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2019, Journal of Asian Humanities at Kyushu University
Discussion of astrological icons in Mikkyō star maṇḍalas (hoshi mandara 星曼荼羅) and other relevant specimens. This study also dates the New York MET star maṇḍala based on the configuration of the planets in relation to the zodiac signs depicted therein. Kotyk, Jeffrey. "Research Note on Brahmanical Deities in Mikkyō Astrological Art." Journal of Asian Humanities at Kyushu University 4 (2019): 101–108.
This study examines the planetary icons found in East Asian art, arguing that they should be divided into three sets: Indian, zoomorphic and Iranian-Mesopotamian. It is demonstrated that the Indian icons are earlier representations of the navagraha directly from India. The latter two are identified as coming from an Iranian source. The Iranian-Mesopotamian icons are further discussed in relation to parallels found in the Picatrix, the Latin translation of an Arabic manual of astral magic. The roles of these icons within the magical traditions of Buddhism and Daoism are identified. It is proven that such astral magic was also imported from Near Eastern sources.
This essay introduces the earliest known representations of planets and other stellar deities in East and Central Asian Buddhist art, especially in China. The five biggest planets, Venus, Mars, Jupiter, Saturn and Mercury, were observed and named at an early stage in China. However, their anthropomorphic representations became popular only after the arrival of Buddhism. It is likely that Western traditions regarding their appearance were transmitted through India. In Buddhist sutras the planets are often described as paying homage to the Buddha and listening to his teachings, and this is how many paintings represent them. A Chinese painting from Dunhuang shows a seated Buddha (the Buddha of the Blazing Light) on a chariot surrounded by the planets, represented as human figures with their attributes. Such representation of this Buddha was always associated with the planets. This essay introduces later Chinese paintings as well as a hitherto misidentified Uygur example of this representation, and points out that the iconography of the planets remained remarkably constant in East Asian art. The essay also includes relevant sections of sutras, as these determined the iconographic method for showing the planets up to recent times in China, Japan and Korea. From Culture & Cosmos, Volume 10 no 1 and 2 (Spring/Summer and Autumn/Winter 2006), special double, issue on The Worship of Stars in Japanese Religious Practice Volume 10 was a collaboration with the The Centre for the Study of Japanese Religions at the School of Oriental and African Studies, University of London, guest edited by Lucia Dolce.
Indo Nordic Author's Collective
The astrological mandala2020 •
What is a Horoscope- It is a Mandala. Find out details from this article
Abstract. Like many ancient cultures, in Hindu tradition too Sun is considered to be the most prominent divinity in the cosmos and has been part of invocation and festivities since the ancient past. While testing the hypothesis that the city plan of Varanasi has developed according to a cosmic order, it is observed that the temples and shrines related to Sun (Aditya) are placed in a meaningful spatially manifested pattern corresponding to the cosmic geometry and the movement of sun, the association of cosmic north and Kashi-North, and the celebrating seasonal festivities in a sequential order referring to solstices and equinoxes. Probably, this pattern had grown in pre-Brahmanical tradition, and later on superseded by the Shaiva tradition, however they are still part of active veneration and festivities. The nomenclature and iconographic features of all the fourteen Sun images in Varanasi further indicate the mythological links to belief systems and the inherent scientific meanings that were codified in the mystical tradition and continued as part of religious tradition. Keywords: cosmic order, equinox, mythology, sacred geometry, spatial pattern, solstice, sun images, zodiac.
Journal of Bengal Art, vol.24
An Image of the Sun God with Planetary Deities from Belkash, Purba Bardhaman District2019 •
The paper embodies the study of a Sūrya image recorded during my investigation in the district of Bardhaman, West Bengal, India. The sculpture was salvaged from the Damodar River six years back as informed by the villagers of Belkash, district of Purba [East] Bardhaman. The icon of the deity is presently enshrined and under active worship in one of the ruined terracotta temples of the village Belkash .
We use Varanasi, the paradigmatic holy city of India, as an illustration of the incorporation of visual astronomy into Hindu culture. In the city the Sun is honored in three ways: at morning worship, during pilgrimage, and as an icon in temples. Specific attributes of the Sun are symbolized by the Adityas, represented by fourteen temples which were destroyed during the years of Mughal occupation of the city after C.E./A.D. 1192. According to local tradition the locations of these temples remained in the communal memory of the city and are marked today by Sun disks, lotus-form stones or images of Surya that are set into the walls of houses or installed in shrines or temples. Many of the sites are included in pilgrimage routes of the city. With the use of the Global Positioning System (GPS) we have mapped the positions of the Adityas and find that most lie along the sides of a triangle which surrounded the original center of the city. The major text that deals with Varanasi and its spiritual traditions, the Kashi Khanda, gives the myths, stories and rituals associated with each of the former Sun temples and reveal the significance of the Sun for inhabitants and pilgrims. The Sun is understood to be a caring and protective deity, providing relief from life’s ordinary problems such as skin disease, infertility, hunger and the problems of old age and death. The Kashi Khanda also includes references to probable observations of naked-eye sunspots, meteor showers, and the total solar eclipse of C.E./A.D. 1054.
2014 •
Two of the more remarkable sites of early Japan that have astronomical iconography are Takamatsu Zuka Kofun and Kitora Kofun. Located south of the ancient capital of Fujiwa-ra Kyou in Asuka, these tumuli contain star charts and paintings adapted from China and Korea in what was the first major wave of cultural diffusion of knowledge from the continent in the early centuries of the common era. While the overall layout of the two tombs is similar, the ceiling star charts are quite different. That of Takamatsu Zuka is square and includes the 28 sei shuku or moon lodges, arranged in correspondence to the four animals of cardinal directions. That of Kitora is circular and contains stars visible to an observer of the chart's base latitude. Following discussion of the geographical and historical context of the two tombs, this article provides an explanation of the iconography of each tomb, including the astronomical and cosmological basis of the ceiling star charts and wall paintings, consideration of anomalies and problems related to each tomb's iconography, and a discussion of the implications of the iconography. While the tumuli reflect some of the best-preserved examples of ancient Chinese cosmological principles, they also indicate that tomb builders may not have fully understood these principles in adapting them to the locale of their construction. The iconography provided a symbolic base for reinforcing the hegemonic power of those who ruled and may have had greater importance in that role than in providing an accurate representation of the cosmos.
Synopsis The knowledge of illumination was singled out in the extraordinary Buddhist funerary cult during the early Christian period (1st-3rd century AD). In the history of art and literature a pair of anagrammatic magic words ‗Amitabha' and ‗Tejaprabha' linked to Buddha of immense light and infinite life actually spells out what the mysterious new culture actually wants. Esoteric Buddhist cult in South Asia avidly seeks the natural order of the planetary deities protecting and steering the departed to reach radiant everlasting life. Personified classical planets that express themselves with different qualities in the signs of the zodiac surround human beings facing infinity. In addition to the luminaries Sun (Surya) and Moon (Chanda), the foremost in the order of importance are — Mercury (Budha) the psychopomp, Saturn (Shani) the father of destiny and time, Venus (Sri/Lakshmi), Earth (Demeter/Hariti) and Pluto (Mara, Dharmaraja/Yama), followed by Mars the forceful lance bearer, Jupiter (Guru) the priest/teacher, and Neptune (Varun). Eventually the gleaming perpetual beings flash right up into the firmament of heaven, which is Uranus the Sky called Vasuki. The motivation of the dizzying array of planetary deities and the function of the zodiac
Two of the more remarkable sites of early Japan that have astronomical iconography are Takamatsu Zuka Kofun and Kitora Kofun. Located south of the ancient capital of Fujiwa-ra Kyou in Asuka, these tumuli contain star charts and paintings adapted from China and Korea in what was the first major wave of cultural diffusion of knowledge from the continent in the early centuries of the common era. While the overall layout of the two tombs is similar, the ceiling star charts are quite different. That of Takamatsu Zuka is square and includes the 28 sei shuku or moon lodges, arranged in correspondence to the four animals of cardinal directions. That of Kitora is circular and contains stars visible to an observer of the chart's base latitude. Following discussion of the geographical and historical context of the two tombs, this article provides an explanation of the iconography of each tomb, including the astronomical and cosmological basis of the ceiling star charts and wall paintings, consideration of anomalies and problems related to each tomb's iconography, and a discussion of the implications of the iconography. While the tumuli reflect some of the best-preserved examples of ancient Chinese cosmological principles, they also indicate that tomb builders may not have fully understood these principles in adapting them to the locale of their construction. The iconography provided a symbolic base for reinforcing the hegemonic power of those who ruled and may have had greater importance in that role than in providing an accurate representation of the cosmos.
Bulletin of The School of Oriental and African Studies-university of London
Lucia Dolce (ed.): The Worship of Stars in Japanese Religious Practice. (Special double issue of Culture and Cosmos: A Journal of the History of Astrology and Cultural Astronomy Vol. 10, nos. 1 & 2, Spring/Summer and Autumn/Winter 2006.)2009 •
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