{"title":"Kira Banasińska – Seventy Years in India. From Diplomacy to Kaybee","authors":"Małgorzata Reinhard-Chlanda","doi":"10.15804/aoto201614","DOIUrl":"https://doi.org/10.15804/aoto201614","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125385293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
his article is devoted to the concept of the cosmic dance of the goddess Kāḷi presented in Kāḷi Nāṭakam (the Dance of Kali – KN), composed by Nārāyaṇa Guru (Narayana Guru) in 1887–1897. This hymn can be analysed in the context of later philosophical works written by Guru, especially the last philosophical hymn devoted to Dēvi addressed as Mother of Royal Yoga (rājayōgajananī) – Jananīnavaratnamañjarī (The Bouquet of Nine Gems Devoted to Mother – JNRM), composed in 1909. Other works to be taken into consideration are: Ātmōpadēśa Śatakam (One Hundred Verses of Self-Instruction – AŚ) – a poem composed in Malayalam in 1897 — and Darśana Mālā (Garland of Visions – DM), a philosophical work in ten sections, composed in Sanskrit in 1916. Kāḷi is treated here as an object of devotion, described both in impersonal and personal terms, as a goddess with auspicious qualities while evoking fear at the same time. She is sometimes identified with Śiva; however, as a great
他的文章致力于探讨女神Kāḷi宇宙之舞的概念，这一概念出现在Nārāyaṇa Guru (Narayana Guru)于1887年创作的Kāḷi Nāṭakam (the dance of Kali - KN)中。这首赞美诗可以在古鲁后来写的哲学著作的背景下进行分析，特别是最后一首献给Dēvi的哲学赞美诗，被称为皇家瑜伽之母(rājayōgajananī) - Jananīnavaratnamañjarī(献给母亲的九颗宝石的花束- JNRM)，创作于1909年。其他被考虑的作品有:Ātmōpadēśa Śatakam(自学一百诗- AŚ) - 1897年用马拉雅拉姆语创作的一首诗- Darśana Mālā(视觉的花环- DM)， 1916年用梵语创作的一部分十部分的哲学作品。Kāḷi在这里被视为一个奉献的对象，以非个人和个人的方式描述，作为一个具有吉祥品质的女神，同时唤起恐惧。她有时被认为是Śiva;然而，作为一个伟大的
{"title":"A Concept of Comic Dance as Presented in Kāḷi Nāṭakam of Narayana Guru in the Light of His Later Philosophical Works","authors":"H. Urbańska","doi":"10.15804/aoto201610","DOIUrl":"https://doi.org/10.15804/aoto201610","url":null,"abstract":"his article is devoted to the concept of the cosmic dance of the goddess Kāḷi presented in Kāḷi Nāṭakam (the Dance of Kali – KN), composed by Nārāyaṇa Guru (Narayana Guru) in 1887–1897. This hymn can be analysed in the context of later philosophical works written by Guru, especially the last philosophical hymn devoted to Dēvi addressed as Mother of Royal Yoga (rājayōgajananī) – Jananīnavaratnamañjarī (The Bouquet of Nine Gems Devoted to Mother – JNRM), composed in 1909. Other works to be taken into consideration are: Ātmōpadēśa Śatakam (One Hundred Verses of Self-Instruction – AŚ) – a poem composed in Malayalam in 1897 — and Darśana Mālā (Garland of Visions – DM), a philosophical work in ten sections, composed in Sanskrit in 1916. Kāḷi is treated here as an object of devotion, described both in impersonal and personal terms, as a goddess with auspicious qualities while evoking fear at the same time. She is sometimes identified with Śiva; however, as a great","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129922886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Parinirvāṇa Representations in the Art of Mathura: A Study Based on the Discovery of a Unique Parinirvāṇa Stele from the Varāha Temple of Mathura","authors":"Vinay Gupta, Monika Zin","doi":"10.15804/aoto201603","DOIUrl":"https://doi.org/10.15804/aoto201603","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127531330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
he tradition of thangkas has earned itself the merit of pioneering Tibetan art in the 21 century. The purpose behind the effulgent images is not to simply lure worshippers with their exuberant colours and designs; it also follows an intricate system of iconometric and iconologic principles in order to beseech the benefaction of a particular deity. As a result, a thangka is worshipped as a didactic ‘visual aid’ for Tibetan Buddhist religious practices. Tracing the origin of the artistic and socio-cultural practices behind a thangka recreates a texture of Central Asian and Indian influences. The origin of ceremonial banners used all across Central Asia depicts a similar practice and philosophy. Yet, a close affinity can also be traced to the Indian art of paṭa painting, which was still prevalent around the eastern province of India around the Pala period. This present paper discusses the tradition of thangka painting as a medium for visualisation and a means to meditate upon the principal deity. The word thangka is a compound of two words – than, which is a flat surface and gka, which means a painting. Thus, a thangka represents a painting on a flat sur-
{"title":"The Religious and Social Significance of Chenrezig in Vajrāyana Buddhism. A Study of Select Tibetan Thangkas","authors":"Sama Haq","doi":"10.15804/aoto201609","DOIUrl":"https://doi.org/10.15804/aoto201609","url":null,"abstract":"he tradition of thangkas has earned itself the merit of pioneering Tibetan art in the 21 century. The purpose behind the effulgent images is not to simply lure worshippers with their exuberant colours and designs; it also follows an intricate system of iconometric and iconologic principles in order to beseech the benefaction of a particular deity. As a result, a thangka is worshipped as a didactic ‘visual aid’ for Tibetan Buddhist religious practices. Tracing the origin of the artistic and socio-cultural practices behind a thangka recreates a texture of Central Asian and Indian influences. The origin of ceremonial banners used all across Central Asia depicts a similar practice and philosophy. Yet, a close affinity can also be traced to the Indian art of paṭa painting, which was still prevalent around the eastern province of India around the Pala period. This present paper discusses the tradition of thangka painting as a medium for visualisation and a means to meditate upon the principal deity. The word thangka is a compound of two words – than, which is a flat surface and gka, which means a painting. Thus, a thangka represents a painting on a flat sur-","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121429622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Āyāgapaṭas of Mathura","authors":"K. Kishore","doi":"10.15804/aoto201604","DOIUrl":"https://doi.org/10.15804/aoto201604","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122688475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
he concept of painting melodic modes ( rāgas ) constitutes a unique genre of Indian painting. What was its genesis? How was it that an abstract form ( amūrtarūpa ) transformed into a concrete form ( mūrtarūpa ) in a material medium? This paper is divided into two parts; the first part addresses a brief history of Indian music, the antiquity of the rāga form it seeks to investigate and the relationship between music and rāgacitra s. The second part deals with the case study of Rāgiṇī Bhairavī. The Nāṭyaśāstra of Bharata deals with two distinct forms of ancient Indian music d Gandharva and Gāna. Abhinavagupta, the foremost commentator of the Nāṭyaśāstra a carefully distinguishing between the two systems of music. Gandharva music represented the classical form of ancient Indian music, while Gāna or Dhruva-gāna was the music of the theatre, moulded to suit the structure and atmosphere of dramatic plots. The fundamental distinction was that Gandharva music had a rigid framework and was ritualistic music resulting in transcendental merit. On the other hand, Dhruva-gāna was free from rigid, ritualistic restrictions. Its ultimate purpose was to produce rasa, which is an evocative mood created by the art object and thereby imparts pleasure to the audience. The Dhruva songs were set to musical forms such as grāma-rāga s, rāga s, bhāṣā , vibhāṣā etc. Rāga s are explicitly referred to in the seventh century musicological text Bṛhaddeśi of Mātaṅga. He clearly states that ““that which is pleasing to people is called rāga .” 1) T
{"title":"Rāgiṇī Bhairavī. A Case Study of Select rāgacitras from the Miniature Paintings of Mewar (16th–17th Century C.E.)","authors":"Anupama Pande","doi":"10.15804/aoto201611","DOIUrl":"https://doi.org/10.15804/aoto201611","url":null,"abstract":"he concept of painting melodic modes ( rāgas ) constitutes a unique genre of Indian painting. What was its genesis? How was it that an abstract form ( amūrtarūpa ) transformed into a concrete form ( mūrtarūpa ) in a material medium? This paper is divided into two parts; the first part addresses a brief history of Indian music, the antiquity of the rāga form it seeks to investigate and the relationship between music and rāgacitra s. The second part deals with the case study of Rāgiṇī Bhairavī. The Nāṭyaśāstra of Bharata deals with two distinct forms of ancient Indian music d Gandharva and Gāna. Abhinavagupta, the foremost commentator of the Nāṭyaśāstra a carefully distinguishing between the two systems of music. Gandharva music represented the classical form of ancient Indian music, while Gāna or Dhruva-gāna was the music of the theatre, moulded to suit the structure and atmosphere of dramatic plots. The fundamental distinction was that Gandharva music had a rigid framework and was ritualistic music resulting in transcendental merit. On the other hand, Dhruva-gāna was free from rigid, ritualistic restrictions. Its ultimate purpose was to produce rasa, which is an evocative mood created by the art object and thereby imparts pleasure to the audience. The Dhruva songs were set to musical forms such as grāma-rāga s, rāga s, bhāṣā , vibhāṣā etc. Rāga s are explicitly referred to in the seventh century musicological text Bṛhaddeśi of Mātaṅga. He clearly states that ““that which is pleasing to people is called rāga .” 1) T","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"253 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122153771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Muslim Barbie’ fights for values","authors":"Dominika Łukoszek","doi":"10.15804/aoto201412","DOIUrl":"https://doi.org/10.15804/aoto201412","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114649873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visual art in Indonesia. Introduction","authors":"M. Lis","doi":"10.15804/aoto201413","DOIUrl":"https://doi.org/10.15804/aoto201413","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123808480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chinese Embroidered Textiles from the Period between the 18th and the 20th Centuries in the Collection of the National Museum in Warsaw","authors":"Katarzyna Zapolska","doi":"10.15804/aoto201506","DOIUrl":"https://doi.org/10.15804/aoto201506","url":null,"abstract":"","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122610588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article presents the analysis of the Lamaist ritual Dugzhuuba. It is a great purification service – hural that takes place the day before the New Year according to the lunar calendar. Buddhists believe that participation in this rite purifies them from 64 sins as well as repelling all evil spirits. The most important items of Lamaist cult applied during this ritual are described in the article. Some of them are the balin – figures made of dough that are used as symbolic offerings to Dokshits (the severe deities), soor – a triangle pyramid, and others. In the article it is shown how the pragmatic side of the Buddhist cult, namely the rite Dugzhuuba, reflects and emphasizes the bases of Buddhist philosophy. The specifics of the Lamaist cult among the Buryat is also discussed.
{"title":"Przedmioty kultu lamaiskiego stosowane w obrzędzie Dugżuuba","authors":"Aleksandra Wiktoria Martines","doi":"10.15804/aoto201210","DOIUrl":"https://doi.org/10.15804/aoto201210","url":null,"abstract":"The article presents the analysis of the Lamaist ritual Dugzhuuba. It is a great purification service – hural that takes place the day before the New Year according to the lunar calendar. Buddhists believe that participation in this rite purifies them from 64 sins as well as repelling all evil spirits. The most important items of Lamaist cult applied during this ritual are described in the article. Some of them are the balin – figures made of dough that are used as symbolic offerings to Dokshits (the severe deities), soor – a triangle pyramid, and others. In the article it is shown how the pragmatic side of the Buddhist cult, namely the rite Dugzhuuba, reflects and emphasizes the bases of Buddhist philosophy. The specifics of the Lamaist cult among the Buryat is also discussed.","PeriodicalId":240161,"journal":{"name":"Art of the Orient","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114152056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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