A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and OrnamentationZerffi, G. G. (Gustavus George)
History
A Manual of the Historical Development of Art: Pre-Historic—Ancient—Classic—Early Christian; with Special Reference to Architecture, Sculpture, Painting, and Ornamentation
Zerffi, G. G. (Gustavus George)
Art -- History
The divinities were placed in the following order: S’iva first, then
Vishnu, and Brahmā last, to whom no temples were built. This was the
case with nearly all the races of the Aryan group; there are scarcely
any temples to Amn, Brahmă, Zeruane-Akerene, Uranos, Wodan, &c.
The order of the symbols, as given below, with their five
significations--
[Illustration:
(Triangle apex up, Triangle apex down, Three triangles as trapezoid)
S’IVA. VISHNU. BRAHMĀ.
1. Transformer, Preserver, Creator,
2. Fire, Water, Sun,
3. Justice, Wisdom, Power,
4. Future, Present, Past,
5. Time, Space, Matter,]
produced the most sacred word--
=⋀VM= or =ÔM=,
expressed by this triangular combination--
[Illustration: (Six-pointed star)]
This was the mysterious TRIMURTY of the Indians, from which in time,
according to the influences of nature, the degree of intellectual
development, and the social and political condition of the different
groups of the Aryan races, grew the different mystic conceptions of the
_triune_ power in _one_, working in nature.
Whilst the Trans-Himâlâyans, influenced by a gorgeous nature, allowed
their imagination to run wild, and to distort the primitive mystic
simplicity of these religious conceptions, the Cis-Himâlâyans remained
more faithful to the first impressions of nature, and worshipped Light
and Fire as the symbols of intellect, righteousness, and virtue, in
opposition to Night, as the symbol of ignorance, injustice, and sin.
To the triangular forms, the circle, [Illustration: (circle)] the
serpent, was added, the form without beginning and end; no wonder
that, encircling the equilateral triangle and joined to the square,
it became the symbol of the mysterious, incomprehensible forces of
nature. The [Illustration: triangle, square, and the circle] united,
intersected, combined, isolated, and crossed, formed the fundamental
lines of temples and their decorations. It was only at a later period
that animal and monstrous human forms were conceived to personify
abstract divine powers. The attributes of Ether, Water (Indra), and
Fire (Agni), were transformed into acting persons. The three equal
sides of the triangle, influenced by the imagination of the expounders
of matters divine, were changed into an individual with three heads, so
as to give a more comprehensible form to the incomprehensible divine
power.
[Illustration: (Three heads with pointed caps)]
The Trans-Himâlâyans, once settled on the gigantic triangular peninsula
stretching into the Indian Ocean, had leisure to work out a vast
theogony, which has served the Aryans down to our own days as a
store-house for different mythologies and religious systems.
The _Divespiter_ of India (Deus pater, Jupiter) became the Lord of the
sky, the Lord of hosts; his weapon was the thunderbolt. He possessed a
splendid garden, the paradise, _nandana_.
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account