Some postcolonial theorists argue that the idea of a single system of belief known as "Hinduism" is a creation of nineteenth-century British imperialists. Andrew J. Nicholson introduces another perspective: although a unified Hindu identity is not as ancient as some Hindus claim, it has its roots in innovations within South Asian philosophy from the fourteenth to seventeenth centuries. During this time, thinkers treated the philosophies of Vedanta, Samkhya, and Yoga, along with the worshippers of Visnu, Siva, and Sakti, as belonging (...) to a single system of belief and practice. Instead of seeing such groups as separate and contradictory, they re-envisioned them as separate rivers leading to the ocean of Brahman, the ultimate reality. Drawing on the writings of philosophers from late medieval and early modern traditions, including Vijnanabhiksu, Madhava, and Madhusudana Sarasvati, Nicholson shows how influential thinkers portrayed Vedanta philosophy as the ultimate unifier of diverse belief systems. This project paved the way for the work of later Hindu reformers, such as Vivekananda, Radhakrishnan, and Gandhi, whose teachings promoted the notion that all world religions belong to a single spiritual unity. In his study, Nicholson also critiques the way in which Eurocentric concepts—like monism and dualism, idealism and realism, theism and atheism, and orthodoxy and heterodoxy—have come to dominate modern discourses on Indian philosophy. (shrink)

This contribution to the Common Knowledge symposium “Fuzzy Studies” explores the boundaries between religions by exploring the ambiguous place of yoga in various religious traditions, both modern and premodern. Recently, certain Hindus and Christians have tried to argue that yoga is an essentially Hindu practice, making their case by appealing to the Yoga Sutras, a text by the Sanskrit author Patanjali. However, on closer examination, the Yoga Sutras seem to exist in a fuzzy, indeterminate space that is not quite “Hindu” (...) in the way the word is understood today. For instance, other Sanskrit authors of the first millennium CE criticized Patanjali's yoga teachings for not being properly theistic and for having strong affinities to Buddhism and Jainism. Yoga was also integrated into at least one of the “religions of the book” in the medieval period: in India in the second millennium, yoga was practiced widely among Sufis, who adapted it in surprising and idiosyncratic ways to make it compatible with their own Islamic philosophies. Nicholson concludes with an appeal for a more nuanced understanding of religious contact that goes beyond the pejorative term syncretism to acknowledge that religious mixing has been a central force in the development not only of Hinduism and Islam, but also of Christianity. (shrink)

An Enquiry into the Nature of Liberation: Bhaṭṭa Rāmakaṇṭha’s Paramokṣanirāsakārikāvṛtti, a Commentary on Sadyojyotiḥ’s Refutation of Twenty Conceptions of the Liberated State. Edited and translated by Alex Watson, Dominic Goodall, and S. L. P. Anjaneya Sarma. Collection Indologie, vol. 122. Pondicherry: Institut Français de Pondichéry, École française d’Extrême-Orient, 2013. Pp. 508. €38.

While the Bhagavad Gītā is an acknowledged treasure of world spiritual literature, few people know a parallel text, the Īśvara Gītā. This lesser-known work is also dedicated to a god, but in this case it is Śiva, rather than Kṛṣṇa, who is depicted as the omniscient creator of the world. Andrew J. Nicholson’s Lord Śiva’s Song makes this text available in English in an accessible new translation. A work of both poetry and philosophy, the Īśvara Gītā builds on the insights (...) of Patañjali’s Yoga Sūtra and foreshadows later developments in tantric yoga. It deals with the pluralistic religious environment of early medieval India through an exploration of the relationship between the gods Śiva and Viṣṇu. The work condemns sectarianism and violence and provides a strategy for accommodating conflicting religious claims in its own day and in our own. (shrink)

The “Lives of Great Religious Books” from Princeton University Press is a series with the worthy goal of introducing general readers to major works from many different traditions. The phrase “lives of” indicates that the point is not just to elucidate the work’s meaning but also to trace how it has been interpreted between the time of its composition and the present day. In Richard H. Davis, the author of one previous book on visual culture in India and another dealing (...) with Śaiva ritual, Princeton has found a happy conjunction of scholar and subject matter. To The Bhagavad Gita: A Biography Davis brings years of reflection on the diversity of religious expression in medieval and modern India, and.. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)

The late 16th century Indian philosopher Vijñānabhikṣu is most well known today for his commentaries on Sāṃkhya and Yoga texts. However, the majority of his extant corpus belongs to the tradition of Bhedābheda (Difference and Non-Difference) Vedānta. This article elucidates three Vedāntic arguments from Vijñānabhikṣu’s voluminous commentary on the Brahma Sūtra, entitled Vijñānāmṛtabhāṣya (Commentary on the Nectar of Knowledge). The first section of the article explores the meaning of bhedābheda, showing that in Vijñānabhikṣu’s understanding, “difference and non-difference” does not entail (...) a denial of the principle of contradiction. The second shows how the relation between the individual soul (jīva) and Brahman can be understood as a relation of part and whole. The third section discusses Brahman as cause of the world, and Vijñānabhikṣu’s particular formulation of Brahman as “locus cause” (adhiṣṭhānakāraṇa). Understanding these arguments enables us to appreciate how Vijñānabhikṣu’s Difference and Non-Difference Vedānta is a credible alternative to the Advaita Vedānta schools prevalent in northern India in the late medieval period, and how in his later works Vijñānabhikṣu built upon this Difference and Non-Difference metaphysical framework to argue for the unity of Vedānta, Yoga, and Sāṃ-khya philosophies. (shrink)