Interaction Between Br Hma Ical And Buddhist Art

The Present Volume Is An Outcome Of The Expert Discussion On The Theories Of Brahmanism And Buddhism, In An International Meet At Jnana-Pravaha. Philosophical And Artistic Interaction Between The Two Have Been Brilliantly Discussed With References To Famous Places As Well As Texts To Unravel Basic Principles.

A stimulating account of the wide range of approaches towards conceptualising emotions in classical Indian philosophical–religious traditions, such as those of the Upanishads, Vaishnava Tantrism, Bhakti movement, Jainism, Buddhism, Yoga, Shaivism, and aesthetics, this volume analyses the definition and validity of emotions in the construction of

Reason's Traces addresses some of the key questions in the study of Indian and Buddhist thought: the analysis of personal identity and of ultimate reality, the interpretation of Tantric texts and traditions, and Tibetan approaches to the interpretation of Indian sources. Drawing on a wide range of scholarship, Reason's Traces reflects current work in philosophical analysis and hermeneutics, inviting readers to explore in a Buddhist context the relationship between philosophy and traditions of spiritual exercise.

This publication examines art, the human sciences, science, philosophy, mysticism, language and literature. For this task, UNESCO has chosen scholars and experts from all over the world who belong to widely divergent cultural and religious backgrounds.--Publisher's description.

The contributions to this book address a series of ‘confrontations’—debates between intellectual communities, the interplay of texts and images, and the intersection of monumental architecture and physical terrain—and explore the ways in which the legacy of these encounters, and the human responses to them, conditioned cultural production in early South Asia (c. 4th-7th centuries CE). Rather than an agonistic term, the book uses ‘confrontation’ as a heuristic to examine historical moments within this pivotal period in which individuals and communities were confronted with new ideas and material expressions. The first half of the volume addresses the intersections of textual, material, and visual forms of cultural production by focusing on three primary modes of confrontation: the relation of inscribed texts to material media, the visual articulation of literary images and, finally, the literary interpretation and reception of built landscapes. The second part of the volume focuses on confrontations both within and between intellectual communities. The articles address the dynamics between peripheral and dominant movements in the history of Indian philosophy.

In this new collection of her provocative essays on Third World art and culture, Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, she examines topics such as Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game."