Excellent bibliographical work about Allama Muhammad Iqbal in the Arabic scripts (Urdu, Persian, Arabic and so on) has been published by the Iqbal Academy, Lahore. Our publication covers only what appeared in the Roman script: English, German, French, Dutch, Italian, Polish, Czech, Portuguese, Swedish, Finnish, Turkish, and Russian. Many books have some kind of bibliographical list, and we have tried to include all that material in the present publication. With the generous support of the Ministry of Education, Government of Pakistan, the Iqbal Foundation Europe at the KULeuven, Belgium, has endeavoured to combine meticulous and patient work in libraries with the most modern search on internet. The result is an impressive tribute to Iqbal and to the research about him: 2500 entries, the latest entry dated 1998 (A. Schimmel). Even if many superfluous or repetitive articles may have been published, a researcher should look at even small contributions: they may contain valuable information and rare insights. The databank we compiled at the university of Leuven is composed of material taken from published works and from the on-line services of the major university libraries. From this it appeared that hundreds of scholars and authors have contributed to the immense databank about Iqbal. The highest number of contributions is by Annemarie Schimmel, S.A. Vahid and B.A. Dar, followed by A. Bausani, K.A. Waheed, A.J. Arberry and so many others.
During the past few decades some lengthy studies have been devoted to Dadu and the Dadupanth. When writing a biography of Dadu, authors often give a list of sources without apparently having consulted the works they mention, with the result that most literature on the subject now available is to a great extent merely the result of copying from earlier writers. Often, a mass of details about Dadu is given without a clear distinction being made between early documents and later information arising from tradition. In most cases the composition of an original work was followed by a wave of sectarian historians who indulged in laudatory embellishments to the point of the most fanciful miracle mongering. A critical edition of the Hindi Biography of Dadu, by Jan Gopal was urgently needed because it shows that within one generation after its redaction the original version was greatly expanded and delicate issues in it were `explained`. Both versions are given here, with an English translation and commentary.
This critical study of Anantadas 'biographies' of 15th and 16th century bhakti poets gives a broad spectrum of the linguistic and morphlogical variants and reveals the process of oral and scribal transmission which allowed sectarian interests to appropriate certain poets and change their 'biographies' accordingly.
Millions of foreign and Indian tourists and pilgrims visit the thousands of shrines that testify to India's great cultural and religious heritage. For many of them the local priest or their own childhood reading of the Indrajal comics are the only aids to understand and interiorise the message of the 'stones'. For them and for others this book has been written as an introduction to the mythological and religious background of the gods worshipped in temples and carved in beautiful statues. It also gives a detailed description of the numerous episodes depicted on the walls and inside the shrines. A journey through south India is definitely an aesthetic experience. It becomes a religious experience if the visitor can enter into the mind of the sculptors and devotees who gave the best of their lives to construct and decorate the temples. Their efforts were inspired mainly by devotion, even if some of them belonged to travelling guilds who were responsible for the great similarity in the immense variety of sculptures. With this in mind, the visitor knows he walks on sacred ground, centuries old, when he enters a temple or climbs the Shravana Belgola hill to have darshan of Shree Gomateshvara. At the same time she or he may like to know why Ganeshji has the head of an elephant or why Snake-gods are so abundantly present on the walls of temples, along with erotic scenes and images of Shiva in so many different forms. And what stories of the mythological past are told to explain why Shiva is also worshipped in the form of a Lingam? Finally, God in ancient India was not only worshipped as a man, but also as a woman. All that appears' if one looks attentively at the living stones. A fascinating reading for all those interested in the history of and cultural tourism in India.
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