Garland Of Visions

Garland of Visions explores the generative relationships between artistic intelligence and tantric vision practices in the construction and circulation of visual knowledge in medieval South Asia. Shifting away from the traditional connoisseur approach, Jinah Kim instead focuses on the materiality of painting: its mediums, its visions, and especially its colors. She argues that the adoption of a special type of manuscript called pothi enabled the material translation of a private and internal experience of "seeing" into a portable device. These mobile and intimate objects then became important conveyors of many forms of knowledge—ritual, artistic, social, scientific, and religious—and spurred the spread of visual knowledge of Indic Buddhism to distant lands. By taking color as the material link between a vision and its artistic output, Garland of Visions presents a fresh approach to the history of Indian painting.

In His Most Important Sanskrit Work Darshanamala, Narayana Guru Adopts Uncharted Method Of Viewing The Non-Dual Brahman Leaving The Student-Seeker To Intuitively Perceive One Ineffable Reality. The Ancient Upanishadic Wisdom Is Thus Condensed And Restated By The Guru In The Age Of Science. How Brahmavidya Naturally Becomes The Science Of All Sciences.

First Published in 1993. The present volume covers the currently identified Christian visions of heaven and hell (excluding D ante’s Divine Comedy) from western Europe during the Middle Ages from the late sixth through the fourteenth century.

This journal is no longer published by VSP / Brill.

This bibliography covers visions of Heaven and Hell - or, more usually, Purgatory and Earthly Paradise - in 19 medieval texts relating seven visions: the vision of St Paul, or the Eleven Pains of Hell; St Patrick's purgatory; the vision of Tundale; a revelation of purgatory; the revelation of the Monk of Eynsham; the vision of Fursey; and the vision of Edmund Leversedge.

Grotesque Visions focuses on the radical avant-garde interventions of Salomo Friedländer (aka Mynona), Til Brugman, and Hannah Höch as they challenged the questionable practices and evidentiary claims of late-19th- and early-20th-century science. Demonstrating the often excessive measures that pathologists, anthropologists, sexologists, and medical professionals went to present their research in a seemingly unambiguous way, this volume shows how Friedländer/Mynona, Brugman, Höch, and other Berlin-based artists used the artistic grotesque to criticize, satirize, and subvert a variety of forms of supposed scientific objectivity. The volume concludes by examining the exhibition Grotesk!: 130 Jahre Kunst der Frechheit/Comic Grotesque: Wit and Mockery in German Arts, 1870-1940. In contrast to the ahistorical and amorphous concept informing the exhibition, Thomas O. Haakenson reveals a unique deployment of the artistic grotesque that targeted specific established and emerging scientific discourses at the turn of the last fin-de-siècle.

The first major literary and cultural history of color in America, 1880–1930 Chromographia tells the story of how color became modern and how literature, by engaging with modern color, became modernist. From the vivid pictures in children’s books to the bold hues of abstract painting, from psychological theories of perception to the synthetic dyes that brightened commercial goods, color concerned both the material stuff of modernity and its theoretical and artistic formulations. Chromographia spans these diverse practices to reveal the widespread effects on U.S. literature and culture of the chromatic revolution that unfolded at the turn of the twentieth century. In analyzing color experience through the lens of U.S. writers (including Charlotte Perkins Gilman, L. Frank Baum, Stephen Crane, Charles Chesnutt, Gertrude Stein, Nella Larsen, and William Carlos Williams), Chromographia argues that modern aesthetic techniques are inseparable from the theories and technologies that drove modern color. Nicholas Gaskill shows how literature registered the social worlds within which chromatic technologies emerged, and also experimented with the ideas about perception, language, and the sensory environment that accompanied their proliferation. Chromographia is the only study of modern color in U.S. literature. It presents a new reading of perception in literature and a theory of experience that uses color to move beyond the usual divisions of modern thought.

Prophecies, Visions, Occurrences, and Dreams is an apocalyptic book. Since 1990, Raymond Aguilera began to receive prophecies, visions, and warnings form God about the end of our world as we know it. These messages range from abortion, to the New Age movement, to Pastors who have missed the flock. They reveal things to come, things that now are, and things that should not be… From hope, to love, to doom, to a new beginning, herein lies a broad range of insight from a whole new perspective. The prophecies are simple and straight forward, written from a first-hand perspective. They fly in the face of orthodox tradition and are a thorn in the side to everyone who has already made up his mind and heart on how the end is to come and who God is. This has the potential of being one of the most controversial books of the year.