By Cynthia Packert
Considering the fact that precedent days, Hindus have expressed their love and devotion to their deities via attractive ornamentation -- dressing and adorning the deities with problematic garments, jewellery, and plants. during this pioneering learn of temples in Vrindaban and Jaipur, India, Cynthia Packert takes readers throughout temple thresholds and into the god Krishna's sacred area. She describes what devotees see once they behold gorgeously attired representations of the god and why those pictures glance the best way they do. She discusses new media in addition to worldwide sorts of devotion well known in India and overseas. The artwork of Loving Krishna opens a universe of that means during which artwork, spiritual motion, and devotion are dynamically intertwined.
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Extra resources for The Art of Loving Krishna: Ornamentation and Devotion
Long considered a neutral arena, or a predictable garnish that accompanies ritual, ornamentation remains invisible, despite its sheer visual primacy. This book argues that ornamentation instead constitutes its own realm of richly textured meaning and import, although it is most frequently relegated to the role of visual wallpaper for the other, seemingly more meaningful ritual activities that take place in temples. There are a number of reasons for this oversight. Part of the problem stems from the seeming disjuncture between the classical, written canon and its visual exposition: what one sees in temples is unambiguously spectacular, in the sense that the visual display is a spectacle.
While devotees’ responses will be considered in the following chapters, this book particularly concentrates on the ways in which ornamentation constitutes its own world of significance. I pay special attention here to the many ways in which ornament makes meaning: what it is composed of; what it signifies; what its sources are; how it can be interpreted in the culture in general and in individual temple contexts in particular. Conceptually, ornamentation plays a major part in the materialization of a description-obsessed theology.
And seeing is only part of the experience: all of the senses are marshaled toward a holistic immersion in the vision of the divine presence. “Looking at and into the body of the living God, in the form of a temple image,” states Richard H. ”28 Introduction 13 Ornamentation plays a large part these visions, and it derives its particular charge not only from its intrinsic beauty, but also because it comes in contact with the body of the god. ”29 Other poets also employ the same strategies, as Steven P.
The Art of Loving Krishna: Ornamentation and Devotion by Cynthia Packert