The Elements of Buddhist iconography was first published by the Harvard University Press in 1935. This new edition, ably edited and revised by Krishna Deva has been enriched by incorporating the additions made by Coomaraswamy in his own hand in his personal copy. This volume is a sustained demonstration of Coomaraswamy's knowledge of the external features of iconography, his knowledge of the entire metaphysical tradition underlying the iconography, as well as the corresponding traditions in Islam and Christianity. It is a demonstration of the characteristic of a universe of discourse based on a detailed textual, iconography and comparative studies that include the metaphysics phraseology and iconography of Hinduism, Buddhism, Christianity and Islam. Buddhist art in India begins about the second century BCE, with a well-developed set of symbols in its iconography. But it does not seem possible to completely separate Buddhism as religion and art from the main current of lndian religion and art, or to think these symbols suddenly developed as a new creation. Coomaraswamy believes that the source of early iconography of the Buddhist art is in still earlier Vedic and Upanisadic conceptions. In addition, he noticed many surprising similarities between passages in the Vedic literature and in the medieval Christian theologians and mystics. The illuminating parallels found in the non-Indian traditions convinced him that mystical theology the world over is the same. The present study deals with the basic symbols of Buddhist art, viz. the Tree of Life, the Earth-Lotus, the Word-Wheel, the Lotus-Throne and the Fiery Pillar, and shows that these symbols can be traced back beyond their first representation in Buddhist iconography through the an iconic period of the Brahmanical Vedas, even into the Rgvedic period itself, and that they represent a universal Indian symbolism and set of theological concepts.
Elements of Buddhist Iconography,Ananda Kentish Coomaraswamy, Manohar, Hardcover, Paperback, 146 pp, $30.00
Coomaraswamy made important contributions to the philosophy of art, literature, and religion. In Ceylon, he applied the lessons of William Morris to Ceylonese culture and, with his wife Ethel, produced a groundbreaking study of Ceylonese crafts and culture. While in India, he was part of the literary circle around Rabindranath Tagore, and he contributed to the Swadeshi movement, an early phase of the struggle for Indian independence.In the 1920s, he made pioneering discoveries in the history of Indian art, particularly some distinctions between Rajput and Moghul painting, and published his book Rajput Painting. At the same time he amassed an unmatched collection of Rajput and Moghul paintings, which he took with him to the Museum of Fine Arts, Boston, when he joined its curatorial staff in 1917. Through 1932, from his base in Boston, he produced two kinds of publications: brilliant scholarship in his curatorial field but also graceful introductions to Indian and Asian art and culture, typified by The Dance of Shiva, a collection of essays that remain in print to this day. Deeply influenced by Rene Guenon, he became one of the founders of the Traditionalist School. His books and essays on art and culture, symbolism and metaphysics, scripture, folklore and myth, and still other topics, offer a remarkable education to readers who accept the challenges of his resolutely cross-cultural perspective and insistence on tying every point he makes back to sources in multiple traditions.
Introduction
Part 1: Tree of Life, Earth-Lotus and Word-Wheel
Part 2: The Place of the Lotus-Throne
Plates: 1-43 Plates
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