It is well-known to all that the prime ideology of ancient Lindi Indian civilization is based on the concept - vasudhaiva kutumbakam, i.e., 'entire world is to be considered as close relative' which was believed and practiced by our esteemed ancestors from the early Vedic period. Just like every sector of ancient Indian culture and civilization Indian art and iconography has a deep-rooted connection with religious tolerance from the very beginning of the civilization and the ever- increasing pantheons of different sectarian cults will express the significant standpoint on such transformations. That is why, I have started a Research Project on this noble concept through a comparative study to discover the glorious aspect of Indian culture and civilization. Now a days, terrorism caused by religious as well as social intolerance gradually terrorized the day-to-day life of the common people throughout the world which must be prevented by reminiscing the glorious concept of Universal brotherhood of ancient India and being the torch-bearer of the legacy.
I, therefore, feel to bring such concept followed by our eminent predecessors to the modern world with essential materials from my end. There lies the goal of this work to open the gateway towards the society free of religious fanaticism.
In the preparation of the book, I have received valuable ideas from the renowned work of Professor Jitendra Nath Banerjee, The Development of Hindu Iconography and from the book Elements of Hindu Iconography of T.A. Gopinath Rao. I must express my sense of gratitude to my respected teacher Late Professor Amar Chattopadhyay and Late Professor Kalyani Dutta as without their blessings this attempt could not form a complete shape. I am thankful heart and solely to my beloved student, scholar and faculty member Smt. Swatantra Roy who has assisted me with all the technical support and also in preparing the index, in the correction of proof etc. I am conveying my blessings to her and praying for her success and peace to the Almighty God. I have to thank my daughter Dr. Madhuprana Goswami who has always inspired me to devote my time to the present study.
Some blemishes, especially typographical might have crept into this work and for this I crave the indulgence of my readers.
In the glorious field of ancient Indian civilization, art Land Land iconography has always been produced in response to a demand, that kind of idealism which would glorify the artist who pursues a personal idea of beauty and strives to express himself. According to the glorious tradition of our ancient civilization, the classification of knowledge is neither universal nor permanent. Vidya (jnana or knowledge) is of four numbers - Trayi (Veda), Anviksiki (logic and metaphysics along with implementation), Dandaniti (science of governance) and Varta (agriculture, commerce, technology, medicine, architecture, painting, sculpture etc.). It is also said that, the word, Sastra, has at times been used as a synonym for Vidya, which denotes the instrument of teaching, manual all compendium of rules, religious or scientific treatise. The word Jnana means knowledge and Vijnana stands for the act of distinguishing or discerning, understanding, comprehending and recognizing which means worldly or profane knowledge as distinguished from Jnana, knowledge of the divine. That is why, art and Iconography in ancient India always deeply related to the consciousness of divine beauty which undoubtedly infuse Rasa (sentiment), Aditi (infinites), Paramatman (supreme self) and Anubhava (inner experience or feelings) which are still involved to the contemporary society of India. For that reason, ancient Indian civilization always showed unity in diversity regarding the iconic features of the deities without any religious rivalry and jealousy between different Indian sects.
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