正當毗濕奴、濕婆維持著世界秩序時，公元前六世紀出現了另一個印度本土宗教「耆那教」，形成兩條不同的修行之路：神明的虔敬與聖者的追隨，構成人世間的生活日常。

印度民眾日常生活與節慶密不可分，構築了人神共存的世界。虔誠的信徒透過節日的慶祝與紀念，一方面增進人與信仰社群之間的情感，一方面讓信徒透過節慶，拉近人與神明／祖師之間的距離，進而撫慰民眾的心靈。

The Practice of Bhakti

While Vishnu and Shiva maintained world order, another indigenous Indian religion, Jainism, emerged in the 6th century BCE, forming two distinct paths of spiritual practice: devotion to deities and the pilgrimage to saints, which constituted daily life in the human world both of which became integral to daily religious life.

In India, daily life and festivals were inseparably intertwined, shaping a world in which humans and deities coexisted. Through the celebration and commemoration of festivals, devout believers reinforced their bonds with the religious community and, in turn, drew closer to the divine and ancestral patriarchs, finding solace in the rhythms of spiritual life.

印度教
Hinduism

印度教信徒透過無私奉獻、虔信奉愛以及洞見智慧三種瑜珈的修行，親近神明而獲得「梵我合一」的解脫。

Hindu believers, through the practice of three yogas—selfless devotion, devout faith, and insightful wisdom—approached the divine and attained liberation through in union with Brahman.

猴神哈奴曼
Calligraphic Hanuman

這是一幅「文字身哈奴曼」圖繪，用於觀修或保護。哈奴曼在印度民間信仰中是驅魔與力量的象徵。圖像充滿咒語，作為法力強大的護身符，將其掛在牆上或摺疊攜帶，能阻擋邪靈與厄運。

觀看這幅畫，等同念誦畫中成千上萬遍的咒語。畫中的哈奴曼不僅是神，也是一微型宇宙，腹部上圓圈的文字，標示祂身體各部位對應宇宙的方位與能量點。

The painting of Calligraphic Hanuman is used for contemplation or protection. In Indian folk belief, Hanuman symbolizes exorcism and strength. The image is filled with mantras, serving as a powerful amulet. Hanging it on the wall or carrying it folded, it guards against evil spirits and misfortune.

Gazing upon this painting is equivalent to reciting the thousands of mantras inscribed within it. The Hanuman depicted is not only a deity but also a microcosm of the universe. The circular inscriptions on his abdomen mark how each part of his body corresponds to cosmic orientations and energy points.

吉祥護主黑天的故事
The Legend of Krishna, the Auspicious Protector

中間的吉祥護主黑天佩戴珠寶、身著華服，周圍環繞著牧羊女，表現對黑天的愛慕，象徵對神的奉愛。在黑天及牧羊女後面的背景有芒果樹、棕櫚樹、迦曇花樹，象徵吉祥、平安、富饒與繁衍；孔雀、猴子、松鼠等動物一同享用樹上的果實，寓意和樂融融。果樹上面的天空，描繪秋天滿月佈滿星星，有六輛由不同動物牽引的天國飛車，分別由濕婆、因陀羅和智者那拉達等神明乘坐，給予黑天祝福。周圍的多幅小圖像，描繪不同季節氛圍，信眾為身著不同服飾的天神慶祝，顯示信眾與神之間沒有隔閡，融入常民生活之中。

每幅黑天畫都被視作信眾對天神虔敬的奉愛，通常掛在神廟神像的後面，供信眾瞻仰。

The central guardian deity Krishna is adorned with jewels and dressed in magnificent robes, surrounded by shepherdesses whose devotion piety to him symbolizes devotion (Bakti) to God. Behind Krishna and the shepherdesses are mango, palm, and katana trees, symbolizing auspiciousness, peace, abundance, and fertility; peacocks, monkeys, and squirrels enjoy the fruit from the trees, signifying harmony and joy.
Above the fruit trees, the sky unfolds with an autumn full moon shimmering among the stars. Six celestial chariots, each drawn by different animals, carry deities such as Shiva, Indra, and Narada, who bestow blessings upon Krishna. Around the central scene, smaller images evoke the atmosphere of the changing seasons, with devotees celebrating the deities in varied attire. These depictions highlight the intimate bond between believers and gods that is perfectly integrated into everyday life.

Each Krishna painting is regarded as a testament to the devotee’s profound love for gods and is traditionally displayed behind temple statues as an object of worship.

提毗女神
The mother God Devi

提毗女神是印度教中最神聖的母神。祂揮舞著十八種法器，象徵眾神賦予其諸多力量。右手握念珠、蓮花、箭、劍、霹靂、狼牙棒、鐵餅、三叉戟和斧頭。左手持海螺、鈴鐺、絞索、刀、棍子、盾牌、弓、飲杯和水壺。圖畫下方，提毗女神以不同化身現身救世，受信眾祭拜；上方則為不同化身的女神乘坐在各種坐騎上。

Devi, the supreme mother goddess of Hinduism, is depicted wielding eighteen ritual implements, each symbolizing the gifts and powers bestowed upon her. In her right hand she holds a rosary, lotus, arrow, sword, thunderbolt, mace, discus, trident, and axe; in her left, a conch shell, bell, noose, knife, club, shield, bow, drinking cup, and water jug. Below the image, Devi manifests in various emanations to save the world and receive the devotion of worshippers. Above, her different forms appear, each riding a distinctive mount.

黑天／克里希那
Krishna

黑天優雅地站立於迦曇花樹下的基座上，祂雙腿交疊，雙手高舉，吹奏著笛子，身戴著精美珠寶，如項鍊、手鐲和腳環等。黑天神寧靜的微笑輕柔地貼在唇邊，給人帶來溫暖的感覺。黑天神像完美地融合了神聖的魅力、優雅的氣質和慈悲的情懷，令人讚嘆。迦曇花樹枝舒展，綠褐色之色調令人驚艷，樹上棲息一對孔雀，更添美感，引人入勝。

Krishna stands gracefully upon a pedestal beneath a kadamba tree, his legs crossed and hands raised as he plays the flute. He is adorned with exquisite jewels—necklaces, bracelets, and anklets. A serene smile rests upon His lips, radiating warmth. This statue captures the perfect union of divine charm, elegant poise, and compassionate spirit, inspiring reverence. The kadamba tree’s branches spread outward in vibrant green-brown tones, while a pair of peacocks perched atop them enhances the stunning beauty and captivates the viewer.

騎獅象頭神
Heramba Ganapati

此尊造型特殊的象頭神銅像，梵文名為「赫蘭巴甘尼許」，又稱「騎獅象頭神」，與常見的單頭、騎乘老鼠的象頭神不同。此造像展現象頭神在印度密教傳統中的威猛形態，外觀特徵為五個象頭：中央為主頭，兩側各分佈兩個較小的頭，象徵祂具有五種能量或掌管五個方位。

密教的象頭神坐騎為獅子，獅子象徵著無畏與皇權，但此像未有明顯座騎。造像細節（如衣紋的刻劃）較為寫意，且銅質的磨損感顯示它曾是長期受家庭或小型神龕供奉的實用聖像。

This bronze statue depicts Ganesha in His rare form known in Sanskrit as Heramba Ganapati, the “Elephant-Headed God Riding a Lion.” Unlike the more familiar single-headed Ganesha seated upon a mouse, this image presents His powerful Tantric manifestation. Here Ganesha is shown with five elephant heads, the central head flanked by two smaller ones on each side, symbolizing His five energies and His mastery over the five directions.

In Tantric tradition, Ganesha is featured riding a lion, a symbol of fearlessness and imperial power. In this statue, however, no mount is explicitly shown. The sculptural details—such as the rendering of the clothing—are executed in a freehand style, while the wear on the bronze suggests that it once served as a practical sacred image, venerated in a household or small shrine.

跳舞形象的濕婆
Nataraja (Dancing Shiva)

此尊青銅像為濕婆神跳著「喜悅之舞」的形象。其姿態與持物，概括了濕婆神的「五種聖行」：創造（鼓）、保護（無畏印）、毀滅（火焰）、障蔽（踏住無明矮人）、解脫（抬起的左腳與象鼻手）。雖然濕婆的髮辮飛揚、舞姿劇烈，但其面部卻保持寧靜，象徵超越世俗變幻的超然智慧，是一件極具美學價值的宗教造像，呈現印度教藝術中「動」與「靜」的完美平衡。

This bronze statue depicts Shiva dancing performing the "Dance of Joy Bliss" (Ānanda Tāṇḍava). His posture and the objects he holds encapsulate Shiva's "Five Noble Truths Acts": creation (drum), protection (abhaya mudra), destruction (flame), shielding (trampling the ignorant dwarf), and liberation (raised left foot and elephant-trunk hand). Although Shiva's matted locks fly wildly and His dance is fierce vigorous, His countenance remains profoundly serene—a symbol of transcendent wisdom that rises above worldly flux. It is a masterpiece of religious iconography, embodying the perfect balance between motion and stillness in Hindu art.

《薄伽梵歌》袖珍本
Bhagavad Gītā Pocket Edition

這是一份珍貴且具文化融合意義的古魯穆奇文袖珍寫本。內容是印度教祈禱文，由錫克教相關的「古魯穆奇字體」書寫印度教的梵文或布拉格方言經典。這份寫本包含數幅精美的細密畫插圖，用於標示不同篇章的開始。

比如象頭神通常位於寫本的最開頭，作為「除障之神」，保佑閱讀與修行的順利；克里希納與阿周那描繪《摩訶婆羅多》中的經典場景；毗濕奴與拉克什米（吉祥天女），這通常出現在《毗濕奴往世書》或相關讚頌詩的篇章前。

This is a precious pocket-sized manuscript in Gurmukhi script, bearing deep cultural significance as a fusion of traditions. Its content consists of Hindu prayers, written in Sanskrit or Braj dialect using the Sikh-associated Gurmukhi script. The manuscript also contains several exquisite miniature illustrations, marking the beginning of different sections.

For example, the elephant-headed god Ganesha is usually placed at the very beginning of a manuscript, as the “Remover of Obstacles,” blessing the reader and ensuring smooth practice. Krishna and Arjuna are depicted in classic scenes from the Mahābhārata. Viṣṇu and Lakṣmī often appear before chapters of the Viṣṇu Purāṇa or related hymns of praise.

耆那教
Jainism

耆那教信徒則追隨24位祖師（Tīrthaṅkara蒂爾丹嘉拉）的遺志，主張和平主義、反暴力，透過禪定和自我實現達到了湼槃的境界的人，他們就是勝者「耆那」（Jina）。

Jinarians, following the teachings of the 24 patriarchs (Tīrthaṅkara), advocated uphold pacifism and anti-violence. Those who achieved Nirvana through meditation and self-realization are known as the victorious "Jina."

耆那教祖師像
Image of Jain Tirthankara

此尊造像無顯著特徵確認其身份，裸露的身軀筆直地站在台座上，肩膀寬而厚實，雙手自然下垂，面容祥和，兩眼如杏，细浮雕的多層項鍊環繞祖師的脖子。祖師像一般出現在寺廟中，量體龐大，此尊造像尺寸小，一般為信徒供奉在家中。祖師像的裸身與光潔身軀格外矚目，風格流行於12世紀印度德干高原及南印地區。

This statue lacks distinctive features to identify its identity. The naked body stands upright on a pedestal, with broad, thick shoulders, arms hanging naturally, a serene face, and almond-shaped eyes. A multi-layered necklace in fine relief encircles the figure's neck. While patriarchal statues are typically found in temples and are large, this small statue is usually kept in the home by devotees. The nude and smooth body of the patriarchal statue is particularly striking, a style popular in the Deccan Plateau and South India during the 12th century.

帕什瓦納塔祖師聖壇
The Altar of Parshwanatha

耆那教聖壇背後有天城體題記，是耆那教信眾家族供養給勝者的文字紀錄。此聖壇供奉耆那教第23代祖師帕什瓦納塔，他端坐於蛇圖案的寶座上。蛇象徵帕什瓦納塔對耆那教的守護和擺脫舊習的奉獻。帕什瓦納塔為耆那教最受歡迎的祖師，形象易於辨認，因為他全身呈現典型的綠色，頭頂有九個蛇頭，寶座下方以蛇作為象徵。聖壇除了位於中央的祖師外，另有十一位勝者，主尊左右兩側各站三位，主尊下面則有5位勝者。

Behind the Jain altar are inscriptions in Devanagari script, recording offerings made by devotee families to the Tirthankaras(victors). The altar enshrines Parshvanatha, the 23rd Jain master, seated upon a throne adorned with serpent motifs. The serpent symbolizes Parshvanatha’s compassion and his transcendence of worldly attachments. Widely revered as one of the most prominent Jain spiritual masters, he is easily identified by his distinctive green complexion and a canopy of nine serpent heads, with the serpent’s coils forming the base of his throne. Surrounding the central figure are eleven more Tirthankaras: three positioned on each side of the main deity and five arranged below.

瓦蘇普迦祖師像
The Statue of Vasupujya

此尊造像為耆那教第12代祖師瓦蘇普迦像。為表現祖師解脫時身體已達晶瑩剔透、清淨無瑕的境界，材料通常會用白色大理石製成，並在胸口鑲上寶石。瓦蘇普迦姿態寧靜祥和，雕像下方飾有水牛圖案，是他專屬的符號，象徵其堅定、韌性、力量以及對教義和正義原則毫不動搖的奉獻。祖師像既出現在公共寺廟，亦見於私人宅邸，因其精神意義和精湛工藝而獨樹一格。

This statue represents Vasupujya, the twelfth Jain master. Traditionally, to feature the master’s body at the moment of liberation— believed to have attained perfect purity and clarity— the figure is carved in white marble and inlaid with a gemstone at the chest. Vasupujya’s posture is serene and composed, while the lower portion of the statue is decorated with a buffalo motif, his distinctive emblem, signifying steadfastness, resilience, strength, and persistent dedication to his teachings and principles of justice. Statues of Vasupujya are found both in temples as well as households, valued for their spiritual significance and refined craftsmanship.