By Kenneth Russell Valpey
There's a regular and growing to be scholarly, besides as popular curiosity in Hindu faith – specially devotional (bhakti) traditions as types of non secular perform and expressions of divine embodiment. linked to this can be the eye to sacred pictures and their worship. Attending Krishna's snapshot extends the dialogue on Indian photographs and their worship, bringing ancient and comparative dimensions and contemplating Krishna worship within the context of modernity, either in India and the West. It specializes in one particular worship culture, the Chaitanya Vaishnava culture of the fourteenth to sixteenth centuries, because it develops and sustains itself in particular locales. through utilising the comparative type of ‘religious truth’, the book provides a entire realizing of a residing non secular tradition. It effectively demonstrates the knowledge of devotion as a technique of participation with divine embodiment within which worship of Krishna’s photograph is imperative.
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Extra info for Attending Krishna's Image: Chaitanya Vaishnava Murti-seva as Devotional Truth
2 It will be useful to consider these texts as contributing to and signiﬁcantly constituting the “cumulative tradition” of Caitanyaite Vaiñëavism. That is to say, following Wilfred Cantwell Smith (1978: 156–7), these texts partake of that aspect of religious phenomena that can be viewed by anyone, including outsiders to a tradition, as crucial contributors to the continuity of the tradition over time. In this chapter we will see how vidhi and räga, the two conceptions interwoven throughout these texts, situate formal worship of images (arcana) as both a means of expressing and conﬁrming cosmic/divine order and a 15 E M BODI E D T R UT H process of individual and community transformation.
The practitioner is “constantly afﬂicted by a stream of tears arising from intense longing” (autkaëöhya-bäñpa-kalayä muhur ardyamänaù). Thus the image of quietude evinced by the rather inactive form of Viñëu (he stands, sits, or reclines on the lotus of the yogé’s heart, glances, and smiles, as Lakñmé massages his feet) is contraposed by the emotionally overwhelmed yogé – hardly the state of unperturbed aloofness one expects from the Upaniñadic meditator. 35). More remotely but still worth noting, the passage echoes the Ågvedic Puruña-sükta in describing a human-like ﬁgure and details about its limbs.
1998: 207), and the communal or familial context of sacriﬁce becomes challenged by an extra-societal trajectory of individuals seeking their own liberation. The drama of sacriﬁce turns from the dangers and uncertainties of ritual performance for instatement or reinstatement of cosmic equilibrium (Mahony 1998: 125–36) or the sacriﬁcer’s ascent to heaven (B. K. Smith 1998: 104–12) to the dramatic struggle of the individual meditator overcoming sensory passions and mental distractions in order to gain knowledge of brahman.
Attending Krishna's Image: Chaitanya Vaishnava Murti-seva as Devotional Truth by Kenneth Russell Valpey