Aditya Prakashan ISBN 8177420615 10.9" X 8.5" Pages: 298 (b/w illustrations)
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Dictionary of Buddhist Iconography
(
Ubai-shin-Vajrakulodbhava) Volume 13
By Lokesh Chandra Hardcover (Edition: 2004).
The Dictionary of Buddhist Iconography is an endeavour of half a century to identify, classify, describe and delineate the bewildering variation in Buddhist icons. It spans the last twenty centuries, and it is a comparative study of unprecedented geographic variations, besides the ever evolving visualizations of great masters who introduced extraordinary plurality of divine forms in the dharanis and sadhanas.
The multiple forms of theonym arise in varying contexts. For example, Hevajra of the Hevajra-tantra holds crania in his hands, while the Hevajra of the Samputa-tantra has weapons. Both are subdivided into four each on the planes of kaya, vak, citta, and hrdaya, with two, four, eight, and sixteen arms. The Dictionary classifies several such types of a deity and places each in its theogonic structure, specifies the earliest image, the direction in which it is placed in the specific quarter of the mandala, its classification, color, crown or hairdo, ferocious or serene appearance, number of eyes and heads, hair standing up and/or flaming, number of arms and attributes held in them, consort, lord of the family (kulesa), and so on.
The esoteric name, symbolic form (samaya), bija (hierogram), mantra, mudra, and mandala are given in the Dictionary for the first time and on an extensive scale. The Sanskrit, Chinese, Korean, Japanese, Tibetan, Mongolian, Manchu, and other names are given under the main entry, as well as cross-referenced in their own alphabetic order.
The Dictionary details the characteristic attributes, chronology, and symbolism of over twelve thousand main and minor deities. It reflects the extraordinary cultural, literary, aesthetic, and spiritual achievements of several nations of Asia over two millennia.
It will help to identify the masterpieces along with the profusion of masters and divine beings around them. The last few decades have seen an exuberant flourishing of the study and popularization of the patrimony of Buddhist art for its aesthetic magnificence. This Dictionary will add a dimension of precision and depth of perception to the visual tradition of paintings and sculptures.
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The dome is now full of holes like "Swiss cheese," Hoagland claims. That is how vehicles are able to land on it. But they often fail because most are not told about its dome. Except, the Indians knew it and took polarized lenses on their cameras to make it safely to the surface. Israel, not so much, breaking off an engine in the attempt. His conclusions and speculations will not make sense to anyone who does not examine the evidence.
