This title was first published in 2003. Can a text be used either to validate or to invalidate contemporary understandings? Texts may be deemed 'sacred', but sacred to whom? Do conflicting understandings matter? Is it appropriate to try to offer a resolution? For Hindus and non-Hindus, in India and beyond, Valmiki is the poet-saint who composed the epic Rà mà yaõa. Yet for a vocal community of dalits (once called 'untouchables'), within and outside India, Valmiki is God. How then does one explain the popular story that he started out as an ignorant and violent bandit, attacking and killing travellers for material gain? And what happens when these two accounts, Valmiki as God and Valmiki as villain, are held simultaneously by two different religious groups, both contemporary, and both vocal? This situation came to a head with controversial demonstrations by the Valmiki community in Britain in 2000, giving rise to some searching questions which Julia Leslie now seeks to address.

Most travellers to Vietnam will, at some point, visit a Cham tower or view some Cham artefacts in a museum. These were left behind by the Cham people of the now-vanished kingdom of Champa. They are unique, exquisite and mythical. The people who built and carved these beautiful works once inhabited central Vietnam and the northern part of the south, which stretches over 1,000 kilometres from north to south. Today, with a population of less than 200,000, the Chams live primarily in Ninh Thuận, Bình Thuận and other provinces in the Mekong Delta. Champa’s history is broadly divided into three eras: the First Era (5th to 10th centuries), the Second (10th to 15th centuries) and the Third (15th to 19th centuries). This book deals with the First Era, including the three great Houses of Gaṅgārāja, Vicitrasagara and Ujora at three locations. The first house is associated with Simhapura, modern Trà Kiệu in Quảng Nam province. The second house is connected with Virapura and Po Nagar in Panduranga and Kauthara, present-day Ninh Thuận, Bình Thuận and Khánh Hòa provinces. The third house is linked with Indrapura, Đồng Dương Monastery in Quảng Nam province. The book also presents an overview of Champa, a description of the Cham tower and maps of Cham ruins in Quảng Bình, Quảng Trị and Thừa Thiên-Huế provinces. To collect materials for this volume, the author visited most of the sites mentioned in the book and referred to Cham inscriptions, Chinese and Vietnamese historical works. Dr. Anne-Valérie Schweyer, the Research Director at CNRS (The French National Centre for Scientific Research), an epigraphist and a world-leading scholar in Champa studies, commented and wrote the foreword for the book. She concludes, “Through his travels, Tan Pham unravels the history and art of the Cham kingdoms from the time of their creation to their apogee, while at the same time making their present-day presence visible. It is a great pleasure to follow in his footsteps, which lead to a better understanding of a glorious part of Việt Nam's history.” This book is Volume 3B of the book series, A Traveller’s Story of Vietnam’s Past; it continues where Volume II, One Thousand Years - The Stories of Giao Châu, the Kingdoms of Linyi, Funan and Zhenla, ends. The book has 384 pages and contains 235 figures and illustrations. A shortened Table of Contents is shown below. Chapter 1 – A summary of this book Chapter 2 – A general overview of Champa 2.1 - The land and its people 2.2 - A trip to the past 2.3 - Champa and Đại Việt (10th to 15th centuries) 2.4 - Champa and the Khmer Empire (10th to 15th centuries) 2.5 - The religions of Champa 2.6 - A tour of Champa Chapter 3 – The towers of Champa 3.1 - The design of a Cham tower 3.2 - The bricks and the resin adhesive 3.3 - Champa deities and icons Chapter 4 – Panduranga – Land of the gods and vineyards, the House of Vicitrasagara – Champa (8th to 9th centuries) Chapter 5 – Po Nagar (Mother of the Land) Temple Chapter 6 – Indrapura, the House of Uroja – Champa (9th to 10th centuries) Chapter 7 – Indrapura and Buddhist Monasteries 7.1 - Indrapura and Buddhism 7.2 - The Đồng Dương Buddhist Monastery Chapter 8 – The Cham ruins and artefacts of Quảng Bình province Chapter 9 – The Cham ruins and artefacts of Quảng Trị province Chapter 10 – The Cham ruins and artefacts of Thừa Thiên-Huế province Chapter 11 – Conclusion Appendix 1 – Wuli, Chiêm Động, Ulik and other names of places in Champa Biography

supplemented by a commentary; both seek to emphasize how the teaching is

The beautiful rock-cut Siva temple on Elephanta Island in Bombay Harbor is one of the finest monuments of Indian religion and art. Until now, interpretation of its magnificent sculptured scenes has been neglected. In this book, Collins systematically surveys the pertinent Vedic, Epic, and early Puranic literature as well as the contributions of India's foremost poet and dramatist, Kalidasa, to reveal sources for and interpretations of the subjects of the relief sculptures. This survey shows strong associations with areas formerly controlled by the classical Gupta dynasty in northern India. This book provides the first detailing of this link, intimated by others before, which helps to explain the grandeur of style found in the colossal reliefs. By applying certain aspects of ritual texts of the Lakulisa-Pasupata, the sect that probably used Elephanta originally, exceptional clarity is revealed for the worship of the sculptures in a counterclockwise sequence, quite unusual in India, but appropriate to this particular sect. Lakulisa-Pasupata texts are invoked in Collins' theory of how the cave-temple at Elephanta was used. This area of investigation has been virtually untouched by other scholars for any early Hindu shrine in India.