Myths And Symbols In Indian Art And Civilization

This book interprets for the Western mind the key motifs of India`a legends myth, and folklore, taken directly from the sanskrit, and illustrated with seventy plates of Indian art. It is primarily an introduction to image thinking and picture reading in Indian art and thought and it seeks to make the profound Hindu and Buddhist intuitions of the riddles of life and death recongnizable not merely as Oriental but as universal elements.

This study interprets for the Western mind the key motifs of India's legend, myth and folklore, taken directly from the Sanskrit. It seeks to make the profound Hindu and Buddhist intuitions on the riddles of life and death recognizable not merely as Oriental but as universal elements.

A Princeton Classics edition of an essential work of twentieth-century scholarship on India Since its first publication, Philosophies of India has been considered a monumental exploration of the foundations of Indian philosophy. Based on the copious notes of Indologist, linguist, and art historian Heinrich Zimmer, and edited by Joseph Campbell, this book is organized into three sections. “The Highest Good” looks at Eastern and Western thought and their convergence; “The Philosophies of Time” discusses the philosophies of success, pleasure, and duty; and “The Philosophies of Eternity” presents the fundamental concepts of Buddhism, Brahmanism, Jainism, Sankhya and yoga, and Tantra. This work examines such areas as the Buddhist Tantras, Buddhist Genesis, the Tantric presentation of divinity, the preparation of disciples and the meaning of initiation, and the symbolism of the mandala-palace Tantric ritual and twilight language. It also delves into the Tantric teachings of the inner Zodiac and the fivefold ritual symbolism of passion. Appendices, a bibliography, and general and Sanskrit indexes are included.

Drawing from Eastern and Western literatures, Heinrich Zimmer presents a selection of stories linked together by their common concern for the problem of our eternal conflict with the forces of evil. Beginning with a tale from the Arabian Nights, this theme unfolds in legends from Irish paganism, medieval Christianity, the Arthurian cycle, and early Hinduism. In the retelling of these tales, Zimmer discloses the meanings within their seemingly unrelated symbols and suggests the philosophical wholeness of this assortment of myth. Copyright © Libri GmbH. All rights reserved.

Heinrich Zimmer (1890-1943) is best known in the English-speaking world for the four posthumous books edited by Joseph Campbell and published in the Bollingen Series: Myths and Symbols in Indian Art and Civilization, Philosophies of India, The Art of Indian Asia, and The King and the Corpse. These works have inspired several generations of students of Indian religion and culture. All the papers in this volume testify to Zimmer's originality and to his rightful place in that small group of great scholars who were part of the first generation to confront the end of European empires in India and the rest of Asia. In her introduction, Margaret Case contrasts Zimmer's approach to India with that of Jung. There follow two recollections of Zimmer, one by his daughter Maya Rauch, the other by a close friend and supporter in Germany, Herbert Nette. Then William McGuire describes Zimmer's connections with Mary and Paul Mellon and with the Jungian circles in Switzerland and New York. A brief talk by Zimmer, previously unpublished, describes his admiration for Jung. Wendy Doniger picks up the question of Zimmer's intellectual legacy, especially in the light of Campbell's editorial work on his English publications. Gerald Chapple raises another question about how his influence was felt: the division between what is known of his work in the German-and the English-speaking worlds. Kenneth Zysk then summarizes and analyzes his contribution to Western knowledge of Hindu medicine; Matthew Kapstein evaluates his place in the West's appreciation of Indian philosophy; and Mary Linda discusses his contributions to the study of Indian art in the light of A. K. Coomaraswamy's work and more recent research. Originally published in 1994. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Drawing from Eastern and Western literatures, Heinrich Zimmer presents a selection of stories linked together by their common concern for the problem of our eternal conflict with the forces of evil. Beginning with a tale from the Arabian Nights, this theme unfolds in legends from Irish paganism, medieval Christianity, the Arthurian cycle, and early Hinduism. In the retelling of these tales, Zimmer discloses the meanings within their seemingly unrelated symbols and suggests the philosophical wholeness of this assortment of myth.

To scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India's centuries of splendor has been lacking. The Art of Ancient India is the result of the author's aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: –Not since Coomaraswamyês History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art _ from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all encompassing view of the art. An outstanding portrayal of ancient Indiaês highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.