Transcript Bhakti movement

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Tirupati
Dhasavathara
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Statues
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Dhasava
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Mandap
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The Metaphysical Architecture of the Temple
The basic
plan of a Hindu temple is an expression of sacred geometry
where the temple is visualized as a grand mandala. By
sacred geometry we mean a science which has as its
purpose the accurate laying out of the temple ground plan
in relation to the cardinal directions and the heavens.
Characteristically, a mandala is a sacred shape consisting of
the intersection of a circle and a square.
The square shape is symbolic of earth, signifying the four
directions which bind and define it. Indeed, in Hindu
thought whatever concerns terrestrial life is governed by
the number four (four castes; the four Vedas etc.).
Similarly, the circle is logically the perfect metaphor for
heaven since it is a perfect shape, without beginning or
end, signifying timelessness and eternity, a
characteristically divine attribute. Thus a mandala (and by
extension the temple) is the meeting ground of heaven and
earth.
Rajaraja Cholan,
The Great Chola King
RELIGIOUS INFLUENCE ON ARCHITECTURE:
The Hindu religion played a vital part in the development of the Khmer
temple. This religion became established in Cambodia by the second or
third century and temples were built to honor Hindu gods.
It was Jayavarman II (c. AD800 to AD850) who introduced the cult of
devaraja into Cambodia, establishing the king as a representative of the
Hindu god Siva. From this time temples were being built to honor both the
god and the king. During the next two reigns, the practice of each new king
building his own temple which became his tomb on his death, was firmly
established.
It was also Jayavarman II who made the first attempt at a [Map / pyramid
temple], imitating the cosmic mountain of Hindu mythology, Mount Meru.
This form would gradually evolve over the next 350 years to its most
complex and brilliant creation, the Temple of [Map / Angkor Wat].
The Hoysala dynasty: 1000 A.D. to 1346 A.D.
Founded by a tribal chief Nripa Kama, the dynasty is
well remembered for the beautifully carved temples
of Belur, Halebidu, Somanathapur, Shravanabelagola
and others. Sandwiched between the Cholas to the
south and the Badami Chalukyas in the north,
Hoysala kings had a difficult time to keep their
kingdom intact. But this did not affect their
prosperity and administrative stability. Like most
kings from Karnataka, Hoysalas were famous for
their religious tolerance. They were also great patrons
of art and culture.
Intricately Carved Sculpture of a Dancer, Belur
http://www.kamat.com/kalranga/deccan/hoysala/3344.htm
KHAJURAHO
Shakti - Power and Femininity in Indian Art
Long ago, there reigned a mighty king named Ila. Once while hunting, he came upon a
grove where Shiva was making love with Parvati, and surprise of surprises, Shiva had
taken the form of a woman to please her. Everything in the woods, even the trees had
become female, and as he approached even King Ila himself was transformed into a
woman! Shiva laughed out aloud and told him to ask for any boon except that of
masculinity.
Thus says the Shaktisangama Tantra:
Woman is the creator of the universe,
the universe is her form;
woman is the foundation of the world,
she is the true form of the body.
In woman is the form of all things,
of all that lives and moves in the world.
There is no jewel rarer than woman,
no condition superior to that of a woman.
No wonder even the most powerful of gods, like Shiva above, crave to enter the
feminine form, hoping to acquire at least some of her glorious power.
According to the Devi-Mahatmya:
By you this universe is borne,
By you this world is created,
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O Devi, by you it is protected.
The Path of Bhakti
The Alvars
The earliest saints who appeared after Buddhist era on the Indian scene were
Alvars (a.k.a. Alwars). They came from present day Tamilnadu.
According to modern scholars the Alvars flourished between seventh and ninth
centuries A.D. They were worshippers of Vishnu and are known as Bhagavata
(followers of Lord Vishnu; also known as Vaishnavas). Vishnu's incarnation is
Krishna, who for is popular in Western India. The Guptas in North and Pallavas
in South were followers of Vishnu and Bhagavata teachings. The Alvars who are
twelve in number were great mystics and sang their mystic experiences in simple
poems known as Pashuras composed in ecstatic love towards the Lord which
depict different bhavas (attitudes).
The greatest Alvar was Nammalvar, also known as Satakopan and belonged to
lowly Vellala caste. He composed four Tamil Vedas-- Thiruvaimoli, his famous
hymn speaks of God as all pervading spiritual principle who assumes different
human forms for the upliftment of devotees.
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King- sage
Basaveshwara who
founded the
Veerashaivism in the
12th century
Basaveshwara showed
common people a new
path to reach God -- one
through their vocation.
Sage Basaveshwara who
founded the Lingayat
cult in 12th century.
http://www.kamat.com/k
alranga/kar/literature/hist
ory4.htm
King- sage Basavanna (a.k.a. Basaveshwara)
stood for equality for all and dreamt of a casteless
society. He criticized all forms of social injustice,
condemned vehemently several superstitions and
animal sacrifice, and taught that the path of
devotion was the best way for self-realization. He
advocated equal opportunity for women with men
in all fields: social, religious, and economic. These
reforms attracted devotees from the lower strata
of society along with highly placed and educated
people as well. Thus there were shoemakers
(Madara Dhulayya), cowherds ( Ramanna ),
tailors ( Sujikayakada Ramitande), basketmakers
( Medara Ketayya ), and a carpenter ( bachi
Kayakada Basappa). All of them turned great
devotees and Vachanakaras. Kayakave Kailasa
--work is worship -- became
the mantra. Their Vachanas born out of their
respective vocations are full of imagery and
liveliness.
Cripple me, father,
that I may not go here and there,
Blind me, father,
that I may not look at this and that,
Deafen me, father,
that I may not hear anything else.
Keep me
at your men's feet
looking for nothing else,
O lord of the meeting rivers.
by Basavanna
Translated by A. K. Ramanujan
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The Bhakti Movement
800 A.D - 1700 A.D.
Bhakti movement is responsible for the many rites and rituals associated
with the worship of God by Hindus, Muslims and Sikhs.
Consider music: Kirtan at a Hindu Temple, Qawalli at a Dargah (by
Muslims), and Gurbani at a Gurdwara derive from the Bhakti movement.
(800-1700). "The word bhakti is derived from Bhakta meaning to serve,
honour, revere, love and adore. In the religious idiom, it is attachment or
fervent devotion to God and is defined as "that particular affection which
is generated by the knowledge of the attributes of the Adorable One."
The concept is traceable to the Vedas where its intimations are audible in
the hymns addressed to deities such as Varuna, Savitra and Usha.
However, the word bhakti does not occur there. The word occurs for the
first time in the Upanisads where it appears with the co-doctrines of
grace and self surrender." ( Heritage of the Sikhs, Harbans Singh)
Bhakti movement spawned several different movments all across North and South
India. In North India, Bhakti movement merged with Sufi movement. People of Muslim
faith adopted it as a Sufis while Hindus as Vaisanava Bhakti.
In the north the cult was essentially Vaisnava-based, but instead of being focussed on
Vishnu, it chose to focus itself on Vishnu's human incarnations, Rama and Krishna, the
respective avatars or deities central to the two epics Ramayana and Mahabharata. For
bhakti now Visnu's incarnations ( Rama and Krisna) were the direct objects of devotion.
Adoration of the devotees was focussed on them in association with their respective
consorts: Sita with Rama; and Rukmini, his wedded wife, or Radha, his Gopika
companion, with Krisna.
Singing of Bhajans and dancing formed an important part of this worship. The dancers
were deva-dasis (female slaves of the deity) inside the temple, but nagar-badhus (public
wives) outside. Apart frorn being overwhelmingly ritualistic, the worship tended to be
intensely emotional. (Heritage of the Sikhs, Sardar Harbans Singh)
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Sultan to Shah en Shah:
The Padshahnama
Mughal Land Grants in East Bengal
Total Acres in All Grant Categories Acres in Madad-I-Maash Sanads
Total
% Total
Total
% of
All
in
Acres
Total
Categories
% of Madad-I-Maash
Sanad
total
each period
Acres in each period
1658-1707
2246
4%
2009
89%
6%
1707-1712
114
0%
75
66%
0%
1713-1719
43
0%
43
100%
0%
1719-1748
19694
36%
9858
50%
31%
1748-1754
17375
32%
13127
76%
41%
1754-1759
14531
27%
8588
59%
27%
54003
100%
32120
59%
100%
Total Number of Mughal Grants
Chiraghi
Muslim Madad-iMash
Hindu Madad-iMash
Sivottar
Visnottar Devottar
Brahmottar
Acres Per Sanad Grant
400
350
Acres per Sanad
300
250
Avg
Hindu
Muslim
1707-1712
1713-1719
200
150
100
50
0
1658-1707
1719-1748
periods
1748-1754
1754-1759
Imperial Spaces in Southern Asia, 1770-1840: Economic
Globalization and Military Investments
Imperial core territories from ancient to modern
times extend across Ganga River basin
• … and spread
like the Gupta
empire (4-5C) to
embrace north,
west, east, and
south, along
routes of trade,
conquest, and
cultural
expansion
Dispersion of imperial technologies produced many imperial
domains, expansive yet compact, each with its own core territory,
spread across southern Asia in the wake of the Mongols
.
… forming the political scene when Vasco da Gama
arrived, in 1498