Search results for: deification

Authors: Subramanian Chidambaran

Abstract:

Right from the Vedic period, we have instances of human heroes being deified and later even assimilated into other deities. Many scholars opine Indra to be one such Vedic deity who rose from a ‘human leader’ to the position of Devata. We also see the assimilation of the Vedic deity Rudra into Śiva in post-Vedic period. Thus the current deities and Gods we worship in the polytheistic Hindu system have been a result of many such deifications and assimilations. Hanumān is one such contemporary character in Indian culture that changed from a valiant hero of the Rāmāyaṇa to a prominent deity in present days. There are also many arguments on whether Hanumān was truly a monkey or a human as the term ‘vānara’ could be interpreted as ‘vā narah’ i.e. ‘or a human’. Despite the popularity of this deity, there is very little academic research done on the genesis and evolution of him. There are many questions that arise - Does Hanumān find any mention (in any form) in literature or archaeological evidence prior to Vālmῑki Rāmāyaṇa? What is the character of Hanumān in the Vālmῑki Rāmāyaṇa? How has this evolved in later Indian literature and where do we see the deification process beginning? What’s the character of Hanumān in literature beyond Indian shores such as Southeast Asian literature and how does it compare with those in Indian literature? This paper is an attempt to answer these questions and trace the evolution of the character Hanumān right from the Vālmῑki Rāmāyaṇa to other Indian literature as well as Southeast Asian literature.

Keywords: Hanumān, Indian, Rāmāyaṇa, Southeast Asia

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Authors: Sagnik Mridul

Abstract:

This paper examines the evolving semiotics of the figure of Rama within the contexts of Indian mythology, cultural history, and contemporary politics. Tracing the transformation of Rama from a human protagonist in Valmiki's Ramayana to a divine figure in later Sanskrit and vernacular retellings, the study explores the shifting paradigms of his portrayal. It highlights how successive reinterpretations have inscribed new layers of meaning onto the signifier ‘Rama,’ reflecting diverse socio-religious and political agendas. Drawing on theoretical frameworks from Roland Barthes, Saussure, Sheldon Pollock, and contemporary postcolonial scholars, the study traces Rama's metamorphosis from a literary character in classical Sanskrit texts to a powerful nationalist symbol in contemporary political discourse. The analysis begins with the portrayal of Rama as an ideal human being, embodying virtues central to his identity as a son, prince, husband, warrior, and king. The text highlights the duality of Rama's character, oscillating between human and divine traits, particularly in the context of his association with Vishnu as an incarnation. The paper also examines the politicization of Rama's image, particularly during the 12th century, when regional kings began to identify themselves with Rama to legitimize their rule amidst external threats, such as invasions by Turkic rulers. The research critically examines the transformation of Rama's narrative in modern times, how right-wing Hindu nationalist movements, particularly the Bharatiya Janata Party (BJP) and Rashtriya Swayamsevak Sangh (RSS), have transformed Rama from a complex mythological figure into a potent political signifier of This appropriation illustrates Barthes' concept of myth-making, where complex historical realities are simplified into narratives that serve contemporary ideological needs.

Keywords: ramayana, myth, politicization, semiotics, deification

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Authors: Yin Ruoxi

Abstract:

During the Eastern Han to Three Kingdoms period, Buddhism had not yet received comprehensive support from the ruling class, and its dissemination remained relatively limited. Based on existing evidence, Buddhist architecture was primarily concentrated in regions central to scripture translation and cultural exchange with the Western Regions, such as Luoyang, Pengcheng, and Guangling. The earliest Buddhist structures largely adhered to the traditional forms of ancient Indian architecture. The frequent wars of the late Western Jin and Sixteen Kingdoms periods compelled the Central Plains culture to interact with other civilizations. As a result, Buddhist architecture gradually integrated characteristics of Central Asian, ancient Indian, and native Chinese styles. In the Northern and Southern Dynasties, Buddhism gained formal support from rulers, leading to the establishment of numerous temples across the Central Plains. The prevalence of warfare, combined with the emergence of Wei-Jin reclusive thought and Buddhism’s own ascetic philosophy, gave rise to mountain temples. Additionally, the eastward spread of rock-cut cave architecture along the Silk Road accelerated the development of such mountain temples. Temple layouts also became increasingly complex with the deeper translation of Buddhist scriptures and the influence of traditional Chinese architectural concepts. From the earliest temples, where the only Buddhist structure was the temple itself, to layouts centered on the stupa with a "front stupa, rear hall" arrangement, and finally to Mahavira Halls becoming the sacred focal point, temple design evolved significantly. The grand halls eventually matched the scale of the central halls in imperial palaces, reflecting the growing deification of the Buddha in the public imagination. The multi-storied wooden pagoda exemplifies Buddhism’s remarkable adaptability during its early introduction to the Central Plains, while the dense- eaved pagoda represents a synthesis of Gandharan stupas, Central Asian temple shrines, ancient Indian devalaya, and Chinese multi-storied pavilions. This form demonstrates Buddhism’s ability to absorb features from diverse cultures during its dissemination. Through its continuous interaction with various cultures, Buddhist architecture achieved sustained development in both form and meaning, laying a solid foundation for the establishment and growth of Buddhism across different regions.

Keywords: Buddhism, buddhist architecture, pagoda, temple, South Asian Buddhism, Chinese Buddhism

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Authors: Kleopatra Chatzigiosi

Abstract:

The paper delves into the spatial and mythological examination of the choral chant of Dithyramb in the 7th BC, its connections to Dionysus, and its role in the origin of drama, exploring harmonious and symbolic aspects of early Greek culture. The primary aim is to analyze the development of Dithyramb in relation to harmonic systems and early musical scales, linking them to circular time and celestial movements. Additionally, the study seeks to unveil the mythological ties of Dithyramb with ancient rituals worshipping Mother Earth Cybele. The methodology involves researching etymology and mythology related to Dithyramb based on Pindar's works and proposing a harmonious design for the performance space of Dithyramb through harmonic spirals inspired by ancient practices. Ιt is also included a comparative study with similar choral traditions from other ancient cultures, providing a broader context for the findings of the work. The research uncovers the symbolic significance of Dithyramb as a dramatized representation of harmonic phenomena, leading to human deification within a context of Sacred Architecture, highlighting the intricate connections between music, rituals, and divine worship in ancient Greek culture. The study enriches understanding of the harmonic and symbolic underpinnings of ancient Greek choral traditions, shedding light on the complex interplay between music, mythology, and ritual practices in the development of early theatrical performances. Data was collected through an in-depth analysis of ancient texts, specifically Pindar's Dithyrambs, to trace the etymology and mythological origins of Dithyramb and its associated symbolism. The analysis involved scrutinizing ancient sources to draw connections between Dithyramb, harmonic systems, celestial movements, and mythological narratives, culminating in a comprehensive exploration of the cultural and symbolic significance of this choral tradition. The study addresses how the choral chant of Dithyramb evolved harmoniously within the ancient Greek cultural framework, its connections to celestial phenomena and ritual practices, and the symbolic implications of its mythological associations within a sacred architectural context. The research illuminates the profound cultural, symbolic, and harmonic dimensions of the choral chant of Dithyramb, offering valuable insights into the intersections between music, mythology, and ritual in ancient Greece, enriching scholarly understanding of early theatrical traditions.

Keywords: circular choral chant of dithyramb, “exarchon”( leader), great “eniautos” (year), harmony labyrinth

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