By Heinrich Robert Zimmer
This ebook translates for the Western brain the main motifs of India's legend, fable, and folklore, taken without delay from the Sanskrit, and illustrated with seventy plates of Indian artwork. it truly is essentially an advent to image-thinking and picture-reading in Indian artwork and proposal, and it seeks to make the profound Hindu and Buddhist intuitions of the riddles of existence and dying recognizable now not basically as Oriental yet as common components.
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Additional info for Myths and Symbols in Indian Art and Civilization
The above text is a condensation of a long descriptive passage in Book IV, Chapter 24. * In Sanskrit, u before a vowel becomes v; therefore manu-antara (“Manu-interval”) becomes manvantara. † 71 × 14 = 994, leaving 6 mahāyugas to be accounted for. The adjustment is effected as follows. 4 mahāyuga), and every manvantara as followed by a twilight of equal length. 4 × 15 = 6. 994 + 6 =1000 = mahāyugas, or one kalpa. This complicated calculation seems to have been introduced in order to co ordinate two originally separate systems, the one based on a chronology of wheeling mahāyugas, 50 the other on a tradition of periodic universal floods.
When his father-in-law died he became head of the household, inheriting the estate and managing it, tending the cattle and cultivating the fields. The twelfth year, the rainy season was extraordinarily violent: the streams swelled, torrents poured down the hills, and the little village was inundated by a sudden flood. In the night, the straw huts and cattle were carried away and everybody fled. With one hand supporting his wife, with the other leading two of his children, and bearing the smallest on his shoulder, Nārada set forth hastily.
It was 52 as though the mountains—permanent when considered from the standpoint of our brief human span of some seven decades—should be beheld, all at once, from the perspective of as many millenniums. They would rise and fall like waves. The permanent would be seen as fluid. Great goals would melt before the eyes. ” As long as the experiences and sensations that stream through the consciousness of an individual remain untouched by any widening, devaluating vision, the perishable creatures that appear and vanish in the unending cycle of life (saṁsāra, the round of rebirth) are regarded by him as utterly real.