In India: A Sacred Geography, renowned Harvard scholar Diana Eck offers an extraordinary spiritual journey through the pilgrimage places of the world's most religiously vibrant culture and reveals that it is, in fact, through these sacred pilgrimages that India’s very sense of nation has emerged. No matter where one goes in India, one will find a landscape in which mountains, rivers, forests, and villages are elaborately linked to the stories of the gods and heroes of Indian culture. Every place in this vast landscape has its story, and conversely, every story of Hindu myth and legend has its place. Likewise, these places are inextricably tied to one another—not simply in the past, but in the present—through the local, regional, and transregional practices of pilgrimage. India: A Sacred Geography tells the story of the pilgrim’s India. In these pages, Diana Eck takes the reader on an extraordinary spiritual journey through the living landscape of this fascinating country –its mountains, rivers, and seacoasts, its ancient and powerful temples and shrines. Seeking to fully understand the sacred places of pilgrimage from the ground up, with their stories, connections and layers of meaning, she acutely examines Hindu religious ideas and narratives and shows how they have been deeply inscribed in the land itself. Ultimately, Eck shows us that from these networks of pilgrimage places, India’s very sense of region and nation has emerged. This is the astonishing and fascinating picture of a land linked for centuries not by the power of kings and governments, but by the footsteps of pilgrims. India: A Sacred Geography offers a unique perspective on India, both as a complex religious culture and as a nation. Based on her extensive knowledge and her many decades of wide-ranging travel and research, Eck's piercing insights and a sweeping grasp of history ensure that this work will be in demand for many years to come.

This work, in 6 volumes, is a compendium of traditional cosmologies worldwide. The material includes the global mythology of creation and destruction, but also comprises information drawn from other areas of traditional knowledge, ritual, iconography, shamanism, costume, and dance. Relying on original sources, universal points of agreement are identified, often on counter-intuitive ideas. These suggest a single template, a blueprint for a universal mythology of origins with local variations. Volume 5 documents a large number of traditions concerning unusual and often undesirable properties and activities of the sun and moon. To name just a few examples, prominent beliefs were that the moon was originally brighter than the sun and that the earth once succumbed to the heat caused by the sun's former proximity, its greater strength, its failure to move or the appearance of multiple luminaries.

Siouan peoples who migrated from the Atlantic coastal region and settled in the central portion of the North American continent long before the arrival of Europeans are now known as Osage. Because the Osage did not possess a written language, their myths and cultural traditions were handed down orally through many generations. With time, only those elements deemed vital were preserved in the stories, and many of these became highly stylized. The resulting verbal recitations of the proper life of an Osage—from genesis myths to body decoration, from star songs to child-naming rituals, from war party strategies to medicinal herbs—constitute this comprehensive volume. Osage myths differ greatly from the myths of Western Civilization, most obviously in the absence of individual names. Instead, “younger brother,” “the messenger,” “Little Old Men,” or a clan name may serve as the allegorical embodiment of the central player. Individual heroic feats are also missing because group life took precedence over individual experience in Osage culture. Supplementing the work of noted ethnographer Francis La Flesche who devoted most of his professional life to recording detailed descriptions of Osage rituals, Louis Burns’s unique position as a modern Osage—aware of the white culture’s expectations but steeped in the traditions himself is able to write from an insider’s perspective.

This book presents a wide range of information about Ganapati or Ganesh, the Hindu Lord of Beginnings, the Remover of Obstacles, the Keeper of the Threshold, and the Master of the Mind. He is elephant-headed, plump, and loveable, but who is he really?

The Intimate Other explores the theme of the devotional element in Indic Religions not only in Hinduism in which bhakti has become the dominant form, but also in Budhism, Jainism, Sikhism and Islam. The essays by scholars of international repute, show the strength of this devotion to the divine as a living and powerful source of value, aesthetic imagination, creativity and well-being . They also analyse the sometimes divergent interests of scholar and devotee, problematising devotion and exposing its historical development as complex, contested and 'political'. Of particular interest are the chapters on the Jain and Buddhist traditions where the existence of devotion has often been doubted or denied. Contributors investigate widely raging topics: these include an analysis of bhakti within the Sanskrit epics; a text-historical approach to Valmiki; Kabir's authorship of the poems attributed to him; contemporary attitudes to devotion to the Ganga: devotion within a syncretistic Jain movement, in Theravada Budhism, subcontinental Sufi Islam, young Sikhs in Britain and in the shared musical and poetic traditions of Hindus, Sikhs and Muslims. The volume ends with a sensitive exploration of the devotional love that overpowers death within the Hindus, sikhs and Muslims. The volume ends with a sensitive exploration of the devotional love that overpowers death within the Hindu bhakti context. Together they demonstrate vividly just how passionate love for the intimate other penetrates and inspires so many aspects of the religious culture of South Asia.

To scholars in the field, the need for an up-to-date overview of the art of South Asia has been apparent for decades. Although many regional and dynastic genres of Indic art are fairly well understood, the broad, overall representation of India's centuries of splendor has been lacking. The Art of Ancient India is the result of the author's aim to provide such a synthesis. Noted expert Sherman E. Lee has commented: –Not since Coomaraswamyês History of Indian and Indonesian Art (1927) has there been a survey of such completeness.” Indeed, this work restudies and reevaluates every frontier of ancient Indic art _ from its prehistoric roots up to the period of Muslim rule, from the Himalayan north to the tropical south, and from the earliest extant writing through the most modern scholarship on the subject. This dynamic survey-generously complemented with 775 illustrations, including 48 in full color and numerous architectural ground plans, and detailed maps and fine drawings, and further enhanced by its guide to Sanskrit, copious notes, extensive bibliography, and glossary of South Asian art terms-is the most comprehensive and most fully illustrated study of South Asian art available. The works and monuments included in this volume have been selected not only for their artistic merit but also in order to both provide general coverage and include transitional works that furnish the key to an all encompassing view of the art. An outstanding portrayal of ancient Indiaês highest intellectual and technical achievements, this volume is written for many audiences: scholars, for whom it provides an up-to-date background against which to examine their own areas of study; teachers and students of college level, for whom it supplies a complete summary of and a resource for their own deeper investigations into Indic art; and curious readers, for whom it gives a broad-based introduction to this fascinating area of world art.