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2. #S>slbS35SM
esoK-^s'gSboo^TEpiwVision
ia Long Darkness
V. S. Agrawala rr-8
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 11

"Agni is derived from Agri, being the primeval principle

of Creaiion-

(g$. IE* 8-1-1-11).

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II. They (the ancients) think of the pranie power of

Gayatri and see it visible in the flaming Fire and accept Agni
as the symbol of Gayatri.

They observed the quality of mother-hood in the Earth

and also in the rhythmic Creativity of the Three-footed Gayatri
metre and by Virtue of the Midana Vidya draw a parallel

"?TC&[& s ^& Jto'&S" f#. [p 1-4-1-86)

between the two,

^ y. ^^a^gSSl^S ^cJ
[cs. 4-314]

'This range from Sankhya to Vedanta is indicated by

the veryname Mahabharata (Maha, Bharata) meaning "( a ) Lea "
ding from (Maha) Mahat representing the Sankhya to Bharata,
meaning Breath or prana referring to Vedanta. Maha is used in
compounds for Mahat (Monier Williams Dictionary) and Bharata
refers to Breath "or prana (Satapatha-Brahmana l-V-1-8)
The Mystery of Mahabharata (Vol. I x/Iv-P)
 Ill

-SS.
70-5).

*l. Ultra-marine blue is a noble and beautiful colour

perfect beyond any other. ^^ Tuscan Painter Cenini 'Book of

the Art*
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rny father, my begetter, his kinship is in me. This

"Dyus is

great Earth is my kin and mother.

Between the two recumbent Bowls is the womb of the Two
the Daughter in that
Parents. The father deposited his germ in

(V. S. Agrawala)

deities like Hari- Kara-images

*1 "Composite and fused
ao their appearance at this great religious centre^
also made
;;
A cord g
to Sanskrit authorities Han-Hara
Vishnu in the left"
should be

Siva in right-half and

Khajuraho- Sculpture. (P. 19&25)
by Urmlla Agrawala.
3-ss

Part I 270 6-
Indian Iconography Vol. I .
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"Hence Vedanta conceives of Action as a Sacrifice performed

forpurposes of Creation by the Supreme Purusha himself and
Conversely as the Individual Soul is ^aid to be of the same nature
as the Supreme Purusha, all action performed as a Sacrifice is

regarded Purushic in Character transforming that which appears t

be prakritie to a purushic energy. That is the idea of the Vedas
and the same is repeated in the Mahabharata
"The Mystery of Mahabharata' Introduction p-XIX
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444

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bring in to the world something new or different from the per-

former; and so it is unselfish and impersonal" The Mystery of
Mahabharata (P-173-174)
er> Vision in Long Darkness s^. 127 &* The act of
fecundation is a Complete Yajna..
 XI

"Dharina is a mode of manifestation of the one into the

many time and space and of the process of integration of the
in
1

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Mann Dharma Sastra.
Kewal Motwani.(P-25)

*'

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M. M. B. The Mystery of Mahabharata.

 Xll

"The self is the Yajamana and theentire chemical, physi_

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stitute a yajna"

3. c&5. Q)K3^cpn i>

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enduring Ether which is Vajra, the hard stable, lasting, un-wast
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not by direct perception, is the end to be attained."

"The Transformation of Nature in Art"

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of a horse is to be
made, the model (bimba) should always be
in View (Vikshya) and if one cannot be looked at
(adrstua) the
figure should not be made. The artist (silpi) having frist (agre)
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embodying" all the proportions (mana) of horses meet for splendor

and divorced from ill-omen" It will be seen here that inspite of
the apparent demand for likeness to the horse inview there is

insistance on Visualization
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