Littérature scientifique sur le sujet « Licchavi Period »

This paper looks at different types of ornaments belonging to the selected images of the early Licchavi period while identifying, comparing, and analyzing them. It also attempts to find out ancient and local names if they have any. The images that are selected and illustrated for analytical description are excavated ones comprising a few Nepali sculptures. The majority of images are devoid of head ornamentations and are shown with heavy earrings and doughnut-shaped feet ornaments

The Sanskrit liṅga pedestal inscriptions produced in the Kathmandu Valley during the Licchavi period between 466 and 645 CE are the earliest dated sources for local Śaiva religious activities. This article aims at a comprehensive survey and analysis of this group of inscriptions, examining (1) their material aspects and locations, (2) donative patterns and related social and economic features, such as the prominent agency of merchants and women of high rank, and (3) religious concepts linked to the spiritual and soteriological reasons for establishing the liṅgas, as expressed in the donative formulas. In addition, these formulas will be compared to contemporaneous prescriptive literature (e.g. the Śivadharmaśāstra) as well as to Buddhist donative practices. As will be shown, the Pashupatinath temple emerged as a key site in the propagation and shaping of liṅga worship, with the accumulation of wealth and related socio-religious activities contributing to the appearance of local Pāśupata groups and the elevation of Pashupatinath’s status to that of a national shrine.

Kathmandu valley has plenty of sculptural art. Images since an early period have been made following vidhana or pratima lakshan. ‘An image prepared without following vidhana is unfit for worship, says sastras and Puranas’ (Khanal, B.S.2075.p.15). Vidhana is a guideline for making images. There are several texts and Puranas describing vidhana. Roopmandana was written by Sutradhar Mandana during the 12th century describing pratima lakshana of several dieties. Images of Nepal from 3rd century BC till the end of 17th/18th century CE have their specific identification with gradual inclining changes in their features from early period un wards to Licchavi, early medieval and medieval period. However, the theme has always been same. In this context, how far the pratima lakshana described in Roopamandana has influenced Nepalese images? In what ways and how are they implemented in Nepalese images? The answer to these questions have been tried to be traced on the basis of through detail review of Roopamandana. Likewise, survey of images through purposive sampling, collection of epigraphic records and photographs are used in this study as a primary source. Findings of the facts are analyzed in a descriptive manner. Through various references, it has been revealed in this research that Roopamanda was the best-selected text of vidhana for making Nepalese images and a religious code for continuation or disposal of images in case of breaking. It has been found to be completely implemented in most of the images related to Vaishnava during medieval period, few of them have been found to be made through partial implementation and the rest by merging the vidhanas mentioned in several texts.

This article presents newly discovered data that provides new insights into eighth- century Nepalese history. The data is based on a stone inscription dated to Licchavi Saṃvat 173 (748 ce), here edited and translated for the first time. The inscription not only attests to the continuity of Licchavi dynastic rule through to the middle of the eighth century CE, but additionally reveals a matrimonial and military alliance between the Licchavis and a dynasty called Rāṣṭrakūṭa, possibly the Rāṣṭrakūṭa family attested in the Indragaḍh inscription dated Vikrama Saṃvat 767 (710–11 CE). In contextualizing the historical data that can be extracted from the surviving portions of the inscription, we examine and reassess some of the strategies used by the Licchavi Kingdom to negotiate its position in the tumultuous political landscape of greater North India during the seventh and early eighth centuries. In the introduction and annotations, the article also provides observations on the inscription text’s literary style and script, as well as on certain aspects of Licchavi- period religious culture as reflected in it.

Abstract This chapter deals with the scattered power and small states in a period from prehistory until the fourteenth century. This period has only few sources and thus is widely clouded in darkness. However, there are indications of shared or dual rulership in many little kingdoms and certain cults such as Shivadharma and the worship of Matsyendranath and Gorakhnath came up. The Licchavi Period became important for preserving many inscriptions, Indian and Chinese contemporary reports, and art historical relicts. It has been a culture that shows features of later periods such as the reverence for Pashupati (Shiva) and religious syncretism. Also important is the Khasa Malla dynasty in western Nepal that flourished between the twelfth and fourteenth centuries.

Abstract This chapter deals with the very special forms of Buddhism and Hinduism in Nepal. With regard to Buddhism, topics such as the debated birthplace of the Buddha in Nepal, early forms of Buddhism in the Licchavi Period, the Tantric Vajrayana Buddhism, Buddhist life in many Newar monasteries in the Kathmandu Valley (a Buddhism without monks as it is often called), and Tibetan Buddhism among ethnic groups living in the high mountain regions are analyzed. Regarding Hinduism, a focus is on tutelary or protective deities of the kings, especially the relevance of Paśupati Temple as well as the cult of the goddesses and their rituals, processions, and festivals are highlighted. In conclusion, the question is discussed whether this strong religious diversity and its syncretism, which also include folk and shamanistic forms, are based on religious tolerance or ignorance.