The paper aims at tracing the idea of the revival of Indian society and nation in the undertaking of G.D. Birla (1894‑1983) – the most influential representative of the Birla family which members, known as industrial magnates and corporate leaders, contribute since the turn of the 20th century to medicine, education and technological development of India. G.D. Birla’s overall goal, seems to have been the revitalisation and strengthening of Hinduism as “Arya dharma” and interpret it in such a way as to make this the religion as inclusive and universal as possible. One of the Birlas’ activities fully demonstrating these religious ideas is the temple foundation. Thus considering the wide range of areas in which G.D. Birla was involved, the authors have focused on one such project – the Saraswati temple in Pilani and its ideological background. The temple is located in the Birla Institute of Technology & Science campus and dedicated to the Hindu goddess of wisdom and learning. The authors hope that this analysis will succeed in showing how the individual worldview of the founder left its mark on the idea of the whole family’s endeavours, and at the same time give voice to the range of ideas which, although already expressed at the turn of the nineteenth century, are still alive and influential in India today.
Although the researcher uses it to describe much later depictions linking Gajalakshmi, Ganesha, Kubera, it seems to me that the main idea remains the same.
This book presents an analysis of the foundations organised by the Birla family in India. Several generations were involved in the renovation and establishment of sanctuaries, temples and other sacral buildings. As a result, between 1933 and 1998, nineteen Birla Mandirs were established, mainly in northern and central India. All the temples have the capacity to surprise with their various decorative motifs, not seen in other places, which – apart from their aesthetic function – above all bear important symbolic content. Therefore, is it possible to treat the Birla Mandirs as a specific medium – the carrier of a particular message that is not only religious, but with a significance that permeates other layers of social and political discourse. This message, as the authors of the book claim, have a bearing on the socio-political thought of India – supported by the creation and propagation of ideas related to identity and a national art. It also conveys the idea of hierarchical Hindu inclusivism which, although considering all religions as equal, treats Hinduism in a unique way – seeing within it the most perfect form of religion, giving man the opportunity to learn the highest truth. The book also examines whether the temples founded by the Birla family and the religious activities undertaken therein apply the concept of “inventing” tradition, and whether traditions created (or “modernised”) in contemporary times are a way of enhancing the appeal of the message conveyed from temple to society.
tarting with the oldest preserved monuments, depictions of animals used in a religious context are quite common in Indian art. For the record, two such main groups can be distinguished: 1. whole animal figures (copied in accordance with nature); 1) 2. hybrid representations in which part of the image is human and part animal. Most often, in the latter case, the animal element is the head or face. An example is Varaha -one of the incarnations of Vishnu, undoubtedly the most widespread hybrid image in India (Fig. 1). In this analysis, 2) however, I would like to focus on less popular fig-
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