The Prince Arjuna Summary

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To Whome We Are Devoted
The appearance of Hindu temples, and the comissioned works of great leaders, all illustrate the practice of perfecting the image of religion in conjunction with shaping someones social and political image. With the emergence of major Hindu architecture, we have physical evidence of the evolution of mans relationship to god and gods, or so it would appear. This relationship to god seemed to change cross religions into a more specific devotional practice that now had elaborate centers at which one could properly focus their devotion. This can be explained by looking at the development of architecture and mathematics and at the organization of governments and their growing need to persuade the actions and beliefs
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In this tale, the prince Arjuna is on a battlefield and meets an incarnation of Krishna. This was a huge moment in religious history, for from this moment on there was a great need for gods to show up when needed. This did help to transform the façade of religion in India and may have been writen as a catalyst for this change, however, this transformation of the structure of religious practice combined with the dual nature of art and material as a form of media, would eventually become a form of propoganda. In Frederick Ashers Histoical and Political Allegory in Gupta Art, he very logically explains why a perosn may need to have the gods on their side to gain support or prove ones piety, as well as tells us how one might accomplish this. He illustrates that not everyone was born into a holy blood line and could present themselves as “the sons of gods” and therefore needed a means for which to send a powerful message of achievement and religious apropriation. Candra Gupta II for example, dedicated in 402 A.D., according to an inscription on the early Gupta relief of Varaha at Udayagiri, a massive illustration of the “lifting of the earth from beneath the cosmic waters”, showing great motivation and self entitlement to his reign. (Asher, Allegory in Gupta

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