Art of India. Vincent Arthur SmithЧитать онлайн книгу.
eternal and universal sum of all things arose the idea of the illusion (maya) of the world of sensual experience. Only when the illusion of experience ceases, as in dreamless sleep, can the lesser self reunite with the universal self. This implied duality is in fact itself an illusion. Desire and action are inherent in such an illusion and the consequence is samsara. But knowledge disperses the illusion. ‘Whoever knows this: ‘I am Brahma’, becomes the All. Even the gods are not able to prevent him from becoming it, for he becomes their Self.
The Sankhya system is atheistic and dualistic, admitting matter and the individual soul as eternal but essentially different. In the absoluteness of this division lies release. The soul, being removed from all matter, ceases to be conscious, and the bondage to pain (in which pleasure is included) is ended.
Both Buddhism and Jainism presuppose the existence of the Sankhya philosophy. But it is evident that the sixth century B. C., when both Gautama and Vardhamana lived and taught, was a period of extensive mental activity of an extremely sophisticated kind. The Brahmajala Sutta mentions Eternalists, Non-Eternalists, Semi-Eternalists, Fortuitous originists, and Survivalists, and also certain recluses and Brahmans who, as dialecticians, are typified as “eel wrigglers”. Buddhism is as much in revolt against this mental complexity as against the ritual complexity of the Brahman priest-craft. With regard to generalities its position is agnostic. The Three Marks of Impermanence, Pain, and Lack of Individuality must be considered as a practical summary of the characteristics of life. Upon these the doctrine of the Four Noble Truths, the essence of Buddhism, is founded: suffering exists; ignorance and desire are its causes; release is possible; the means are the Eight Points of Doctrine – right knowledge, right aspiration, right speech, right conduct, right living, right endeavour, right mindfulness, and right meditation. Throughout the teaching uncertain, empirical opinion (ditthi) is set apart from true wisdom (panna). Above all, the cultivation and regulation of the will is stressed in an entirely new way.
Jain god sculpture decorating the Kandariya Mahadeva Temple, c. 1050, Chandella Dynasty. Sandstone. Khajuraho, Madhya Pradesh.
An entrance gate and a section of the railing of the Bharhut Stupa, 3rd-2nd century B. C. E., Maurya dynasty (Ashoka)/Sunga Dynasty. Red sandstone, railing height: 274.32 cm, pillar height: 216.40 cm. Indian Museum, Calcutta.
Lastly, as against the changing, foundationless illusions of the unregulated personal life in a universe that can only be described in terms of change, the Buddhist doctrine (dharma) is held out as being well-founded in time or rather in human experience. It is described as an ancient well-trodden path, a claim that paves the way to the conception of not one Buddha but many Buddhas. At Bharhut and Sanchi the seven Buddhas of the canon are all found, symbolized by their respective trees.
This doctrine of wise renunciation was preached by Gautama, a prince of the Sakya clan, who renounced his worldly heritage in pursuit of truth. Much of the adverse criticism which Buddhism has been subjected to has been due to a misunderstanding of nirvana, the goal of all Indian speculation. Buddhism has had a complex history. Divided into two main sects, that of the Theravada and that of the Mahayana, and changed beyond recognition, it exists no longer in the land of its origin. The Jain faith preached by Vardhamana, a contemporary and therefore rival of Gautama, still persists in India. He, too, was of the Kshattriya caste, and renouncing his birth-right, eventually attained Wisdom, appearing as the leader of the Nirgrantha ascetics. According to Jain tradition, Vardhamana, or Mahavira, as he came to be known, was the twenty-fourth of a series of jinas or conquerors of the world. Like Buddhism, the Jain faith opposes the exclusiveness of Hinduism by a claim to universality. Like Buddhism, it is founded upon the teaching and achievement of Right Faith, Right Knowledge, and Right Action. However, unlike Buddhism, asceticism is greatly stressed even to the point of voluntary death by the refusal of nourishment on the part of those who have attained the highest knowledge, the kevala jñâna. From an early date two Jain sects have existed, the Digambara, who regard nudity as indispensable to holiness, and the Svetambara or ‘white-clothed’, who do not. Besides these two bodies of ascetics, the faith is extended to a large body of laity, who are represented in the history of Indian art, by many sculptures dedicated in the Kushan era, and by the magnificent medieval temples at Mount Abu, Girnar, and Satrunjaya. Like the Buddhists, the Jains founded many monasteries. The worship of stupas was also included in their rites.
The cult of the Upanishads and its forest-dwelling adherents is described in the Agganna Sutta:
They making leaf-huts in woodland spots, meditated therein. Extinct for them the burning coal, vanished the smoke, fallen lies the pestle and mortar; gathering of an evening for the evening meal, they go down into the village and town and royal city, seeking food. When they have gotten food back again in their leaf-huts they meditate.
But from forest life and meditation many sank to a mendicant life on the outskirts of the towns and to being mere repeaters of the sacred books. Such were the Hindus of the Buddha’s day.
Modern Hinduism is divided into two main cults, Vaishnavism and Shaivism. From the point of view of Indian art the early period is almost entirely Buddhist, while the Gupta period, and the succeeding medieval period are Hindu, the sculpture of the latter period being radically based upon Hindu iconography.
Rudra, the storm god of the Vedas, is made known by many epithets. He is called Girisa, ‘lying on a mountain’, Kapardin, ‘wearer of tangled locks’, and Pasupatih, ‘lord of cattle’. When appeased he is known as Sambhu or Samkara, ‘the benevolent’, and as Shiva, ‘the auspicious’, but he remains lord of the powers of the universe and is to be feared as well as loved. Yet the element of bhakti, of personal adoration and willing self-surrender to the deity, is not wanting in the worship of the Great Lord as unfolded in the later Upanishads.
In a lesser aspect Shiva is ‘lord of spirits’ (bhutas) and his rites are connected with snake worship. In his worship the central object is the phallus. The Shiva linga does not seem to have been known to Patanjali, nor does it appear on the coins of Wema-Kadphises on the reverse of which the god is represented, holding the trident, with the bull, Nandi, in the background. In the Mahabharata, Shiva is represented as dwelling in the Himalaya with his hosts. His vehicle is the bull and his consort is variously known as Uma, Parvati, Durga, and Kali. Having completed the creation, he turned yogi and the phallus became his emblem.
The earliest lingas existing do not pre-date the Kushan period. They are of the kind known as Mukha-lingas with one or more faces at the top of the member. One of the earliest iconographical representations of the god is the Dakshinamurti (Guru-Shiva) in relief on one side of the Vishnu Temple at Deogarh which may be dated in the second half of the fifth century C. E.
The earliest historical records of Vaishnavism are the Besnagar Heliodora inscription and the Ghosundi inscription, both of the second century B. C. E. The former testifies to the erection of a Garuda pillar to Vasudeva, god of gods. Heliodora, who was the son of Diya and a native of Taxila, was ambassador from the Yavana Antialkidas to Bhagabhadra. He calls himself Bhagavata. The Ghosundi inscription witnesses to the erection of a hall of worship to Samkarshana and Vasudeva.
Vishnu is a Vedic deity and although he is represented by but few hymns, his personality is vividly portrayed. He measures all things with his three wide strides, the third passing beyond human discernment to the high places of the deity. This conception of the third step of Vishnu as the highest heaven and goal of all things, had obviously much to do with his elevation as the supreme being. In the Mahabharata this Supreme Being is addressed as Narayana, Vasudeva, and Vishnu.
Later Vishnu found a more intimate place in popular worship by means of his ten incarnations (avataras).
The earliest iconographical presentations of the god are two standing, four-armed figures, one on either side of the door-guardians of the Chandragupta Cave at Udayagiri (401 C. E.).
Unlike Buddhism and Jainism, the Hindu sects are not organized into Hindu definite congregations. Whatever the shrine be, one of the magnificent temples of Bhubaneswar or Khajuraho, or a red daubed stone by the roadside, the worship is individual. For certain ceremonial purposes the aid of priests