Subscribe for Newsletters and Discounts
Be the first to receive our thoughtfully written
religious articles and product discounts.
Your interests (Optional)
This will help us make recommendations and send discounts and sale information at times.
By registering, you may receive account related information, our email newsletters and product updates, no more than twice a month. Please read our Privacy Policy for details.
.
By subscribing, you will receive our email newsletters and product updates, no more than twice a month. All emails will be sent by Exotic India using the email address info@exoticindia.com.

Please read our Privacy Policy for details.
|6
Your Cart (0)
Share our website with your friends.
Email this page to a friend
Books > Buddhist > Art > Dictionary of Buddhist Iconography: Volume-5 (Haakushu - Jyotisprabha ? Buddha)
Displaying 1353 of 1687         Previous  |  NextSubscribe to our newsletter and discounts
Dictionary of Buddhist Iconography: Volume-5 (Haakushu - Jyotisprabha ? Buddha)
Dictionary of Buddhist Iconography: Volume-5 (Haakushu - Jyotisprabha ? Buddha)
Description
From the Jacket

The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever-evolving visualizations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas.

The multiple forms of a theonym arise in varying contexts. For example, Hevajra of the Hevajra-tantra holds crania in his hands, while the Hevajra of the Samputa-tantra has weapons. Both are subdivided into four each on the planes of kaya, vak, citta and hrdaya, with two, four, eight and sixteen arms. The dictionary classifies such several types of a deity and places each in its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears in Chinese in AD 587), the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification, colour, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and/or flaming, number of arms and attributes held in them, consort, lord of the family (kulesa), and so on. The esoteric name, symbolic form (samaya), bija (hierogram), mantra, mudra and mandala are given in this Dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names are given under the main entry, as well as cross-referenced in their own alphabetic order.

The Dictionary details the characteristic attributes, chronology and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual achievements of several nations of Asia over two millennia.

It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularization of the patrimony of Buddhist art for its aesthetic magnificence. This Dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures.

Prof. Lokesh Chandra is a renowned scholar of Tibetan, Mongolian and Sino-Japanese Buddhism. He has to his credit over 360 works and text editions. Among them are classics like his Tibetan-Sanskrit Dictionary, Materials for a History of Tibetan Literature, Buddhist Iconography of Tibet, and the present Dictionary of Buddhist Art in about 20 Volume. Prof. Lokesh Chandra was nominated by the President of the Republic of India to the Parliament in 1974-80 and again in 1980-86. He has been a Vice-President of the Indian Council for Cultural Relations, and Chairman of the Indian Council of Historical Research. Presently he is Director, International Academy of Indian Culture.

Preface

Gives me pleasure to see the fifth volume of the Dictionary in print. Deities named or thought of in the empty or eternal of existence: they are many, immensity reposes here. They come from the deeps of time, from the flame of the mind, a banquet of forms, a scattering of presences: I seek their names and ask: who will open my eyes?

Hariti with her consort Pancika from Gandhara holds a cornucopia, but has no son playing around. In other types her son is a constant companion and in fact the assured symbol of her recognition. In forms 10a, b, she is pictured standing in Chinese robes, again without her son: why? Several entries in the Dictionary raise problems of evolution. Differing contexts gave rise to radical changes in the attributes.

Hayagriva has seventythree types: shows him playing games that make and unmake worlds. The horse (haya) was speed in ancient times, drawing lightning chariots of victory, or carrying monks who bore the sculptures of the mind to distant lands, or tradesmen who entangled royal hearts in exotica. These many forms of Hayagriva entwise and weave centuries of action: al enigmas.

Stupa is an ever-living concept. Appearing in a bewildering variety of architectural monuments. Five out of twenty-one stupas of the Nyingmapas are shown on pages 1387, 1389, 1391, 1433 with specific names and vividly differentiated ascending elements.

Heruka is a generic name for five different deities, and at the same time has individuated forms with two, four, six and eight-arms. There are Six Herukas in the Bardo mandala. The individuated forms need to be studied further to define their precise status.

Hevajra has twelve forms and played a crucial role in the defence rituals of China, Cambodia, Indonesia and other countries during the classical period.

Hsuan-tsang is depicted as a monk, seated with books in his hands or rolls at his back. The popular representation of the pilgrim as walking with a chowrie in the right hand and a roll in the left, and a book-rack of rolls loaded over his back, is late. It is based on a Japanese scroll, which ultimately derives from the prototype of an itinerant monk accompanied by a tiger. Silk paintings and sketches of the tiger-monk have been found in Tunhuang. The tiger represented Central Asian monks, so Hsuan-tsang could not be with a tiger and thus he was without a companion. In the Chinese classic, Journey to the West, monkey came to be his faithful ally in his long and frightful wanderings. The monkey denoted that the pilgrim had come from India.

The rich evolution of Buddhist iconography is evidented by Indra (32 forms), Isana (11 forms), Jambhala (18 forms), Janguli (10 forms), and others. The creative every-days of history, responding to the needs of the faithful, lighting up the anguished darks in contemplation of the divine, became transfigured in the iconography of flowing visions.

Contents

Prefacevii
Dictionary (Haakushu - Jyotisprabha ? Buddha)1333

Dictionary of Buddhist Iconography: Volume-5 (Haakushu - Jyotisprabha ? Buddha)

Item Code:
IDJ723
Cover:
Hardcover
Edition:
2002
ISBN:
817742047X
Size:
10.9" X 8.6"
Pages:
237 (Illustrated Throughout In B/W)
Price:
$135.00   Shipping Free - 4 to 6 days
Add to Wishlist
Send as e-card
Send as free online greeting card
Dictionary of Buddhist Iconography: Volume-5 (Haakushu - Jyotisprabha ? Buddha)

Verify the characters on the left

From:
Edit     
You will be informed as and when your card is viewed. Please note that your card will be active in the system for 30 days.

Viewed 9492 times since 16th Oct, 2009
From the Jacket

The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever-evolving visualizations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas.

The multiple forms of a theonym arise in varying contexts. For example, Hevajra of the Hevajra-tantra holds crania in his hands, while the Hevajra of the Samputa-tantra has weapons. Both are subdivided into four each on the planes of kaya, vak, citta and hrdaya, with two, four, eight and sixteen arms. The dictionary classifies such several types of a deity and places each in its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears in Chinese in AD 587), the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification, colour, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and/or flaming, number of arms and attributes held in them, consort, lord of the family (kulesa), and so on. The esoteric name, symbolic form (samaya), bija (hierogram), mantra, mudra and mandala are given in this Dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names are given under the main entry, as well as cross-referenced in their own alphabetic order.

The Dictionary details the characteristic attributes, chronology and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual achievements of several nations of Asia over two millennia.

It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularization of the patrimony of Buddhist art for its aesthetic magnificence. This Dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures.

Prof. Lokesh Chandra is a renowned scholar of Tibetan, Mongolian and Sino-Japanese Buddhism. He has to his credit over 360 works and text editions. Among them are classics like his Tibetan-Sanskrit Dictionary, Materials for a History of Tibetan Literature, Buddhist Iconography of Tibet, and the present Dictionary of Buddhist Art in about 20 Volume. Prof. Lokesh Chandra was nominated by the President of the Republic of India to the Parliament in 1974-80 and again in 1980-86. He has been a Vice-President of the Indian Council for Cultural Relations, and Chairman of the Indian Council of Historical Research. Presently he is Director, International Academy of Indian Culture.

Preface

Gives me pleasure to see the fifth volume of the Dictionary in print. Deities named or thought of in the empty or eternal of existence: they are many, immensity reposes here. They come from the deeps of time, from the flame of the mind, a banquet of forms, a scattering of presences: I seek their names and ask: who will open my eyes?

Hariti with her consort Pancika from Gandhara holds a cornucopia, but has no son playing around. In other types her son is a constant companion and in fact the assured symbol of her recognition. In forms 10a, b, she is pictured standing in Chinese robes, again without her son: why? Several entries in the Dictionary raise problems of evolution. Differing contexts gave rise to radical changes in the attributes.

Hayagriva has seventythree types: shows him playing games that make and unmake worlds. The horse (haya) was speed in ancient times, drawing lightning chariots of victory, or carrying monks who bore the sculptures of the mind to distant lands, or tradesmen who entangled royal hearts in exotica. These many forms of Hayagriva entwise and weave centuries of action: al enigmas.

Stupa is an ever-living concept. Appearing in a bewildering variety of architectural monuments. Five out of twenty-one stupas of the Nyingmapas are shown on pages 1387, 1389, 1391, 1433 with specific names and vividly differentiated ascending elements.

Heruka is a generic name for five different deities, and at the same time has individuated forms with two, four, six and eight-arms. There are Six Herukas in the Bardo mandala. The individuated forms need to be studied further to define their precise status.

Hevajra has twelve forms and played a crucial role in the defence rituals of China, Cambodia, Indonesia and other countries during the classical period.

Hsuan-tsang is depicted as a monk, seated with books in his hands or rolls at his back. The popular representation of the pilgrim as walking with a chowrie in the right hand and a roll in the left, and a book-rack of rolls loaded over his back, is late. It is based on a Japanese scroll, which ultimately derives from the prototype of an itinerant monk accompanied by a tiger. Silk paintings and sketches of the tiger-monk have been found in Tunhuang. The tiger represented Central Asian monks, so Hsuan-tsang could not be with a tiger and thus he was without a companion. In the Chinese classic, Journey to the West, monkey came to be his faithful ally in his long and frightful wanderings. The monkey denoted that the pilgrim had come from India.

The rich evolution of Buddhist iconography is evidented by Indra (32 forms), Isana (11 forms), Jambhala (18 forms), Janguli (10 forms), and others. The creative every-days of history, responding to the needs of the faithful, lighting up the anguished darks in contemplation of the divine, became transfigured in the iconography of flowing visions.

Contents

Prefacevii
Dictionary (Haakushu - Jyotisprabha ? Buddha)1333
Post a Comment
 
Post Review
Post a Query
For privacy concerns, please view our Privacy Policy

Based on your browsing history

Loading... Please wait

Related Items

Wisdom Frozen in Time In Search of Treasure…Tanjavur & Bhubaneswar - Volume 3 (DVD)
R. Bharathadri, Script: Dr. Gautam Chatterjee
Indira Gandhi National Centre for the Arts, New Delhi
72:46 Minutes
Item Code: ICJ065
$28.00
Add to Cart
Buy Now
A Dictionary of Buddhist and Hindu Iconography - Illustrated
Deal 10% Off
by Fredrick W. Bunce
Hardcover (Edition: 2001)
D. K. Printworld Pvt. Ltd.
Item Code: IDD238
$120.00$108.00
You save: $12.00 (10%)
Add to Cart
Buy Now
Dictionary of Buddhist Iconography: Volume-2 (Amoghavikramin - Bzod.par.smra.ba.can)
Deal 25% Off
Item Code: IDJ720
$125.00$93.75
You save: $31.25 (25%)
Add to Cart
Buy Now
Dictionary of Buddhist Iconography: Volume-3 (Cayan Acala - Dhupa)
Deal 20% Off
Item Code: IDJ721
$125.00$100.00
You save: $25.00 (20%)
Add to Cart
Buy Now
Dictionary of Buddhist Iconography (Vajrakumara-Vasumitra) Volume-14
by Lokesh Chandra
Hardcover (Edition: 2005)
Aditya Prakashan
Item Code: IDJ732
$125.00
Add to Cart
Buy Now
Dictionary of Buddhist Iconography (Vasundhara-Zyokukai (finis)) Volume-15
by Lokesh Chandra
Hardcover (Edition: 2005)
Aditya Prakashan
Item Code: IDJ733
$125.00
Add to Cart
Buy Now
Dictionary of Buddhist Iconography (Ubai-shin-Vajrakulodbhava) Volume-13
by Lokesh Chandra
Hardcover (Edition: 2004)
Aditya Prakashan
Item Code: IDJ731
$125.00
Add to Cart
Buy Now

Testimonials

Thank you for this wonderful New Year sale!
Michael, USA
Many Thanks for all Your superb quality Artworks at unbeatable prices. We have been recommending EI to friends & family for over 5 yrs & will continue to do so fervently. Cheers
Dara, Canada
Thank you for your wonderful selection of books and art work. I am a regular customer and always appreciate the excellent items you offer and your great service.
Lars, USA
Colis bien reçu, emballage excellent et statue conforme aux attentes. Du bon travail, je reviendrai sur votre site !
Alain, France
GREAT SITE. SANSKRIT AND HINDI LINGUISTICS IS MY PASSION. AND I THANK YOU FOR THIS SITE.
Madhu, USA
I love your site and although today is my first order, I have been seeing your site for the past several years. Thank you for providing such great art and books to people around the World who can't make it to India as often as we would like.
Rupesh
Heramba Ganapati arrived safely today and was shipped promptly. Another fantastic find from Exotic India with perfect customer service. Thank you. Jai Ganesha Deva
Marc, UK
I ordered Padmapani Statue. I have received my statue. The delivering process was very fast and the statue looks so beautiful. Thank you exoticindia, Mr. Vipin (customer care). I am very satisfied.
Hartono, Indonesia
Very easy to buy, great site! Thanks
Ilda, Brazil
Our Nandi sculpture arrived today and it surpasses all expectations - it is wonderful. We are not only pleasantly surprised by the speed of international delivery but also are extremely grateful for the care of your packaging. Our sculpture needed to travel to an off-lying island of New Zealand but it arrived safely because of how well it had been packaged. Based upon my experience of all aspects of your service, I have no hesitation in recommending Exotic India.
BWM, NZ
TRUSTe
Language:
Currency:
All rights reserved. Copyright 2018 © Exotic India