Urmi Chanda

Mythology forms the cornerstone of Indian art, culture and religion. The study of these mythological gods and motifs is, therefore, fundamental to the study of Indian temples. It is only in their context that the purpose and consequently the religious experience offered by a Hindu temple can be truly understood. This paper offers a bird’s eye view of the ancient temple architecture of South India through its most notable temples, their most visible mythological motifs, and the most significant takeaways from these motifs.

Tracing an arc between historical Judeo-Christian relations and present-day dynamics between the two faith communities, this paper highlights the major points of conflict and confluence along its axis. The Shoah-the greatest of all conflicts-serves as the unfortunate epoch of our times; one that has had definitive geopolitical, economical, and cultural implications across the world. Especially in the realm of interfaith relations and dialogue, it has posed a peculiar challenges as it has opportunities. A few of these post-Shoah theological and interfaith dialogical perspectives have been discussed in the paper.

The term ‘Abrahamic faiths’ has gained popularity in the interfaith circuit in the last few decades, connoting a shared legacy among Judaism, Christianity and Islam. The Genesis story and the figure of Abraham being the common factors of these religions are used as the theological unifiers with the assumption that it will foster some manner of unity and brotherhood. While it has succeeded to some extent, there are yet many loopholes in this proposition. This paper takes a look at some of the advantages and challenges of this model of interfaith dialogue.

Paul's ‘Epistle to the Romans’, popularly known as ‘Romans’, is the basis of much of modern Christian thought and ties in with his explicit mission to preach to the Gentiles. This paper attempts to analyze this text from historical and hermeneutical perspectives, and its possible use in interfaith dialogue among the Jewish and Christian communities.

The scholar and the activist are often one person in India, where "Interfaith Dialogue" takes the form of defending complex ideas like secularism and pluralism, upon which rests the peaceful coexistence of culturally divergent communities like Hindus and Muslims URMI CHANDA Abstract The end of 2019 saw mass street protest marches against the passage of the Citizenship (Amendment) Act (CAA), which is deemed discriminatory against Muslims. This large-scale mobilisation was spurred by the people and the "anti-CAA movement" seeks to protect India's religious freedom and pluralism-and thereby the possibility of interfaith coexistence and dialogue-that is the promise of its Constitution. This robust defence of India's secular ethos has not only been informed by India's predominant public intellectuals but also been strengthened by their direct participation. Against the backdrop of these events, this paper explores how India's contemporary academics and public intellectuals drive the narrative of religious pluralism, tolerance and peace, through their discourses on secularism, and even direct activism. It assumes a political approach to Interfaith Dialogue, with some philosophical antecedents.

As opposed to the sanctimonious school of Vedic thought, the Tantric religion is associated with all things impious. Such widespread perception can be attributed to some magical and sexual rites practiced by Tantrics. Performed primarily for acquiring siddhis and achieving mystical union the divine
feminine, such rituals form only a small part of the sphere of Tantra. However, they dominate its image and have left practitioners and laymen equally curious over the centuries, especially from the medieval period. This paper charts the history of magic rites and fertility rituals as prescribed and practiced in mostly in Shakta Tantra. Some parallel practices from the Buddhist Tantra have also been enumerated
and comparisons with Vedic fertility rites have been attempted.

Theravada Buddhism is deemed both, an atheistic and practical religion. In the context of oppressive cultural systems of the Vedic period, Buddhism's appeal lay in its rationality and feasibility. The lay person of 6th century BCE India could easily practice most of Buddha's teachings, which had none of
the esoteric complexities of Upanishadic discourse. One sterling example of practical teaching is found in the Mangala Sutta. This short yet profoundly effective composition at once dispels superstitions and reinforces positive psychology. The modern branch of Positive Psychology, which focuses on personal
growth, resounds Buddha's ancient life lessons. The same is true of New Atheism, which actively rejects religion in favour of rational thought and secular moralism. This short paper aims to analyse the Mangala Sutta from the points of view of these two modern schools of thought.

Development of maritime trade through the ages is amply reflected not just in the archaeological remains of material culture but also mythology. Although the Indian religious traditions have largely been studied from a spiritual and cultural point of view, a lot remains to be said about its relation to commercial growth. In this paper, we take a look at some of the riverine and marine gods and goddesses that were venerated in ancient and medieval India and neighboring nations. Man's relation to water bodies has been both, sacral and tinged with fear. It is especially true of India, which is blessed with a long coastline, plentiful rivers and abundant maritime activity. From Varuna to Ganga, from Matsya Avataar to Harsiddhi Mata, from Mazu to Avalokiteshwara, we study the evolution of these deities and cults and co-relate them to the corresponding growth in maritime activity in certain regions. When seafaring merchants invoked certain gods and patronised certain temples and cults, it led to the creation of Maritime Heritage.

The age-old Aryan-Dravidian debate shows up repeatedly in the Indian cultural landscape. The Dravida people claim primacy on indigenous grounds, while the Aryans wield their Brahmanical supremacy. The Vindhyas have kept a resolute distance between the northern and southern cultures, despite centuries of attempted Aryanisation.

Among the many cultural symbols appropriated by Indo-Aryans, the folk god Murugan is a fine example. Several modern scholars have studied the Puranas as a tool for acculturation and rightly so. The ancient god of the hills, who had an independent cult, was slowly inducted into the Shaiva fold through various Puranas. More mainstream sanction was begotten with Adi Shankara's Smarta tradition. The popular warrior god, who had little mention in the Vedas, suddenly makes a glorious appearance in the post-Vedic period. Who was Skanda? Where did he come from and why? How similar or dissimilar are Murugan of the south and Skanda-Kartikeya of the north?

This paper traces the origin and development of this god in Aryan India, whilst comparing him with its Southern counterpart. By studying the iconographic and mythological motifs, this paper hopes to understand the religious and political motivations behind this appropriation. Were the Aryans wholly successful in the acculturation of Murugan? The tussle started in the early centuries of the Common Era and continues to this day.

Acharya Varahamihira was one of the greatest astrologers of ancient India. Belonging to the 6th century CE of the Gupta Age, he composed numerous texts on astrology and allied subjects. Among his notable works is the Brihat Samhita, which is an extraordinary treatise on not just astrology but a host of other subjects – from architecture to agriculture, from meteorology to physiognomy, from  economics to dental hygiene! This paper presents a short background and review of the text with brief analyses of the major subject categories.

Health & palliative care and counseling have made considerable progress in the last century, but man's spiritual needs are barely acknowledged – especially when he is afflicted. Cultural exclusion is a major problem faced by those who suffer from serious chronic ailments or disabilities. This paper aims to
briefly understand the concepts of disease and disability in the context of Buddhist canons, explore the solutions offered within the canonical framework and how Buddhist philosophy can be relevant, especially in counseling. The solutions have been long present; we only need to look for them.

The study of Indian art should begin with some question.
But how was this art made? What were its guidelines? What was its purpose? These answers emerge from the study of Indian philosophy at large and Indian aesthetics in particular. This paper aims to present an overview of aesthetics in the tradition of Indian art, as it has been understood right from the Vedic to this day. With a basis of art theories from ancient treatises this paper hopes to present a brief view of what is considered the best and beautiful in art.

In this paper, I try to look at some of the prominent Shaiva icons and their corresponding myths, as depicted in the three
living Chola temples viz. the Brihadeeshwara temple in Thanjavur, the Brihadeeshwara temple in Gangaikondacholapuram, the Darasuram Airavateshvar temple in Kumbakonam and a couple of other minor temples.

India’s living mythology is unique among world cultures, and it is reflected in all aspects of its civilization. While a misnomer, its ‘33 crore Gods and Goddesses’ are to be found in all spheres of life in India, and numismatics is no exception. This paper aims to document all the important coins with deities in ancient Indian numismatic history. The time frame in question is around 6th century BC when coins were first produced, down to the Gupta era in around 500 CE. Though this is primarily an account of the deities issued on coins, the paper also traces some parallel religious and iconographic developments through the eras.

This paper aims to document some of the oldest temples in the area, which are hardly known but for the locals. The primary ones documented are the Narmadeshwar temple in Trombay, the Dewoolwadi temple complex in Chembur and the Gaondevi temple in Deonar.
From the historical study of these structures emerges a faint picture of the religious ideas of the residents of old Chembur and its adjoining areas. The predominance of Shaiva and Shakta temples perhaps harken back the beliefs of the locals right during the time of the Satavahanas, who once ruled the Mumbai islands.

Gauhar Jaan was one of the most influential artistes Hindustani classical music in the early 20th century. Though a tawaif, she wielded a lot of influence and was the first ever Indian to cut a record. This paper outlines her life and her art.

This short essay seeks to understand whether a change in the style of rendition would affect a change in perception of the listener. Would the same words from a folk song, when sung in the classical style, create a different impact on the audience?

No respectable lover of Indian history and culture can walk nonchalantly past the aisle of a book store when the title of a certain book on a certain shelf says The Lost Generation: Chronicling India's Dying Professions. And if the title of the book doesn't convince you enough to buy it, a very cute illustration of a pair of dentures and a testimonial by Gulzar saab on its cover will...

The concretisation of the present-day notion of “Carnatic music” came about in the 1920s and 30s when the English-speaking upper castes colluded with colonial powers to define a narrow idea of India and its complex social matrix. With the criminalisation, marginalisation, and invisibilisation of several castes and artist communities, their contributions to the peforming arts scene were also forgotten or lost. Carnatic music came to be understood in a most narrow, Brahminical sense with strict codes of performance.

https://thewire.in/the-arts/performing-arts-music-dance-caste

‘Karnatik Kattaikkuttu’ is the result of a collaboration between Karnatic musicians and vocalists, Sangeetha Sivakumar and TM Krishna, and Kattaikuttu Sangam, a not-for-profit association for professional Kattaikkuttu artistes. Managed by the events company, First Edition Arts and presented at the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya in Mumbai on January 19, 2019, this performance debuted in December 2017 and has since been performed in several cities, and events including the recent Kochi Biennale and the Serendipity Arts Festival in Goa

An encyclopedia-style entry on the overarching history of Hindu-Buddhist relations in India from the ancient to the present times. The paper takes a look at political, social, cultural and religious aspects of the relationship shared between two of the world's oldest religions.

The Pali tradition recognises ten main disciples of Gautama Buddha, of which two were the chief disciples or the agraśrāvakas. They were the venerable monks, Sāriputta and Moggallāna. This paper attempts to briefly examine the life and legends of Thera Mahā Moggallāna so as to understand his character. Primary sources of the Tipiṭakas have been used to reconstruct the personality of Moggallāna, the man, the monk and the magician. Introduction: Among the chief disciples of the Buddha, Thera Mahā Moggallāna seems to be one of the most fascinating characters, endowed as he was with the most amazing supernatural powers. It would make for interesting study to see how a man already in possession of deep spiritual insights used and dealt with these extraordinary powers and if they had any bearing on his personality and behaviour. But before one can deconstruct his persona, a short review of the story of his life is warranted.

Mumbai or the erstwhile Bombay has been inextricably linked to Bollywood. And what is inextricably linked to Bollywood is music. Popular Hindi music has been a defining element of contemporary Indian culture and thereby warrants academic scrutiny. This paper tries to trace the history of Bombay through the lens of Bollywood, especially its music. These lyrical testimonies are corroborated with interviews of four Mumbai residents, who are also thorough listeners of Hindi cinema music. Through a detailed reading of the lyrics of songs about Mumbai, their cinematic context, and oral history interviews, a reconstruction of the city's socio-cultural past has been attempted.

As mysticism is connected to religion, so is religion to ritualism. Although scholars have often differentiated between these aspects, the relation between all three is undeniable and inextricable. Theistic mysticism, in particular, often starts within the framework of religion and/or ritual. From simple rituals like chanting to complex rituals like srauta yajnas, rituals have always been considered an important way of communing with God. This paper explores the idea of ritualism in Hinduism and
how they are comparable to mystical experiences.

The beginnings of alchemy mark an interesting period between mythical time and historical time. Between the primitive understanding of nature and the development of science, alchemy bridges a gap with magic and mythology. It may have had its share of brickbats in the modern times, but
alchemy has allured and intrigued the minds of some of history's best men. These men tried to make sense of and replicate nature in their labs, aiming for perfection symbolized by gold. In exoteric terms, they sought to create the pure, precious metal and in esoteric terms, they sought a pure
consciousness. This fascinating branch of knowledge was best explained and understood through myth and allegory. This paper attempts a comparative study of mythological motifs, tenets and tales in order to understand the common ground of all aspirants of the Golden Quest.

This paper explores and reviews the various forms of sacred geometry and geometrical patterns in religious and occult art used as a means of spiritual progression. The inspirations and
myths behind these figures, the supposed powers accorded by them and other such mystical aspects will be examined. The idea is to understand the universal mystical ideas associated with geometrical figures within multiple religious frameworks.

This paper chronicles the iconography of female deities as they developed in the Tantric schools of Hinduism, Buddhism and Bon(ism). It aims to show the inherent similarities in the form of the deities despite the philosophical differences in the religions.