Indian culture relies greatly on visual expression, and this book uses both classical Indian and contemporary Western philosophies and current studies on cognitive sciences, and applies them to contextualize Tantric visual culture. The work selects aspects of Tantric language and the practice of visualization, with the central premise to engage cognitive theories while studying images. It utilizes the contemporary theories of metaphor and cognitive blend, the theory of metonymy, and a holographic theory of epistemology with a focus on concept formation and its application to the study of myths and images. In addition, it applies the classical aesthetic theory of rasa to unravel the meaning of opaque images. This philosophical and cognitive analysis allows materials from Indian culture to be understood in a new light, while engaging contemporary theories of cognitive science and semantics. The book demonstrates how the domains of meaning and philosophy can be addressed within any culture without reducing their intrinsic cultural significance. By addressing these key aspects of Tantric traditions through this approach, this book initiates a much-needed dialogue between Indian and Western theories, while encouraging introspection within the Indic traditions themselves. It will be of interest to those studying and researching Religion, Philosophy and South Asian Culture.

Indian culture relies greatly on visual expression, and this book uses both classical Indian and contemporary Western philosophies and current studies on cognitive sciences, and applies them to contextualize Tantric visual culture. The work selects aspects of Tantric language and the practice of visualization, with the central premise to engage cognitive theories while studying images. It utilizes the contemporary theories of metaphor and cognitive blend, the theory of metonymy, and a holographic theory of epistemology with a focus on concept formation and its application to the study of myths and images. In addition, it applies the classical aesthetic theory of rasa to unravel the meaning of opaque images. This philosophical and cognitive analysis allows materials from Indian culture to be understood in a new light, while engaging contemporary theories of cognitive science and semantics. The book demonstrates how the domains of meaning and philosophy can be addressed within any culture without reducing their intrinsic cultural significance. By addressing these key aspects of Tantric traditions through this approach, this book initiates a much-needed dialogue between Indian and Western theories, while encouraging introspection within the Indic traditions themselves. It will be of interest to those studying and researching Religion, Philosophy and South Asian Culture.

While Indian visual culture and Tantric images have drawn wide attention, the culture of images, particularly that of the divine images, is broadly misunderstood. This book is the first to systematically address the hermeneutic and philosophical aspects of visualizing images in Tantric practices. While examining the issues of embodiment and emotion, this volume initiates a discourse on image-consciousness, imagination, memory, and recall. The main objective of this book is to explore the meaning of the opaque Tantric forms, and with this, the text aims to introduce visual language to discourse. Language of Images is the result of a long and sustained engagement with Tantric practitioners and philosophical and exegetical texts. Due to its synthetic approach of utilizing multiple ways to read cultural artifacts, this work stands alone in its attempt to unravel the esoteric domains of Tantric practice by means of addressing the culture of visualization.

Providing an overall interpretation of the Buddhist monument Borobudur in Indonesia, this book looks at Mahayana Buddhist religious ideas and practices that could have informed Borobudur, including both the narrative reliefs and the Buddha images. The author explores a version of the classical Mahayana that foregrounds the importance of the visual in relation to Buddhist philosophy, meditation, devotion, and ritual. The book goes on to show that the architects of Borobudur designed a visual world in which the Buddha appeared in a variety of forms and could be interpreted in three ways: by realizing the true nature of his teaching, through visionary experience, and by encountering his numinous presence in images. Furthermore, the book analyses a particularly comprehensive and programmatic expression of Mahayana Buddhist visual culture so as to enrich the theoretical discussion of the monument. It argues that the relief panels of Borobudur do not passively illustrate, but rather creatively "picture" selected passages from texts. Presenting new material, the book contributes immensely to a new and better understanding of the significance of the Borobudur for the field of Buddhist and Religious Studies.

This volume challenges existing notions of what is “Indian,” “Southeast Asian,” and/or “South Asian” art to help educators present a more contextualized understanding of art in a globalized world. In doing so, it (re)examines how South or Southeast Asian art is being made, exhibited, circulated and experienced in new ways in the United States or in regions under its cultural hegemony. The essays presented in this book examine both historical and contemporary transformations or lived experiences of monuments and regional styles (sites) from South or Southeast Asian art in art making, subsequent usage, and exhibition-making under the rubric of “Indian,” “South Asian,” “or “Southeast Asian” Art.

"Since the earliest encounters between tantric traditions and Western scholars, tantra has posed a challenge. Representation of tantra has tended to emphasize the antinomian, decadent aspects, which, as attention-grabbing as they were for Western audiences, hampered the study of the field. The Oxford Handbook of Tantric Studies is intended to overcome these obstacles, facilitating collaboration between scholars working on different forms of tantra, and in different disciplines. With more than forty chapters and a global pool of contributors, the Handbook aims to be the definitive reference work in the field, exploring core topics such as action, transformation, embodiment, art, language, and social movements. The first chapter provides an overview of major issues confronting the field today, including debates regarding the definition and category of "tantra," historical origins and dating, and recent developments in gender studies and tantra, ethnography and "lived tantra," and cognitive approaches to the study of tantra. Using a topical framework, the opening section explores the concept of action, one of the most prominent features of tantra, which includes performing rituals, practicing meditation, chanting, embarking on a pilgrimage, or reenacting moments from a sacred text. From there, the sections cover broad topics such as transformation (e.g., soteriology and healing), gender and embodiment, "extraordinary" beings (such as deities and saints), art and visual expressions, language and literature, social organizations, and the history and historiography of tantra. Keywords tantric studies, tantra, Buddhism, Hinduism, Jainism, ritual, soteriology, meditation, embodiment, yoga"--