The Dictionary of Buddhist Iconography is an endeavor of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the eve revolving visualizations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas. The multiple forms of a theonym arise m varying contexts;. For example, Hevajra of the Hevajra-tantra holds crania in his hands while the Hevajra of the Samputa tantra has weapons. Both are subdivided into four each on the planes of kaya vak, citta and hrdaya, with two, four, eight and sixteen arms. The Dictionary classifies such several types of a deity and places each in its its theogonic structure, specifies the earliest date of its occurrence (e.g. Amoghapasa appears m Chinese in AD 587) the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification colour crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and/of flaming, number of ~ and attributes held in 11 consort 16 of the family kulesa), and so esoteric name symbolic form (samaya), bija (hierogram), mantra mudra and mandala are given in this Dictionary for the fiat time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu and other names am given under the main entry, as well as cross referenced in their own alphabetic order. The Dictionary details the the attributes, chronology and symbolism over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic and spiritual of several nations of Asia over two millennia.
Buddhist iconography is a whirlwind of forms, that enshrine pensive reflections of the mind, that weave the threads of our inner Being, that are visions of the pulse-beats of serenity, and the echoes of contemplation, in the sparkle of dazzling thanks, of diaphanous East Asian paintings, of the secret rhyme of icons where music of the sadhaka bursts into na adevo devam arcayet, or to sculpt or to paint is to evoke the divine. The 'More' of the transit mind, the bhiyyobhava of the Pali texts, triumphs in form. Iconic morphology in the round or on plane surfaces draws humans to their depths and stirs the spirit as well as the eye.
Book Format and Dimensions:
Cover with jacket; 11.1 x 8.8 x 1.3 inches.
Dictionary of Buddhist Iconography (Sakyamuni - Sparsavajra), vol. 11, Lokesh Chandra, International Academy of Indian Culture and Aditya Prakashan, HC, 303 pages, $75.00
Prof. Lokesh Chandra is a renowned scholar of Tibetan, Mongolian and Sino-Japanese Buddhism. He has to his credit over 400 works and text editions. He has been a Vice-President of the Indian Council for Cultural Relations, and Chairman of the Indian Council of Historical Research. Presently, he is Director, International Academy of Indian Culture.
From The Preface:
This volume continues the theonyms beginning with the letter S in the previous volume. Every name of a deity has a context in a sutra or Tantra. Sometimes a deity appears in several collocations or mandalas and can have separate attributes, for example, Samantabhadra has different colours and characteristics in various texts.
Dictionary (Sakyamuni - Sparsavajra) 3043