MYTHOLOGY India Vishnu Ravana Buddhist Temple Sri SIva

Description: Print Specifics: Type of print: Steel engraving, Intaglio - Original antique printYear of printing: not indicated in the print - actual: 1844Publisher: Johann Georg HeckCondition: 1-2 (1. Excellent - 2. Very good - 3. Good - 4. Fair). Please examine the photo for minor imperfections / signs of age. Dimensions: 9 x 11.5 inches, including blank margins (borders) around the image.Paper weight: 3 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)Reverse side: BlankNote: Green color around the print in the photo is a contrasting background on which the print was photographed Legend to the illustrations in the print: Figure 1a. Vishnu the Creator 1b. Brahma wrapped in the Maya 2. The Maya as Bhavani 3. Brahma, the creative power 4. Birth of Brahma 5. Siva, the destroying power 6. The Trimurti 7. The Lingam 8. The Hindoo symbol of wisdom 9. The figure Om or Aum 10. The Hindoo symbol of creation 11. Pracriti 12. The tortoise supporting the world 13. The seven celestial spheres 14. Siva Mahadeva 15. Parvati 16. Lakshmi or Sri 17. Siva as Rudra 18. Vishnu as man-lion 19. Surya, the god of the sun 20. Camadeva or Camos 21. Ganges, Jamuna, and Saraswadi 22. The giant Garuda 23. The giant Ravana 25-28. Buddhistic temple implements. CENTER (24): Altar-piece in the Yun-Stzoo-Stzee TempleTing Hai - China: THIS singular production, which is a legitimate specimen of neither painting nor sculpture, hut a combination of both, discloses, in some degree, the origin of Bhuddism, or exposes the motley character of the worship that now degrades the Chinese nation. It consists of a quantity of massive carved wood-work intermixed with stucco, all in alto-relievo, gaudily coloured and profusely gilt. The principal figure is a female, supported by a dolphin that swims breast-high through the waves, with an infant rising from her breast, a lotus-flower in her right hand, and a nimbus encircling her head. The ceil, or recess, in which she is located, represents a grotto of rock-work, on the projecting angles of which little figures are placed, all appearing to supplicate or respect the deity of the waters. On one cliff is a soldier, on another a sailor; an agriculturist occupies a bold prominence, and a king with his mortal crown on, extends his supplicating hands towards this patron of the helpless. From the monarch to the mendicant none seem to be exempt from the necessity of appeal to her wooden majesty. A large table or platform in ffont is covered with little images of various shapes, and with pastiles, and perfumes, and joss-sticks, the accompaniments of every altar of Bhuddism. It is immediately in front of this high altar that the devotees beat their foreheads against the pavement, to the measured tones of a monstrous drum, the loud vibrations of a huge gong, or the dulcet sounds of a great silver bell. No temple in China is more celebrated for its wealth or magnitude, more admired for the elegance of its architecture, or more frequented from the supposed sanctity of its relics, than the Yun-stzoo-stzee. It is not only the greatest in Chusan, but in all China; and while no relaxation of those inhospitable laws, that closed their ports against the foreigner, was permitted in other instances, leave to visit this noble temple has always been granted to Barbarians; but, however grateful the traveller may be for the privilege, it is more than probable that his thanks are due to ostentation rather than hospitality. Fo is the presiding deity over this vast assemblage of idols and curiosities, but the furniture of his temples resembles that of the Immortals; in both, a group resembling the lady and child occurs. Poo-sa, Shing-moo. Besides its celebrated altar-piece, this temple abounds in extraordinary images, relics, and curiosities. In common with the other places of worship at Ting-hai, it has been presented with objects of rarity by mandarins and foreigners, and is now one of the most complete cabinets in the empire. The little figures that stand on every projection, or fill every niche, are said to represent the priests who have passed to the paradise of Bhuddists; but their deformity and grotesqueness incline the visitor to doubt this explanation. We have, 'tis true, a singular instance, in our own cathedrals, of devices carved beneath the seats in the choir stalls, which cannot be exceeded in strangeness of design. These are said to have been executed by the lay-brothers of the monastery, to satirize secretly the priestly brotherhood, whose lives were less pure than their lips declared. Siam, too, has contributed to increase the mixture of elements in the composition of worship at Ting-hai, by sending thither a beautiful white elephant. This almost rational creature is lodged in the same temple with the remarkable altar-piece, but does not receive absolute adoration, although its comforts, in every respect, are most sedulously attended to. Martin2001 Satisfaction Guaranteed Policy! Any print purchased from me may be returned for any (or no) reason for a full refund including all postage. Internet seller since 1998.Five-star service.

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End Time: 2025-01-08T22:11:53.000Z

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