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A statue, image, or idol of a deity or mortal is called Murti. It is a symbolic icon in Hindu temples. A murti is a form, incarnation, or incarnation of a deity in Hinduism, but not a god. In some Jainism traditions, Murti are revered as symbols of mortals, and are also revered in murtipujaka rituals.

A murti can be made using a variety of materials. Ancient era texts describe their proper proportions, positions, and gestures. There are many different expressions on a murti, ranging from Ugra symbolism to express destruction, fear and violence, as well as Saumya symbolism to express joy, knowledge and harmony. Hindu temples have Saumya images. The linga is one of the forms of murti found in Hinduism.

There are 9

Some Hindus believe that a murti is an embodiment of the ultimate reality. They can be found in Hindu temples or homes where they can be treated as beloved guests and participate in Hinduism's Durga festival.

At times, it serves as the center of attention in annual festive processions and they are called tsava murti. Pini mentioned the first murti in the 4th century.

The Agnicayana ritual ground seemed to be a template for the temple before that.

Murti are sometimes referred to as vigraha.

Murti means any solid body or form with definite shape or boundaries produced from material elements.

In ancient Indian literature, mind, thought and the immaterial are not present. The term also refers to any incarnation, incarnation, incarnation, incarnation, appearance, image, or statue of a deity. .

The first mention of the term murti is in the primary Upanishads. C., particularly in Aitareya Upanishad verse 3.2, Shvetashvatara Upanishad verse 1.13 and Maitrayaniya Upanishad verse 6.14.

The Maitrayaniya Upanishad uses the term to mean a form of time, or something. The section sets out to prove that Time exists, acknowledges the difficulty of proving that Time exists by Pramana, then inserts a theory of inference for the epistemological proof.

The concept of Time and no-Time is indicated by the fact that it existed before the creation of the universe and that it came into being with the creation of the universe. The Maitri Upanishad states that the year is the mrti of time, because non-time is indivisible.

The discussion of "mrti of time" was translated into "form" in the Maitri Upanishad. There is a new entry in the series.

Most scholars such as Jan Gonda, Max Muller, PV Kane, and Stephany Jamison state that there were no temples or murtis in the Vedic era. During the yajna with hymns, the rituals of Vedic Hinduism were directed towards nature and abstract deities. There is no universal consensus, with scholars such as A.C. Das noting the word Mradeva in the Rig Veda. "Deva who is dumb" can be referred to as "Devaque is fixed"

The former interpretation suggests that there were communities in the Vedic era that had Deva in the form of a murti, and that the term could possibly refer to the practices of tribal communities outside the Vedic fold. There is a

One of the earliest firm evidence for Deva images is found in the 4th century BC in Jivikarthe Capanye, which is the home of the Sanskrit grammarian Pini.

He mentions Acala and Cala, where the former refers to images in a sanctuary, and the latter refers to images that were carried from one place to another. The people who are custodians of worship images who do not sell them, as well as the people who received gifts from devotees, are also mentioned. Many references to divine images are found in ancient Sanskrit texts. According to Noel Salmond, these texts strongly suggest that temples and murti existed in ancient India. The knowledge and art of sculpture were established in India during the period of the Maurya Empire.

At the beginning of the first millennium B.C. C., the term murti meant idols, images or statues in various Indian texts. The term murti refers to a statue of a deity, a human, or an animal. murti and painting of non-anthropomorphic objects are included in Pratima. Bimba and Bera both meant "idol of god", but the same could be said for Vigraha.

Any image or statue is a murti. It can be found inside or outside a temple or home and used as a reference point. It's an important part of Hindu iconography and is implemented in many ways. There are two main categories.

Some traditions of Hinduism have alternative symbols on a murti, such as the linga for Shiva, the yoni for Devi, and the saliGRAM for Vishnu. )

When properly produced, Murti is made according to the design rules of the Shilpa Shastras. They recommend materials, proportions, decoration and symbolism.

There is an explanation of the significance of each manufacturing stage and the prescription of specific mantras to invoke the power of the deity in the image found in the liturgical manuals Agamas and Tantras. In tantric traditions, priests install a murti through the Prana pratishta ceremony, where mantras are sometimes recited with yantras (mystical diagrams), where Harold Coward and David Goa state, the "divine vital energy of the cosmos." is infused into the sculpture" and then the divine is welcomed as a friend is welcomed. According to Gudrun Buhnemann, Hindu tantric traditions follow elaborate rituals to make life into a murti.

The Pancaratraraksa states that anyone who considers a Vishnu icon to be nothing more than an ordinary object made of iron is going to hell. According to Buhnemann, Hindu groups have criticized the use of murti and the consecration ceremony.

There is no word in the Vedas about a ceremony like this, and these groups claim that it comes from more recent "fake tantra books". There are 28

Shilpins are artists who make art or craft. The Shilpin shape the murti is not fancy but according to the instructions of the Agamas and Shilpa Shastras.

The construction material varies from clay to wood, marble, and metal. The 6th-century Brihat Samhita and the 8th-century text Manasara-Silpasastra (literally: "treatise on art using the method of measurement"), identify nine materials for the construction of murti: gold, silver, copper, stone, wood, sudha.(a type of stucco, mortar plaster), sarkara (gravel, sand), abhasa (types of marble) and earth (clay, terracotta).

The texts describe working methods for various types of marble, specialized stones, colors, and a range of transparency. There is a 32nd

Brihat Samhita, a 6th-century encyclopedia of a variety of subjects ranging from horticulture to astrology, gemology, and temple and murti design, specifies in Chapter 56 that the height of the pratima (murti) should to be of the height of the door of the sanctum sanctorum, the Pratima. the height and width of the hall of the sanctum sanctorum must be in a ratio of 0.292, it stands on a pedestal that is 0.146 of the width of the hall of the sanctuary, henceforth the text describes 20 types of temples with their dimensions.

7 8 {\displaystyle {\tfrac {7}{8}}} Chapter 58 of the text describes the proportions of various anatomical parts of a murti, from head to foot, together with the recommendation in verse 59.29 of that generally accepted variations in dress, decoration, and dimensions from local regional traditions for the murti are the artistic tradition.

The texts suggest that the murti hold symbolic items in their hands, colors, clothing, and ornaments, as well as vehicles of deities such as the bull, and the lion. The texts also include chapters on Jaina design and Buddhist murti, as well as reliefs of sages, apsaras, different types of devotees (based on bhakti yoga, jnana yoga, karma yoga, ascetics) to decorate the nearby area. al murti.

The texts recommend that the construction material and the relative scale of the murti be correlated with the temple dimensions.

In South India, the material used for the murti is black granite, while in North India it is white marble. For some Hindus, faith and meditation are more important than materials used. More particularly, devotees meditate on or worship the formless God (nirguna Brahman) through murti symbolism of God (saguna Brahman) during a puja before a murti, or meditation on a Tirthankara in the case of Jainism, thus making the construction material or the specific shape of the murti not spiritually important. Four is a lot. There are five

According to John Keay, Indian stonemasons turned to making images of the Hindu deities after they achieved remarkable experience in the representation of the Buddha figure and animals and humans. Stone images of reverential figures and guardian spirits were first produced in Jainism and Hinduism around the 2nd century BCE. C., as suggested by excavations from the Mathura region, was turned into iconographic traditions and stone monuments in India, including those of Buddhism.

Vaishnavism, Shaivism, Shaktism, and Smartaism all favor the wearing of murti. It is easier to focus on spirituality through non-anthropomorphic icons, according to some traditions.

The verse 12.5 of the Bhagavad Gita is from Hindu scriptures.

Jeaneane Fowler says that a murti is not a god in Hinduism, but a symbol and representation. Fowler states that a murti is a form and a formlessness. When the idol is understood as a superstitious end in itself, a translation of murti as 'idol' is incorrect. A murti is an image in Hinduism that is not the real thing, but it still reminds the viewer of something.

When a person worships a murti, it's supposed to be a representation of the deity's spirit, but the worshiper's spiritual ideas and needs are meditated through it, but the idea of ultimate reality is not limited to him. There is a

Devotional practices include chanting, individual or communal hymns, and is meant to cultivate a deep and personal bond of love with God. Acts of devotion, particularly in the main temples, are structured around treating the murti as the manifestation of a revered guest, and the daily routine may include waking the murti in the morning and making sure they are "washed, dressed, and with garlands." In Vaishnavism, building a temple for the murti is considered an act of devotion, but non-murti symbolism is also common in which the aromatic plant Tulsi or Saligrama is an aniconic reminder of spiritualism on Vishnu .

The rituals with the murti correspond to ancient cultural practices for a beloved guest, and the murti is welcomed, attended to, and asked to leave.

Christopher John Fuller states that an image in Hinduism cannot be equated with a deity and that the object of worship is the divine whose power is within the image, and the image is not the object of worship itself, Hindus believe that everything is worthy of worship, since it contains divine energy emanating from the only god. The bimba murti is different from the mantra murti in that it is not based on the perspectives of offerings, rituals, and hymns.

Some Hindu denominations do not accept idol worship.

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Before the start of the Delhi Sultanate in the late 12th century AD, Murti and temples were well established in South Asia. During the 18th century, they became a target for destruction due to the religious wars between Islam and Hinduism.

Christian missionaries with the aim of converting Hindus to Christianity wrote memoirs and books that were widely distributed in Europe, where it was claimed that the murti were proof of the lack of spiritual heritage in primitive times. Hindus call Murti as monstrous demons eroticized strange beings carved in stone because they practice idolatry and wild worship of stones.

The British Missionary Society with the help of the colonial government bought and sometimes seized, then transferred murti from India and displayed them in their "trophy" room in the UK with the note stating that these they were delivered by Hindus who now accept the "foolishness and sin of idolatry". In other cases, the British colonial authorities, seeking additional government revenue, introduced a pilgrimage tax on Hindus to view murti inside major temples. 64]

Orientalist missionaries and scholars tried to justify the need for colonial rule of India by attacking the murti as a symbol of depravity and primitiveness, according to Tanisha. This literature of Christian missionaries built the foundation of a "Hindu image" in Europe, during colonial times, and blamed Murti idolatry as "the cause of the ills of Indian society." In the 19th century, ideas such as pantheism (the universe is identical with god), contained in newly translated Sanskrit texts, were linked to idolatry of the murti and declared as further evidence of superstitions and evil by missionaries. The colonial authorities and Christians.

Hindus debated the views of Christian missionaries in colonial India. It ranges from activists like Rammohun Roy, who denounced all murti, to Vivekananda, who refused to denounce the murti and called on Hindus in India and Christians in the West to introspect, that images they are used everywhere to aid thinking and as a pathway to ideas, in the following words,

Religious intolerance and polemics, Halbertal and Margalit state, have historically targeted idols and material symbols held dear by other religions, while encouraging the worship of the material symbols of one's own religion, characterizing the material symbols of others as grotesque and incorrect, in some cases dehumanizing others and encouraging the destruction of the idols of others.

The outsider conflates and stereotypes the "alien worship" of the other religions as "false worship" first, then calls "false worship" as "inadequate worship and false belief" from a pagan or equivalent term, later building an identity of others as "primitives and barbarians" in need of saving, followed by justified intolerance and often violence against those who cherish a material symbol other than their own. Pennington asserts that images of Hindu deities have been a religious lens for this anti-Hindu polemic and were the basis for accusations and attacks by religious powers. 70