Academia.edu no longer supports Internet Explorer.
To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser.
2024, Economic and Political Weekly
Meaningful Rituals: Persian, Arabic, and Bengali in the Nūrnāma Tradition of Eastern Bengal by Thibaut d’Hubert Delhi: Primus Books, 2022; pp x + 183, `1,495.
Society and Culture in South Asia , 2024
This article is about the calendrical, climactic and especially cosmological implications of Karthigai Deepam, an ancient Tamil celebration pivoted around the lighting of lamps that precedes Deepavali, the quintessential, ubiquitous but also comparatively recent festival of lights. Karthigai Deepam signals the end of the rains, intensifying winter chills and winds and shorter days. Juxtaposing festival observances in homes and those in temples, I demonstrate how its overriding concerns with generating light and warmth are part of ritual efforts to defend against elemental and existential threats of darkness and cold. Linking sacred time and mythical events with chronological time and human activities, this calendrical ritual joins together the divine and the mortal. Tracing the movement of fire and its various iterations as it traverses and connects the natural, cosmic, temple and home, this festival, I propose, renders the cosmic intimate and the intimate cosmic. Some rituals not only embody but also put cosmology into dynamic practice.
International Journal of Hindu Studies, 2007
This paper presents an ethnographic vignette of pilgrimage worship in north India, in which I attempt to understand a mother and son's divergent reactions to changes in temple practice. My interpretation of these differences hinges on whether or not each actor was able to perceive divine presence in their material environment, and the conditions under which they could and could not do so. I follow how three aspects of the arranged temple environment-space, time, and material objects-triggered conflicting affective memories and expectations in the perceptual repertoires of the mother and son, with consequences for their ability to recognize the criteria of divine presence. Analyzing these memories in relation to the mother and son's varying life histories and expectations for pilgrimage worship, I show how questions of ritual authority, family loyalty, and community politics figured as well into their emotional reactions and abilities to recognize the criteria of the divine. I use this example to draw attention to a recent discussion regarding the "agency of gods and spirits" in certain life-worlds, with ties to postcolonial Indian studies, religious studies, and anthropology. Offering a methodology for assessing ritual interchanges between the material environment, bodily-sensorial schemas, forms of interiority, and divine life-forms, my close-range investigation then supplies the "divine agency" discussion with an analytical antecedent: I argue that before one can understand the agency of gods, one must first grasp how gods become intelligible to humans. For my two research subjects, this intelligibility was dependent upon the ways in which a certain arrangement of the material environment confronted their affective memories and expectations regarding divinity, ritual authority, family loyalty, and community politics. "She's being crazy-who knows why?" Raju offered.' Shortly before this, he had been huddled with the other two men around their liquor in the picnic area of the Bhairuji temple in Kodamdesar, India. The goat curry cooking over the fire demanded the efforts of Raju's mother, Radha, and wife, Mamta, albeit under Raju's supervision. He occasionally offered them cups of beer. In the meantime, Radha had become angrier at the pilgrimage priests for charging them a small fee to use the temple's utensils, bowls, and cooking pot. Her protesta-tions and accusations now grew louder, and she jumped up and paced around the cookout site. "I shouldn't have given her alcohol;' Raju later guessed bashfully, "that's the issue." Raju's interpretation of his mother's response to the charge for temple cookware defined her as "crazy." At the same time, because her madness came from the beer he gave her, it construed her actions as dependent upon his. These remarks were also part of his attempt to understand why Radha was so angry. I, too, was deeply puzzled by this, but the madness explanation never held any water. Insofar as she remained angry for the duration of the pilgrimage in western Rajasthan, the tiny amount of beer she had consumed likewise explained precious little. In this pape1; I attempt to understand Radha and Raju's divergent reactions to changes in pilgrimage practice at the Kodamdesar Bhairuji temple in Rajasthan, India. I argue that the disparity between their responses to d1e fee was rooted in the different composition of Radha and Raju's repertoires of perception and practice. These variant repertoires-similarly classed, but inconsistent in their gendered, generational, and life-historical aspects-made for separate experiences of the temple's material environment. Central to the difference between these experiences were a) Raju's ability and Radha's inability to recognize the criteria of divine presence in the temple's material environment, and b) the affective memories triggered in each of them by enco,mters with this environment. I show how Raju and Radha responded affirmatively to the architectural criteria of divine life-forms, but were pulled in different directions by their "rhythming," or intellectual-cum-bodily training in perception, thought, and action in time. Radha perceived the temple staff's irresponsible handing of the kitchenware-that is, material mediators of Bhairuji's graces-which confounded her memories, commitments, and expectations. This ensemble context, I argue, disallowed her from recognizing Bhairuji's life-forms at the temple. The implication of this example for ritual studies is twofold. First, this paper offers a new approach to ethnographic interlocutors' forms of interiority as these are engaged by ritual practice and its material infrastructure. Secondly, it responds to stud
Introduction Alpanas are ritual drawings connected with the desires and aspirations of human hearts. Mostly they form an integral part of the bratas or vowed observance undertaken for the fulfillment of various desires. It was thought that by representing the objects of human desires through these motifs of alpanas, one can expedite the actual fulfillment of these varied desires. Of course we cannot undermine the aesthetic dimension of these alpanas but their primary objective was mimetic or imitative magic. If we carefully study the bratas which I shall do in this discusssion, it shall be seen that a marked aspect of these bratas is the imitation of nature in their ritual practice. For instance, if the purpose of the brata is to bring rain, the vratinis or the participants simply pour water from a jug. Likewise the alpanas too are nothing but symbolic patterns drawn on house floors that are considered to be imbued with magical qualities, and the presiding deities of these functions are usually personified nature. 1 The word Alpana is said to be derived from the Sanskrit word Alimpana which points to the basic technique of this kind of artistic activities. The root " lin " here means to plaster with fingers and not to paint with a brush. Alpana is essentially adapted to a plane surface. It is generally executed on the courtyard or on the floor of a house. It is also found on low wooden seats or on the upper surface of winnowing fans. It may also be depicted on the outer surface of earthen pots used in socio-religious rites. Generally alpana is executed with rice paste mixed with water, The artist holds a little piece of cloth with the tips of the first four Abstract It has been rightly observed that the aspirations of human hearts have no limits and what we see as the popular semi-religious usages and the existence of different cults, are only an expression of these endless aspirations. Alpana is the living symbol of these usages and ceremonies. Though we cannot negate the aesthetic dimension of the alpanas, its essential nature was originally something else, it was drawn to perform imitative or mimetic magic Alpanas can be described as ritual drawings connected with the desires and aspirations of human hearts. Mostly they form an integral part of the bratas or vowed observance undertaken for the fulfillment of various desires. It was thought that by representing the objects of human desires through these motifs of alpanas, one can expedite the actual fulfillment of these varied desires. If we carefully study the bratas which I shall do in my discussion, it shall be seen that a marked aspect of these bratas is the imitation of nature in their ritual practice. The alpanas too are nothing but symbolic patterns drawn on house floors that are considered to be imbued with magical qualities, and the presiding deities of these functions are usually personified nature. The practice of using alpanas in the various rites is not just a specific characteristic of Bengal. There is the prevalence of alpanas in other parts of India too, though there they are known by different names, like Aripan in Bihar, Jhuti in Orissa, Sathiya in Gujarat, Mandan in Rajasthan and Central India, Rangoli in Maharastra and several other places of Uttar Pradesh and so on. However my focus shall be primarily on the brata alpanas of Bengal and it shall be my humble attempt to trace the origin and antiquity of the Alpanas used in the brata rituals, the role these alpanas play in the myriad bratas of Bengal and the use of various motifs in the Alpanas. Basically the endeavour of my present study would be to bring the dimension of magic in these decorative patterns called alpanas. It is time that we devote ourselves to the study of the true purpose of the alpanas which were not mere ornamental appendages but a reflection of the pagan religion and society of Bengal.
Transformations and Transfer of Tantra in Asia and Beyond, 2012
As mysticism is connected to religion, so is religion to ritualism. Although scholars have often differentiated between these aspects, the relation between all three is undeniable and inextricable. Theistic mysticism, in particular, often starts within the framework of religion and/or ritual. From simple rituals like chanting to complex rituals like srauta yajnas, rituals have always been considered an important way of communing with God. This paper explores the idea of ritualism in Hinduism and how they are comparable to mystical experiences.
ijetrm journal , 2022
"Light in sacred architecture" is a very complex topic and it can be approached with the same competence by religious interpreters, philosophers, all artistic expressions, designers (especially lighting designers), people of various practical activities. In this paper on the subject of 'Light in sacred architecture', an architect and university professor writes, i.e. a person who educates students of architecture in its various fields and a person who designs himself (who has more than ten architectural realizations of sacred architecture behind him). The paper deals with the historical, philosophical, religious, psychological and aesthetic dimensions of the problem of the presence and use of light in sacred architecture. The immaterial and ubiquitous phenomenon of light builds architecture and fills its spaces, attracting our emotions. Therefore, both natural and artificial lighting serve to introduce special places in architecture, and then give those places a special character. In the descriptions of architectural objects and the circumstances in which these objects are created, we conclude that light is a co-creator of architectural forms and spaces-from the rudimentary way in which it helps identify space to the sophisticated ways in which it participates in the creation of a transcendental atmosphere. This is the second paper in a row (previously the topic 'the place of light in the design of mosques' was covered) in which the author deals with the complex topic of 'Light in sacred architecture'.
Since the beginning of civilisation the history of man is accompanied by the phenomenon of transcendent, something that goes beyond him. Originally, the experience of God is given to man by nature. God dwells in the mountains, rivers, water, and divine reality is interpreted in analogy with the experience of light. In the process of the formation of religions there is continuity of the original symbols thus natural symbols remain the fundamental symbols of the divine nature. Light is a symbol present in all religions: sanscrit's devah, greek's Theos and the latin's deus that we translate God share a common root indoeuropeen's de'o, which means light. Light is therefore omnipresent symbolic determination of God. The light in a special way finds is interpretation through sacred architecture of different religions. Uniformly illuminated spaces, spaces in which light creates certain accents, floating dome etc., are some of the architectural appearances based on different meanings of symbols of light. The intention of this paper is to analyze the symbolic meaning of lights in the world's great religions Judaism, Christianity, Islam and Buddhism and the forms of architectural interpretation of that symbol through selected examples. Contemporary sacred architecture is faced with the problem of "forgetting the symbol" and of reducing complex phenomenon of sacred space to sensoryc - aesthetic level only. With this approach sacred spaces are becoming spaces emptied of meaning, separate from the inner sense which is rooted in the inner meaning of religion. The aim of this paper is to indicate that the use of light as an intangible factor of architectonic and identity of sacred architectural space goes beyond its primarly reasonableness above all in the perception of light in the context of the phenomenology of symbols and its founding in the religious onotology.
Política exterior y regionalismo latinoamericano en tiempos de pandemia y de cambios de la agenda internacional, 2023
(SAINTEKS) 2019, 2019
Archaeological and Anthropological Sciences, 2023
Psychological Studies, 2017
JURTI (Jurnal Rekayasa Teknologi Informasi), 2023
Routledge eBooks, 2022
Journal of Hepatology, 2019
Pacing and Clinical Electrophysiology, 2013
Universal Journal of Accounting and Finance, 2021
Revista Boletín Redipe, 2017
CONNECTION LINE - REVISTA ELETRÔNICA DO UNIVAG, 2015