What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
2nd century 8th Century absolute achieve activity aesthetic alike Amaravati amongst ancient artist Asia Asiatic attained beauty Bodhisattva Brahman Buddha Buddhist art Chandidas civilization critic culture DANCE OF SIVA desire dharma divine doctrine duty Early Buddhist emotion essential eternal ethical Europe European experience expression figure formula Gandhara govern heaven Hindu human ideal idealistic images Indian individual industrial Krishna Kshattriya literature lover Mamallapuram Manu marriage means ment merely mind modern mother motif music of India musical mode musician mystic Nataraja nature never Nietzsche object passion perfect philosophy pleasure poet poetry primitive pure purpose raga RaginI Rajput painting rasa rasavant rasika realize recognize regarded religion religious represented romantic love sacred Sahaja Sanchi sense significance Siva social society song soul speak spiritual Stone sculpture suttee tambura theme theory things thou thought tion true understand unity Upanishads Western woman women words yoga
Page 23 - He who does not imagine in stronger and better lineaments, and in stronger and better light, than his perishing mortal eye can see, does not imagine at all.
Page 82 - Though destitute of virtue, or seeking pleasure (elsewhere), or devoid of good qualities, (yet) a husband must be constantly worshiped as a god by a faithful wife.
Page 65 - How amazing the range of thought and sympathy of those rishiartists who first conceived such a type as this, affording an image of reality, a key to the complex tissue of life, a theory of nature, not merely satisfactory to a single clique or race, nor acceptable to the thinkers of one century only, but universal in its appeal to the philosopher, the lover, and the artist of all ages and all countries.
Page 66 - In the night of Brahma, Nature is inert, and cannot dance till Shiva wills it: He rises from His rapture, and dancing sends through inert matter pulsing waves of awakening sounds, and lo! matter also dances appearing as a glory round about Him. Dancing, He sustains its manifold phenomena. In the fulness of time, still dancing, he destroys all forms and names by fire and gives new rest.
Page 5 - Thus arose His Sacred Majesty's remorse for having conquered the Kalingas, because the conquest of a country previously unconquered involves the slaughter, death, and carrying away captive of the people. That is a matter of profound sorrow and regret to His Sacred Majesty.
Page 60 - His form is everywhere: all-pervading in His Shiva-Shakti: Chidambaram is everywhere, everywhere His dance: As Shiva is all and omnipresent, Everywhere is Shiva's gracious dance made manifest. His five-fold dances are temporal and timeless. His five-fold dances are His Five Activities. By His Grace He performs the five acts, This is the sacred dance of Uma-Sahaya. He dances with Water, Fire, Wind and Ether, Thus our Lord dances ever in the court.
Page 115 - The fact is, Gibbon was not a philosopher in the strict sense of the word. He has nothing to say of the ultimate meaning of the events he describes, nor is there any " schematic tendency " traceable in his history comparable to that which dominates the pages of his thorough-paced contemporaries.
Page 80 - We have here the sound of the tambura which is heard before the song, during the song, and continues after it: that is the timeless Absolute, which as it was in the beginning, is now and ever shall be. On the other hand there is the song itself which is the variety of Nature, emerging from its source and returning at the close of its cycle. The harmony of that undivided Ground with this intricate Pattern is the unity of Spirit and Matter.