xvii, 228p., 108 B/W Photos., 7 Line Drawings, Index, 25 cm.
CONTENTS:- Introduction; Buddha in Brahmanical Art and Architecture; Interactive Ultimate in the Brahmanical and Buddhist Art; Common Heritage of an Interaction between Buddhist and Brahmanical Art and Iconography; Influence of Naga Worship in Buddhist Art; Some Glimpses of Interaction between Brahmanical and Buddhist Art; Some Common Symbols and Motifs in Buddhist and Brahmanical Art; A Brahmanical Episode of Buddhist Art in Mathura; Interaction between Buddhist and Brahmanical Images in the Sarnath Museum; Buddhist and Hindu Art - A Comparison; Interaction between Buddhist and Brahmanical Art in Orissa; In Quest of Siva-Buddha Cult; Vasudeva-Visnu-Padmapani and Avalokitesvara-Siva; Concept and Iconography of Buddhist Goddess Parnasabari; Exchange of Formal Concepts between Buddhist and Brahmanical Pancayatana Complexes; Interaction between Buddhist and Brahmanical Art - Evidence from Bengal; Surya-Candramandalas in the Art of Nepal; The Bhagavata Purana and Later Descriptions of Buddhist Hell; Xie He's "Liu Fa (Six Rules of Aart)" and Buddhist Painting; Interaction between Buddhist and Brahmanical Art - In the Far Eastern Perspective.
Brahmajism and Buddhism adopted symbol and image worship almost simultaneously in the pre and early centuries of the Christian era. With the passage of time, the forms and plethora evolved and despite several distinctive features common elements between the two religions continue and fructified. The fact is revealed both at the philosophical and artistic levels. The present volume is the outcome of an International meet Jnana-Pravaha, Varanasi. The book incorporates a good number of papers dealing with philosophical and artistic interaction between Brahmanism and Buddhism for more than a millennium years. The interaction was largely peaceful but there were certain phases in the medieval period when clash also surfaced. It was most profound in the region of art and architecture, as a result of which some similarities as well as unique features between the two had emerged. All these aspects have been brilliantly discussed and specific references to famous places associated with Brahmanical and Buddhist arts in Asia as well as textual references to unravel basic iconographical principles have been adequately reflected in the present volume. The book would appeal to art historians interested in India's glorious art traditions.