Hildegard Diemberger builds her book around the translation of the first biography of Chokyi Dronma recorded by her disciples in the wake of her death. The account reveals an extraordinary phenomenon: although it had been believed that women in Tibet were not allowed to obtain full ordination equivalent to monks, Chokyi Dronma not only persuaded one of the highest spiritual teachers of her era to give her full ordination but also established orders for other women practitioners and became so revered that she was officially recognized as one of two principal spiritual heirs to her main master.
Diemberger offers a number of theoretical arguments about the importance of reincarnation in Tibetan society and religion, the role of biographies in establishing a lineage, the necessity for religious teachers to navigate complex networks of political and financial patronage, the cultural and social innovation linked to the revival of ancient Buddhist civilizations, and the role of women in Buddhism. Four introductory, stage-setting chapters precede the biography, and four concluding chapters discuss the establishment of the reincarnation lineage and the role of the current incarnation under the peculiarly contradictory communist system.
This book gives a descriptive outline of the principal gods in the Tibetan pantheon, tracing the main features and symbols that are used to denote each one. A Comprehensive illustrated list of the various ritual objects, talismans, symbols, mudras (symbolic hand poses), and asanas and vahanas (position of the lower limbs) that are used in the images of the gods is accompanied with a word list of the Sanskrit terms most commonly encountered in a study of Lamaism.
A set of thirty-one thang-kas from the famous collection of Baron A. von Stael-Holstein, formerly of Peking, China, which came to America after the publication of the original edition of the book, has been included in this new and revised edition.
The book highlights the corpus of the paintings that are currently extant on the site. It is somewhat in line with the earlier attempts by Robert Gill (1862, 1864, 1867), John Griffiths (1896-97), Gulam Yazdani (1930-55), Dieter Schlingloff (1999, 2013), and Monika Zin (2003) to accommodate the painted narratives and major non-narrative themes with corresponding illustrations and descriptive texts.
Before Schlingloff and Zin, some of the painted themes were never identified at all; some were incorrectly identified; and many were correctly identified but various events, episodes, and scenes within a particular narrative or non-narrative panel were never fully explained. Schlingloff and Zin have done so with remarkable detail. Their illustrations are drawings, which are better suited for the purpose of in-depth study. There was a need to learn the same with the help of photographs. This book serves exactly the same purpose, albeit in an abridged format.
For the first time, a book accommodates, within the space of a single volume: (a) the entire corpus of the extant panels of the narrative and non-narrative themes (86 panels); (b) all the latest identifications of the painted themes by Dieter Schlingloff of Leipzig University and Monika Zin of Ludwig-Maximilians-Universität Munich (c) short retelling of the Jatakas and other stories (86 narrative and non-narrative painted panels) (d) long-exposure, low light, fine arts photography of 86 painted panels (143 colour photos).
Nontechnical language is used to help the students and general readers understand the entire corpus of the Ajanta paintings. At the same time, the content is so presented as to keep the expert readers engaged.
Over decades, hundreds of American undergraduates spending a semester abroad have been introduced to Tibetan culture in India, Nepal, and China by Hubert Decleer. A number went on to become prominent scholars in the field at institutions such as Yale, Berkeley, and Georgetown, and as a tribute to him they have put together this collection of cutting-edge research in Himalayan studies, bringing together contributions of this new generation with those of senior researchers in the field. This new research on the religion and culture of the Himalayan Buddhist world spans a broad range of subjects, periods, and approaches, and the diversity and strength of the contributions ensures Himalayan Passages be warmly welcomed by scholars, travelers, and Tibetan Buddhists alike.
Donald S. Lopez, Jr. tells the story of Gendun Chopel's unusual visit to Sri Lanka in 1941. Leonard van der Kuijp examines the Bodhicittavivarana, an ancient work on the enlightened resolve to free all beings. Kabir Mansingh Heimsath compares Western and Chinese curatorial approaches to Tibetan modern art. Alexander von Rospatt illuminates the fascinating history and artistic details of the famous Svayambhu stupa in Kathmandu. Sarah H. Jacoby translates the short autobiography of Sera Khandro, the celebrated female Tibetan mystic of a century ago. Additional contributors include Franz-Karl Ehrhard, Ernst Steinkellner, Jacob P. Dalton, Iain Sinclair, Anne Vergati, Punya Prasad Parajuli, and Dominique Townsend.
In this second volume of The Masks of God — Joseph Campbell's major work of comparative mythology — the pre-eminent mythologist looks at Asian mythology as it developed over the course of five thousand years into the distinctive religions of Egypt, Mesopotamia, India, China, and Japan.
The Masks of God is a four-volume study of world religion and myth that stands as one of Joseph Campbell's masterworks. On completing it, he wrote: Its main result for me has been the confirmation of a thought I have long and faithfully entertained: of the unity of the race of man, not only in its biology, but also in its spiritual history, which has everywhere unfolded in the manner of a single symphony, with its themes announced, developed, amplified and turned about, distorted, reasserted, and today, in a grand fortissimo of all sections sounding together, irresistibly advancing to some kind of mighty climax, out of which the next great movement will emerge.
This new digital edition, part of the Collected Works of Joseph Campbell series, includes over forty new illustrations.
"It is impossible to read this startling and entertaining book without an enlarged sense of total human possibility and an increased receptivity—'open-endedness' as Thomas Mann called it—to the still living past." — Robert Gorham Davis