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Drama and Ritual of Early Hinduism sets out to explore the foundations of theatre in ritual practice. In a careful, systematic way Lidova lays out a process by which the classical Sanskrit theatre may have come into existence. Scholars have wrestled with this question for centuries. Because of this work we have a better understanding of the process. The work is bound to encourage further speculation about this topic in the years to come.
Scholars of Vedic religion have long recognized the centrality of ritual categories to Indian thought. There have been few successful attempts, however, to bring the same systematic rigor of Vedic Scholarship to bear on later "Hindu" ritual. Excavating the deep history of a prominent ritual category in "classical" Hindu texts, Geslani traces the emergence of a class of rituals known as santi, or appeasement. This ritual, intended to counteract ominous omens, developed from the intersection of the fourth Veda - the oft-neglected Atharvaveda - and the emergent tradition of astral science (Jyotisastra) sometime in the early first millennium, CE. Its development would come to have far-reaching consequences on the ideal ritual life of the king in early-medieval Brahmanical society. The mantric transformations involved in the history of santi led to the emergence of a politicized ritual culture that could encompass both traditional Vedic and newer Hindu performers and practices. From astrological appeasement to gift-giving, coronation, and image worship, Rites of the God-King chronicles the multiple lives and afterlives of a single ritual mode, unveiling the always-inventive work of the priesthood to imagine and enrich royal power. Along the way, Geslani reveals the surprising role of astrologers in Hindu history, elaborates conceptions of sin and misfortune, and forges new connections between medieval texts and modern practices. In a work that details ritual forms that were dispersed widely across Asia, he concludes with a reflection on the nature of orthopraxy, ritual change, and the problem of presence in the Hindu tradition.
Sonic Liturgy: Ritual and Music in Hindu Tradition builds on the foundation of Guy L. Beck's earlier work, which described the theoretical role of sound in Hindu thought. Sonic Liturgy continues the discussion of sound into the realm of Hindu ritual and musical traditions of worship. Beginning with the chanting of the Sama-Veda alongside the fire sacrifices of the ancient Indo-Aryans and with the classical Gandharva music as outlined in the musicological texts of Bharata and Dattila, Beck establishes a historical foundation for an in-depth understanding of the role of music in the early Puja rituals and Indian theater in the vernacular poetry of the Bhakti movements in medieval temple worship of Siva and Vishnu in southern India, and later in the worship of Krishna in the northern Braj region. By surveying a multitude of worship traditions, Beck reveals a continuous template of interwoven ritual and music in Hindu tradition that he terms "sonic liturgy," a structure of religious worship and experience that incorporates sound and music on many levels. In developing the concept and methods for understanding the phenomenon of sonic liturgy, Beck draws from liturgical studies and ritual studies, broadening the dimensions of each, as well as from recent work in the fields of Indian religion and music. As he maps the evolution of sonic liturgy in Hindu culture, Beck shows how, parallel to the development of religious ritual from ancient times to the present, there is a less understood progression of musical form, beginning with Vedic chants of two to three notes to complicated genres of devotional temple music employing ragas with up to a dozen notes. Sonic liturgy in its maturity is manifest as a complex interactive worship experience of the Vaishnava sects, presented here in Beck's final chapters.
Most overviews of Hindu belief and practice follow a history from the ancient Vedas to today. Such approaches privilege Brahmanical traditions and create a sense of Hinduism as a homogenous system and culture, and one which is largely unchanging and based solely on sacred texts. In reality, modern Hindu faith and culture present an extraordinary range of dynamic beliefs and practices. 'Contemporary Hinduism' aims to capture the full breadth of the Hindu worldview as practised today, both in the sub-continent and the diaspora. Global and regional faith, ritualised and everyday practice, Brahmanical and non-Brahmanical belief, and ascetic and devotional traditions are all discussed. Throughout, the discussion is illustrated with detailed case material and images, whilst key terms are highlighted and explained in a glossary. 'Contemporary Hinduism' presents students with a lively and engaging survey of Hinduism, offering an introduction to the oldest and one of the most complex of world religions.
This handbook is a comprehensive study of the archaeology, social history and the cultural landscape of the Hindu temple. Perhaps the most recognizable of the material forms of Hinduism, temples are lived, dynamic spaces. They are significant sites for the creation of cultural heritage, both in the past and in the present. Drawing on historiographical surveys and in-depth case studies, the volume centres the material form of the Hindu temple as an entry point to study its many adaptations and transformations from the early centuries CE to the 20th century. It highlights the vibrancy and dynamism of the shrine in different locales and studies the active participation of the community for its establishment, maintenance and survival. The illustrated handbook takes a unique approach by focusing on the social base of the temple rather than its aesthetics or chronological linear development. It fills a significant gap in the study of Hinduism and will be an indispensable resource for scholars of archaeology, Hinduism, Indian history, religious studies, museum studies, South Asian history and Southeast Asian history. Chapters 1, 4 and 5 of this book are available for free in PDF format as Open Access from the individual product page at www.routledge.com. They have been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.
This study is focused on the interaction of material and symbolic values ascribed to sacred trees in India and expressed in 3,000 years of ritual practice. Point of departure is the contemporary trend of mining religious narratives in order to mobilise environmental awareness.
The Kamasutra is best known in the West for its scandalous celebration of unbridled sensuality. Yet, there is much, much more to it; embedded in the text is a vision of the city founded on art and aesthetic pleasure. In Foucault and the "Kamasutra", Sanjay K. Gautam lays out the nature and origin of this iconic Indian text and engages in the first serious reading of its relationship with Foucault. Gautam shows how closely intertwined the history of erotics in Indian culture is with the history of theater-aesthetics grounded in the discourse of love, and Foucault provides the framework for opening up an intellectual horizon of Indian thought. To do this, Gautam looks to the history of three inglorious characters in classical India: the courtesan and her two closest male companions—her patron, the dandy consort; and her teacher and advisor, the dandy guru. Foucault’s distinction between erotic arts and the science of sexuality drives Gautam’s exploration of the courtesan as a symbol of both sexual-erotic and aesthetic pleasure. In the end, by entwining together Foucault’s works on the history of sexuality in the West and the classical Indian texts on eros, Gautam transforms our understanding of both, even as he opens up new ways of investigating erotics, aesthetics, gender relations, and subjectivity.
What is Dance? What is Theatre? What is the boundary between enacting a character and narrating a story? When does movement become tinted with meaning? And when does beauty shine alone as if with no object? These universal aesthetic questions find a theoretically vibrant and historically informed set of replies in the oeuvre of the eleventh-century Kashmirian author Abhinavagupta. The present book offers the first critical edition, translation, and study of a crucial and lesser known passage of his commentary on the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The nature of dramatic acting and the mimetic power of dance, emotions, and beauty all play a role in Abhinavagupta’s thorough investigation of performance aesthetics, now presented to the modern reader.