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Ridley, SarahPuja: Expressions of Hindu Devotion. Guide for Educators.Smithsonian Institution, Washington, DC. Arthur M. SacklerGallery.1996-00-0041p.; Accompanying videotape and three posters not availablefrom ERIC.Office of Public Affairs, Arthur M. Sackler Gallery/FreerGallery of Art, MRC 707, Smithsonian Institution,Washington, DC 20560 ($26). For full text:http://www.asia.si.edu/pujaonline.Guides Classroom Teacher (052)MF01/PCO2 Plus Postage.*Cultural Context; Foreign Countries; Global Education;Indians; Middle Schools; Multicultural Education; NonWestern Civilization; Religion Studies; *Religious CulturalGroups; Secondary Education; Social StudiesHindu Art; *Hinduism; India

This teaching packet serves as a unit by itself or as partof preparation unit for a visit to the Arthur M. Sackler Gallery to see theexhibition "Puja: Expressions of Hindu Devotion." Focusing on Hindu religiousobjects found in an art museum, the packet suggests connections between artand world studies themes. In addition, these highly symbolic objects providemuch material for discussion of the creation of images, whether in two orthree dimensions, in speech, or in music. In this way, study of the objectsprovides a springboard for creativity in art, language arts, and music. Thisguide explains that puja is the act of showing reverence to a god, or toaspects of the divine, through invocations, prayers, songs, and rituals. Anessential part of puja for the Hindu devotee is making a spiritual connectionwith a deity (often facilitated through an element of nature, a sculpture, avessel, a painting, or a print). The guide's materials seek to give insightinto Hindu pujas and to portray the role of art objects as links to thedivine. Student learning objectives include to: (1) explain the basic beliefsof Hinduism; (2) identify several of the major Hindu gods and goddesses; (3)

describe the practice of puja; (4) demonstrate an understanding of howobjects are used in puja ceremonies; and (5) integrate concepts learned fromthe study of puja into other curriculum areas. (BT)

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PUTAExpressions of Hindu Devotion

Sarah Ridley

Education Department

Arthur M. Sack ler Qallery

Smithsonian Institution

© 1996 Arthur M. Sack ler GallerySmithsonian InstitutionWashington, D.C.

The exhibition Puja: Expressions ofHindu Devotion is made possible by agenerous grant from the SmithsonianInstitution Special Exhibition Fund.

These educational materials havebeen supported by a grant from theSmithsonian Institution's EducationalOutreach Fund.

3A-

Photo credits: pages 10, 12, 14:

Stephen P. Huyler; page 19: Robb

Harrell; page 25: Sarah Ridley. All otherphotos: Neil Greentree. Line drawingsby Keena Hammond, Rebecca

Lepkowski, and Kristin Reynolds. Maps

by Gene Thorp/Cartographic Concepts.All posters © Ratna, 35 Coronation

Building, Chowk Fatehpuri, Delhi,India.

4 Acknowledgments

5 Introduction

6 How to Use This Packet

7 The Modern Hindu World

8 Background Information for Teachers

8 What is puja?

8 What are the basic beliefs of Hinduism?

12 Where do Hindus worship?

15 When do Hindus worship?

15 How is puja performed?

16 How are sculptures of deities used in Hindu worship?

18 How do I identify the different deities?

24 A Discussion with Young American Hindus

26 Activities for Students

34 Glossary and Pronunciation Guide

36 Annotated Bibliography

39 Resources for Teaching About India and Hinduism

n-3117L. _I

ih9t-:2, 4

I am indebted to Dr. Stephen P. Huy ler for his enthusiastic work as curatorial consultant for the

exhibition Puja: Expressions of Hindu Devotion, on which this packet is based. I would also like to

thank the following people for their invaluable advice, assistance, and insights: Nathan Antila,Arin Basu, Dr. Vidya Dehejia, Susannah Gardiner, Shruti Murti, Nithya Nagarajan, llma Nagarajan,Beth Schlenoff, Anuradha Subramanian, Arathi Subramanian, Sanjay Subramanian, and

A. C. Warden.

Sarah Ridley

Education DepartmentArthur M. Sackler Gallery

DMA5

Palo: Expressdons ©f Hdrtada.a Dee Von

Puja is the act of showing reverence to a god or to aspects of the divine through invocations,prayers, songs, and rituals. An essential part of puja for the Hindu devotee is making a spiritual

connection with a deity. Most often that contact is facilitated through an object: an element ofnature, a sculpture, a vessel, a painting, or a print.

The goals of this packet are

o to give insight into Hindu pujas

o to portray the role of art objects as links to the divine

Students will be able to

o explain the basic beliefs of Hinduism

o identify several of the major Hindu gods and goddesses

o describe the practice of puja

o demonstrate an understanding of how objects are used in puja ceremonies

o integrate concepts learned from the study of puja into other curriculum areas

How go Use This ?mace

This packet may serve as a teaching unit by itself or as part of preparation for a visit to the Arthur M.Sack ler Gallery to see the exhibition Puja: Expressions of Hindu Devotion. The materials may beused by a single teacher or in collaboration with teachers of different disciplines. Focusing on Hindureligious objects found in an art museum, the packet suggests connections between art and worldstudies themes. In addition, these highly symbolic objects provide much material fordiscussion ofthe creation of images, whether in two or three dimensions, in speech, or in music. In this way,study of the objects provides a springboard for creativity in art, language arts, and music.

Coneenits of the packet

In addition to the written materials,this packet contains a video and threeposters of Hindu deities. Suggestionsfor how to use these materials are listedin the section entitled "Activities forStudents."

Videos

There are three video segments on onetape. The first segment, which is nar-rated, is repeated in an open-captionedversion. It provides an introduction tothe concept of puja, giving a usefuloverview of the practice of puja andhow objects are used in puja cere-monies. The second is a short segmentthat shows a woman worshiping ather household shrine in India. It offersa more detailed look at the practice ofpuja in a Hindu home. The third seg-ment focuses on people worshipingat an outdoor shrine to the goddessChandi in Pun District in Orissa. Itshows puja as it is practiced in a rural,outdoor shrine in India. All of thesegments run continuously in theexhibition.

Posters of Hindu DeitiesThere are three posters of Hindu deitiesincluded with this packet. They depict

a the god Shiva, his wife, Parvati,and their son Ganesha

a the god Vishnu and his wife,La ksh m i

a the goddess Durga

Faces 1b©a Hiradaabrin

a Hinduism is the world's third-largestreligion, after Christianity and Islam.

a Today there are about 650 millionHindus worldwide.

' The majority of Hindus live in India,where the religion was born.

a One in every seven people in theworld is a Hindu living in India.

a There are also significant Hinduminorities in Bangladesh and Pakistan,and smaller groups in Sri Lanka,

Indonesia, Fiji, Africa, Europe, Canada,

and the United States.

a About three-quarters of a millionHindus live and work in the UnitedStates.

While Hindus in each region havealtered their religion to suit the needsof the surrounding culture, all Hindusshare a common set of traditions.

a Hinduism was not founded by oneindividual. Rather, it is a fusion ofmany religious beliefs and philosophi-cal schools. Accordingly, Hinduism issaid to be a religion of a million andone gods.

AID

0

WhEft s ptujE?

Puja is the act of showing reverence to a god, a spirit, or another aspect of the divine through invoca-

tions, prayers, songs, and rituals. An essential part of puja for the Hindu devotee is making a spiritualconnection with the divine. Most often that contact is facilitated through an object: an element ofnature, a sculpture, a vessel, a painting, or a print.

During puja an image or other symbol of the god serves as a means of gaining access to the divine.This icon is not the deity itself; rather, it is believed to be filled with the deity's cosmic energy. It is afocal point for honoring and communicating with the god. For the devout Hindu, the icon's artisticmerit is important, but is secondary to its spiritual content. The objects are created as receptacles forspiritual energy that allow the devotee to experience direct communication with his or her gods.

Want WO the byns5c beaaffs off' PnIkkildsrfig

Most Hindus believe in an immense unifying force that governs all existence and cannot be com-pletely known by humanity. Individual gods and goddesses are personifications of this cosmic force.In practice, each Hindu worships those few deities that he or she believes directly influence his orher life. By selecting one or more of these deities to worship, and by conducting the rituals designedto facilitate contact with them, a Hindu devotee is striving to experience his or her unity with thatcosmic force.

While scholars, philosophers, and priests debate the finer points of Hindu theology, lay wor-shipers call upon familiar gods to help with their everyday hopes and problems.

There are three primary Hindu deities:

.. Shiva (the Creator and Destroyer), who destroys the old while creating the new. His consortsinclude the loving Parvati and the ferocious Durga, who represent the feminine aspects of his com-plex nature.

.. Vishnu (the Preserver) and his two most popular incarnations, Krishna and Rama.

.. Devi (the Protecting Mother), sometimes known simply as the Goddess, who appears in someform in every region of India. She is often identified as the creative energy of the universe, and isconsidered by her followers the equal of Vishnu and Shiva.

Many worshipers pay homage to local manifestations of these gods.

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MEd am the al ,r,filsof Hfirachasyn?

Hinduism was born in India, but it wasnot founded by one individual. Rather,it is the fusion of many religious beliefsand philosophical schools. Accord-ingly, Hinduism is said to be a religionof a million and one gods. Its originsare mixed and complex.

One strand can be traced to theVedas, the sacred literature written inSanskrit between 1200 and 1000 B.C.

by Aryan people. The Aryans wereIndo-European groups who trickledsteadily into the Indian subcontinentbetween 1800 and 1200 B.C. (In

Sanskrit arya means "noble.") Theybrought with them a group of sacredhymns known as the Vedas ("knowl-edge"), composed in the ancientSanskrit language in praise of deitieswho were often personifications of thenatural elements. Another strand ofHinduism drew on the beliefs prevalentamong groups of indigenous people inIndia, especially their faith in the powerof the Mother Goddess and in the effi-cacy of fertility symbols.

Hinduism in its present-day formemerged at the start of the Christianera. The three most popular deities ofmodern Hinduism are the god Shiva,the god Vishnu, and the goddess Devi.Hindus generally address their worshipto one of these three deities or theirmanifestations.

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Why are there so manydafferentt ©d End

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The presence of so many differentgods is often puzzling to non-Hindus.Hindus suggest that one may viewthe divine force as a diamond withinnumerable facets: each deity is oneof these facets. One or another of thefacets may have particular significanceand appeal to an individual. Byacknowledging the power of an indi-vidual facet, however, the believer doesnot deny the existence of others. Onthe contrary, Hindus affirm the exis-tence of many aspects of the divine.

Why are there so manyeUfereya forms of 2he&Ries?

Hinduism could be called a religion ofopposites. Western religions tend todraw clear distinctions between goodand evil: good is of God while evil is ofthe Devil. Many Hindu deities, how-ever, embrace the light and the dark.

They are the sum of all of existence:right and wrong, masculine and femi-nine, sadness and happiness, creation

and destruction, disease and health.Each deity may have several manifesta-

tions, each one representing a differentside of the deity's personality. In addi-tion, Hindus believe in reincarnation,and some of the deities themselveshave many incarnations. The god

Vishnu, for example, is said to havehad ten incarnations.

Most images in Hindu temples andshrines are permanent and imperme-able. Carved of stone, cast in metal, or

Outdoor shrine: impermanent shrine

painted on cloth, they may remain inone spot for centuries or even thou-sands of years. In some shrines, how-ever, the icon of the principal deity issculpted of an impermanent materialand may be destroyed or left to disinte-grate after the puja. Shrines themselves

may also be transitory. Some rituals areenacted only once a year in conjunc-tion with a seasonal change, while oth-ers respond to a specific need, such asrelief from drought or protection fromepidemic. For any of these irregular

events, a temporary shrine may be builtand then dismantled after use.

Many images of deities are anthro-pomorphic, that is, they are painted orsculpted to represent the deity inhuman or superhuman form. Othersare abstract or amorphousa tree, arock, a pot, a cone, or a stake. Any ofthese objects, whether anthropomor-phic or abstract, can be invested withthe holy and powerful spirit of thedeity.

Temple shrine: permanent shrine

1 1

Linga: abstract imageof the god Shiva

Sundara and Paravai:anthropomorphic image

12

Wham do rAhldao woffshfip?

Hindus commonly conduct pujas in shrines in three different environments: in temples, in the home,and in outdoor public spaces. It is equally common for any of the deities to be worshiped in any ofthese three types of shrines.

Hindus believe that if proper care is not taken of a temple's images, the deity will abandon thetemple. Hence priests reside at the temple and take care of the gods' needs. Priests perform puja atsunrise, noon, sunset, and midnight. For a layperson, however, visiting a temple every day or even

regularly is not mandatory, and many devout Hindus worship at home. The essential aspect of pujais not congregational worship but an individual's offering to a deity. Worship in the home usuallytakes place daily.

Warship dimitemplles

A Hindu temple is believed to be theearthly seat of a deity and the placewhere the deity waits for its devotees.As such, temple structures are sacredspaces where gods partake of humanofferings and in which the people canbe with the gods. Many temples re-semble palace architecture; this is notsurprising, as deities are often consid-ered kings.

Temples are normally dedicated toone primary god. Often they are elabo-rately decorated on the outside withstone or plaster carvings depicting reli-gious stories, and their decoration isspecific to the deity being worshiped.Mythological scenes are juxtaposedwith scenes of everyday life and impor-tant political events, such as royalcoronations, conquests, and celebra-tions, or with portraits of royal andsecular patrons. These divine images

and mythological scenes on the outerwalls of the temple help worshipersrecall the sacred stories they haveheard or read.

One should remove one's shoesbefore entering a Hindu temple in orderto pay appropriate respect to the deitywithin the temple.

The innermost sanctuary of thetemple contains the principal image of

the deity. The character of each shrineis determined by the deity being wor-shiped.

Case Study: A TempleDedricated t© ShirkreIn a temple dedicated to the god Shiva,the sacred, inner sanctum is always

simple. It holds the most preciousimage of Shiva: a linga. The linga is a

symbolic image of the god. Some peo-ple believe it derives its shape from sex-

ual symbolism, but most Hindus viewthis imagery as simply a representationof the god's potency in every area ofexistence.

Often an image of Nandi, thesacred bull on which Shiva rides, facesthe linga. Nandi signifies single-mindeddevotion and the peaceful strength offaith. Sets of bronze bells may hang at

the front of the shrine. At thebeginning of puja and during

Priest dressing a ainga

13

prayers, they are rung by wor-

shipers to request the god'sattention. Above the linga maybe a vessel filled with holy waterthat is allowed to drip onto thetop of the linga during puja,symbolically anointing it inorder to honor the deity. At thefront of the shrine there areusually oil lamps that are litduring worship. Other objectsthat may be used during puja area small pot to hold holy water; aspoon for ladling the water ontothe linga; an incense burner; anda handbell that is rung by thepriest during the puja.

In all Hindu shrines onemoves clockwise around thecentral image before approach-ing the god.

Worsiutp bv. homes

in Household worship isthe focus of the secondsection of the video.

The heart of every Hindu home is itsshrine: the sacred space set apart forhonoring and worshiping the gods.While a particularly devout Hindu mayvisit a temple every day, others go thereonly to request a favor of the deity, tofulfill specific vows, or on festival days.The pujas that take place in the house-hold shrine are the foundation of allfamily actions and decisions. Templeworship requires the intervention of apriest, but in the home the contactbetween devotee and deity is direct.

The size and decoration of a house-hold shrine do not matter. The shrinemay be large and impressive, an entire

room or a beautifully designed edifice,or it may be simply a tiny niche, oreven just a row of religious printspasted on a wall.

Hinduism does not proselytize.Although children grow up followingfamily beliefs, they are encouragedas young adults to make their ownchoices of which gods or goddessesthey find personally inspiring. Conse-quently, household shrines containimages of deities that pertain to thebelief systems of all a home's inhabi-tants, and it is not uncommon to findseveral small individual shrines in one

household.Puja is usually performed by at least

one member of the household everyday. Puja is a means of honoring the

gods or goddesses, whose presence inthe home is believed to protect the fam-ily and to engender good fortune. Theparaphernalia used include an incenseburner and a tray with flowers, fruits,

and food.

Uma Nagarajan at her household shrine in Bethesda, Maryland

Case Study: Worshlp at aHousehold Shir fineThe shrine in the photograph above istypical of one that might be found in amiddle-class Hindu home. Members ofthe family choose objects specific totheir devotion to place in the shrine.Many objects are handed downthrough generations, while others maybe purchased during a pilgrimage orcommissioned from a craftsperson inresponse to a special need.

14

As a part of daily puja, the deities'presence is honored by washing eachsculpture with water and other sacredsubstances, dressing it, and adorning itwith flowers and powdered vermilion, ared dye. During worship, each devoteegives to the gods offerings of moreflowers and fruit.

Kaii-Iva shrine in eastern Uttar Pradesh

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EZ Worship at a tree shrineto the Goddess is thefocus of the third sectionof the video.

Many shrines in India are outside, witheither no external structure or only asmall niche or edifice to designate theirpresence. Often deities are worshipedthrough natural landmarks, such asmountains, rivers, large rocks, or trees.The streets of most communities arepunctuated with many such shrines: asacred stone grappled by the roots of abanyan tree, a tiny niche tucked intothe side of a building, an ancient carv-ing resting on a cement platform at acrossroads. Frequently the deity hon-ored is a goddess who is viewed as themother of the community and all itsaffairs. The shrine may not have a full-

time priest or caretaker. Instead, mem-bers of the community will take turnscleaning and caring for the image, re-

placing flowers and offerings as part ofvows to the goddess in return for herbeneficence.

Case Study: Ka Dii-Mla ShrineKali-Ma, one of many forms of theGoddess, is viewed in north centralIndia as the Mother Goddess and ispetitioned for aid when any kind ofproblem strikes a family. Many believeher to be both the cause and the cure

of smallpox, cholera, and measles.When stricken with one of these dis-eases, a person is said to be inhabited

by Kali-Ma. Part of the cure is to honorthe goddess within. Often the wor-shiper will promise to give the goddessterra-cotta elephants if she answers hisor her prayers. These elephants are

believed to become real animals in thespirit world the instant they are placedin the shrine, and many believe that

Kali-Ma rides them in her nightly bat-tles against evil. Once the elephants

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have been given, they are transformedby the goddess and no longer have any

value. They are left beneath the tree tocrumble and disintegrate, to bereplaced when another devotee'sprayers are answered.

In these photographs of a shrine tothe goddess Kali-Ma, the presence ofthe goddess is announced by threesymbols: first, the sacred tree thatthroughout India indicates a divinepresence: second, the small cone(pinda) of sculpted clay representingthe goddess Kali-Ma, which is uniqueto her worship in eastern UttarPradesh; and third, the iron trident(trishula) that is the weapon she usesto kill her evil foes. Surrounding thesethree symbols are terra-cotta elephantsgiven to her during her pujas.

15

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Wripen do Hi Indus worm*?

Hindu worship may take place whenever an individual wishes. Worship is usually performed daily ateach household shrine by one or more family members on behalf of the whole household. Templeworship is often associated with a particular request being made of the deity, or it may follow thegranting of that wish. Festivals to each of the gods take place during the year, and a follower of a

certain deity may choose to participate in the ceremonies associated with that deity either at home

or in a temple.

How puja, peaibmed?

Wherever puja is performed it includes three important components: the seeing of the deity; puja,or worship, which includes offering flowers, fruits, and foods; and retrieving the blessed food andconsuming it. By performing these sacred acts the worshiper creates a relationship with the divine

through his or her emotions and senses.During a household puja, the head of the household chants prayers to the god or goddess. The

worshipers offer the deity a seat, wash its feet, and give it water. An image may be symbolicallybathed, clothed in new garments, and embellished with ornaments. Perfumes and ointments maybe applied, and flowers and garlands may be placed before it. Incense is burned, and a lighted lampis waved in front of the deity. Foods such as cooked rice, fruit, butter, and sugar are offered. Family

members bow before the image, sip the water they have given the god, and receive a portion ofcooked food. The food and water are now considered to have been blessed by the deity for the

devotees.

At the temple, where the gods are believed to dwell as royalty, puja is usually performed atsunrise, noon, sunset, and midnight. Worshipers may also arrange for a puja to be done by a priest

to mark a special event such as a birth or death or to ask for a particular favor.Puja is a multisensory experience. One observes the offering of the lighted lamps, touches the

ritual objects and feet of the deity (where possible), hears the ringing of the bells and the sacredchants being recited, smells the incense, and tastes the blessed food offered at the end of the ritual.

16

7--

How mrre scufipturres of de es [used orn) IGEndm WM'S hilp?

Hindu sacred sculptures are used to help devotees understand the incomprehensible divinity. These

images may be anthropomorphicthat is, having a human likenessor they may be abstract.Whether made of clay or of gold, all these sculptures are considered equally sacred. Hindu imagesserve as visual metaphors to express the invisible divine reality.

Although many images of Hindu gods, goddesses, and saints are believed to be always filled with

the spirit of the deity they represent, others are bathed and dressed to invite the deity or saint to enter

the image temporarily. The bronze sculpture below depicts the saint Sundara and his wife, Paravai,followers of the god Shiva. On the right it is shown dressed as it would be when carried through the

streets of a southern Indian city during a religious festival. For most of the year, an image such as thisis kept in its own shrine in a large temple. Once a year during an elaborate puja, it is washed with

sacred water, then with milk, yogurt, honey, sandalwood paste, and ashes before being dressed in cer-

emonial robes. It is lavishly adorned with garlands of flowers and may also be decorated with jewelry.

Priests then invoke the spirit of the deity or saint depicted to enter the bronze. For the duration ofthe ceremony the image is thought to contain the divine being's presence. In an elaborate proces-

sion many sacred images are paraded through the streets accompanied by thousands of devotees.

Hindus believe that even a glimpse of an image filled with the spirit of the god or saint facilitates a

direct visual communication (darshan) with the deity, which will bring blessings to the worshiper.Darshan is a reciprocal act between the worshiper and the deity. Not only does the devotee "see" thedeity, but the deity is understood to "see" the worshiper. For this reason, Hindu images often havestrikingly large eyes to facilitate this exchange of glances between devotee and deity.

Sundara was an eighth-century follower of the god Shiva whose focused devotion and perfor-mance of countless miracles with Shiva's aid were greatly responsible for the spread of the worshipof Shiva in southern India. His wife, Paravai, is honored for her steadfast loyalty to both her god andher husband.

Figures of Sundara and Paravaibefore and after being dressedfor worship. Tar nil Nadu, 16thcentury. Bronze, 57.2 x 37.1 x19 cm. Gift of Arthur M. Sadder,51987.902

17

Why are offer& s boenfr

aD, ,irtnages of ill deities?

Offerings are an essential part of wor-ship. During puja a devotee presentsgifts that, according to tradition, theparticular god or goddess likes: oftenflowers, special foods, grains, coco-nuts, or oils. If the offering is made in atemple, a portion of it is kept for use bythe temple, and the rest is returned,now blessed by the deity. Offeringsmade in the household shrine are laterdivided among family members.Reciprocity, the process of giving andreceiving, is an essential aspect ofHinduism. Hindus are taught that bygiving, they receive, and that whenthey receive, they should respond withgifts. When a Hindu prays for a specificfavor from a deity, he or she may vowto present a special gift to the god orgoddess or to perform an arduous dutyif the wish is granted. Much of theapparent wealth of a temple and manyof the good deeds carried out in a com-munity are the direct results of honor-ing those religious commitments.

Why do the' dea:lies haulraaallftoge arms andheads?

Deities are often portrayed with mul-tiple arms, especially when they arebattling cosmic forces. The multiplicityof arms emphasizes the deity's im-mense power and ability to performseveral acts at the same time. The por-trayal of a deity in human form but withmultiple arms is the artist's attempt toexpress the deity's superhuman power.Demons are frequently depicted withmultiple heads to convey their superhu-man power as well.

Occasionally a deity is shown withmore than one head in an attempt todescribe various aspects of the charac-ter of that deity. For example, when thegod Shiva is portrayed with a triplehead, the central face indicates hisessential character and the flankingfaces depict his fierce and blissfulnatures.

Contemporary lindian posterof the goddess Durga

18

1=fl©w do I kentWy the &torrent deltks?

limp do 11 idenegfy grinares©f ehe 1:,od Shgua and htlsfamdlly?

Shiva

The god Shiva, the Creator andDestroyer, is often shown with a cobra,the Naga, symbol of fertility andstrength, wrapped around his neck.The god usually has four arms, signify-ing his superhuman power, each with ahand holding one of his attributes. Heuses the trishula, or trident, like a spear

to destroy his demon foes. Frequentlyhe holds a drum rattle whose soundcreates life as it reverberates through

the cosmos. The beads of his rosarysymbolize all time (past, present, andfuture) and its transcendence. Thethree horizontal lines often seen onShiva's forehead represent three

aspects of the divine: the Creator, thePreserver, and the Destroyer. During

puja, many devotees of Shiva mark

their own foreheads with these threelines in sacred ash or sandalwoodpaste.

Contemporary poster of the god Shiva and his family

trishula

drum rattle

three(horizon tai

lines

x9

ParvatiThe god Shiva is frequently depicted ina powerful masculine form accompa-nied by Parvati, his wife. Parvati, theMother of All Creation, is usually por-trayed as sublimely feminine, her gazefixed upon Shiva, suggesting the unionof male and female so integral to wor-ship of this deity. Like all the otherdeities, Parvati may be worshiped onher own. In conjunction with Shiva,she is the feminine complement to hismasculine divinity, completing theessential balance of opposites.

GaneshaGanesha, son of Shiva and Parvati, isone of the most popular gods in India.It is said that no home of followers ofShiva is complete without an image ofGanesha to protect its activities.Worshipers pray to the elephant-headed god to ensure success before

beginning any new endeavor. He isusually portrayed with a round bellyand a happy expression. According toone legend, Parvati posted her sonGanesha as guardian of her bath andinsisted that he let no one enter. Shivahad been away for a long time, sowhen he returned, Ganesha did notrecognize his father. Shiva demanded

to see his wife, but the faithful boyrefused and was beheaded. Parvati, dis-traught, declared that she would haveno relations with her husband until herson was returned to life: Shiva thereforedecreed that Ganesha would be giventhe head of the next being thatappeared. When an elephant camealong, Ganesha received that animal'shead and was brought back to life inthe form now beloved by millions ofdevotees.

20

Common Symbols of ShivaThe most common symbol of the godShiva is the linga. A linga, often seenresting in a yoni, is a symbolic image ofthe god that signifies the union ofopposites (male and female, good andevil, light and dark). Some peoplebelieve it derives its shape from sexualsymbolism, but most Hindus view it assimply a representation of the god'spotency in every area of existence.

NandiNandi, the sacred bull that Shiva rides,is another commonly recognizablesymbol of Shiva worship. Nandi repre-sents strength, faith, and constancy inbelief. Images of Nandi often sit direct-ly outside a shrine to Shiva, facing thedeity.

71.1.,72!

Bronze sculpture of the elephant-headedGanesha, one of the most popular gods in[India. West Bengal or Bangladesh, late 11thcentury. 4.5 x 3.5 x 2.4 cm. Gift of Dr. DavidIL Nalin, 51992.47

How do 11 kleridify bncigesof the g©d Vtislinaa hLwaft, Lakshnad, and theirdrtucannatIons?

VishnuVishnu, the god of home and familyvalues, represents stability and order.

Vishnu is recognizable by the foursymbols he often carries: the discus,conch, club, and lotus. The discus andclub are both weapons, signifying hisabsolute might in destroying evil. Thelotus represents fertility and regenera-tion, the nourishment of the soul thatoccurs through devotion to this deity.The conch shell is blown in India like atrumpet during many sacred rituals. Itis considered to make the purestsound, from which creation springs. InVishnu's hand the conch symbolizespurity and auspiciousness. In paintingsand prints, Vishnu is often shown with

blue skin to accentuate his otherworld-liness. A stylized representation of hisfootprints appears on his forehead.This V-shaped symbol of the god isalso applied in sandalwood paste tothe foreheads of worshipers of Vishnuduring puja.

Lakshmi

Vishnu's wife, Lakshmi, is the Goddessof Abundance and Prosperity. She is

frequently depicted standing on a lotusthrone and holding lotuses in herhands. As the goddess of prosperity,she is often shown with gold coinsspilling from her hands. Lakshmi isassociated with light and is honoredwith lighted lamps and fireworks inevery household on Divali (orDeepavali), the Hindu New Year, one ofIndia's most popular festivals. Lampsdepicting Lakshmi, sometimes ridingan elephant, are filled with clarifiedbutter and lighted as a part of puja toVishnu or his incarnations.

Vishrrou'sfootprints

Incarnations of VishnuThe god Vishnu is viewed as a savior

who has been reborn on earth manytimes to conquer and balance evil. Ineach reincarnation, Vishnu is accompa-nied by an incarnation of Lakshmiproving the everlasting power of maritallove. The two most popular forms inwhich Vishnu has been reincarnatedare Rama and Krishna.

Contemporary poster ofthe god Vishnu and hiswife, Lakshmi

BEST COPY AVAILABLE

21

Rama and Sita

Vishnu's incarnation as the princelyhero Rama epitomizes loyalty, bravery,strength, and responsibility. Rama'sbeloved Sita, one of Lakshmi's manyforms, is the traditional ideal Hinduwoman: feminine, faithful, resilient,and pure. They are often accompaniedby the monkey god Hanuman.Hanuman, the gods' messenger,symbolizes the power to achieve theimpossible and embodies a conscien-tious sense of duty, absolute trust-

worthiness, and selfless service tothe gods.

Krishna and RadhaKrishna, shown below with his belovedRadha, is an incarnation of the godVishnu. He is worshiped by moreHindus than any other of Vishnu'smany forms. Krishna was born human,and the stories of his childhood andadolescence exemplify his mischievouscharacter. One story often illustrated byartists describes how, as an infant, he

Rama (center), Sita (right), and a kneeling1-ilanuman, in a modern poster from India

22

lotus

crawled away from his mother to stealbutter. Other images depict Krishnadancing on the snake Kaliya. Thisrefers to a famous legend in which thehero-god conquered a demon serpent.Images of the youthful Krishna playinghis flute are also popular. Later, as the

wise hero of the ancient epic theMahabharata, he established thefundamental principles of practicalHinduism.

A contemporary Indian poster ofKrishna and Radha

22Right: Figures of Parvati andShiva, West Bengal or Bangladesh,11th century. Bronze, 22.7 x 12.7x 00.4 cm. Gift of Dr. David R.Nalin and Dr. Richard y. Nalin,S1992.62 ab

Far right: Bronze sculpture ofDurga as Mahisha Mardini.West Bengal or Bangladesh,12th century. 15.7 x 10.1 x 8.2cm. Gift of Dr. David R. Na lin,S1992.46

Deupd: Me Mho laaQocIdess

Today hundreds of millions of Hindumen and women conduct regular pujasto the deity known as Devi, or some-times simply the Goddess. For someshe is their primary deity, while for oth-ers she is part of a greater pantheon.

Embodying the feminine principle, shehas innumerable aspects and manifes-tations. All Hindu goddesses, in fact,can be seen as different forms of Devi.In some she is benign and gentle,while in others she is dynamic andferocious, but in all forms she is helpfulto her devotees. Primarily she is theMother Goddess, from whom all cre-ation is born. For many Hindus, how-ever, the most important aspect of theGoddess is Durga, the warrior deitywho fights adversity. The Goddess mayalso appear as the consort or femininecomplement of a major male deity.

Goddess worship was widespreadin early prehistoric India. Later, invad-ing populations brought with themnew ideas and elevated the popularityof male gods. Although the primarydeity worshiped in most major Hindu

temples today is masculine, worship ofthe Goddess coexists in shrines andtemples throughout India.

Forms of the Goddess

The Goddess has innumerable formsand manifestations. Nearly everyHindu community in India has its ownspecific deity that governs its existence,and usually that deity is considered agoddess.

Parvati

Parvati is the wife of Shiva, the femi-nine complement to his masculineenergy. In the sculpture shown above,she is seated on her husband's lap,their arms around one another andtheir heads tilted so that they can gazeinto each other's eyes. From theirunion the universe was created;through their union it is sustained.

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Durga

Durga, the great Warrior Goddess, isone of many manifestations of Parvati.She represents the lethal energy of

divine anger when turned against evil.Legend states that the world was onceunder attack by the worst of alldemons, Mahisha. The male gods,fearing total annihilation, endowedDurga with all their powers, symbol-ized by her multiple arms, each ofwhich carries a different god's weapon.Riding a lion into battle, she foughtMahisha, who took many differentforms, including that of a buffalo.Durga slew the buffalo by cutting offits head and then destroyed the spiritof the demon as he emerged from thebeast's neck. The goddess's face por-trays her calm serenity even while con-fronting such adversity.

Lakshmi

Householders worship Lakshmi for thehealth and welfare of their families;business men and women offer herprayers to ensure the success of their

Figure of the Goddess (Mata).Bastar District, Madhya Pradesh,19th-20th century. Bronze, 45.6 x12.1 x 9.9 cm. Lent by Paul F.Walter, LTS1992.10.102 ab

endeavors. A goddess in her own right,Lakshmi is also Vishnu's wife, reincar-nated alongside the god in each new

,-c-MADHYA PRADESH

INDIA (13a't,:.arD4tlict

age to be his equal partner and hiswellspring of strength. Lakshmi is fre-quently shown standing in her lotusthrone and holding lotus buds, sym-bols of beauty and fertility. Cascades ofgold coins flow from her hands, sug-gesting that those who worship herwill gain wealth.

MataThe people of the Gond tribe in BastarDistrict in central India often worshipthe Mother Goddess, genericallyknown as Mata. Descended from thesubcontinent's earliest inhabitants, theGonds have been influenced by Hinduswho have settled in the region. Overtime they have synthesized their ances-tral worship with Hindu rituals.Although they worship male gods aswell, most often their focus of devotionis the Mother Goddess. Frequently the

Contemporary poster ofLakshmi, the Goddess ofAbundance and Prosperity

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deity herself is represented only by awooden post or log, although herimage may also be carved in stone orcast in bronze.

Bronze images of Mata in her manyforms are given to the goddess by herdevotees in gratitude for answeredprayers. They become a link between

the devotee and the deity that will bereaffirmed at each subsequent puja.These small bronzes are not normallyon view. They are stored in a basket orbox and placed in the shrine only forspecial occasions. At that time they arewashed with holy water and mustardoil and adorned with leaves, rice, andflowers. Pt shaman then invites Mata'sspirit into his body. In a trance hespeaks with the voice of the goddess,accepting the new bronze image andacknowledging its donor.

BEST COPY AVAILABLE

Below is the transcript of a discussion among five young American Hindus who live in theWashington, D.C., area. It focuses on aspects of puja and Hindu life for young Americans. Theparticipants were all born in the United States, except for Sanjay, who was born in England. Theirparents had left India to further their own education. They each travel to India every two or threeyears to see their grandparents and other relatives. They are very proud to be Hindus and wish

that Hinduism were better understood by Americans.

Sanjay Hinduism emphasizes duty andhonor. If you do the basic things, like ifyou look after your family, your friends,and those around you, that's the bestway of worshiping God. You can sitand worship an idol or you can prayevery day, but if you [aren't dutiful andhonorable], it doesn't mean anything.

People think of Indians as havingmany gods. But Hinduism is not poly-theistic, it's monotheistic. It's just thatGod can be viewed in different ways. AChristian may go to church and pray toGod, "Please, God, help me with myexam," whereas a Hindu could pray toSaraswati, the Goddess of Knowledge.When you pray to Saraswati, you arejust focusing on one particular aspectof God. Since God has no form, youcan view God in many different ways.

Anura You don't need idols [to wor-ship], but they are very helpful for visu-al learning. If I have a picture of the godin my head, it helps me concentrate onthe idea better.

Nithya Each of the images tells a storyand each story has a lesson that is try-ing to be portrayed through the image.

0-12M22lUIRM

Sanjay People ask, "Why do gods havemultiple arms?" Well, have you eversaid, "I wish I had more armsI can'tdo everything"? If you had eight pairsof arms you could do a lot more.

People ask, "Why does the godGanesha have an elephant's head?"Well, the elephant is considered one ofthe wisest animals, and Ganesha is avery wise god. His big ears mean helistens a lot. His mouth is generallycovered, which means he doesn'tspeak too much. He is very wisebecause he doesn't talk too much andhe listens. So the elephant head is asimple way of reminding us of this.

Each idol provides a focus so thatyou can concentrate on that oneaspect of religion. You aren't praying tothe idol, it is just a path to God. Somepeople need something to focus on,others don't. It's there if you need it.

Anura I love going to the templebecause of the mood and setting, andseeing all of the images of the godstogether. You know that the gods arethere all around you. We are taughtthat God is always all around you, butwhen you go to the temple and see allof the images of the gods, you can real-ly visualize it. It paints a picture.

CAH Tai

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Nithya You don't have to go to templeto worshipwhich is good because upto ten years ago there was no templein this area. Our parents kept the reli-gion alive at home with the religiousholidays. You learn about Hinduismfrom your parents.

Shruti My parents made it fun for me.My mother told me stories about thegods, about celebrating festivals inIndia, and now we celebrate them here.

Arathi You start reading comic books[based on the Hindu epics theMahabharata and the Ramayana] at ayoung age. I remember my parents andgrandparents reading them to me.

Anura When gods interact with oneanother in a story, it's to teach a les-son. A lot of these things are symbolic.The stories help you understand a par-ticular idea. A story is the best way toexplain the idea.

Sanjay The comic books get yourinterest. For the guys they have the war:

for the girls they have the love stuff. Butlater on you start to understand themessage.

Nan

Shruti There is lots of symbolism inthe stories. I know many of the stories.I began learning them when I was two.You can't quickly explain all of thesestories.

Anura In each story there is a moralthat you can use in daily life. I love

learning new stories. Half of the reli-gion I know has been taught to methrough Indian dance. I've been takinglessons since I was six or seven. The

dances are all about the gods: whatthey act like, what they look like. Theyeach tell a story. The stories are passed

down through the dances. They tell somuch about the culture.

Nithya Every time you go to an Indianconcert to hear music or see dance,you hear the stories. If you listen to thewords in the songs, you are listening toHindu religion.

Arathi If you had to sum up Hinduismyou would say it's about duty, honorand family.

Sanjay There is one story that sums itup: Shiva and Parvati are sitting withtheir sons, Ganesha and Karttikeya.They have one mango between themand Ganesha and Karttikeya are fight-

ing over the mango. Shiva says, "OK, Iwill give the mango to whichever ofyou goes around the universe andcomes back first." So Karttikeya speedsoff and goes around the universe andcomes back. But when he gets backGanesha has finished the mango.Karttikeya asks, "Father, how can thisbe? Ganesha didn't pass me. I was

always in the lead. How could he havecome back before me?" And Shivasays, "He walked around his parents.That should be the universe to everychild."

Arathi Duty and honor are the basis ofthe religion. I think all of the gods areonly stories to portray those ideas.They are meant to teach us how weshould live. How to be righteous andpeaceful. That's the reason why wepray to God. We have the gods toshow us what we are trying to be. Forthe main concepts of Hinduism youdon't need all of the gods and all of thestories. To be called a Hindu you justneed to be good.

Left to right: Nithya Nagarajan, 26 years old, works for the United States Trade administration. SanjaySubramanian, 22 years old, is studying for his B.A. in finance and economics and wants to be a mutual fundmanager. Anuradha (Anura) Subramanian, 16 years old, wants to be a doctor like her mother. Her sisterArathi Subramanian, 03 years old, wants to go into business like her father. Anura and Arathi are bothcousins of Sanjay. Shruti Murti, 13 years old, wants to be a lawyer.

'2 1;

215

This section includes activities for your students and suggests ways of incorporating the Discussionwith Young American Hindus, the video, the posters, and the exhibition. The activities for studentsare divided into those to use

o before you visit the museum or to begin your unit of study

o during your visit to the museum or as a research project

o after your visit to the museum or after completing the unit

These activities provide a model for you to modify and adapt to your own curriculum and classroom.

Befon you As] It the museum © t© beshm yourr [mat of stud

a'sca.asstion. with sevAdenes

The Discussion with Young AmericanHindus may be photocopied and dis-tributed to students to be read and dis-cussed in small groups or as a class.

This activity may be used before a visitto the museum to introduce studentsto some of the ways in which objectsare used as a focus during worship orafter a visit to enhance student under-standing of the role of objects in wor-ship. The discussion among youngAmericans who are Hindus highlightsstudents' understanding of Hindu godsand the use of images of the gods andother art forms for teaching worshipersabout Hinduism.

L_ __J

ObjectivesAt the end of discussing the reading,students will be able to

.0. recognize that there are practic-ing Hindus in the United States

.0. explain how different art formsare used as methods for teaching

about Hinduism

4. discuss the use of visual imagesand metaphors to help explainabstract ideas

Activity4. Discuss with students the basicbeliefs of Hinduism that the youngHindu's emphasized in their discussion(duty, honor, family). Explore the dif-ferent methods for teaching aboutHinduism that the young people high-lighted in their discussion (family, sto-ries, comic books, images, dance,

music). In addition to this reading, youmay want to bring into the classroomIndian music, a video of Indian dance,or comic book stories from theMahabharata or the Ramayana (forsources of materials see Resources for

27

y

Teaching about India and Hinduism,pages 39-40). Read a comic book ver-sion of a Hindu epic as a class and

analyze the moral of the story.

'' Have students create lists of familiarvisual images and metaphors that areused to help explain abstract ideas.Discuss the worldwide use ofmetaphors to help explain unknowns(creation myths, scientific models,etc.).

4. Ask students to debate the state-ment "Hindus use objects as a focusfor worship rather than a focus ofworship."

.0. Compare the central beliefs ofHinduism with other religions andphilosophies.

The god Shiva, his wife, Parvati,and their son Ganesha

The posters that accompany this pack-et may be put on bulletin boards in theclassroom in order for students tofamiliarize themselves with the some ofthe Hindu deities. Identifying the differ-ences between the various deitiesrequires careful looking, so you maywant to ask the students to try one ofthe following activities to practice theirlooking skills.

0 Distance, Dscü©,and Drawing

ObjectivesAt the end of this exercise students will

o recognize the importance ofsymbols to identify different gods

<> recognize the need for carefullooking

a understand the need for detaileddescription in order to identifydifferent gods

The god Vishnu and his wife,Lakshmi

Activityo Before showing the posters to thestudents, divide the class into pairs.Give one person from each of the pairsa photocopy of one of the posters andthe other person a blank sheet of paper.Tell the students that they must imag-ine that they are in separate buildingsand are talking to one another over thephone (one person might be in Indiaand the other one in the UnitedStates). In other words, no peeking.Ask each student with a poster todescribe it clearly so that his or herpartner can draw the image. When thepairs have finished describing anddrawing, have the students comparetheir drawings with the poster images.Mix up all of the drawings and putthem with the posters on one wall.Working with the whole class, withoutthe originators of the drawings reveal-ing their sources, have the group try todecide which of the gods is representedin each drawing. As a class, discusswhich drawings look most like theposters. You may want to use the work-sheet Symbols of the Gods on pages

28

,z/

The goddess Durga

29-30 to help identify different sym-bols associated with each deity. Noticethat as long as the drawings includecertain key elements they can be asso-ciated with a particular poster and aparticular god or goddess.

2 Compare, Contrast,Research

ObjectivesAt the end of this exercise students will

o recognize the importance ofsymbols to identify different gods

o recognize the need for carefullooking

a understand the need for detaileddescription in order to identifydifferent gods

Activitya Have students compare the differentposters. Ask students to describe thedemeanor of each of the deities, listthe symbols that the gods hold, and,using their imagination, describe thepersonality and character of each ofthem.

26a Have the students work in groups toresearch each of the deities and thesymbolism of the objects associatedwith the deities. Ask the groups toreport their findings to the class and tocompare their impressions of thedeities before and after researching thecharacteristics of the gods. Have stu-dents read a story associated with theirdeity to the class or turn the story intoa skit and perform it for the class.

Va'deo

The video may be viewed before orafter a visit to the museum, or at thebeginning of a unit of study. It may beused to introduce students to puja asit is conducted in three different set-tingsthe temple, the home, and out-doorsand to explain that Hinduismis practiced around the world today,including in the United States.

ObjectivesAfter viewing the video students willbe able to

a explain some of the basic con-cepts of Hinduism

a define puja

a explain some of the stepsinvolved in puja

a identify Hinduism as a religionthat is actively practiced around theworld today

Activitya View the first section of the video,which provides a brief overview of thepractice of puja, with students. Then,using the information provided in thispacket entitled Background Informa-tion for Teachers on pages 8-23,review the basic concepts of Hinduism,define puja, and list some of the stepsinvolved in puja.

a With students, view the second sec-tion of the video, which shows house-hold worship, and the third section,which shows worship of the Goddessin the form of a tree at a rural, outdoorshrine.

a Discuss the differences betweenworship in the three locations: thetemple, the home, and outdoors (seepages 12-14).

a Discuss the worldwide spread ofHinduism and explore the practice ofHinduism in the United States.

yOUT V[let HMSO= CDT MS a. treseamh pCrojecft

Symbolls the gods

In order to allow worshipers to identifythe deity depicted in a sculpture orpainting, artists developed conventionsfor portraying each deity. These con-ventions usually relate to the symbolsthe deity holds or the standard waysgods are depicted in favorite stories.One deity may have several symbolsand tales associated with it, but fewimages include all of these symbolsand references in one piece. Usually adeity can be identified if two or more ofits associated symbols are present.

Remember that one symbol may repre-sent more than one deity. It is the com-bination of symbols that identifiesspecific deities.

The following page is an activitysheet for you to photocopy for use dur-ing your visit to the museum or as aresearch project in the classroom. Itrequires students to identify some ofthe symbols associated with particularHindu gods.

ObjectiveAt the end of this activity students willbe able to

a identify and explain the meaningof symbols associated with someHindu deities

29

Activitya In the gallery, have students explorethe exhibition looking for representa-tions of the deities and their symbols.Have students read the labels to findout what the symbols signify and toidentify the god portrayed. In the class-room, have students research differentHindu deities and identify the symbolsassociated with them.

07R03)) Ft-1111, GPIShown below are a number of symbols associated with various Hindu gods. Identify each symboland explain its meaning. List the deity or deities it is associated with.

2 Name,of,s7bol

This represents

Associated with the deity

0 Name of symbol

This represents

4 Name of symbol

This represents

Associated with the deity

Associated with the-deity

3 Name of symbol

This represents

Associated with the deity

6 Name of symbol

This represents

Associated with the deity

5 Name of symbol

This represents

Associated with the deity

30

Name of symbol

This represents

Associated with the deity

9 Name of symbol

This represents

Associated with the deity

8 Name of symbol _

This represents

Associated with the deity--

Name of symbol

This represents

Associated with the deity

(IC Name of symbol

This represents

Associated with the deity

Name of symbol

This represents

Associated with the deity

02 Name of symbol

This represents

Associated with thedeity

03 Name of symbol

This represents

Associated with the deity

31

Answers

I Naga

The Naga, or cobra, is a symbol offertility and strength. The god Shiva isoften depicted with a Naga drapedaround his neck.Shiva

2 DiscusThe discus is a symbolic weapon. InVishnu's hands it signifies his absolutemight in destroying evil.Vishnu

3 ClubThe club is a divine weapon. Whenheld by Vishnu the club signifies hisabsolute might in destroying evil.Vishnu

4 LingaA linga is a symbolic image of the godShiva. It signifies the union of oppo-sites (male and female, good and evil,light and dark). Some people believe itderives its shape from sexual symbol-

ism, but most Hindus view the linga asa representation of the god's potencyin every area of existence.

Shiva

5 LionDurga, the great Warrior Goddess, is

often shown riding a lion into battle.She is one of many manifestations ofParvati and represents the lethal energyof divine anger when turned againstevil.

Durga

6 HanumanHanuman, the messenger of the gods,is most commonly associated withVishnu's incarnation as Rama. He isalso worshiped independently inshrines throughout India. Hanumansymbolizes the power to achieve theimpossible and embodies a conscien-tious sense of duty and selfless serviceto the gods.Rama and Vishnu

7 Vishnu's footprintsA V-shaped symbol is often shown onVishnu's forehead, a stylized represen-tation of his footprints. This same markis applied in sandalwood paste to theforeheads of worshipers of Vishnuduring puja.Vishnu

8 NandiNandi, the sacred bull, is the mount ofthe god Shiva. Nandi representsstrength, faith, and constancy in belief.Images of Nandi often sit directly out-side a shrine to Shiva, facing the deity.Shiva

9 GaneshaGanesha, the elephant-headed son ofShiva and Parvati, is one of the mostpopular gods in India. Worshipers prayto Ganesha to ensure success before

beginning any new endeavor. He isusually portrayed with a round bellyand a happy expression.Shiva

10 Youth Playing the FluteKrishna is the most popular of the godVishnu's incarnations, and images ofthe youthful Krishna playing the fluteare particularly well-loved. Krishna wasborn human, and the stories of hischildhood and adolescence exemplifyhis mischievous character.

Krishna and Vishnu

32

I I Conch ShellThe conch shell is blown in India like atrumpet during many sacred rituals. Itis considered to make the purestsound, from which creation springs. InVishnu's hands the conch symbolizespurity and auspiciousness.Vishnu

12 Three Horizontal LinesThe three horizontal lines often seenon Shiva's forehead represent threeaspects of the divine: the Creator, thePreserver, and the Destroyer. Duringpuja, many devotees of Shiva marktheir own foreheads with these threelines in sacred ash or sandalwoodpaste.

Shiva

13 Crawling BabyKrishna, an incarnation of the godVishnu, is worshiped by more Hindusthan any other of Vishnu's manyforms. Krishna was born human, andpopular stories describe his childhoodand his exploits. A common imageportrays how, as an infant, he crawledaway from his mother to steal butter.Krishna and Vishnu

14 Trishula, or TridentA symbolic weapon used by deities todestroy demon foes, the trishula is animportant symbol of Shiva and of thegoddess Kali-Ma.Shiva or Kali-Ma

AneT y©r v 1t ft© the museum OT mfterr compfieUngdEISSTDOM Ulna

II Anallogfies, Metaphorrs,and PeTsonuficatkonHindu images may be seen as anattempt to describe powers greater thanhumankind. Knowable forces such asthe forces of nature serve as metaphorsto help us understand the power of thedivine. The god Shiva is seen as boththe Preserver and the Destroyer. Thedivine power of Shiva can be under-stood by using an analogy from thenatural world such as the destructivepower and the rejuvenating aspects ofa hurricane. Although a hurricane withits fierce winds and heavy rains cancreate massive destruction, the result isoften a sudden burst of new plantgrowth.

ObjectiveAt the end of this activity students willbe able to

4- discuss the use of visual images,analogies, metaphors, andpersonification to help explainabstract ideas

Activity4 Define and discuss analogy,metaphor, and personification. Theactivity sheet on the next page maybe photocopied and distributed to stu-dents working as individuals or insmall teams to create a visual image,

a written description, or a verbal reportthat uses a metaphor to describe apower greater than humankind (divinepower, nuclear power, nature).

2 Muse and RecycIleImages of Hindu gods may be made ofprecious materials such as gold and sil-ver or from everyday items such aswood and clay.

ObjectivesAt the end of this activity students will

4 recognize that Hindu imagesmay be made of different materials

4- understand that the materialsused do not alter the efficacy of theimage as a means of communicat-ing with the gods

Activity4- Read the description of the dressingof images in a temple (see page 16) andthe use of terra-cotta images at an out-door shrine (see page 14). Have stu-

dents, working as individuals or in agroup, select a Hindu god to sculpt.Before they begin, have them list char-acteristics of the god they would like toinclude in the image. Just as images ofHindu gods may be sculpted in goldand decked in jewels or fashioned froma tree or a lump of mud, have studentscreate an image from recycled materialsor "dressed" with fabric and home-made jewels.

3 Cli.eate a ShrIne:ilnstallllation AlltEvery Hindu devotee makes his or her

own choice as to which gods andgoddesses he or she will worship.The household shrine made by eachdevotee is dedicated to those personal

deities. A sacred space is created and

the objects included in the shrine areselected and arranged by each house-

holder in the way that he or shebelieves best pays homage to thedeities.

33

ObjectiveAt the end of this activity students willbe able to

4 discuss the nature of shrines, thenotion of sacred space, and the useof offerings

Activity4 Discuss the nature of shrines, thenotion of sacred space, and the use ofofferings in world religions. Have stu-dents, working as individuals or in agroup, create an installation that is ashrine to a deity. Have students selecta twentieth-century "deity" to "wor-ship" (e.g., time, television, junk food).Create an appropriate "sacred space"

and select and arrange objects to usewithin the shrine.

Other aeRhAgies

Hindu ArtInclude other art forms in your class-room. Hindu stories are an integral partof Hindu culture. They are shared inoral tradition and in comic books, andthey form the basis of much Indianmusic and dance.

A Visit to a Hindu TempleArrange to visit a temple in your area.There are hundreds of Hindu templesacross the United States, and mostwelcome school groups. Look in youryellow pages under "Churches" to findout if there is a temple near you.

A Visit from a Hindu NeighborAsk a practicing Hindu in your commu-nity to speak to your class. He or shemight explain some of the beliefs andpractices of Hinduism and discusswhat it is like being a Hindu in theUnited States.

111

Create a visual image, a written description, or a verbal report that uses a metaphor to describe a

power greater than humankind (divine power, nuclear power, nature). Come up with two images ofthe superhuman power, one that is a personification and another that is an abstract representation.Consider creating a representation of the abstract idea that would be understood by using sensesother than sight: convey your idea of the superhuman power using music, food, or an environment.Could you create a musical, edible, or tactile personification of the force?

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34

abstractWhen referring to religious images,abstract means that an object is not arealistic representation of a deity, butrather a symbol such as a tree, a rock,a pot, a cone, or a stake.

anthropomorphicIn humanlike form. Sometimes godsare represented with a figure that lookslike a person, although it may haveadditional superhuman characteristics.

AryansA people who spoke Indo-Europeanlanguages and who occupied theIranian plateau before they enteredIndia between 1800 and 1200 B.C.,

conquering and amalgamating withearlier non-Indo-European inhabitants.

clubA divine symbol that, when held byVishnu, signifies the god's absolutemight in destroying evil.

conch shellThe conch shell is blown in India likea trumpet during many sacred rituals.It is considered to make the purestsound, from which creation springs. InVishnu's hand the conch symbolizespurity and auspiciousness.

darshan (dar-shahn)Hindus believe that even a glimpseof an image filled with the spirit of agod or saint facilitates a direct visualcommunication (darshan) with thedeity, which will bring blessings tothe worshiper.

Devi (Day-vee)A widely used name for the multipleforms of the Hindu Goddess.

discusThe discus is a symbolic weapon. InVishnu's hands it signifies his absolutemight in destroying evil.

drum rattleA symbol frequently held by Shiva.Thesound of the drum rattle creates life asit reverberates through the cosmos.

Durga (DOOR-gah)Durga, the great Warrior Goddess, isone of many manifestations of Parvatiand represents the lethal energy ofdivine anger when turned against evil.

Ganesha (Geh-nay-sha)Ganesha, the elephant-headed son ofShiva and Parvati, is one of the mostpopular gods in India. Worshipers prayto Ganesha to ensure success beforebeginning any new endeavor.

Lakshmi (Lahk-shmee)Vishnu's wife, Lakshmi, is the Goddessof Abundance and Prosperity.

linga (LING-gah)The linga is a symbolic image of thegod Shiva that signifies the union ofopposites (male and female, good andevil, light and dark). Some peoplebelieve it derives its shape from sexual

symbolism, but most Hindus view it assimply a representation of the god'spotency in every area of existence.

22RAMMED,P)1 HUNC_PtL_:"

lotusThe lotus, frequently associated withthe goddess Lakshmi, represents fertili-ty and regeneration.

Mahabharata (Mahah-bahrahtah)This great epic poem tells of the strug-gle for power between two noble andrelated families. It has the distinctionof being the longest epic poem in theworld, having grown over a period ofcenturies (perhaps 1000 to 500 B.c.)to a length of 100,000 couplets.

Naga (Nah-gah)The Naga, or cobra, is a symbol offertility and strength. The god Shiva isoften depicted with a Naga drapedaround his neck.

Nandi (Nahn-dee)Nandi, the sacred bull, is the mount ofthe god Shiva. He represents strength,faith, and constancy in belief.

pinda (pin-dah)A small cone of sculpted clay that rep-resents the goddess Kali-Ma in easternUttar Pradesh.

puja (poo-jah; first syllable rhymeswith "zoo")Puja is the act of showing reverence to

a god, a spirit, or another aspect of thedivine through invocations, prayers,songs, and rituals. An essential part ofpuja for the Hindu devotee is making aspiritual connection with the divine.Most often that contact is facilitatedthrough an object: an element ofnature, a sculpture, a vessel, a painting,or a print.

35

Ramayana (Rahmah-yehneh)

The Ramayana, or the "goings" ofRama, may be likened to the Odyssey

of Greek mythology in that it describesthe adventures of a great warrior king,elevated in time to the status of a god.Rama, hero of the Ramayana, is the

seventh incarnation of Vishnu.

reciprocityReciprocity, the process of giving andreceiving, is an essential aspect ofHinduism. Hindus are taught that bygiving, they receive, and that whenthey receive, they should respond withgifts. When a Hindu prays for a specificfavor from a deity, he or she may vowto present a special gift to the god orgoddess or to perform an arduous dutyif the wish is granted.

rosary beads

The god Shiva often wears a rosarywhose beads represent all time(past, present, and future) and itstranscendence.

Sanskrit (SAN-skrit)

An ancient Indic language that is theclassical language of India and ofHinduism.

Shiva (SHIV-ah)

The god Shiva, the Creator andDestroyer, is often shown with a cobra,the Naga, symbol of fertility andstrength, wrapped around his neck.The god often has four arms, signifyinghis superhuman power.

Sita (SEE-tah)

Rama's beloved Sita, one of Lakshmi'smany forms, is the traditional idealHindu woman: feminine, faithful,resilient, and pure.

symbolA symbol is an object or a design thatrepresents, or stands for, somethingelse: a crown is a symbol of a king; atrident is a symbol of Shiva; a lotus is asymbol of Lakshmi.

three horizontal linesThe three horizontal lines often seenon Shiva's forehead represent threeaspects of the divine: the Creator, thePreserver, and the Destroyer. Duringpuja, many devotees of Shiva marktheir own foreheads with these threelines in sacred ash or sandalwoodpaste.

trishula (trish- OO -lah), or tridentA symbolic weapon used by deities todestroy demon foes. The trishula is an

important symbol of Shiva and of thegoddess Kali-Ma.

36

Vedas (Vay-dahs)

The earliest Hindu sacred literature,consisting of hymns, prayers, andliturgical formulas written in Sanskritby Aryan people.

Vishnu (VISH-noo)Vishnu, the Preserver, represents stabil-ity and order. Vishnu is recognized bythe four symbols he carries: discus,conch, club, and lotus. In paintingsand prints, Vishnu is often shown withblue skin, a device to accentuate hisotherworldliness.

Vishnu's footprintsA V-shaped symbol is often shown onVishnu's forehead, a stylized represen-tation of his footprints. This same markis applied in sandalwood paste to theforeheads of worshipers of Vishnuduring puja.

yoni (YO-nee)The yoni represents the feminine com-plement to Shiva's masculine divinity.Some people believe that the yoni, likethe linga, derives its shape from sexualimagery, but to most Hindus it is sim-ply an abstract symbol.

Qeraerell Texthooks

,Elementary/ Bailey, Donna and Malcolm Rodgers.

India: Where We Live. Austin, Tex.:Steck-Vaughn, 1990.

ISBN 0-8114-2548-7. L.C. DS421.B19.

Illustrated story of a girl named Sitawho describes her life in present-dayRajasthan.

Cumming, David. India. New York:Bookwright Press, 1989.ISBN 0-531-18271-1. L.C. DS407.C79.

Introduction to India, highlightingfeatures that give it its particular char-acter. Describes what it is like to livethere today. Glossary. Bibliography.

Kalman, Bobbie. India, the Culture.The Lands, Peoples, and CulturesSeries. New York: Crabtree Publishing

Co., 1990. ISBN 0-86505-212-3.L.C. DS421.K34-

Discusses religion, the importance ofthe Ganges River, art, crafts, clothing,festivals, performing arts, and food.Glossary.

Kalman, Bobbie. India, ,the Land.The Lands, Peoples, and CulturesSeries. New York: Crabtree PublishingCo.: 1990. ISBN 0-86505-210-7.L.C. DS407.K35.

Describes geography, climate, rivers,

people, village life, city life, farming andindustry, transportation, and wildlife.Glossary.

ANN

Kalman, Bobbie. India, the People.The Lands, Peoples, and CulturesSeries. New York: Crabtree Publishing.

Co., 1990. ISBN 0-86505-211-5.L.C. HN683.5.K35.

Discusses history up to modern times,people, family life, village life, city life,languages and education, occupations,and problems. Glossary.

Middle SchoolAllen, Carole. India: Past, Present andFuture. Carthage, Ill.: Good Apple,1993. ISBN 0-86653-739-2. Grades 4-8.

This social studies activity book guidesstudents through an exploration ofIndia's social and political past, pres-ent, and future. Topics investigatedinclude the Indian economy, architec-ture, and geography.

Isenberg, Irwin. The Indian Subcon-tinent. 4th ed. Scholastic WorldCultures Series. New York: Scholastic,

1986. ISBN 0-590-34601-6.

Covers India, Pakistan, Bangladesh,

and Sri Lanka. Discusses the variationsamong these countries in village life,city life, the caste system, and reli-gions. Each chapter is followed byreview and discussion questions.Pronunciation guide. Accompanied byteaching guide that identifies anddefines concepts and attitudes to bedeveloped. Includes questions, discus-sion topics, and activities.

McNair, Sylvia. India. Enchantment ofthe World Series. Chicago: ChildrensPress, 1990. ISBN 0-516-02719-0.

L.C. DS407.M39.

Discusses India's geography, historyup to independence, and people andculture.

/Nugent, Nicholas. India. World inView Series. Austin, Tex.: Steck-Vaughn, 1991. ISBN 0-8114-2441-3.

L.C. DS407.N84.

Survey of the history, government,economy, natural resources, people,cultures, and future prospects of India.

High SchoolThe Asia Society. India: A Teacher'sQuide. Focus on Asian Studies.New York: The Asia Society, 1985.

L.C. DS407.A7.

Teacher's guide to India. Includesclassroom activities and student read-ings on caste, Hinduism, values, andmarriage.

Clark, James I. India Including Pakistanand Bangladesh. Peoples & CulturesSeries. Evanston, Ill.: McDougall &Littell, 1989. ISBN 0-8123-5779-5.L.C. DS437.K8. Accompanied by

teacher's manual (ISBN 0-8123-5780-9)by Joan Curtis.

Covers ancient cities; Hindu gods;empire builders and invaders; India andthe West; independence and partition;glimpses of Indian culture through itsliterature; and city and village life.Student guide directs attention toimportant concepts in each chapter.Teacher's manual provides summaries

of main points, suggestions for discus-sions and activities, and map exercises.Includes tests and a list of resource

materials, including audiovisual aids.

UAnPITIT37

Jensen, Anne Ferguson. India: ItsCulture and People. New York: ,

Longman, 1991. ISBN 0-8013-0343-5.

L.C. DS423.J43.

Covers geography, climate, religions,and history up to independence.Glossary.

Wolpert, Stanley. India. Berkeley andLos Angeles: University of CaliforniaPress, 1991. ISBN 0-520-07783-0.

L.C. DS407.W56.

Written by a UCLA historian of India.Concrete and detailed overview.Includes bibliographic references onenvironment, history, religion andphilosophy, society, arts and sciences,

and politics and foreign policy.Bibliography.

JrK-12Asian Art Museum of San Francisco.Color MeQanesha, the Elephant-Headed God. San Francisco: Asian Art

Museum of San Francisco, 1986.

The drawings in this coloring book arebased on details from objects in theAsian Art Museum.

Bellerophon Books. A Coloring Bookof Ancient India. Santa Barbara, Calif.":Bellerophon Books, 1989.

ISBN 0-88388-135-7.

Many of the pictures in this coloringbook are from ancient stone carvings,which were originally painted withbeautiful colors. Some text explana-tions of the pictures.

J. Paul Getty Trust. Arts in India;Glenview, Ill.: Crystal Productions,1994. ISBN 0-89236-315-0.

Five posters of Indian art objects; on

the reverse is text to place each objectin cultural context. Includes timeline,medium, discussion questions, andactivities. Accompanied by a teacher's

guide.

'High SchoolBlurton, T. Richard. Hindu Art.London: The British Museum Press forthe Trustees of the British Museum,1992. ISBN 0- 7141 1442 -I.

This full-color textbook provides anexcellent overview of Hindu art. Thesurvey provides an introduction to theHindu temple architecture, sculpture,and painting of the Indian subcontinentover more than two thousand years.

'Huntington, Susan L. and John C.

Huntington. Art of Ancient India;Buddhist, Hindu, Jain. New York:Weatherhill, 1985. ISBN 0-8348-0183-3.

L.C. N7301.H86.

An important reference tool for theserious student of Indian art, this textprovides an in-depth look at the differ-ent periods of Hindu art beginningwith pre-history.

kheraguire

Middle SchoolGodden, Rumer and Jon Godden.Indian Dust. London: MacMillan, 1989.ISBN 0-333-51871-3.

Stories set in the rice fields of Bengal,the streets of Calcutta, and the moun-tains of Kashmir explore themes ofcourage, love and faith, the coming ofmanhood, the worship of differentgods, and the cultural clash betweenEast and West.

Rana, Indi. The Roller Birds of Rampur.New York: Henry Holt, 1993.ISBN 0-8050-2670-3. L.C. PZ7.R149Ro.

Grades 7-12.

Dropped by her English boyfriendbecause of his family's racism andfaced with the arranged marriage of herIndian friend, an Indian teenager leavesEngland to return to India to find heridentity.

38

High SchoolMarkandaya, Kamala. Nectar ina Sieve. New York: Signet, 1982.

ISBN 0-451-16836-4.

L.C. P27.M3394.Ne3.

Story of a woman in India who neverlost her faith in life or her love for herhusband and childrendespite herendless battle against relentless:nature,changing times, and dire poverty.

Vimal, Ganga P. The Talisman:Stories and Poems in Hindi andEnglish. London: Forest Books', 1990(distributed in the U.S. by DufourEditions, Chester Springs, Pa.).

ISBN 0-948259-57-4.

Collection of Indian contemporary lit-erature, short stories, and poems pub-lished in Hindi and English.

Mindaa Stales

ElementaryBeach, Milo C. The Adventures ofRama. Washington, D.C.: Freer Galleryof Art, 1983. ISBN 0-934686-51-3.L.C. 83-1473.

Astonishing creatures and colorfulcharacters appear in this shortened

version of the tales of Rama. Lavishlyillustrated with paintings from theFreer Gallery of Art.

/Hull, Robert. Indian Stories Retold byRobert Hull. New York: ThomsonLearning, 1994. ISBN 1-56847-189-0.

L.C. PZ8.1.H8831n.

Collection of eight traditional talesfrom India, including "Shiva GoesFishing" and "How Ganga Came Downto Earth." Glossary. Bibliography.

Shepard, Aaron. Sauitri: A Tale ofAncient India. Morton Grove, III.:Albert Whitman & Co., 1992.ISBN 0-8075-7251-9.

L.C. BLI138.4.S28S44. Grades 3-6.

Retelling of a classic tale of courage,love, wit, and will from India's nationalepic, the Mahabharata. Full-page illus-trations reflect visual elements ofIndian art./14iddle School

Chatterjee, Debjani. The Elephant-Headed God and Other Hindu Tales.New York: Oxford University Press,1992. ISBN 0-19-598112-9.

L.C. BL 1 1 1 I .2C43.

Collection of twelve traditional tales ofancient India. Stories of gods and god-desses, kings and queens, heroes and

beggars, angelic beings and demons

contain much of the enduring wisdomof India.

Dalal-Clayton, Diksha. The Adventuresof Young Krishna, the Blue God ofIndia. New York: Oxford UniversityPress, 1992. ISBN 0-19-508113-7.

L.C. BLI220.D34.

Collection of the adventures of theHindu god Krishna beginning with thestory of his birth and his escape as ababy from his cruel uncle. These tales

illustrate the eternal battle betweengood and evil. Glossary. List of godsand goddesses.

Rao, Shanta Rameshwal. The

Children's Mahabharata. Hyderabad:Orient Longmans Ltd.,1989.ISBN 0-86131-266-X.

L.C. BL 1138.22.R37.

Indian national epic tells the story ofthe warrior princes, called the Kauravasand the Pandavas, who lived in Indiacenturies ago. It tells of their rivalriesand their adventures and of the greatwar they fought on the field ofKurukshetra.

High SchoolIons, Veronica. Indian Mythology.New York: Peter Bedrick Books, 1983.

ISBN 0-911745-55-6. L.C.BL2003.16.

Discusses Indian religion and history,early deities, and mythologies ofHinduism, Buddhism, and Jainism.Bibliography.

Hbachallsyn

/ ElementaryBennett, Olivia. Holi, Hindu Festivalof Spring. London: Hamish Hamilton,1987. ISBN 0-241-11986-3.

L.C. BL 1239.82.H65.

With text and pictures tells howEnglish children experience the Hindufestival of Holi.

/Mitchell, Pratima. Dance of Shiva,an Introduction to Bharata Natyam.London: Hamish Hamilton, 1989.ISBN 0-241-12550-2.

Text and photographs of girls learningtraditional Indian "Dance of Shiva."

"Kolomon, Joan. Sweet-Tooth Sunil. TheWay We Live Series. London: Hamish

Hamilton, 1984. ISBN 0-241-1120I-X.

Tells the story of Divali, the HinduFestival of Light, through the eyes ofSunil.

jVliddle SchoolKadodwala, Dilip. Hinduism. WorldReligions Series. New York: ThomsonLearning, 1995. ISBN I-568-47-377-X.L.C. BL I203.K33. Grades 5-7.

Introduction to important beliefs andrituals. Examples and case studies froma variety of perspectives emphasizingHinduism's vitality in today's cultureall over the world. Glossary.

Wangu, Madhu Bazaz. Hinduism.World Religion Series. New York:Facts on File, 1991. ISBN 0-8160-2447-2.

L.C. BL 1203.W35.

Discusses the modern Hindu world,the growth of Hinduism, the gods anddevotionalism, political changes andtheir influence on Hinduism, the Hindutemple, icons and worship, and mod-ern Hinduism. Glossary. Bibliography.

High SchoolEck, Diana L. Darsan: Seeing the

Divine Image in India. 2d rev. ed.Chambersburg, Pa.: Anima Publicaltions, 1985. ISBN 0-89012-042-0.L.C. BL 1205.E25.

Darsan, or darshan, is a Sanskrit wordmeaning "seeing." Guide to seeing thedivine in Indian sculpture, temples,symbols, times, and places.

Asian Art Museum of San Francisco

Education DepartmentGolden Gate ParkSan Francisco, CA 94118

Contact: Richard Mellott, Head ofEducation

Telephone: (415) 668-8921/8922Fax: (415) 668-8928

Publishes materials for teachers as well

as offering tours and programs forteachers. Teachers can also acquire

hands-on teaching kits and videosthrough the museum. Contact theEducation Department to receive its

annual newsletter.

Asia Society725 Park Avenue

New York, NY 10021

Contact: Education DepartmentTelephone: (212) 288-6400Fax: (212) 517-8315

Publishes curriculum materials on Asia.Contact the Education Department fora complete catalogue.

Bala Books

12520 Kirkham Court, #7Poway, CA 92064

Contact: Philip Gallelli, DirectorTelephone: (800) 679-2252Fax: (619) 679-6908

Carries a short list of folk tales,religious stories, and cookbooks.Children's books, videocassettes,audiocassettes, and posters are also

available.

Center for Asian StudiesUniversity of Texas at AustinW.C. Hogg Building 4.132 (G9300)Austin, TX 78712-1194

Contact: Yvette RosserTelephone: (512) 471-5811

Fax: (512) 471-4469

E-mail address:

outreach @uts.cc.utexas.edu

Has the following materials availablefor loan: videos, both feature films anddocumentaries; slides (some includescripts, readings, teacher's notes, factsheets, or map); and curriculum mate-rials. Requests for materials must besent two weeks in advance with analternate date. Materials must bereturned within four weeks.

Center for South Asian Studies ProgramJackson School of International StudiesUniversity of Washington at Seattle303 Thompson HallUniversity of Washington, DR-05Seattle, WA 98195Contact: Maureen Haley Tarada, Asst.

Director and Outreach CoordinatorTelephone: (206) 543-4800Fax: (206) 685-0668

E-mail address:

tarada@u.washington.edu

This program is supported by the U.S.Department of Education and isresponsible for academic programsrelated to South Asia at the Universityof Washington. It sponsors a variety ofoutreach programs in the community.

Center for South Asian StudiesUniversity of California at Berkeley201 Moses Hall

Berkeley, CA 94720-2310

Contact: Simona Sawhney, OutreachCoordinator

Telephone: (510) 642-3608Fax: (510) 643-5793

E-mail address:

csas@uclink.berkeley.edu

Offers the South Asia ResourceDirectory for K -12 Teachers (listings ofresources for teaching about South

Asia).

Center for South Asian StudiesUniversity of Virginia110 Minor HallCharlottesville, VA 22903Contact: Cindy Benton-Groner,

Outreach CoordinatorTelephone: (804) 924-8815E-mail address:

csas@faraday.clas.virginia.edu

Has an extensive list of films andvideos available on loan, as well as a

resource list on contemporary India.Distributes the South Asia ResourceDirectory for K -12 Teachers.

A 'InezI-FL_ NG

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-

Metropolitan Museum of ArtUris Library and Resource Center1000 Fifth Avenue

New York, NY 10028-0198

Contact: John D'Addario, Assistant,Teacher Programs, Education

Telephone: (212) 650-2756Fax: (212) 570-3972

Has materials available for two-weekloan free of charge. Must be picked upin person. Teacher packets include:

South Asia, Glorification of theGoddess in India, The Ramayana, andThe Story of Krishna.

Nataraj Books

7073 Brookfield PlazaSpringfield, VA 22150Contact: Vinnie MahajanTelephone: (703) 455-4996Fax: (703) 912-9052

Major national distributor of booksabout and from India. Excellent sourceof specialized books including Indiancomic book versions of theMahabharata and the Ramayana,posters and postcards of deities, andbooks of Hindu prayers. Sends outmonthly catalogues.

South Asia Gopher304 International AffairsColumbia University420 West 1 18th Street

New York, NY 10027-7296Contact: David Magier, South Asia

Librarian

Telephone: (212) 854-8046Fax: (212) 854-2495

E-mail address:

magier @columbia.edu

The South Asia Gopher (SAG) is a col-lection of worldwide network-acces-sible information resources relating toSouth Asia. Offers bibliographic re-sources, links with other South Asiarelated online resources worldwide,

South Asia teaching resources, etc.The URL is gopher://gopher.cc.

columbia.edu:7I /11 /clioplus/scholarly/South Asia. Or you may gopher to<gopher.cc.columbia.edu.71> andthen navigate down through themenus as follows:CLIOPIus /SELECTED TOPICS.../

South Asia. Or you may telnet to<columbianet.columbia.edu>.

South Asia Program

Cornell University170 Uris Hall

Ithaca, NY 14853

Contact: Durga BorTelephone: (607) 255-8493Fax: (607) 254-5000

Video lending library has sixty VHSvideocassettes about South Asia avail-able for educational purposes free ofcharge. Subjects include city life,dance, Buddhism, music, history,Hinduism, etc. Also offers an outreachprogram to schools in the Ithaca area.

South Asia Regional Studies

University of Pennsylvania820 Williams HallPhiladelphia, PA 19104-6305

Contact: Robert YoungTelephone: (215) 898-7475E-mail address:

dludden@sas.upenn.edu

Contact Dr. Young for a listing ofmaterials available.

Southern Asia InstituteColumbia University420 West 1 18th Street

New York, NY 10027

Contact: Barbara Gombach, AssistantDirector

Telephone: (212) 854-3616Fax: (212) 854-6987

E-mail address:

bcg2@columbia.edu

Provides KI2 teaching resources. Fora listing of materials available, write tothis address, or use the South AsiaGopher (see above).