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Vishnu (Sanskrit, m., विष्णु Viṣṇu, "der Alldurchdringende") ist eine der wichtigsten Formen des Göttlichen im Hinduismus, kommt jedoch bereits in den Veden vor. Im Vishnuismus gilt er als die Manifestation des Höchsten. Seine Shakti, die weiblich gedachte Seite des Göttlichen, ist die Göttin Lakshmi, die als seine Gattin gilt.
Vishnu ist Teil der Trimurti, einer im Hinduismus sehr bekannten Konzeption der „drei Gestalten“. Diese besteht aus drei Aspekten des Göttlichen, die mit den fundamentalen Prinzipien des Kosmos in Verbindung stehen:
die Schöpfung: Brahma
die Erhaltung: Vishnu
die Kraft der Zerstörung: Shiva
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Om Namah Shivaya (Shiva Sahasranama Mantra) www.youtube.com/watch?v=7iRdzHQqrC4&feature=related
Mahamrityunjaya Mantra www.youtube.com/watch?v=btrI3X2HwkA&feature=related
Om Namah Shivaya ! Shivaya Namah Om ! www.youtube.com/watch?v=9gEx3ldOUBs&feature=related
Shiva (Sanskrit, शिव,Tamil,சிவன், m., Śiva, wörtl.: „Der Gütige“, [ɕɪvʌ]) ist eine der wichtigsten Formen des Göttlichen im Hinduismus. Im Shivaismus gilt er den Gläubigen als die wichtigste Manifestation des Höchsten. Häufige Beinamen sind Shankar, Mahadeva (Sanskrit: „Großer Gott“) und Natraj (Hindi: „König der Tänzer“). In den Veden erscheint der Name „Shiva“ noch nicht, möglicherweise ist aber der vedische Gott Rudra der spätere Shiva.
Die Übersetzung des Wortes „Shiva“ aus dem Sanskrit lautet „der Gütige“, „der Gnädige“ oder auch „der Freund“. Als Bestandteil der „hinduistischen Trinität“ (Trimurti) mit den drei Aspekten des Göttlichen als Brahma, der als Schöpfer gilt, und Vishnu, dem Bewahrer, verkörpert Shiva das Prinzip der Zerstörung. Außerhalb der Trinität verkörpert er aber alles, Schöpfung und Neubeginn ebenso wie Erhaltung und Zerstörung. Durch seinen Tanz symbolisiert er den Kreislauf der Zeiten oder den rasenden Tanz der Zerstörung und der Schöpfung. Shiva ist dadurch auch der Gott oder das Prinzip der Ekstase. Er besitzt 108 weitere Namen.
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The third eye (also called the mind's eye or inner eye) is a mystical and esoteric concept of a speculative invisible eye, usually depicted as located on the forehead, which provides perception beyond ordinary sight. n Dharmic spiritual traditions from India, the third eye refers to the ajna (or brow) chakra. The third eye refers to the gate that leads to inner realms and spaces of higher consciousness. In New Age spirituality, the third eye often symbolizes a state of enlightenment or the evocation of mental images having deeply personal spiritual or psychological significance. The third eye is often associated with religious visions, clairvoyance, the ability to observe chakras and auras. precognition, and out-of-body experiences. People who are claimed to have the capacity to utilize their third eyes are sometimes known as seers. In Hinduism and Buddhism, the third eye is said to be located around the middle of the forehead, slightly above the junction of the eyebrows, representing the enlightenment one achieves through meditation. Hindus also place a "tilaka" between the eyebrows as a representation of the third eye, which is also seen on expressions of Shiva. Buddhists regard the third eye as the "eye of consciousness," representing the vantage point from which enlightenment beyond one's physical sight is achieved.In Taoism and many traditional Chinese religious sects such as Chan (called Zen in Japanese), "third eye training" involves focusing attention on the point between the eyebrows with the eyes closed, and while the body is in various qigong postures. The goal of this training is to allow students to tune into the correct "vibration" of the universe and gain a solid foundation on which to reach more advanced meditation levels. Taoism teaches that the third eye, also called the mind's eye, is situated between the two physical eyes, and expands up to the middle of the forehead when opened. Taoism claims that the third eye is one of the main energy centers of the body located at the sixth Chakra, forming a part of the main meridian, the line separating left and right hemispheres of the body. In Taoist alchemical traditions, the third eye is the frontal part of the "Upper Dan Tien" (upper cinnabar field) and is given the evocative name "muddy pellet". According to the Christian teaching of Father Richard Rohr, the concept of the third eye is a metaphor for non-dualistic thinking; the way the mystics see. In Rohr's concept, mystics employ the first eye (sensory input such as sight) and the second eye (the eye of reason, meditation, and reflection), "but they know not to confuse knowledge with depth, or mere correct information with the transformation of consciousness itself. The mystical gaze builds upon the first two eyes—and yet goes further." Rohr refers to this level of awareness as "having the mind of Christ". Adherents of theosophist H.P. Blavatsky have suggested that the third eye is in fact the partially dormant pineal gland, which resides between the two hemispheres of the brain. Reptiles and amphibians sense light via a third parietal eye—a structure associated with the pineal gland—which serves to regulate their circadian rhythms, and for navigation, as it can sense the polarization of light. C.W. Leadbeater claimed that by extending an "etheric tube" from the third eye, it is possible to develop microscopic and telescopic vision. It has been asserted by Stephen Phillips that the third eye's microscopic vision is capable of observing objects as small as quarks. According to this belief, humans had in far ancient times an actual third eye in the back of the head with a physical and spiritual function. Over time, as humans evolved, this eye atrophied and sunk into what today is known as the pineal gland. Dr. Rick Strassman has hypothesized that the pineal gland, which maintains light sensitivity, is responsible for the production and release of DMT (dimethyltryptamine), an entheogen which he believes possibly could be excreted in large quantities at the moments of birth and death.The use of the phrase mind's eye does not imply that there is a single or unitary place in the mind or brain where visual consciousness occurs. Philosophers such as Daniel Dennett have critiqued this view.
en.wikipedia.org/wiki/Third_eye
Ajna (Sanskrit: आज्ञा, IAST: Ājñā, IPA: [aːɟɲaː]), guru chakra or third-eye chakra, is the sixth primary chakra in the body according to Hindu tradition. It is supposedly a part of the brain which can be made more powerful through meditation, yoga and other spiritual practices just as a muscle is. In Hindu tradition, it signifies the subconscious mind, the direct link to the brahman. While a person's two eyes see the physical world, the third eye is believed to reveal insights about the future. The third eye chakra is said to connect people to their intuition, give them the ability to communicate with the world, or help them receive messages from the past and the future. The Ajna chakra is located in the center of the forehead between the eyebrows. It is not a part of the physical body but considered to be the part of Pranic system. The location makes it a sacred spot where Hindus apply a vermilion bindi to show reverence for it. The Ajna chakra is correspondent with the pineal gland. Ajna is described as a transparent lotus flower with two white petals, said to represent the nadis (psychic channels) Ida and Pingala, which meet the central Sushumna nadi before rising to the crown chakra, Sahasrara. The letter "ham" (हं) is written in white on the left petal and represents Shiva, while the letter "ksham" written in white on the right petal and represents Shakti. Inside the pericarp of the flower is the hakini Shakti. It is depicted with a white moon, six faces, and six arms holding a book, a skull, a drum, and a rosary, while making the gestures associated with granting boons and dispelling fears. The downward-pointing triangle above her contains a white lingam. This triangle, along with the lotus flower, can represent wisdom. In some systems the deity Ardhanarishvara, a hermaphrodite form Shiva-Shakti, resides within the lingam and symbolizes the duality of subject and object. This sixth chakra of our energy body is also connect with sixth layer of aura which known as celestial layer of aura science. The seed syllable of Ajna is Ksham and the more well known, Om, or "Pranava Om", which is believed to be the basic sound of the world and contains all other sounds. It is considered the supreme sound of the universe. The Bīja mantras are monosyllabic seed sounds which, when they are spoken aloud, activate the energy of the chakras in order to purify and balance the mind and body. The energy resonates in the chakra associated with the mantra, helping the speaker become aware of their body's needs.Ajna translates as "authority" or "command" (or "perceive") and is considered the eye of intuition and intellect. Its associated sense organ is the brain. When something is seen in the mind's eye, or in a dream, it is being seen by Ajna. It is a bridge that links gurus with disciples while allowing mind communication between two people. Meditation upon Ajna supposedly grants siddhi, or occult powers, to quickly enter another body at will and to become omniscient. The beholder of these powers realizes unity with Brahman, who has the ability to create, preserve, and destroy the three worlds. As Hindus believe that spiritual energy from the environment enters their body through the Ajna chakra, they take great care to protect it with spiritually positive and protecting forces. The various religious marks on the foreheads of Hindus, for example bindis, are the spiritual gifts of their respective forms of the Hindu gods.
Directly above Ajna is a minor chakra known as Manas. This chakra is responsible for sending sense perceptions to the higher chakras. Manas has six petals, one for each of the five senses and one for sleep. These petals are normally white but take on the color of the senses when activated by them, and are black during sleep. It is associated with the parietal eye of a juvenile bullfrog.
A mental image or mental picture is an experience that, on most occasions, significantly resembles the experience of perceiving some object, event, or scene, but occurs when the relevant object, event, or scene is not actually present to the senses. There are sometimes episodes, particularly on falling asleep (hypnagogic imagery) and waking up (hypnopompic), when the mental imagery, being of a rapid, phantasmagoric and involuntary character, defies perception, presenting a kaleidoscopic field, in which no distinct object can be discerned. Mental imagery can sometimes produce the same effects as would be produced by the behavior or experience imagined.
The nature of these experiences, what makes them possible, and their function (if any) have long been subjects of research and controversy[further explanation needed] in philosophy, psychology, cognitive science, and, more recently, neuroscience. As contemporary researchers[Like whom?] use the expression, mental images or imagery can comprise information from any source of sensory input; one may experience auditory images ,olfactory images, and so forth. However, the majority of philosophical and scientific investigations of the topic focus upon visual mental imagery. It has sometimes been assumed[by whom?] that, like humans, some types of animals are capable of experiencing mental images. Due to the fundamentally introspective nature of the phenomenon, there is little to no evidence either for or against this view. Philosophers such as George Berkeley and David Hume, and early experimental psychologists such as Wilhelm Wundt and William James, understood ideas in general to be mental images. Today it is very widely believed[by whom?] that much imagery functions as mental representations (or mental models), playing an important role in memory and thinking. William Brant (2013, p. 12) traces the scientific use of the phrase "mental images" back to John Tyndall's 1870 speech called the "Scientific Use of the Imagination". Some have gone so far as to suggest that images are best understood to be, by definition, a form of inner, mental or neural representation; in the case of hypnagogic and hypnapompic imagery, it is not representational at all. Others reject the view that the image experience may be identical with (or directly caused by) any such representation in the mind or the brain, but do not take account of the non-representational forms of imagery. In 2010, IBM applied for a patent on a method to extract mental images of human faces from the human brain. It uses a feedback loop based on brain measurements of the fusiform face area in the brain that activates proportionate with degree of facial recognition.It was issued in 2015. The notion of a "mind's eye" goes back at least to Cicero's reference to mentis oculi during his discussion of the orator's appropriate use of simile. In this discussion, Cicero observed that allusions to "the Syrtis of his patrimony" and "the Charybdis of his possessions" involved similes that were "too far-fetched"; and he advised the orator to, instead, just speak of "the rock" and "the gulf" (respectively)—on the grounds that "the eyes of the mind are more easily directed to those objects which we have seen, than to those which we have only heard". The concept of "the mind's eye" first appeared in English in Chaucer's (c. 1387) Man of Law's Tale in his Canterbury Tales, where he tells us that one of the three men dwelling in a castle was blind, and could only see with "the eyes of his mind"; namely, those eyes "with which all men see after they have become blind".
en.wikipedia.org/wiki/Mental_image
Qigong (/ˈtʃiːˈɡɒŋ/),[1] qi gong, chi kung, or chi gung (simplified Chinese: 气功; traditional Chinese: 氣功; pinyin: qìgōng; Wade–Giles: ch‘i kung; literally: 'life-energy cultivation') is a centuries-old system of coordinated body-posture and movement, breathing, and meditation[2] used for the purposes of health, spirituality, and martial-arts training.[3] With roots in Chinese medicine, philosophy, and martial arts, qigong is traditionally viewed by the Chinese and throughout Asia as a practice to cultivate and balance qi (pronounced approximately as "chi"), translated as "life energy".Qigong practice typically involves moving meditation, coordinating slow-flowing movement, deep rhythmic breathing, and a calm meditative state of mind. People practice qigong throughout China and worldwide for recreation, exercise, relaxation, preventive medicine, self-healing, alternative medicine, meditation, self-cultivation, and training for martial arts.
Because clinical research on qigong for its potential benefit in treating various diseases – such as hypertension, pain, and cancer – has been inconclusive due to poor quality, there remains no evidence that qigong has any therapeutic effect, as of 2016. Qigong comprises a diverse set of practices that coordinate body (調身), breath (調息), and mind (調心) based on Chinese philosophy. Practices include moving and still meditation, massage, chanting, sound meditation, and non-contact treatments, performed in a broad array of body postures. Qigong is commonly classified into two foundational categories: 1) dynamic or active qigong (dong gong), with slow flowing movement; and 2) meditative or passive qigong (jing gong), with still positions and inner movement of the breath.[30]:21770–21772 From a therapeutic perspective, qigong can be classified into two systems: 1) internal qigong, which focuses on self-care and self-cultivation, and; 2) external qigong, which involves treatment by a therapist who directs or transmits qi. As moving meditation, qigong practice typically coordinates slow stylized movement, deep diaphragmatic breathing, and calm mental focus, with visualization of guiding qi through the body. While implementation details vary, generally qigong forms can be characterized as a mix of four types of practice: dynamic, static, meditative, and activities requiring external aids. utilizes breath awareness, visualization, mantra, chanting, sound, and focus on philosophical concepts such as qi circulation, aesthetics, or moral values. In traditional Chinese medicine and Daoist practice, the meditative focus is commonly on cultivating qi in dantian energy centers and balancing qi flow in meridian and other pathways. In various Buddhist traditions, the aim is to still the mind, either through outward focus, for example on a place, or through inward focus on the breath, a mantra, a koan, emptiness, or the idea of the eternal. In the Confucius scholar tradition, meditation is focused on humanity and virtue, with the aim of self-enlightenment.Many systems of qigong practice include the use of external agents such as ingestion of herbs, massage, physical manipulation, or interaction with other living organisms. For example, specialized food and drinks are used in some medical and Daoist forms, whereas massage and body manipulation are sometimes used in martial arts forms. In some medical systems a qigong master uses non-contact treatment, purportedly guiding qi through his or her own body into the body of another person.
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Om (także Aum, ॐ) jest najświętszą sylabą hinduizmu. Uważana jest za sylabę-nasienie (bidźa), postrzegana jako dźwięk powstania Wszechświata, za świętą uznawana jest także w buddyzmie ezoterycznym, ...
Aum (also Om, ॐ) is the most sacred syllable in Hinduism, first coming to light in the Vedic Tradition. The syllable is sometimes referred to as the "Udgitha" or "pranava mantra" (primordial mantra); not only because it is considered to be the primal sound, but also because most mantras begin with it. As a seed syllable (bija), it is also considered holy in Esoteric Buddhism. In Devanagari it is written ॐ (Unicode U+0950) and in Tibetan script ༀ (Unicode U+0F00).
With preceding a or ā, the o of om in Sanskrit grammar in sandhi (Sanskrit: संधि, "joining") does not form vriddhi (au) but guna (o) per Pāṇini 6.1.95.
The Sanskrit name for the syllable is praṇava, from a root nu "to shout, sound, praise", verbal pra-nu- being attested as "to make a humming or droning sound" in the Brahmanas, and taking the specific meaning of "to utter the syllable om" in the Chandogya Upanishad and the Shrauta Sutras. More rarely used terms are akṣara or ekākṣara, and in later times omkāra becomes prevalent.
A popular depiction of the Aum syllable in the Devanagari script () is a ligature of ओ+ँ (oṃ, encoded in Unicode at U+0950 ॐ, the Tibetan script variant ༀ at U+0F00, and the Chinese 唵 at U+5535 or 吽 at U+543D).
It is also believed that after a very long time of meditation the Purusha Sukta revealed the word AUM as being the truth.[citation needed]
In Tamil "Om" (Tamil: ஒம்) literally means "Yes", "Yes, it is".
Omh/Aum- symbol of hindu faith A hindu faith which many followers believe in.
Om is the universal name of the Lord. It is made up of the letters A (phonetically as in "around"), U (phonetically as in "put") and M (phonetically as in "mum"). The sound emerging from the vocal chords starts from the base of the throat as "A". With the coming together of the lips, "U" is formed and when the lips are closed, all sounds end in "M".
The three letters symbolize the three states (waking, dream and deep sleep), the three deities (Brahma, Vishnu and Shiva), the three Vedas (Rig, Yajur and Sama) the three worlds (Bhuh, Bhuvah, Suvah) etc. The Lord is all these and beyond.
Om is also called pranava that means, "that (symbol or sound) by which the Lord is praised". The entire essence of the Vedas is enshrined in the word Om. It is said that the Lord started creating the world after chanting Om and atha. Hence its sound is considered to create an auspicious beginning for any task that we undertake. The Om chant should have the resounding sound of a bell (aaooommm).
The most common form symbolizes Lord Ganesha’s. The upper curve is the head; the lower large one, the stomach; the side one, the trunk; and the semi-circular mark with the dot, the sweetmeat ball (modaka) in Lord Ganesha's hand. Thus Om symbolizes everything - the means and the goal of life, the world and the Truth behind it, the material and the Sacred, all form and the Formless.
Om is one of the most chanted sound symbols in India. It has a profound effect on the body and mind of the one who chants and also on the surroundings. Most mantras and vedic prayers start with Om.
All auspicious actions begin with Om. It is even used as a greeting - Om, Hari Om etc. It is repeated as a mantra or meditated upon. Its form is worshipped, contemplated upon or used as an auspicious sign.
Through whatever language symbology used at the time, inside the Essene temple where the Wailing Wall stands today -- written on the other side of the wall -- was a descriptor of a "sacred sound" of the Universe, the omkara, the accoustic root of the Universe, of which only well-prepared initiates were allowed to partake of its sound, the "om" or "aum" sound.
Abraham's family were Shaivites, worshippers of Shiva, who, among other families, migrated from the western edge of the then Bharata [India] or eastern Persia at the time of a great monsoon with long-lasting rains that sent local people westward in search of dryer grounds and clearer skies. [1]
Om, the omkara, had been discovered and put to use many thousands of years ago, even before Shiva, who was here on Earth somewhere between 6,200 and 7,000 years ago. Upon raising one's kundalini above the fourth chakra, anahat chakra, the bass tone resonance of this omkara sound can, and will, permeate the spiritual aspirant's being, filling their attention in much the same way that the air that surrounds us permeates our being now. This omkara, and another universally resonant tone, can be heard by all sadhakas [spiritual aspirants] who have experienced the amrta [nectar] of enlightenment through sincere practice.
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Mañjuśrī (Skt: मञ्जुश्री) is a bodhisattva associated with transcendent wisdom (Skt. prajñā) in Mahāyāna Buddhism. In Esoteric Buddhism he is also taken as a meditational deity. The Sanskrit name Mañjuśrī can be translated as "Gentle Glory". Mañjuśrī is also known by the fuller Sanskrit name of Mañjuśrīkumārabhūta.as.
Scholars have identified Mañjuśrī as the oldest and most significant bodhisattva in Mahāyāna literature. Mañjuśrī is first referred to in early Mahāyāna texts such as the Prajñāpāramitā sūtras and through this association very early in the tradition he came to symbolize the embodiment of prajñā (transcendent wisdom).[2] The Lotus Sūtra assigns him a pure land called Vimala, which according to the Avataṃsaka Sūtra is located in the East. His pure land is predicted to be one of the two best pure lands in all of existence in all the past, present and future. When he attains buddhahood his name will be Universal Sight. In the Lotus Sūtra, Mañjuśrī also leads the Nāga King's daughter to enlightenment. He also figures in the Vimalakīrti Nirdeśa Sūtra in a debate with Vimalakīrti Bodhisattva.
An example of a wisdom teaching of Mañjuśrī Bodhisattva can be found in the Saptaśatikā Prajñāpāramitā Sūtra (Taishō Tripiṭaka 232). This sūtra contains a dialogue between Mañjuśrī and the Buddha on the One Practice Samādhi (Skt. Ekavyūha Samādhi). Master Sheng-yen renders the following teaching of Mañjuśrī, for entering samādhi naturally through transcendent wisdom:
Contemplate the five skandhas as originally empty and quiescent, non-arising, non-perishing, equal, without differentiation. Constantly thus practicing, day or night, whether sitting, walking, standing or lying down, finally one reaches an inconceivable state without any obstruction or form. This is the Samadhi of One Act (yixing sanmei, 一行三昧).
Within Esoteric Buddhism, Mañjuśrī is a meditational deity, and considered a fully enlightened Buddha. In the Shingon school of Esoteric Buddhism, he is one of the thirteen deities to whom disciples devote themselves. He figures extensively in many Esoteric Buddhist texts such as the Mañjuśrī-mūla-kalpa. and the Mañjuśrīnāmasaṃgīti. His consort in some traditions is Saraswati.
Je Tsongkhapa, who founded the Gelug lineage of Tibetan Buddhism, is said to have received his teachings from visions of Mañjuśrī.
Mañjuśrī is depicted as a male bodhisattva wielding a flaming sword in his right hand, representing the realization of transcendent wisdom which cuts down ignorance and duality. The scripture supported by the lotus held in his left hand is a Prajñāpāramitā sūtra, representing his attainment of ultimate realization from the blossoming of wisdom. Mañjuśrī is often depicted as riding on a blue lion, or sitting on the skin of a lion. This represents the use of wisdom to tame the mind, which is compared to riding or subduing a ferocious lion.
He is one of the Four Great Bodhisattvas of Chinese Buddhism, the other three being: Bodhisattva Kṣitigarbha, Bodhisattva Avalokiteśvara, and Bodhisattva Samantabhadra. In China, he is often paired with Bodhisattva Samantabhadra.
In Tibetan Buddhism Manjushri is sometimes depicted in a trinity with Avalokiteśvara (Tib. Chenrazig) and Vajrapāṇi (Tib. Channa Dorje).
The Pala Dynasty
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The Pāla Empire was one of the major middle kingdoms of India existed from 750-1174 CE. It was ruled by a Buddhist dynasty from Bengal in the eastern region of the Indian subcontinent, all the rulers bearing names ending with the suffix Pala (Modern Bengali: পাল pāl), which means protector. The Palas were often described by opponents as the Lords of Gauda. The Palas were followers of the Mahayana and Tantric schools of Buddhism. Gopala was the first ruler from the dynasty. He came to power in 750 in Gaur by a democratic election[citation needed]. This event is recognized as one of the first democratic elections in South Asia since the time of the Mahā Janapadas. He reigned from 750-770 and consolidated his position by extending his control over all of Bengal. The Buddhist dynasty lasted for four centuries (750-1120 CE) and ushered in a period of stability and prosperity in Bengal. They created many temples and works of art as well as supported the Universities of Nalanda and Vikramashila. Somapura Mahavihara built by Dharmapala is the greatest Buddhist Vihara in the Indian Subcontinent.
The empire reached its peak under Dharmapala and Devapala. Dharmapala extended the empire into the northern parts of the Indian Subcontinent. This triggered once again the power struggle for the control of the subcontinent. Devapala, successor of Dharmapala, expanded the empire to cover much of South Asia and beyond. His empire stretched from Assam and Utkala in the east, Kamboja (modern day Afghanistan) in the north-west and Deccan in the south. According to Pala copperplate inscription Devapala exterminated the Utkalas, conquered the Pragjyotisha (Assam), shattered the pride of the Huna, and humbled the lords of Pratiharas, Gurjara and the Dravidas.
The death of Devapala ended the period of ascendancy of the Pala Empire and several independent dynasties and kingdoms emerged during this time. However, Mahipala I rejuvenated the reign of the Palas. He recovered control over all of Bengal and expanded the empire. He survived the invasions of Rajendra Chola and the Chalukyas. After Mahipala I the Pala dynasty again saw its decline until Ramapala, the last great ruler of the dynasty, managed to retrieve the position of the dynasty to some extent. He crushed the Varendra rebellion and extended his empire farther to Kamarupa, Orissa and Northern India.
The Pala Empire can be considered as the golden era of Bengal. Never had the Bengali people reached such height of power and glory to that extent. Palas were responsible for the introduction of Mahayana Buddhism in Tibet, Bhutan and Myanmar. The Palas had extensive trade as well as influence in south-east Asia. This can be seen in the sculptures and architectural style of the Sailendra Empire (present-day Malaya, Java, Sumatra). The Pala Empire eventually disintegrated in the 12th century weakened by attacks of the Sena dynasty followed by the invasion of Bakhtiyar Khilji's Muslim armies.
Pala Art & Architecture
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In India, during the rule of Palas, art and architecture witnessed a phenomenal development in the states of Bengal and Bihar. The matchless tradition of sculptural art had attained a new position under the reign of Palas. The exclusive development of Art and Architecture of Pala Dynasty demonstrated the emergence of "Pala School of Sculptural Art". The characteristic of art and architecture of that period included lot of local phenomena of the Bengali society. Consequently, the most distinctive achievements during the age of the Palas were in the field of art and sculptures.
Art and Architecture of Pala Dynasty furnished the accomplishment in the field of terracotta, sculpture and painting. One of the finest instances of architecture of the Pala period is a creation of Dhamapala, the Somapura Mahavihara at Paharpur. In addition to that several enormous structures of Vikramshila Vihar, Odantpuri Vihar, and Jagaddal Vihar proclaim to be the masterpieces of the Palas. The architectural style of the Pala Empire influenced the whole of the country and its neighbouring countries. Their approach was followed throughout south-eastern Asia, China, Japan, and Tibet.
The matchless examples of the Art and Architecture of Pala Dynasty find their significance in the museums in Bangladesh and West Bengal as the remarkable display. The museums play abode to the innumerable beautiful sculptures on Rajmahal black basalt stone. The sculptures beautifully carved in the Pala period demonstrate the mastery of Pala dynasty. The age saw an upsurge of perfect carving and Bronze sculptures. Furthermore, it has been recognized by the historians that the specimens of bronzes influenced the art in south-east Asian countries.
Art and Architecture of Pala Dynasty also involved the art of painting also excelled in that period. Though, no exact examples of paintings have been found of that period yet various illustrations of beautiful paintings of the Buddhist gods and goddesses, appearing in the Vajrayana and Tantrayana Buddhist manuscripts corroborate the subsistence of paintings in the Pala Empire. Moreover, with advanced stage of architectural expansion several Buddhist Viharas came originated. The plan of central shrine in the Buddhist Vihara evolved in Bengal during the Pala rule. Other instances demonstrating the brilliance of the art in the Pala period include the terracotta plaques. These plaques are used as the surface decoration of the walls and are recognised as unique creation of the Bengal artists.
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