When: Art
Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Thursday, December 10, 2009

The Challenge of Indian Art

What is art? Is it a purely utilitarian object with some trappings of decoration, or is it pure aesthetics which has absolutely no purpose whatsoever than to appeal, rather hedonistically if you will, to the senses?

This debate has raged amongst art circles from the earliest documented periods of art history : from the seminal essays of Alois Riegl to the lines and periods drawn up by institutions and art academies of the 19th and 20th centuries. This distinction between art and artisanship, between the artist and the artisan, is also coincidentally one of the chief divisions that separate South Asian, or Indian art, from its counterpart in the West. Indian art has often been held to be repetitive, a craft rather than a display of true and original intent. It is only recently, when paradigms of global histories are being tested in schools and academies across the world, that the appendage position occupied by South Asian art within the canon of art history is being seriously questioned. This in spite of certain scholarly positions that argue for the complete hegemony, as it were, of the Western model of writing histories of and appreciating art. Is the history of Indian art then doomed to forever be in the shadow of a larger, global narrative? These questions are important, for in some ways they allude to the intellectual hegemony held by the Western academy over forms and ways of knowing, where even emerging powers like China and India are forced to adopt methodologies and systems of art appreciation that have been developed in the West.

This is not to say that there have not been laudable attempts at chronicling South Asian art. One of the earliest modern historians of Indian art was Ananda Kentish Coomaraswamy. Living in Ceylon during British colonial times, Coomaraswamy did much to inscribe meaning to Indian art and architecture within the Western imagination. For Coomaraswamy, there was no art, or meaning in art, unless one understood the principles that guided its creators. Without an understanding of these principles, Indian art became simply a collection of strange looking gods, fanciful sculptures, and apparently misshapen forms. It took his interpretation of Indian art as a predominantly religious and spiritual work to make the Westerner begin to appreciate art, painting and sculpture especially Hindu art on a basis comparable to that of its Western contemporary. 1

But if making Indian art comprehensible to the Western observer is one of the challenges that faces the writing of a South Asian art history, what is perhaps even more serious is the way that Indian art is often appended as a subsidiary culture to the grand narrative that is the history of Western art. This grand sweep of history from the Pyramids to Picasso, has a very definable center, consisting of the Western Renaissance and its allied movements. To this center all other movements, all other cultures must adhere and spring from. Thus a survey course in art in Western schools, till very recently at least, ran somewhat like the following :

Egyptian, Ancient Near Eastern, and Classical Art; Early Christian, Byzantine and Medieval Art; The Renaissance, Baroque and 18th century Europe; 19th and 20th century Europe; Photography and Film, Art of the United States and Canada; Native American, Pre-Columbian and Latin American Art; Asian Art, Islamic Art; African Art; African Diaspora; Art Criticism and Theory. 2

It is clear from this grouping that the entire gamut of Asian Art (Chinese, South-East Asia, South Asia and even Middle Eastern) is clubbed under the catch-all phrase Asian Art - a category that comes much after mainstream European art, and is clubbed with overtly religious classes like Islamic Art, with a hint of primitivism like Latin American and African Art, and certainly is an offshoot of the main branches of art history. This is the second challenge that South Asian art faces: to evolve and emerge from being an offshoot of the art history tree to being a unique discipline in its own right. Much like architecture, South Asian art faces the challenge of being marginalized, of having to answer to canons that are developed in the West. This quasi-Darwinian legacy of Asian art also means that Asian artists are forever struggling to make their art answer to principles of art appreciation that have been evolved in the West, making Indian art a branch, not a main focus of study. Indian art remains Indian, and struggles to make the leap from its prefix to that of simply art.

This introduction to Indian art strives to overcome these fallacies in different ways : by ascribing meaning and intent to Indian art, by unearthing the purpose of the artisan and patron so as to ascribe a meaning that can be judged on the basis of original intent rather than Western aesthetics, and also by treating Indian art at a par with its Western contemporaries.

This introduction will also avoid dividing Indian art into dynasties, avoiding narrow divisions such as Gupta art, Hellenic art, Islamic art, and so on. The reason for this is that art in the Indian subcontinent was as much a product of traveling groups of artisans rather than dynastic or kingly patronage. This is the reason why Hellenic art, for example, can be found in South Asia just as much as Greece, why Persian influences mix with the Hellenic in Kushan art, and why Rajasthani schools of painting and Mughal schools borrow so much from each other to create a composite picture of miniature painting.

The second facet of this introduction is its geographic sweep. Indian art I purposely avoid for the moment the word South Asian also includes within its ambit influences from, and outward impulses to, geographies of the world as diverse as Indonesia, Thailand, China, Japan, Persia and Central Asia. This series will attempt to bring these diverse influences, where possible, under question and examine the truly continental nature of ancient and medieval Indian art, as also the global influences that modern Indian art has imbibed, as also the ways in which a globalized, connected world has influenced the production of art in South Asia. It is only by stressing upon the global nature of South Asian art that we can perhaps make the jump from treating this subject as an offshoot of the world history of art, to a synchronous event in world history that is as connected to its global cousins as it is indivisible from them. This approach would be proper, as it is no longer possible for the serious student or professional of art or cultural history to remain within a narrow confine of cultures, continents or time periods.

References:
1. Ananda K Coomaraswamy. An Approach to Indian Art. Parnassus, Vol. 7 No 7 pp. 17-20
2. Robert S Nelson. The Map of Art History The Art Bulletin Vol 79 No. 1 pp. 28-40.

Images:
Detail from Three Pujarins. Jamini Roy.
Detail from Portrait of a Gentleman, Raja Ravi Varma.

Wednesday, December 2, 2009

Radiografía Reveladora


Hoy por la mañana aprovechando mi 3° visita al médico en una semana, producto de una gripe que no se quiere ir, me hice unas radiografias que me habían solicitado de las cervicales y manos. Para mi sorpresa me laas entregaron en un CD, en el momento pense ahora llego y las bajo a la PC a ver que hago. Me resultaba gracioso pensar que en la radiografia aparecieran, los fantasmas de mis pensamientos en un paisaje gótico. Prometo más, me gusto la idea.

Las primeras producciones del Otoño





Estos dias retome el lapiz y la tinta, he aqui el resultado de ello. las dos primeras corresponden a la continuación de la serie FeMMeS, que comenzara en 2007, parece que la fuente de inspiración no se agota en si misma y brinda cada vez una nueva visión del fenómeno.

Estos otros dos trabajos son producto de la charla con mism alumnos de primaria y las sugerencias que me hacen, "....Profe porque no dibujas....", y alli salen a veces cosas extrañisimas. El de la izquierda lápiz y el otro tinta y lapiz blanco.



Rapidito en papel de cocina para el coso.


Hecho para el coso de ilustradores con la propuesta de hacer un mamarracho en menos de 5 minutos. El 1° es el original sobre un pedazo de papel de rollo de cocina con una uniball, como se rompe el papel!. En los otros dos el proceso de coloreado con photoshop con un set de pinceles de manchas de acuarela que baje de aquí, también hay una gran cantidad de pinceles gratuitos para Photosho

El Viaje de Zelmira

Este bellísimo cuento publicado en Educared pertenece a la escritora Graciela Vega. El domingo del día del padre con mi hija hicimos unos ejercicios de color y como aplicación de lo que vimos cada uno realizó una pintura. Como también esa mañana leímos el cuento, me cautivo la idea de trabajar el personaje de la simpática brujita y referirla a su periplo. La técnica la de siempre, dibujo y pintura con témperas inicial, escaneado y photoshop. Creé un pincel con el boeing, y usé unos para las nubes.

La brujita Zelmira

Detalle ZelmiraDetalle Zelmira

Mona FeMMes

Recreando obras clásicas y siguiendo la versión de “El Grito”, la conocida obra de Edward Munch, que realicé hace un año atrás, (se puede ver aquí), tomé a la ultra-manipulada Gioconda de Leonardo Da Vinci y la recreé con la visión de la serie FeMMes que comenzara en el 2007.

Les dejo aquí mi Mona Lisa, espero les guste y espero sus opiniones.

mona-femmes-final

detalle-mona-femmes-1detalle-mona-femmes-2

Robot

Dibujo de una serie de robots que hice hace algunos meses que estoy pintando. Espero guste.

robot-1

GUAPA, GUAPA Y GUAPA!!!.


Cuando acompañas tantas veces a la Virgen de la Fuensanta en su camino hacia la ermita en el Santuario de Algezares piensas lo mucho que tienes que agradecerle por todo lo que tienes y consigues en la vida.
Estar con ella todo el recorrido además de hacer cientos de fotos te sirve para pedirle que otro año más puedas estar a su lado por que significará buena salud y trabajo. Hoy es importantísimo el trabajo ante esta terrible CRISIS por eso no puedo más que agradecerle a la Morenica que conservemos la salud para seguir trabajando y que nos ampare siempre.
Gracias por estar en nuestros corazones y por la ayuda que nos brindas siempre.

UNA VIDA SESGADA.


Ayer mientras esperaba una protesta en contra de la violencia de género me encontré con este tronco que me sugirió una interesante y reflexiva foto.
Los arboles son la vida, el agua y la naturaleza en su estado puro, la tala de ellos y el sesgamiento de su vida nos llevará algún dia a encontrarnos una naturaleza muerta y triste.
Cada día que pasa hay menos árboles y es imparable, lástima.

Animal Sculpture





Saturday, November 14, 2009

The man behind the mask: saving an ancient tradition

Many of Cambodia’s oldest stories have been lost, but An Sitha and his students are working to preserve Khmer folklore by reproducing its chief characters

091105_19a
Photo by: OU MOM
Traditional Khmer masks made by master An Sitha.

The ancient techniques are costly and difficult to produce, and require a lot of concentration and time.

GET ready to see an epic battle as Preah Ream and his monkey army wage war on demon king Krong Reap in order to win back the beautiful Neang Seda.

OK, maybe the battle’s a myth, but the tradition of ceremonial Khmer mask-making fuels the mind’s eye; one can imagine the spectacular vision of colourfully masked warriors embroiled in a furious melee.

Although traditional masks may not be the hottest thing to hit the Kingdom this year, or even this century, tutor An Sitha is working to ensure Cambodia’s youths don’t forget the artisanal skill that has helped sustain Cambodia’s traditional stories, such as the clash of the kings in Reamke, for centuries.

An Sitha teaches students in the Department of Plastic Arts at the Royal University of Fine Arts, and his disciples take the preservation of Cambodian’s heritage seriously. Mask-making students, who are required to have graduated from secondary school, must spend two years learning ancient drawing techniques before beginning three years of training in Khmer mask-making.

In An Sitha’s classes, each mask is a masterpiece. First, the basic shape of the monster, monkey or king’s head is sculpted in wet clay. A cement mould is then made of the front and back of the head, and strips of paper soaked in glue are pressed and painted into the mould form, building up the skin of the mask until there are at least 10 layers of paper. The visage is then allowed to dry a little until the basic mask form, still damp, is gently removed and left to harden before the detail is added.

An Sitha said he tries to produce masks that are as historically exact as possible, but it’s not easy. “The ancient techniques are costly and difficult to produce, and require a lot of concentration and time. We always light incense to concentrate our minds before we make a mask.”

A lack of materials also hampers An Sitha and his students in their mission to mimic primeval procedures. Raw materials such as lacquer and rare woods can be expensive and difficult to find.

091105_19b
Photo by: OU MOM
An Sitha talks with TV5 at a showing of his masks at the French Cultural Centre.
The pricey materials and demanding procedures make the masks rather expensive. An Sitha said that most of the buyers are actors, artists, foreigners, middle-class Cambodians and art-lovers. “But for some customers who want cheaper mask, we also make it from cheaper materials,” adding that the more money people pay, the better the quality of the product.

An Sitha’s students must also be well-versed in Khmer traditional stories and know the characters, their specific colours and their particular ornaments. Three hundred years of culture depends on An Sitha’s students. “Our history of masks goes back to the 7th century,” says An Sitha. “We make masks based on the old documents. Until now, we haven’t created or designed new techniques. When we compare the old techniques to new techniques, the old products evoke more emotions and spirit,” said An Sitha.

Neighbouring countries Myanmar and Thailand, where An Sitha has been exhibiting his Khmer mask collection, have different ways of making masks because they refer to newer documents from the 18th century. “We have unique styles and techniques; our masks are smaller than theirs, for example,” said An Sitha.

Smaller they may be, but they are no less important – especially in a country where culture is often all too ephemeral. An Sitha’s family is one of the few still making traditional masks in Cambodia. If you want to take part in the legacy and see their work, visit their shop at No 25, E1 on Street 178 in Phnom Penh.

Monday, September 14, 2009

Temples of Rameshvaram and Badrinath


The great Shiva temple of Rameshvaram, India

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As discussed in the section, Introduction to the Pilgrimage Places of India, there are several ways in which pilgrimage sites are categorized in Hinduism. One of these concerns the four Dhamas, or the 'abodes' of the gods at the four directional compass points of India. While no specific legend explains the grouping of these four sites together, they were each highly regarded by the time of the Mahabharata (500 BC), they came to be listed together by the time of the early Puranas (4th century AD), and were given further emphasis in the ninth century when the great sage and scholar Sri Adi Sankara established monastic centers at them. The four Dhamas are: in the East, the Krishna temple of Jagannath in Puri, Orissa; in the North, the Vishnu temple in Badrinath, Uttar Pradesh; in the South, the Shiva temple of Rameshvaram in Tamil Nadu; in the West, the Krishna temple of Dwarka in Gujarat.

The temple at Rameshvaram, besides being considered a Dhama, is also one of the twelve sacred Jyotir Linga sites. These sites, located throughout the sub-continent of India, are where the god Shiva is said to have manifested as a towering column of fire. Among India's most ancient temples sites, they enshrine small pillars of stone, called lingas, which are worshipped as containing the creative power of Shiva. Unlike the other eleven Jyotir Linga sites, Rameshvaram has two sacred Lingas instead of just one. A legend from one of India's great epics, the Ramayana, explains this unique condition. A demon named Ravana had stolen Sita, the wife of Lord Rama. Following a terrific battle on the island of Lanka (modern day Ceylon or Sri Lanka) in which Rama killed the demon Ravana, Sita and Rama returned to India. At the site where they landed, Rama decided to install a Shiva Lingam to absolve him of the sin of destroying Ravana who, besides being a demon, was also a member of the Brahmin caste. Lord Rama sent his devotee, the monkey deity Hanuman, to Mt. Kailash to get a lingam from the god Shiva. Hanuman's journey took longer than expected however, and as the auspicious time of worship neared, Sita quickly fashioned a lingam out of sand. When Hanuman finally arrived with a stone lingam from Kailash he was disappointed to find another lingam already installed. To please Hanuman, Rama installed the stone lingam beside the sand one and ordered that all worship should henceforth be given first to the Visvalingam brought by Hanuman, and only then to the Ramalinga made by Sita.

The enormous temple of the two Shiva Lingams lies near the seashore at the tip of India. Besides the 100-foot tall gopuram towers shown in the photograph, the temple is renowned for its magnificent corridors with massive stone pillars. Decorating the sides of the gopuram towers and throughout the interior of the temple are thousands of exquisite sculptures depicting mythic events from the Ramayana. There are also twenty-two sacred bathing pools within the temple complex. Fully clothed, pilgrims will immerse themselves in each of these pools - known for their miraculous healing cures - before praying at the two Shiva Lingams. Perhaps the finest example of Dravidian architecture in south India, the present temple dates from the 12th century and is the composite work of several different kings. More than ten thousand pilgrims pass through the temple each day, making Rameshvaram one of the most visited and vital sacred sites in all of Asia.


Town and temple complex of Badrinath

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The holy Dhama temple of Badrinath, far north from Rameshvaram's seaside location, is in the state of Uttar Pradesh, in the Uttarkhand region of the Himalaya mountains. Perched above the Alaknanda River, a headstream of the Ganges, the temple's elevation is 10,248 feet (3050meters). Because of the extreme cold of the high mountain winter the shrine is only open in the summer months. When the first snows fall the sacred statue of Vishnu (seated in the Yogic padmasana pose) is clothed in a thick woolen blanket, the temple is closed and locked, and the priests move down the mountain to the town of Joshimath for the winter. Badrinath has been a well known pilgrimage site for over 2000 years and the Buddhist architectural influence in the shrine shows that Badrinath has also been venerated by Buddhists since very early times. Immediately adjacent to the shrine is the hot spring pool of Taptakund in which pilgrims take a dip before worshipping Sri Badrinatha.


The holy Dhama Temple of Badrinath

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Ellora, India


Shiva slaying the demon Andhakasura,
who had lusted after his wife Parvati. Ellora, India
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The complex of Ellora temples in Maharashtra state represents the greatest example of cave-excavation architecture in the entire world. Built during the Gupta period of the 6th to 8th centuries AD, the caves were constructed by digging into a mountain side and removing thousands of tons of rock, leaving only the temple structures behind. At Ellora there are 34 cave temples; 12 Buddhist, 17 Hindu, and 5 Jain. The concurrent construction and use of these temples by different religions is a wonderful testament to the extraordinary spiritual maturity of ancient India.

The photograph shows Shiva, in the form known as Andakasuramardana, in cave number 29 of the Ellora complex. The magnificent temple, called Sita-ki-Nahani or Dhumarlena, was built between AD 650-725, and is 50 meters wide by 5 meters high. The author's favorite cave-temple at Ellora, it is a serene and powerful place to meditate through the night until the dawn.

As Andakasuramardana, Shiva is a slayer of a blind demon. The goddess Kali crouches below to catch the demon's blood in a bowl. While showing significant motion, this particular Shiva form is not a representation of dancing. During his divine dance, Shiva never has fangs or a fearsome expression, but displays a radiant calm. Mythologically Shiva is regarded as the great master of dance and all the 108 modes of dancing have come from him. Shiva's dancing manifests the Panchakryta or five acts of god: creation, preservation, destruction, embodiment and release. It is said that he dances every evening in order to relieve the sufferings of creatures and entertain the gods and goddesses who gather upon Mt. Kailash. Shiva is believed to have manifested in the Nataraja dancing form at the celebrated pilgrimage shrine of Chidambaram in Tamil Nadu state, also shown on this web site.


Pushkar, India


Sacred lake and temple of Brahma, Pushkar, India
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Sacred lake and temples of Brahma & Hill of goddess Saraswati-Savitri

The description of pilgrimage places in the Tirtha-Yatra section of India's great epic, the Mahabharata, suggests a grand tour of the entire country. The pilgrimage begins in Pushkar, sacred to the god Brahma, and continues in a rambling clockwise direction throughout the subcontinent, ending in Prayaga (modern day Allahabad). As indicated by Pushkar's position as the starting point of the grand pilgrimage, the worship of Brahma was considered highly important at the end of the first millennium BC.

The common assumption of there being only one temple to Brahma is untrue. There are at least four major temples to him still in use today. They are at Pushkar in Ajmer, Rajasthan; Dudhai in the state of Madhya Pradesh; Khed Brahma in Kerala; and Kodakkal in the Malabar region of Kerala-Karnataka. Today, other deities have long eclipsed the cult of Brahma. It has been suggested that this waning of importance may be attributed to the fact that the function of Brahma - creating the world - has been completed, while Vishnu (the preserver) and Shiva (the destroyer) still have relevance to the continuing order of the universe.

Mythological literature describes Brahma as having sprung up from the lotus originating in the navel of Vishnu. Brahma then becomes the source of all creation, the seed from which issues all space, time and causation. His consort Saraswati was manifested out of him, and from their union were born all the creatures of the world. He is the inventor of theatrical art, and music and dance were revealed by him. He is sometimes depicted with four heads representing the four Vedas and the four Yugas (great epochs of time), other times as Visvakarma, the divine architect of the universe. Saraswati is the wife of Brahma. Literally her name means 'the flowing one'. In the Rig Veda she represents a river deity and is connected with fertility and purification. She is considered the personification of all knowledge - arts, sciences, crafts and skills. She is the goddess of the creative impulse, the source of music, beauty and eloquence. Artists, writers and other individuals involved in creative endeavors have for millennia come on pilgrimage to Pushkar to request the inspiration of Brahma and Saraswati. According to the theory that shrine myths are often metaphorical expressions of the specific power of a pilgrimage place, the lake, hill and area of Pushkar have a spirit or presence that awakens and stimulates the human capacity of creativity.

There are five principal temples in Pushkar, all of relatively recent construction since the earlier buildings were destroyed by the Mugal emperor Aurangzeb in the late 17th century. Numerous bathing areas, known as ghats, surround the lake and pilgrims immerse themselves in the holy waters for a cleansing of both body and soul. During most of the year Pushkar is a sleepy little town. Each November, however, over 200,000 people arrive with 50,000 cattle for several days of pilgrimage, horse dealing, camel racing and colorful festivities.


Hill of Saraswati, Pushkar, India

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Stone carving of goddess Saraswati

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Hardwar, India


Hardwar, Uttar Pradesh, India

Hardwar, or Haridwar, is one of the holiest places for Hindus in India. It is significant that pilgrims often go from Haridwar to the two great Himalayan shrines of Kedarnath and Badrinath, as Har means Shiva (the deity of Kedarnath), Hari means Vishnu (the deity of Badrinath), and Dwar means gate. Hardwar is thus the gateway to the two holy shrines of Shiva and Vishnu. The town has also been called Gangadvar, meaning 'Door of the Ganga' as it is here that the sacred river Ganges leaves the mountains to flow out upon the Indian plains. Many years ago it was also called Kapilsthan after the great sage Kapil, who lived and meditated here. Today, Hardwar is the home of many Ashrams (hermitages and places for meditation) and Dharamshalas (rest houses for pilgrims) that have been established by various swamis, yogis and religious institutions. Throughout the year large numbers of pilgrims come to bathe in the Ganges, especially at the Hari-ka-charan ghat (also called Hari-ki-Pauri), where a footprint of Vishnu is worshipped. Pilgrims also consider it important to visit the beautiful Shiva temple of Daksheswar.

A large pilgrimage festival is held every year in April at the beginning of the Hindu solar year. Every twelve years the great festival of Kumbha Mela is held and every six years an Ardh Kumbha, or half Kumbha. During these important festivals millions of pilgrims throng to Hardwar from throughout India. Hardwar is also one of India’s Moksapuris, or Seven Sacred Cities, where moksha (spiritual liberation) may be more easily attained. Twenty-four kilometers north of Hardwar is another holy town named Rishikesh, meaning 'abode of the mystic sages'. The author feels it is important to draw attention to the fact that these two places, Hardwar and Rishikesh, have place-names that indicate their spiritual rather than secular attributes. Nowadays both towns are bustling social centers, yet in ancient times they were quiet forests groves, nestled along rushing mountain rivers; the perfect place for contemplation and a life in harmony with the way of nature. While not speaking directly of Hardwar or Rishikesh, the following passage from the Anusasana Parva Mahabharata (a classic text of Hinduism) well expresses their magical atmosphere:

Certain areas on earth are more sacred than others, some on account of their situation, others because of their sparkling waters, and others because of the association or habitation of saintly people.

Kumbha Mela, India




Temporary tent city at the Allahabad Kumbha Mela, India
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Sacred site festivals in India, called melas, are a vital part of the pilgrimage tradition of Hinduism. Celebrating a mythological event in the life of a deity or an auspicious astrological period, the melas attract enormous numbers of pilgrims from all over the country. The greatest of these, the Kumbha Mela, is a riverside festival held four times every twelve years, rotating between Allahabad at the confluence of the rivers Ganges, Yamuna and the mythical Saraswati; Nasik on the Godavari; Ujjain on the Sipra; and Hardwar on the Ganges. Bathing in these rivers during the Kumbha Mela is considered an endeavor of great merit, cleansing both body and spirit. The Allahabad and Hardwar festivals are routinely attended by five million or more pilgrims (13 million visited Allahabad in 1977,18 million in 1989, and nearly 24 million in 2001) thus the Kumbha Mela is the largest religious gathering in the world. It may also be the oldest.

Two traditions are in circulation regarding the origin and timing of the festival: one that stems from ancient texts known as the Puranas, and the other that connects it with astrological considerations. According to the Puranic epic, the gods and demons had churned the milky ocean at the beginning of time in order to gather various divine treasures including a jar containing amrita, the nectar of immortality. As the jar emerged from the ocean the gods and demons began a terrific battle for its possession. For twelve days and twelve nights (equivalent to twelve human years) the gods and demons fought in the sky for the possession of this potion of immortality. During the battle, which according to some legends the gods won by trickery, four drops of the precious potion fell to earth. These places became the sites of the four Kumbha Mela festivals. The astrological tradition (ascribed to a lost Puranic text and not traceable in extant editions) seems to stem from a very ancient festival called the Kumbha Parva which occurred at Hardwar every twelfth year when Jupiter was in Aquarius and the sun entered Aries. At some later time the term 'Kumbha' was prefixed to the melas held at Nasik, Ujjain and Prayaga (the earlier name of Allahabad), and these four sites became identified with the four mythical locations of the immortality potion. In theory the Kumbha Mela festivals are supposed to occur every three years, rotating between the four cities. In practice the four-city cycle may actually take eleven or thirteen years and this because of the difficulties and controversies in calculating the astrological conjunctions. Furthermore the interval between the Kumbha Mela at Nasik and that at Ujjain is not of three years; they are celebrated the same year or only a year apart. This deviation in practice is intriguing and can not be fully explained by either astrological or mythological means. The following chart gives the astrological periods of the four melas, and the years of their most recent and near future occurrences:

Hardwar.........when Jupiter is in Aquarius and the Sun is in Aries during the Hindu month of Caitra (March-April); 1986, 1998, 2010, 2021.

Allahabad.......when Jupiter is in Aries or Taurus and the Sun and Moon are in Capricorn during the Hindu month of Magha (January-February); 1989, 2001, 2012, 2024.

Nasik..............when Jupiter and the Sun are in Leo in the Hindu month of Bhadrapada (August-September); 1980, 1992, 2003, 2015.

Ujjain..............when Jupiter is in Leo and the Sun is in Aries, or when Jupiter, the Sun, and the Moon are in Libra during the Hindu month of Vaisakha (April-May); 1980,1992, 2004, 2016.

The antiquity of the Kumbha Mela is shrouded in mystery. The Encyclopedia Britannica states that the Chinese Buddhist pilgrim, Hsuan Tsang, made a visit to an Allahabad festival in the 7th century AD while in the company of the King Harsavardhana. Tradition associates the 9th century philosopher Sankaracharaya with the organization of the Kumbha Mela at Prayaga (Allahabad). Sankaracharaya had established four monasteries in the north, south, east and west of India, and had called upon yogis, sadhus and sages to meet at these sites for an exchange of philosophical views. These sites in the four cardinal directions were separated by great distances however, and therefore the more centrally located site of Prayaga became the meeting place of choice. Indologists speculate that during the 9th to 12th centuries other monks and religious reformers perpetuated this periodic assemblage of sadhus and householders at sacred places on the banks of holy rivers, in order to create an environment of mutual understanding amongst different religious sects. Additionally the festival gave householders the opportunity to benefit from their association with the normally reclusive sages and forest yogis. What was originally a regional festival at Prayaga thus became the preeminent pan-Indian pilgrimage site.

While many millions of Indians, male and female, young and old, lay person and monk, visit the Allahabad Kumbha Mela, the festival is traditionally known as the mela of ascetics and sadhus. At the most auspicious hour on the most auspicious day of the month-long festival many thousands of naked holy men from various sects will immerse themselves in the river for a ceremonial bath. Following the bathing of the sadhus, millions of other people attempt to enter the river. For a devout Hindu, to bathe at the Kumbha Mela sites (especially Allahabad and Hardwar) at this auspicious time is considered an opportunity of immeasurable significance. This great religious fervor of so many people focused on so small an area of land and water has frequently resulted in hundreds of pilgrims being trampled to death as the masses surge towards the river banks. During the 1954 Kumbha at Allahabad over 500 pilgrims were killed. The Indian government has taken measures to address this problem yet little can be done when such great numbers of pilgrims are involved.

Furthermore, it is important to note that many Hindus consider the Kumbha Mela sites to be the most favored places at which to die, and ritual suicide, though discouraged by the government, is still practiced. Westerners are bewildered, even shocked, by this matter and frequently make judgments without understanding the mythological, religious and cultural reasons behind the behavior. While it is beyond the scope of these writings to discuss the subject in detail, it is interesting to focus attention upon the two origin myths of the Kumbha Mela festival. Four drops of a nectar or potion of immortality were supposed to have fallen to earth at these sites, and at particular astrological periods the four sites are believed to function as portals into immortality and everlasting union with god. How did such myths arise and what is the message encoded in them? Perhaps there is some energy, some mysterious spirit or power, manifest at these places and times that somehow allows or assists intentful human beings to more fully experience spiritual immortality and divinity. The fact that hundreds of millions of people (coming from the most ancient and sophisticated philosophical and metaphysical system on earth) have for thousands of years believed this to be true suggests that an awesome power is indeed present at the Kumbha Mela sites.

In the case of those who give up their bodies after purifying themselves at Prayaga by bathing at the confluence of these two rivers – Ganga and Yamuna – the two wives of the ocean, there is no bondage of another body in a future birth and this liberation is achieved even without philosophical knowledge.


Banaras, India



Pilgrims on River Ganges, Banaras, India
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Banaras is the most visited pilgrimage destination in all of India. One of the seven Holy Cities, one of the twelve Jyotir Linga sites and also a Shakti Pitha site, it is the most favored place for Hindus to die and be cremated. Myths and hymns speak of the waters of the Ganges as the fluid medium of Shiva's divine essence and a bath in the river is believed to wash away all of one's sins. The particular river-side location of Banaras is considered especially potent because, in less than six miles (ten kilometers), the Ganges is met by two other rivers, the Asi and the Varana. Commenting of this specific location of Banaras along the river Ganges, the Hindu scripture Tristhalisetu explains that,

There whatever is sacrificed, chanted, given in charity, or suffered in penance, even in the smallest amount, yields endless fruit because of the power of that place. Whatever fruit is said to accrue from many thousands of lifetimes of asceticism, even more than that is obtainable from but three nights of fasting in this place.

Known in different eras as Avimukta, Varanasi and Kashi, meaning “where the supreme light shines”, this great north Indian center of Shiva worship has had more than 3000 years of continuous habitation. Few standing buildings are older than the 16th century, however, as Muslim armies raiding from the 11th century onward destroyed the ancient Hindu temples and erected mosques on their foundations. Qutbuddin Aibak's armies were said to have destroyed more than a thousand temples in 1194, and Shan Jahan, the builder of the Taj Mahal, had seventy-six temples demolished. The city's primary Shiva shrine, the Jyotir Linga Visvanatha or ‘Golden Temple’, was rebuilt in 1776 across the road from its original location (now occupied by the Jnana Vapi mosque). Adjacent to this mosque is the Jnana Vapi well, the ritual center and axis mundi of Banaras. The Jnana Vapi, or Well of Wisdom, is said to have been dug by Shiva himself, and its waters carry the liquid form of jhana, the light of wisdom. The imposing Alamgir mosque stands on the site of another of Kashi's most ancient and sacred shrines, the temple of Bindu Madhava.

In Hindu Kashi, it is said there are thirty-three hundred million shrines and a half a million images of the deities. Since a pilgrim would need all the years of his or her life to visit each of these shrines, it is considered wise to come to the holy city and never again leave. While this enormous number of shrines is perhaps a trifle exaggerated, Kashi does indeed have many hundreds of beautiful temples. Some of these temples are named after the great tirthas, or pilgrimage centers, in other parts of India - Rameshvaram, Dwarka, Puri, and Kanchipuram, for example - and it is said that merely by visiting Kashi one automatically gains the benefit of visiting all other sacred places. Most pilgrims make only short visits of days or weeks to Kashi yet others come to spend their remaining years in the holy city. Those who come to live in Kashi with the intention of dying there are called jivan muktas meaning those who ‘are liberated while still alive’.

Kashi is also traditionally called Mahashamshana, ‘the great cremation ground’. Hindus believe that cremation at the holy city insures moksha, or final liberation of the soul from the endless cycle of birth, death, and rebirth. Because of this belief, dying persons and dead bodies from far-off places are brought to Kashi for cremation at the Manikarnika and other cremation sites (five principal and eighty-eight minor cremation/bathing sites lie along the Ganges). In her book, Banaras: City of Light, Diana Eck writes:

"Death in Kashi is not a feared death, for here the ordinary God of Death, frightful Yama, has no jurisdiction. Death in Kashi is death known and faced, transformed and transcended."

Encircling the holy city at a radius of five miles is the sacred path known as the Panchakroshi Parikrama. Pilgrims take five days to circumambulate Kashi on this fifty-mile path, visiting 108 shrines along the way. If one is unable to walk the entire path a visit to the Panchakroshi Temple will suffice. By walking round the sanctuary of this shrine, with its 108 wall reliefs of the temples along the sacred way, the pilgrim makes a symbolic journey around the sacred city. Another important Banaras pilgrimage route is the Nagara Pradakshina, which takes two days to complete and has seventy-two shrines.

Today, a crowded, bustling, noisy and dirty city, Banaras was in antiquity an area of gently rolling hills, lush forests, and natural springs bordered by the magical waters of the river Ganges. A favored hermitage site for many of India's most venerated sages - Guatama Buddha and Mahavira, Kabir and Tulsi Das, Shankaracharaya, Ramanuja and Patanjal all meditated here - Banaras has been and continues to be one of the most visited holy places on the planet. First-time visitors to Banaras may find themselves initially overwhelmed by the sensory stimulation of the place, yet just beneath this facade is an equally intense presence of immense peacefulness and spiritual wisdom.

Readers interested in studying Banaras in greater detail are encouraged to consult the writings of Diana Eck, Roger Housden, Savitri Kumar, and Rana Singh listed in the bibliographies given on www.sacredsites.com.


Early morning fog shrouds the river Ganges and the holy city of Banaras

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Sunday, September 13, 2009

Amarnath, India

Amarnath
Sacred cave of Shiva, Amarnath, Kashmir

The Amarnath caves, located in the Indian states of Jammu and Kashmir, are one of the most famous shrines in Hinduism. Dedicated to the god Shiva, the shrine is claimed to be over 5,000 years old and forms an important part of ancient Hindu mythology.

Inside the main Amarnath cave is an ice stalagmite resembling the Shiva Linga, which waxes during May to August and gradually wanes thereafter. This lingam is said to grow and shrink with the phases of the moon, reaching its height during the summer festival. According to Hindu mythology, this is the cave where Shiva explained the secret of life and eternity to his divine consort Parvati. There are two other ice formations representing Parvati and Shiva’s son, Ganesha.

The cave is situated at an altitude of 3,888 m (12,760 ft), about 141 km (88 mi) from Srinagar, the capital of Jammu and Kashmir.

It is a popular pilgrimage destination for Hindus - about 400,000 people visit during the 45-day season around the festival of Shravani Mela in July-August, coinciding with the Hindu holy month of Shravan.

Devotees generally take the 42 km (26 mi) pilgrimage on foot from the town of Pahalgam, about 96 km (60 mi) from Srinagar, and cover the journey in four to five days. There are two alternate routes to the temple: the longer and more traditional path from Srinagar, and the shorter route from the town of Baltal. Some devotees, particularly the elderly, also ride on horses to make the journey.

During the past fifty years, the ice Shivlingam has shrunk in size. While weather does affect its shape and size, many environmentalists blame global warming for the condition.

Sheshnag Lake, near Amarnath cave
Sheshnag Lake, near Amarnath cave (photo by Fernando M)

Approach to Amarnath cave
Approach to Amarnath cave


Pilgrims walking to Amarnath cave
Pilgrims walking to Amarnath cave (photo by Javeed Shah)

Introduction to the Pilgrimage Places of India


Hanuman
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India is a vast country, peopled with diverse and ancient civilizations, and its religious geography is highly complex. To grasp the complexity of the situation, it is important to consider two aspects of Indian life: its characteristic of being an ethnic and cultural mosaic, and the ancient rural foundations of many of its religious and cultural patterns.

The process of racial and cultural mixture that began in India 5000-10,000 years ago has been continuous into historical times. Although isolated from the rest of Asia by oceans on three sides and impassable mountain ranges to the north, India has experienced a near-constant influx of differing cultural influences, coming by way of the northwest and the southeast (including extremely ancient migrations from the drowned continent of Sundaland, which had been in the general region of contemporary Indonesia). India in the third millennium BC was inhabited in the tropical south by a people called the Dravidians, in the central and northeastern regions by aboriginal hill and forest tribes, and in the northwest by the highly advanced Indus Valley civilization known as the Harappan culture.

The religion of the city-building Harappan peoples seems to have been a fertility cult centered on the Great Mother, while the rural Dravidians and the various tribal cultures worshipped a wide variety of nature spirits, both benevolent and demonic. Anthropological theories of the 1800’s and 1900’s (deriving from a biased Eurocentric outlook) stated that around 1800 BC a nomadic people, called the Aryans, entered northwest India from the steppes of Central Asia. A large amount of archaeological, scriptural, linguistic and mythological research conducted during the past few decades has now shown this earlier theory to be inaccurate. While it is certainly true that migrations of different cultural groups did enter India from the northwest during ancient times, it is now abundantly clear that a highly sophisticated culture had already been thriving in the Indus valley region long before the supposed entrance of the hypothetical invaders from Central Asia.

What these archaic people already living in northwest India called themselves we do not know, but the term ‘Aryans’ is no longer considered suitable for them. Current scholarship has accepted the term ‘Harappan’ following the naming of one that culture’s great cities as Harappa in the early 1900’s. Scholars have also significantly pushed back the date of the Harappan culture to approximately 3000 BC (or earlier), rendering it simultaneous with the oldest cultures of Egypt and Mesopotamia. The Harappan culture possessed a sophisticated religion called Vedism (again, we do not know what the people themselves called their religion), which worshipped powerful gods such as Indra, the god of rain; Agni, the god of fire; and Surya, the sun god. During the millennia of the Harappan culture the religion of Vedism developed an increasingly complex form with esoteric rituals and magical chants, and these were later codified in the sacred Hindu texts known as the Vedas.

The religion identified as Hinduism did not actually appear until the centuries preceding the Christian era. Hinduism is an aggregation of the religious beliefs and practices deriving from the Vedism and fertility cults of the Harappan peoples, and the animistic, shamanistic, and devotional practices of the widely varying, rural-dwelling indigenous cultures of south, central, and eastern India. Adding to and further enriching this mix were the concurrently developing religions of Jainism and Buddhism. Indian culture has thus developed a fascinating collection of religious beliefs and customs that range from simple animistic worship of nature spirits in a common rock or tree to the complex, highly codified Brahmanic rituals practiced at the great pilgrimage centers.

In India we find the oldest continually operating pilgrimage tradition in the entire world. The practice of pilgrimage in India is so deeply embedded in the cultural psyche and the number of pilgrimage sites is so large that the entire subcontinent may actually be regarded as one grand and continuous sacred space. Our earliest sources of information on the matter of sacred space come from the Rig Veda and the Atharva Veda. While the act of pilgrimage is not specifically discussed in these texts, mountain valleys and the confluences of rivers are spoken of with reverence, and the merits of travel to such places are mentioned. Following the Vedic period the practice of pilgrimage seems to have become quite common, as is evident from sections of the great epic, the Mahabharata (350 BC), which mentions more than 300 sacred sites spanning the sub-continent. It is probable that most of these sites had long been considered sacred by the aboriginal inhabitants of the region and only later came to be listed in the Mahabharata as different regions came under the influence of Hinduism. By the time of the writing of the Puranas (sacred texts of the 2nd to 15th centuries AD), the number of sacred sites listed had grown considerably, reflecting both the ongoing assimilation of aboriginal sacred places and the increased importance of pilgrimage as a customary religious practice.

Hindus call the sacred places to which they travel tirthas, and the action of going on a pilgrimage tirtha-yatra. The Sanskrit word tirtha means river ford, steps to a river, or place of pilgrimage. In Vedic times the word may have concerned only those sacred places associated with water, but by the time of the Mahabharata, tirtha had come to denote any holy place, be it a lake, mountain, forest, or cave. Tirthas are more than physical locations, however. Devout Hindus believe them to be spiritual fords, the meeting place of heaven and earth, the locations where one crosses over the river of samsara (the endless cycle of birth, death and rebirth) to reach the distant shore of liberation. Writing in Banaras: City of Light, Diana Eck speaks of tirthas as being

...primarily associated with the great acts and appearances of the gods and heroes of Indian myth and legend. As a threshold between heaven and earth, the tirtha is not only a place for the upward crossings of people's prayers and rites, it is also a place for the downward crossings of the gods. These divine descents are the well-known avataras of the Hindu tradition. Indeed, the words tirtha and avatara come from related verbal roots....one might say that the avataras descend, opening the doors of the tirthas so that men and women may ascend in their rites and prayers.

Although tirthas are primarily those places where a god or goddess or some spirit has dwelled or is still dwelling, there is another reason certain places may be accorded sanctity in the Hindu tradition. Saintly individuals who lead exemplary lives imbue their environments with the holiness that accrues from their spiritual practices. Devotees who had visited the saints while they were alive often continued to seek inspiration in the same places after the saint had died. Over many centuries, folk tales about the lives of the saints attained legendary proportions, attracting pilgrims from great distances. If miracles were reported at the shrine, the saint's legends would spread across the entire country, attracting still more pilgrims.

In India all temples are considered sacred places and thus religious visitors to the temples may be described as pilgrims. For the purpose of our discussion, however, for a temple to be considered a true pilgrimage shrine it must have a long-term history of attracting pilgrims from a geographic area beyond its immediate region. Given this condition, the number of pilgrimage sites in India is still extremely large; one text, the Kalyana Tirthanka, describes 1,820 shrines of importance.

Based on years of research and pilgrimage in India, I have chosen a smaller number of shrines, approximately 150, as the primary pilgrimage sites. Those sites (whose locations are shown in the map section of www.sacredsites.com) include the Four Dhams or Divine Abodes at the four compass points; the Seven Sacred Cities and their primary temples; the Jyotir, Svayambhu, and Pancha Bhutha Linga temples; the Shakti Pitha temples; the Kumbha Mela sites; major Vaishnava sites; the Nava Graha Sthalas (temples of the planets); the seven sacred rivers (Ganga, Yamuna, Saraswati, Godavari, Narmada, Kaveri, and the Sarayu); the four Mutts of Sri Adi Sankaracharya (Badrinath/Joshimath, Puri, Sringeri, and Dwarka); the Arupadaividu (the six sacred places of Lord Kumara); and certain other shrines that do not fit into any of the categories listed here.

Photographs and information concerning many of these holy places are given in the Explore the Sacred Sites section of www.sacredsites.com. For additional information, consult the writings of Molly Aitken, Surinder Bhardwaj, J.H. Dave, David Haberman, Roger Housden, B.C. Law, B. P. Mazumdar, V. Meena, Alan Morinis, T.S. Sastry, D.C. Sircar, and Srikant listed in the bibliographies of www.sacredsites.com.

In discussing pilgrimage places in the Hindu tradition, it is important to say a few words about the number and diversity of deities in Hinduism and about the iconic and aniconic forms in which those deities are found. The personification of the mysterious forces of the universe into the anthropomorphic deities of the Hindu tradition involves both a convergence into certain supreme deities (the main three deities today are the gods Shiva and Vishnu and the goddess Shakti) and a splintering into a myriad of lesser deities. Certain writers call this polytheism, but the term is inaccurate in this case. No Hindu seriously believes in the multiplicity of gods but rather is aware that each of the many gods and goddesses are merely aspects of the One God (who is also the god of all other religions). The majority of Hindus ally their beliefs with one or the other of the three cults, worshipping Shiva, Vishnu, or Shakti as the highest principle. In doing so they do not deny the existence of the other two deities but regard them as complementary, though minor, expressions of the same divine power. Hinduism is thus, in its essence, monotheistic; a Hindu's worship of a particular personal deity is always done with the awareness that all deities are simply representations of one unconditioned, transcendental, supreme existence, known as Brahman. Each of the greater and lesser deities is understood as a sort of window or lens through which the whole of reality may be glimpsed.

The primary intention of a pilgrim's visit to a holy site is to receive the darshan of the deity resident in the temple's inner sanctum or open-air shrine. The word darshan, difficult to translate into English, generally means the pilgrim having a sight and/or experience of the deity. Hindus believe that the deity is actually manifest in the image, statue, or icon of the temple. To receive the darshan of the deity is to have a spiritual communion with it. The image of the deity may either be an iconic, or representational, image that bears some resemblance to its mythic subject; or an aniconic form that merely symbolizes the deity.

In a large number of celebrated shrines in India there are no beautiful statues of the gods and goddesses to be found, rather only aniconic blocks of stone or stumps of wood. This tradition of aniconic images derives from the rural folk religions of ancient India and bears witness to the great antiquity of the sanctity of certain places. The shrine in its initial phase may have been only a crude little hut covering a stone that both represented and contained some spirit of the natural world. As millennia passed and the small rural village slowly grew into a larger and larger town, both the myths concerning the stone and the shrine surrounding that stone were richly elaborated. It is therefore important when studying or visiting the monumental pilgrimage shrines of India to remember that many of them had their architectural genesis in the simple nature sanctuaries of the archaic rural folk.

The myths and legends of these sacred places have their roots in the ancient peoples' felt experience of the characteristics or qualities of the natural place. The various mythological personality characteristics of the deities in pilgrimage shrines may therefore be interpreted as metaphors for the way in which the spirit of the place has affected human beings. This spirit of place is not just a fanciful story, it is an actuality, an energy, a presence that touches human beings and affects them profoundly. Why are certain places said to be the dwelling place of a feminine deity and others the dwelling place of a masculine deity? Is it not perhaps because some ancient rural people, deeply in touch with the earth as a living entity, sensed either a feminine or masculine presence at a place and spoke about it in anthropomorphic terms? These terms were then given representational form by the artistic rendering of a statue or image.

Looking deeper into this matter, let us then ask why there are not simply male and female deities but, more precisely, why there are different kinds of male and female deities? Conventional explanations refer to such things as the fanciful human imagination, the rich and varied proto-religious inputs into formative Hinduism, and prehistoric deification of charismatic human figures into legendary archetypes. While all these things did occur, they are not the only explanations. The central premise of my theory is that the different personality characteristics of the deities derive from the various characteristics of the Earth spirit as it manifests at different geographical locations. To understand the quality, character or power of a specific place, we need only study the nature of the deity enshrined there. Encoded in the deity's mythological form is a clear message indicating how a particular sacred site may affect us.


Sign at temple, Bangalore

Angkor Wat


Angkor Wat
Sunrise at Angkor Wat
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There are two great complexes of ancient temples in Southeast Asia, one at Bagan in Burma, the other at Angkor in Cambodia. The temples of Angkor, built by the Khmer civilization between 802 and 1220 AD, represent one of humankind's most astonishing and enduring architectural achievements. From Angkor the Khmer kings ruled over a vast domain that reached from Vietnam to China to the Bay of Bengal. The structures one sees at Angkor today, more than 100 stone temples in all, are the surviving remains of a grand religious, social and administrative metropolis whose other buildings - palaces, public buildings, and houses - were built of wood and are long since decayed and gone.

Conventional theories presume the lands where Angkor stands were chosen as a settlement site because of their strategic military position and agricultural potential. Alternative scholars, however, believe the geographical location of the Angkor complex and the arrangement of its temples was based on a planet-spanning sacred geography from archaic times. Using computer simulations it has been shown that the ground plan of the Angkor complex – the terrestrial placement of its principal temples - mirrors the stars in the constellation of Draco at the time of spring equinox in 10,500 BC. While the date of this astronomical alignment is far earlier than any known construction at Angkor, it appears that its purpose was to architecturally mirror the heavens in order to assist in the harmonization of the earth and the stars. Both the layout of the Angkor temples and iconographic nature of much its sculpture, particularly the asuras (‘demons’) and devas (‘deities’) are also intended to indicate the celestial phenomenon of the precession of the equinoxes and the slow transition from one astrological age to another.

At the temple of Phnom Bakheng there are 108 surrounding towers. The number 108, considered sacred in both Hindu and Buddhist cosmologies, is the sum of 72 plus 36 (36 being ½ of 72). The number 72 is a primary number in the sequence of numbers linked to the earth’s axial precession, which causes the apparent alteration in the position of the constellations over the period of 25,920 years, or one degree every 72 years. Another mysterious fact about the Angkor complex is its location 72 degrees of longitude east of the Pyramids of Giza. The temples of Bakong, Prah Ko and Prei Monli at Roluos, south of the main Angkor complex, are situated in relation to each other in such a way that they mirror the three stars in the Corona Borealis as they appeared at dawn on the spring equinox in 10,500 BC. It is interesting to note that the Corona Borealis would not have been visible from these temples during the 10th and 11th centuries when they were constructed.

Angkor Wat, built during the early years of the 12th century by Suryavaram II, honors the Hindu god Vishnu and is a symbolic representation of Hindu cosmology. Consisting of an enormous temple symbolizing the mythic Mt. Meru, its five inter-nested rectangular walls and moats represent chains of mountains and the cosmic ocean. The short dimensions of the vast compound are precisely aligned along a north-south axis, while the east-west axis has been deliberately diverted 0.75 degrees south of east and north of west, seemingly in order to give observers a three day anticipation of the spring equinox.

Unlike other temples at Angkor, Ta Prohm has been left as it was found, preserved as an example of what a tropical forest will do to an architectural monument when the protective hands of humans are withdrawn. Ta Prohm's walls, roofs, chambers and courtyards have been sufficiently repaired to stop further deterioration, and the inner sanctuary has been cleared of bushes and thick undergrowth, but the temple has been left in the stranglehold of trees. Having planted themselves centuries ago, the tree's serpentine roots pry apart the ancient stones and their immense trunks straddle the once bustling Buddhist temple. Built in the later part of the 12th century by Jayavarman VII, Ta Prohm is the terrestrial counterpart of the star Eta Draconis the Draco constellation.

During half-millennia of Khmer occupation, the city of Angkor became a pilgrimage destination of importance throughout Southeastern Asia. Sacked by the Thais in 1431 and abandoned in 1432, Angkor was forgotten for a few centuries. Wandering Buddhist monks, passing through the dense jungles, occasionally came upon the awesome ruins. Recognizing the sacred nature of the temples but ignorant of their origins, they invented fables about the mysterious sanctuaries, saying they had been built by the gods in a far ancient time. Centuries passed, these fables became legends, and pilgrims from the distant reaches of Asia sought out the mystic city of the gods. A few adventurous European travelers knew of the ruins and stories circulated in antiquarian circles of a strange city lost in the jungles. Most people believed the stories to be nothing more than legend however, until the French explorer Henri Mouhot brought Angkor to the world's attention in 1860. The French people were enchanted with the ancient city and beginning in 1908 funded and superbly managed an extensive restoration project. The restoration has continued to the present day, excepting periods in the 70's and 80's when military fighting prevented archaeologists from living near the ruins.

Orthodox archaeologists sometimes interpret the temples of the Angkor complex as tombs of megalomaniacal kings yet in reality those kings designed and constructed the temples as a form of service to both god and their own subjects. The temples were places not for the worship of the kings but rather for the worship of god. Precisely aligned with the stars, constructed as vast three dimensional yantras and adorned with stunningly beautiful religious art, the Angkor temples were instruments for assisting humans in their realization of the divine.

Jayavaram VII, spoke of his intentions in erecting temples as being:

“full of deep sympathy for the good of the world, so as to bestow on men the ambrosia of remedies to win them immortality….By virtue of these good works would that I might rescue all those who are struggling in the ocean of existence.”


Temple of Ta Prohm, Angkor, Cambodia

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Stone Heads of Bodhisattva Avilokiteshvara, Bayon temple, Angkor, Cambodia

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Bayon Temple, Angkor, Cambodia

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