Nama Rupa And Dharma Rupa

The conception of nama-rupa, "name-and-form," is that of the complex of worldly reality, i.e., differentiated contingent existence, both individual and cosmic. It pertains to the differentiation of the original infinite unity. The related term dharma-rupa presents the same conception, but expresses the contrast between the original unity and its differentiation.This book is a scholarly study of this conception, showing how it pervades Indian thought from the Hindu Vedas to the Buddhist Suttas. By way of the all-pervasive Yoga tradition it emerges and re-emerges in various forms in the different systems. This book includes material on the idea of"pre-canonical Buddhism" pioneered by Stanislaw Schayer.

This eight-volume set brings together seminal papers in Buddhist studies from a vast range of academic disciplines published over the last forty years. With a new introduction by the editor, this collection is a unique and unrivalled research resource for both student and scholar. Coverage includes: - Buddhist origins; early history of Buddhism in South and Southeast Asia - early Buddhist Schools and Doctrinal History; Theravada Doctrine - the Origins and nature of Mahayana Buddhism; some Mahayana religious topics - Abhidharma and Madhyamaka - Yogacara, the Epistemological tradition, and Tathagatagarbha - Tantric Buddhism (Including China and Japan); Buddhism in Nepal and Tibet - Buddhism in South and Southeast Asia, and - Buddhism in China, East Asia, and Japan.

The Square and the Circle of the Indian Arts is a major contribution in Indian art history. More than a book on the theories of arts, it has far-reaching implications for the way one thinks about the future of indology and art history. It provides a model to be emulated for inter-disciplinary research, not only between the arts but also the sciences and the arts. The book begins by re-examining the imagery of the Vedas and the Upanisads, highlighting some aspects of early speculative thought which influenced the enunciation of aesthetic theories, particularly of Bharata in the Natyasastra. The next chapter introduces a new methodology of analyzing the rituals (yajna) as laid down in the Yajurveda and the Satapatha Brahmana, the best way to focus the relationship between the text and the practice. Four chapters follow – one each on drama (natya), architecture (vastu), sculpture (silpa), and music (sangita). Each presents some fundamental concepts of speculative thought, concerned with each of the arts and purposefully correlates these with actual examples both of the past and the present. The afterward to this second edition remains an event not only because the book benefits from the works published since the first edition, but also because it presents the author’s integral vision and her unique adventure into the boundaries of several disciplines. It demonstrates the efficacy of her earlier approach of investigating the imagery and the metaphors as basic to the discourse of the Indian tradition. She proposes a multi-layered cluster of concepts and metaphors which enable one to uncode the complex multi-dimensional character of the Indian Arts. Also significantly she suggests a deeper comprehension of the relevance of the developments in the field of traditional mathematics and biology for the study of the language of form of the Indian Arts.

The papers published in this volume were originally read and discussed at a three day seminar sponsored by the Canadian Society for the Study of Religion/Societie Canadienne des Sciences Religieuses at Laval University, Quebec City, Quebec, May 28th to 30th, 1976. This seminar served the important function of bringing together the majority of the Canadian scholars who specialize in Indian Philosophy and Religion. The topic, Language was chosen a year earlier so that advance study on a common theme could be undertaken by all who participated. Some thirty professors, as well as a few senior graduate students, engaged in the discussion. An additional and important feature of the seminar was that since it was held during the Learned Societies meetings, a number of Western scholars with an interest in language were able to listen in to the thinking of their Eastern colleagues. This provided the basis for some interesting and informed dialogue.

This elegantly written book introduces a new perspective on Indic religious history by rethinking the role of mantra in Vedic ritual. In Bringing the Gods to Mind, Laurie Patton takes a new look at mantra as "performed poetry" and in five case studies draws a portrait of early Indian sacrifice that moves beyond the well-worn categories of "magic" and "magico-religious" thought in Vedic sacrifice. Treating Vedic mantra as a sophisticated form of artistic composition, she develops the idea of metonymy, or associational thought, as a major motivator for the use of mantra in sacrificial performance. Filling a long-standing gap in our understanding, her book provides a history of the Indian interpretive imagination and a study of the mental creativity and hermeneutic sophistication of Vedic religion.

This eight-volume set brings together seminal papers in Buddhist studies from a vast range of academic disciplines published over the last forty years. With a new introduction by the editor, this collection is a unique and unrivalled research resource for both student and scholar. Coverage includes: - Buddhist origins; early history of Buddhism in South and Southeast Asia - early Buddhist Schools and Doctrinal History; Theravada Doctrine - the Origins and nature of Mahayana Buddhism; some Mahayana religious topics - Abhidharma and Madhyamaka - Yogacara, the Epistemological tradition, and Tathagatagarbha - Tantric Buddhism (Including China and Japan); Buddhism in Nepal and Tibet - Buddhism in South and Southeast Asia, and - Buddhism in China, East Asia, and Japan.