The Purpose Of This Book Is To Provide An Overview Of The Material Culture Of Bengal Through A Selection Of Nine Sites, Three Of Which Are Now In Bangladesh And Six In West Bengal.
This book offers global perspectives from Mediterranean, Asian, Australian, and American cultures on sacred sites and their related stories in regional history. Contemporary society witnesses many travelers visiting sacred sites (temples, mountains, castles, churches, houses) throughout the world. These visits often involve discovery of new historical facts through the origin stories of the associated tribe, region, or nation. The transmission of oral tradition and myth carries on the significant meaning of those religious sites. This volume unveils multi-angle perspectives of symbolic and mystical places. The contributors describe the religio-political experiences of each regional case, and analyze the religiosity of local people as a lens through which readers can re-examine the concept of iconography, syncretism, and materialism. In addition, contributors interpret the growth of new religions as the alternative perspectives of anti-traditional religions. This new approach offers significant insight into comprehending the practical agony and sorrow of regional people in the context of contemporary history.
This series of narratives from the rich tradition of Bengali story-telling will draw from the substantial Bengal collections of the British Museum, which range from the courtly to the popular, and date from the 9th century to the present day. It will demonstrate the connections of history and myth, and will feature works from undivided Bengal - that is West Bengal in the Union of India, and the sovereign state of Bangladesh. The beginning of the book will focus on the powerful goddesses such as Durga, whose Puja is celebrated throughout the world wherever Bengalis are settled. Images of this event and of the goddess appear in paintings, prints and clay sculptures. Also well-known is Kali, after whom the city of Calcutta is probably named. Her legendary paradox of blood-thirst and tenderness is clear from the turbulent oil paintings of the 20th century recluse Sachidananda Sen. Poetry and prose descriptions of her story make lively reading. Other important female deities whose exotic stories fill scroll-paintings and popular prints include the snake goddess Manasa, and the goddesses of learning, Sarasvati, and of wealth, Laxmi.Story-telling scrolls which were used for recitation enable these dramatic stories to be told. Each are different in ambience, from heroic and the adventurous to exquisitely sensuous and erotic sensibility. Gods and goddesses aren't the whole story. Scrolls used by story-telling are filled with exciting myths that cross the Hindu-Muslim divide. The most important of all the scrolls in the British Museum collection, which tells the story of the Muslim saint, Gazi, illustrates the way in which Muslim pioneers penetrated the delta and settled in the swampy, jungle-filled lands.
Working with Bengali mentors, especially his close friend A. B. Ghose, Sir John Woodroffe became the pseudonymous orientalist Arthur Avalon, famous for his tantric studies at the beginning of the twentieth century. Best known for The Serpent Power, the book which introduced 'Kundalini Yoga' to the western world, Avalon turned the image of Tantra around, from that of a despised magical and orgiastic cult into a refined philosophy which greatly enhanced the prestige of Hindu thought to later generations of westerners. This biographical study is in two parts. The first focuses on Woodroffe's social identity in Calcutta against the background of colonialism and nationalism - the context in which he 'was' Arthur Avalon. To a very unusual degree for someone with a high position under the empire, Woodroffe the British High Court Judge absorbed the world of the Bengali intellectuals of his time, among whom his popularity was widely attested. His admirers were attracted by his Indian nationalism, to which his tantric studies and supposed learning formed an important adjunct. Woodroffe's friend Ghose, however, was the chief source of the textual knowledge in which the 'orientalist' scholar appeared to be deeply versed. The second part of this study assesses Woodroffe's own relationship to Sanskrit and to the texts, and highlights his very extensive but gifted use of secondary sources and the knowledge of Ghose and other Indian people. It examines the apologetic themes by which he and his collaborators made Tantra first acceptable, then fashionable. Partly because of his mysterious pseudonym, Woodroffe acquired a near legendary status for a time, and remains a fascinating figure. This book is written in a style that should appeal to the general reader as well as to students of Indian religions and early twentieth century Indian history, while being relevant to the ongoing debate about 'orientalism'.
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