This book interprets for the Western mind the key motifs of India`a legends myth, and folklore, taken directly from the sanskrit, and illustrated with seventy plates of Indian art. It is primarily an introduction to image thinking and picture reading in Indian art and thought and it seeks to make the profound Hindu and Buddhist intuitions of the riddles of life and death recongnizable not merely as Oriental but as universal elements.

Illustrations: Numerous B/w Illustrations Description: Symbols have great significance for understanding early Indian religion, beliefs, art and culture. Of these symbols, some were widely current and continued to be in use for several centuries and are found delineated in sculpture, architecture, pottery, coins, paintings, etc. Rai Govind Chandra in his Indian Symbolism: Symbols as Sources of Our Customs and Beliefs has taken up for study twelve symbols, the Purna Kumbha or Purna Ghata, Svastika, Srivatsa, Nandipada, Cakra, Vardhamanaka, Matsya or Matsyayugma, Bhadrasana, Caturbhuja Cinha, Triratna, Vaijayanti, and the Kalpataru and the Kalpalata. Each of these symbols is important particularly from the point of view of art and iconoraphy. Rai Govind Chandra has discussed in great detail about the origin, meaning and diffusion of all these symbols. Having traced their occurrence in different periods and cultures as well as in different mediums, both in India and outside, the author has been able to demonstrate their primitive and naturalistic beginnings. Rai Govind Chandra's Indian Symbolism is an extremely important contribution and is an indispensable work for scholars and researchers of Indian art, culture and religion.

"Published in conjunction with the exhibition Americans, opening at the National Museum of the American Indian in Washington, DC, in October 2017"--Title page verso.

Drawing from Eastern and Western literatures, Heinrich Zimmer presents a selection of stories linked together by their common concern for the problem of our eternal conflict with the forces of evil. Beginning with a tale from the Arabian Nights, this theme unfolds in legends from Irish paganism, medieval Christianity, the Arthurian cycle, and early Hinduism. In the retelling of these tales, Zimmer discloses the meanings within their seemingly unrelated symbols and suggests the philosophical wholeness of this assortment of myth. Copyright © Libri GmbH. All rights reserved.

At the very outset, I wish to clarify that this is not a new work : This WebGuruCool Indological Studies 3 incorporates parts of my work, Encyclopaedia of Indian Coins (Ancient Coins of Northern India up to c 650 AD), a two-volume set, published by Agam Kala Prakashan, Delhi, in 2012. The main object behind undertaking this publication is to make information about the divinities and their symbols, appearing on ancient Indian coins, available to students, who may be interested, but are unable to access the Encyclopaedia. On a more selfish note, it is a sort of an advertisement for the Encyclopaedia. It is hoped that a perusal of this WebGuruCool Indological Studies 3 may whet the appetite of the readers for the Encyclopaedia. For a brief survey of ancient Indian coinage system, I would refer the reader to the Introduction of my Encyclopaedia of Indian Coins (Ancient Coins of Northern India up to c 650 AD) 1, to my Gleanings in Ancient Indian Numismatics, and to my joint work with Professor K K Thaplyal, Coins of Ancient India. In the Dictionary proper, the divinites and their symbols, occurring on ancient Indian coins, have been arranged in an alphabetical order. The Select Bibliography begins at page number 195. I acknowledge, with a profound sense of gratitude, the inspiration I always receive from my Guru, Professor K K Thaplyal, and the warm support extended to me by my family, and extended family of students—Wife Dr Nidhi Srivastava, daughters Pratichi and Purvi, son-in-law Kumar Aishvarya, and students Dr Umesh Singh, Dr Jitesh Kumar Singh, Sushil Chand and Abhay Pratap Singh Rajawat. 27 November 2022. Prashant Srivastava.

Gandhi’s use of the spinning wheel was one of the most significant unifying elements of the nationalist movement in India. Spinning was seen as an economic and political activity that could bring together the diverse population of South Asia, and allow the formerly elite nationalist movement to connect to the broader Indian population. This book looks at the politics of spinning both as a visual symbol and as a symbolic practice. It traces the genealogy of spinning from its early colonial manifestations in Company painting to its appropriation by the anti-colonial movement. This complex of visual imagery and performative ritual had the potential to overcome labour, gender, and religious divisions and thereby produce an accessible and effective symbol for the Gandhian anti-colonial movement. By thoroughly examining all aspects of this symbol’s deployment, this book unpacks the politics of the spinning wheel and provides a model for the analysis of political symbols elsewhere. It also probes the successes of India’s particular anti-colonial movement, making an invaluable contribution to studies in social and cultural history, as well as South Asian Studies.