalışmada, bu kavramlardan bahsedilerek Tanrı ve Tan-rıçaların kim oldukları, görevleri ve heykellerinin hangi noktalar ve kavramlar dik-kate alınarak yapıldığı araştırılmıştır.

Today Hinduism, Christianity, and Islam have the largest populations among world religions. These three worldviews have made monumental contributions in shaping the visual arts of human civilization. This paper serves to provide a brief historical summary and theological exegesis of the visual culture present in these three traditions, as well as draw comparative conclusions. One will see the overlapping similarities and differences in worldview, delineating significant implications for the varying limitations in subject matter and cultural adaptability. The study of interfaith aesthetics is important, not only in light of the proliferation of pluralistic artistic imagery made ubiquitous in the visual age, but also to provide holistic balance to interfaith dialogue, which has tended to focus on theology of sacred texts and not recognizing how visual culture has a profound effect on shaping one’s understanding of the earth, humanity, and the Divine.

Architecture is the art and science of designing buildings and structures. buildings land scaping , and street designs may be used to impart both functional as well as aesthetic character to a project siding and roofing materials and colors , may be used to enhance or blend buildings with the environment. Building features such as cronies gables, borders may be used to soften or enhance portions of a building one of the most enduring achievements of India civilization is undoubtedly. Its architecture. The artistic and architectural heritages of India are almost five millennia old. Though the Indus valley sites of harappa , mohenjodaro, and lothal provide substantial evidence of extensive town planning , the beginnings of Indian architecture are more properly to be dated to the advent of buddhism in India , in in the reign of ashoka , and the construction of buddhist monasteries and stupas. The guptas , chandellas, solankis and gangs were gret patrons of art architecture. The gupta period can be described as the zenith century, the southern Hindu school of architecture began to flourish. The pallavas, cholas , hoysalas and the rulers of the vijayanagara empire contributed a great deal to the advancement of architecture in south India.

This article, originally published years ago in the Laughing Man, a journal of contemporary spirituality, examines accounts of the extraordinary manners of death attributed to mystics, saints and sages of numerous spiritual traditions, including Christianity, Islam, Hinduism and Buddhism.

This webpage explores fractal aspects of Hindu temple architecture, examining multiple archetypes and geometry of recursion. It is primarily about architectural design, religious symbolism and imagination. It concerns religious imagination involved in some of the ideas and plans used in Hindu temples. It is not intended to speak to issues of social justice, or economic questions. It is not intended to imply that all temples are the same, or that all temples are perfect institutions. Other studies exist which treat those topics. This short study can offer only a cursory suggestion of the intricasies of the symbol system, the modes of measuring units and proportions, and the reflection of the whole in some of the parts.

When West Met East: Gandhāran Art Revisted is based on hitherto unpublished or partly published sculptures and artefacts from Gandhāra and Greater Gandhāra dispersed in public and private collections across Asia, Europe and Untied States. Its subject is a form of figurative sculpture that emerged in Gandhāran regions between the second and fifth centuries CE and reflects reginal cross-cultural elements arising from its direct relationship with Buddhism and to a certain extent with Hinduism as both flourished in India at the time of the Kuṣāṇ Empire. The author’s introduction presents the historical foundation of the innovative artistic expressions that characterize the singularity of Gandhāran art. The first chapter covers the cross-fertilized nature of the art and examines how Wesern artistic inspirations were transformed into new forms of art to narrate stories of Indian origin. The second chapter argues that Gandhāran artists followed the chronological sequence established by the Sanskrit Lalitavistara or pre-existing texts which may have inspired this sacred book this sacred book when depicting the scenes of the life of the Blessed One starting with the descent from the future Buddha from Tuṣita Heaven up to the first sermon. Singling out one particular episode in the Buddha’s life the descent from the Trāyastriṃśa Heaven to Sāṃkāśya, the third chapter thus focuses on the literary sources that inspired Gandhāran artists. The fourth chapter addresses the question of the first depictions of Maitreya and Avalokiteśvara in Gandhāran art. And finally, the fifth chapter looks at the symbolism behind the presence of Hindu gods in Gandhāran art. This book received the ‘Hirayama Book Price’ attributed by the French Academy of Inscriptions and Belles-Lettres, on June 2020.

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons.


In _Sacred Objects in Secular Spaces:  Exhibiting Asian Religions in Museums_.  Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).

The religious devotion, known as bhakti, arose relatively late in the religious panorama of ancient India, dominated up to then by the Vedic-Brahmanic tradition. The first part of this essay outlines the origins and the history of the so called “bhakti movement”, which significantly altered the history of Indian thought. The second part analyses, in the area of
Rajasthan, the cult of Śrīnāthjī, a peculiar aspect of the god Kṛṣṇa, who, more than other divinities, has inspired the great Hindu devotional traditionsover centuries. The critical study of the multiple and complex levels of the religio-philosophical meanings associated with the cult of Śrīnāthjī
and the related “path of grace” (puṣṭi mārg), is completed with a detailed analysis of some valuable paintings connected with the cult of this deity.
These paintings, known as pichhwāis, belonging to the collection of the
“Textiles and Arts of People of India” (tapi), were exhibited in the National Museum of History of Art of New Delhi between December 2007 and January 2008.

ÖZ Hinduizm, dünyada en çok inananı olan üçüncü dindir. Çok tanrılı inanç sistemi, Vedalar, Upanişhad-lar, Mahabharata ve Ramayana gibi tarihi M.Ö. 2500'lere uzanan yazılı kaynaklara dayanmaktadır. Yazılı kaynaklarda, öğretilerin ve dini ritüellerin nasıl olması gerektiği tanımlandığı gibi, tanrıların kimler olduğu, görevleri ve fiziki özellikleri de belirgin şekilde tanımlanmıştır. Tanrılarla ilgili efsan-eler, mitler ayrıntılı bir biçimde anlatılırken, üç önemli tanrıdan biri olan Vişnu ile ilgili bazı kavram-lar ön plana çıkmaktadır. Reenkarnasyon, Avatar, Karma kavramlarıyla Vişnu, dokuz defa dünyanın ona ihtiyaç duyduğu anda dünyaya gelmiş ve son defa, yani onuncu defa yeniden geleceğine inanıl-maktadır. Vişnu, gelişlerinde farklı bedenlerde, farklı biçimlerde gelmiş ve insanları kurtarmıştır. Her gelişinde daha gelişmiş ve mükemmelleşmiştir. İlk dört avatarı, hibrit ya da zoomorfik, diğerleri antromorfik olan Vişnu, her avatarıyla plastik sanatlarda temsil edilmiş ve Hindu tapınaklarında Vişnu ve avatarlarının heykelleri önemli bir yer almıştır. Vişnu'nun on avartarı geliş sırasına göre; Matsya, Kurma, Varaha, Narashima, Vamana, Parasurama, Rama, Krişna ya da Balarama, Buda ve henüz dünyaya gelmemiş olan Kalki'dir. Araştırmada, avatarların kimler olduğu ve tapınaklarda yer alan heykellerinin biçimsel olarak nasıl tavsir edildiği irdelenmiştir. ABSTRACT Hinduism is the third religion which has highest believer in the World. Polytheistic religion belief systems, such as Vedas, Uphanishads, Mahabharata and Ramayana, it is based on sources written up to B.C 2500s. Written sources have defined how the teachings and religious rituals should be, as well as who the gods are, their duties and their physical characteristics. While the legends and myths about the gods are explained in detail, some concepts about Vishnu, one of the three important gods, come to the forefront. With the concepts of reincarnation, Avatar, Karma, Vishnu is believed to have come to the world nine times in the world that the world needs, and that it will come again for the last time, the tenth time. Vishnu came in different bodies, different forms, and saved people at their arrival. It is more advanced and perfected at every turn. Vishnu, the first four avatars, hybrid or zoomorphic, while others anthromorphic, were represented in plastic arts by every avatar, and sculptures of Vishnu and avatars in Hindu temples have token an important place. In order to know who are iconograph-ically, it is necessary to observe the details of the subject. The avatars of Vishnu are according to the order of arrival; Matsya, Kurma, Varaha, Narashima, Vamana, Parasurama, Rama, Krsna or Balarama, Buddha, and Kalki, which has not yet come to earth.

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons. In _Sacred Objects in Secular Spaces: Exhibiting Asian Religions in Museums_. Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).

This paper is dedicated to the genesis of Hindu Iconography and brings together the results of the research project conducted in 2015-2016. The circumstances of the emergence and use of the first cult images in Hinduism remain understudied in scholarship. It is extremely difficult to determine when, how, and in what ritual context the anthropomorphic canon was introduced in the Ancient Indian culture. However, it is certain that at the time preceding the rise of Hinduism, Vedic religion made no real use of anthropomorphic images of gods. Even if, notwithstanding the lack of any archaeological or textual evidences, we accept the possibility that the images of deities already existed, it is evident that they did not played any significant role in the ritual practices. The more probable scenario is that they appeared rather late, in the post-Vedic period, when new ritual – puja – replaced the ancient Aryan rite – yajña. The original and innovative element of pūjā-cult consisted in scenic representations of myths in the form of religious drama used as a visual preaching tool in the ritual ceremony. In this paper, I will try to demonstrate that the affinity of image worship and theatre 1 E 6 D performance, as described in the Nā yaśāstra (the most ancient and authoritative text on Indian drama), is much more profound and multifaceted than has been hitherto acknowledged. In my view, the appearance of individual iconographic features in the anthropomorphic representations of various deities derives from the ritual drama performances that actualized before the eyes of the viewer the world of gods, demons, heroes, and numerous supernatural beings. Doubtless, the nature of scenic performance made the differentiation in appearance of various characters absolutely crucial, which led to the formation of a permanent set of individual features, including the elements of costume, make-up and hairstyles. I will try to substantiate a hypothesis that it was this scenic act that lied at the basis of anthropomorphic images of gods in Early Hindu Pantheon. This hypothesis is borne out by the evident proximity in approach of the abhinaya techniques, which helped the actors to feel as if really transformed into their characters, and artistic devices, employed to create pictorial and sculptural representations of gods. Sculptural renderings of Hindu deities on temple facades show them in postures, described in the 1 E 6 D Nā yaśāstra. Statues and relief figures are endowed with gestures from the repertoire used in theatre practices, enabling experts up to this day to illustrate the theoretical precepts of the treatise with actual figures from temple decorations. Thus, it is reasonable to assume that the paintings and sculptures of gods received their attire, make-up and postures from actors who played gods on stage.

Hindu themes are not unknown within the context of sculptural art of Gandhara and Kashmir. There are representations of Hindu deities such as Indra, Brahma, Skanda, Sakkra, Sasthi, Kumara, Surya, Yakshas, Yakshis, Gandharavas, Mother goddess, Nagas and Naginis, etc. In Gandhara and Kashmir, more often than not, these Hindu gods and goddesses are there not only to glorify Hinduism but also to appear as subordinate beings to serve the cause of Buddhism. They are depicted on a small number of fragments of diptych type portable shrines. They were made of stone and carved from both sides and some from one side. Most of the diptychs are broke and preserved in the form of fragments as either single wing or fraction of a wing of the diptychs. These fragments are referred to as "Hindu Diptychs" and preliminary information will be given in the present paper.

I examine the use of an enlarged portion of a Kalighat painting of the goddess Kali in the recent exhibition Indian Kalighat Paintings at the Cleveland Museum of Art (June – September 2011). 1 The image, an especially dramatic one of the goddess Kali sticking her tongue out, was used prominently on the title wall, on an outdoor billboard, and in other publicity (brochures, websites, and the like) and was intended to allure and provoke piqued patrons. Using such an image raises issues concerning the representation of religions and religious objects in museums, the “ Western ” constructions of Hinduism and the so-called “ dark goddess, ” the perpetuation of colonial stereotypes, and the noble, but notorious,need to attract potential patrons. In _Sacred Objects in Secular Spaces: Exhibiting Asian Religions in Museums_. Edited by Bruce M. Sullivan (London: Bloomsbury, 2015).

Although yoga is now India’s greatest global commodity, it has been practiced on the subcontinent for over two thousand years. This paper looks at a small, yet significant moment in its long, fluid history. It examines how yoga developed into a religious practice that then hardened into the customs and culture of Hindu ascetics (sadhus). When the Mughals, who comprised India’s greatest Islamic empire, came to power, yoga’s two main traditions, ancient and Tantric, began to evolve into the ascetic orders of the Daśanāmī Samnyāsīs, the Nāths, and eventually the Rāmānandīs. The Mughals, like their Islamic predecessors (who will also briefly be discussed in this paper), were fascinated by yoga and its proclaimed possibilities, from its ultimate goal of obtaining enlightenment to even more powerful abilities, such as gaining dominion of the highest gods. Emperors Akbar (r. 1556-1605), Jahangir (r. 1605-1627), and Shah Jahan (r. 1627-1658) not only called for Persian translations of Sanskrit works on yoga, but also verbal and visual documentation of their personal encounters with ascetics. Most importantly, they called for systematic studies of yoga exercises, so they, like Hindu holy men, can access its powers. For scholars, these works, particularly the paintings, continue to serve as learning devices, but in a different way. They shed light on the evolution of yoga, as well as bear witness to the subcontinent’s ever changing societal, political, and religious landscape and how yogis struck a balance between preserving their faith and adjusting to the political, societal, and religious changes around them.

A trip to discover the hidden secrest of the main Italian museums, including the National Museum of Oriental Art founded by Giuseppe Tucci and holding his huge art and artifacts collections from India, Nepal, Afghanistan, the Swat Valley, Japan.

The SOAS Postgraduate Diploma in Asian Art is centred on object-based learning. In this three-part presentation, our Director and two of our Course Convenors illustrate the Diploma’s distinctive teaching on the Arts of Asia. Each presenter will explore a distinct element of the many histories, cultures and arts of Asia through a single object.

The objects explored range from a tenth century sandstone sculpture of a fierce, skeletal goddess, to a muted painting on silk of the Buddha emerging from the mountains, to a compelling contemporary print embodying the continuous fascination with Ukiyo-e. These three presentations connect us to disparate histories through a shared approach to learning and study. Based on a close examination of surfaces, textures, and technical expertise, our three speakers will immerse you in Tantric devotions of tenth-century India, imperial patronage in Song dynasty China, and in Edo period aesthetics, colliding with late 19th century Western art and current culture. These presentations showcase the breadth and depth of the diverse programmes offered by the SOAS Postgraduate Diploma in Asian Art.

Speakers

Dr Monika Hinkel
Convenor, Japanese and Korean Art Module, SOAS Postgraduate Diploma in Asian Art

Dr Malcolm McNeill
Director, Postgraduate Diploma in Asian Art, Senior Lecturer in Arts Education
SOAS, University of London

Ms Sandra Sattler
Convenor, Indian Art Module, SOAS Postgraduate Diploma in Asian Art

www.AsianArtDiploma.co.uk