View Show abstract Incarnations: The Materiality of the Religious Gazes in Hindu and Byzantine Icons Article Full-text available Apr 2017 Mater Relig Valentina Gamberi This study reflects on the current material turn in religious studies, in particular on the issue of material agency.
Darshan Diana Eck Download Citation CopyRequest full-text Download citation Copy link Link copied Request full-text Download citation Copy link Link copied To read the full-text of this research, you can request a copy directly from the author.Citations (5) References (123) Abstract The 1981 publication of the first edition of Diana Ecks Darcan: Seeing the Divine Image in India marked an important watershed in the scholarly understanding and interpretation of visual interaction with and experience of three-dimensional temple icons in Hinduism (and by extension, South Asian religions more broadly).While there had been previous publications on ritual visuality in India (most notably Jan Gondas Eye and Gaze in the Veda 1969), and 1981 also saw the publication of Lawrence A.Babbs article Glancing: Visual Interaction in Hinduism, 1 Ecks monograph, especially in its 1998 third edition, has remained definitively central in all subsequent discussions of darcan. In the words of Philip Lutgendorf (2006: 233), Darcan is now the key text on the subject. It is usually the first source on ritual visuality to which scholars of South Asia turn, and its prominence is equally evident in comparative discussions of icons and visuality by non-South Asianists. Due in significant part to Ecks thin volume, darcan has become what we can callto import a term John Carman (1985: 117) used in a different context for the concept of the sacred or the holya super-category in the study of South Asian religion and visual culture. Darshan Diana Eck Free No FullIn this essay, following a review of the ways in which Ecks definition has become standard in studies of South Asian religious (and in some cases, secular) visuality, I argue that thirty years after the publication of her slim monograph, it is now time to revisit the broadly phenomenol Discover the worlds research 19 million members 135 million publications 700k research projects Join for free No full-text available To read the full-text of this research, you can request a copy directly from the author. Request full-text PDF Citations (5) References (123). At once synecdochic and encompassing, darshan emerges as definitive of the experience of divine presence in Hinduism, central to the history of Indian visual culture, and undertheorized by scholars of both. John Cort (2012) gives an overview of the scholarly conversation, noting the continued salience of Diana Ecks (1981) short monograph Daran, with its emphasis on Brahminical norms and a rather totalizing concept of a Hindu polytheistic imagination, and following up with a call for reformulations. Corts own approach has been to turn to primary texts of a didactic character, a project in which he is joined by other scholars of Indic religions, including Richard Davis (1997:26-50) and Andy Rotman (2009).. This site was important for the Vijayanagara kings as attested by numerous Telugu inscriptions dated to the 16th century. While their textual content provides valuable information on the social, political and economic cultures of sixteenth century South India, this paper investigates their meaning as visual signs within the contexts that comprise a pilgrimage site rather than as texts read by pilgrims. Additionally, given the paucity of scholarship on Telugu inscriptions, it also contributes to this understudied field. View Show abstract Photography, Contemplation, and the Worship of Sri Ramakrishna Article May 2019 Liam Buckley Examining the worship of Sri Ramakrishnas photograph provides insight into how a photograph becomes a sacramentits status transformed from mundane to metaphysical. Sri Ramakrishnas image generates highly contemplative and interior experiences for his devotees. During the aarati worship service, the photograph is phenomenal. It is encountered on levels of bodily sensation that are the very substance of devotional activitytouching, tasting, hearing, smelling, and seeing. In particular, it is the act of devotional singing that finally renders the living presence of the photograph into something that can be experienced. The aarati hymns not only contain expressions of worship and faith. The very act of singing and making sound brings an immediacy to the experience of the living presence of Sri Ramakrishnas photograph. View Show abstract Decolonising Museums: South-Asian Perspectives Article Full-text available Apr 2019 Valentina Gamberi This study adopts an osmotic ethnography in order to decolonise the museum as an intellectual institution that was born in the West and informed by a logic of command (arkheion). As in the biological process of osmosis, characterised by an equilibrium between the inner and the outer that shapes its own distinctiveness through its symbiosis, the museum constitutes itself as a space intertwined with external reality. This is particularly true in the case of South Asian museum artefacts: because of the concept of daran (the sensuous relationship between the worshipper and the deitys material embodiment) curators have faced the challenge of coming to terms with visitors responses, from colonial to post-colonial times. A direct consequence of this challenge is represented by the reconstructions of religious spacesshrines, altars, templesthat should evoke the so-called original context and be in consonance with local forms of material engagement. By adopting eco-phenomenology as its methodological framework, this article examines colonial sources, in particular the works of Thomas Hendley (18471917) and Fanny Parks (17941875), and compares them to the ethnographic fieldwork undertaken by the author at the Oriental Museum of the University of Durham in November 2014, as part of doctoral research.
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