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The Bodo, an ancient group of Northeast India, is resorting to a movement for autonomy. A section of the Bodo educated youth being thoroughly disillusioned with constitutional safeguards, like autonomy arragements, joined a secessionist struggle, which has not only radically transformed the character and substance of the Bodo assertion from autonomy to secession in terms of goals, but also the methods of achieving it, by showing prefernce to voilence. Tracing historical background of the Bodos, this book seeks to analyse the emergence of the NDFB, its supoort base, and its major demands and strategies to achieve them. It also examines the factors that persuaded the NDFB to adopt extermist methods for achieving its goals, the nature and extent of support for the NDFB’s demand for a Savereign Bodoland, the relationship of NDFB with the other Bodo organiztions and responses of the BTC, as well as Union and State Goverments to the demands of the NDFB.
The Bodo, an ancient group of Northeast India, is resorting to a movement for autonomy. A section of the Bodo educated youth being thoroughly disillusioned with constitutional safeguards, like autonomy arragements, joined a secessionist struggle, which has not only radically transformed the character and substance of the Bodo assertion from autonomy to secession in terms of goals, but also the methods of achieving it, by showing prefernce to voilence. Tracing historical background of the Bodos, this book seeks to analyse the emergence of the NDFB, its supoort base, and its major demands and strategies to achieve them. It also examines the factors that persuaded the NDFB to adopt extermist methods for achieving its goals, the nature and extent of support for the NDFB’s demand for a Savereign Bodoland, the relationship of NDFB with the other Bodo organiztions and responses of the BTC, as well as Union and State Goverments to the demands of the NDFB.
This book makes an in-depth study of the history of evolution, penetration and growth of nagasvaram into the cultural moorings of south India. It makes a systematic study of nagasvaram from different perspectives, its accompanying instruments, its relevance in temple festivals, marriages, the traditions associated, its prevalence and acceptability among south Indian states. It also introduces the all-time great maestros of nagasvaram.
Nagasvaram, worlds loudest non-brass acoustic instrument, is known as mangala vadyam (auspicious instrument), and raja vadyam (king of all instruments). This popular wind-group musical instrument is well known all over the south Indian states, more specifically in Tamil Nadu. Its origin is associated with the Thiruvarur Temple and its legacy continued all through the Pallavas, Colas, Pandyas, Nayakas, and Marathas. It has imprinted its sheen on all the rituals, especially, on the temple festivals and marriages.
This book makes an in-depth study of the history of evolution, penetration and growth of nagasvaram into the cultural moorings of south India over a period of 800 years. It makes a systematic study of nagasvaram (myths associated with it, its making, types, etc.), its accompanying instruments, its relevance in temple festivals, marriages, the traditions associated with nagasvaram, its prevalence and acceptability in Andhra Pradesh, Karnataka and Kerala, in addition to Tamil Nadu where it rules the roost. It widely introduces the great maestros of nagasvaram, for whom it was a nishkama karma.
Kings, temples and mathas were the promoters of this blissful instrument. At present this artform faces severe challenges from the all-pervasive Western musical instruments. The author suggests ways and means of how to maintain the legacy of nagasvaram live, and the need to preserve the rich heritage of our musical tradition for the benefit of our posterity to realize the Supreme Bliss in their life.
This book, rare of its kind, will enthrall those who are keen on instrumental music, especially the faculty, students, and professionals in the field of music, religion and art.
This book makes an in-depth study of the history of evolution, penetration and growth of nagasvaram into the cultural moorings of south India. It makes a systematic study of nagasvaram from different perspectives, its accompanying instruments, its relevance in temple festivals, marriages, the traditions associated, its prevalence and acceptability among south Indian states. It also introduces the all-time great maestros of nagasvaram.
Nagasvaram, worlds loudest non-brass acoustic instrument, is known as mangala vadyam (auspicious instrument), and raja vadyam (king of all instruments). This popular wind-group musical instrument is well known all over the south Indian states, more specifically in Tamil Nadu. Its origin is associated with the Thiruvarur Temple and its legacy continued all through the Pallavas, Colas, Pandyas, Nayakas, and Marathas. It has imprinted its sheen on all the rituals, especially, on the temple festivals and marriages.
This book makes an in-depth study of the history of evolution, penetration and growth of nagasvaram into the cultural moorings of south India over a period of 800 years. It makes a systematic study of nagasvaram (myths associated with it, its making, types, etc.), its accompanying instruments, its relevance in temple festivals, marriages, the traditions associated with nagasvaram, its prevalence and acceptability in Andhra Pradesh, Karnataka and Kerala, in addition to Tamil Nadu where it rules the roost. It widely introduces the great maestros of nagasvaram, for whom it was a nishkama karma.
Kings, temples and mathas were the promoters of this blissful instrument. At present this artform faces severe challenges from the all-pervasive Western musical instruments. The author suggests ways and means of how to maintain the legacy of nagasvaram live, and the need to preserve the rich heritage of our musical tradition for the benefit of our posterity to realize the Supreme Bliss in their life.
This book, rare of its kind, will enthrall those who are keen on instrumental music, especially the faculty, students, and professionals in the field of music, religion and art.
Mankind, when it gave expression to its first dawning of religious thoughts, wove a fabric of myths and theories about religion, the warp of which ran through from earliest historical times to our own days as threads of the warp of philosophies and theories about sex, male, female, love, passion, lust, desire, procreation, offspring, etc. The succeeding ages and civilizations wove into its warp the woof of the individual religions, myths and fables of gods and goddesses, so that the whole fabric of beliefs became refined as mankind itself advanced.
Sex and Sex Worship is the result of a long-time, arduous study of the concept of sex and the worship of phallus in various civilizations and in the development of different religions, modern and old, over a period of many millennia. The book makes one grasp a lot of topics associated with sex and sex symbols such as nature of sex and reproduction, status of women, cosmo-gonies, sex in man and animal, sexual relationship of gods and goddesses, virgin worship, phallic festivals, among many, while making it clear that the worship of generative organs was rather a use of representations of phallus and yoni as symbols for certain religious ideas which were embodied in nature worship.
It also vividly talks about the concept of sex and sex organs in art and ethics, sculpture, art anatomy, etc. The contents in toto lead one to the myriad aspects and concerns associated with sex and phallic worship. It is a must read for a scholar and a common man alike.
Mankind, when it gave expression to its first dawning of religious thoughts, wove a fabric of myths and theories about religion, the warp of which ran through from earliest historical times to our own days as threads of the warp of philosophies and theories about sex, male, female, love, passion, lust, desire, procreation, offspring, etc. The succeeding ages and civilizations wove into its warp the woof of the individual religions, myths and fables of gods and goddesses, so that the whole fabric of beliefs became refined as mankind itself advanced.
Sex and Sex Worship is the result of a long-time, arduous study of the concept of sex and the worship of phallus in various civilizations and in the development of different religions, modern and old, over a period of many millennia. The book makes one grasp a lot of topics associated with sex and sex symbols such as nature of sex and reproduction, status of women, cosmo-gonies, sex in man and animal, sexual relationship of gods and goddesses, virgin worship, phallic festivals, among many, while making it clear that the worship of generative organs was rather a use of representations of phallus and yoni as symbols for certain religious ideas which were embodied in nature worship.
It also vividly talks about the concept of sex and sex organs in art and ethics, sculpture, art anatomy, etc. The contents in toto lead one to the myriad aspects and concerns associated with sex and phallic worship. It is a must read for a scholar and a common man alike.
Mankind, when it gave expression to its first dawning of religious thoughts, wove a fabric of myths and theories about religion, the warp of which ran through from earliest historical times to our own days as threads of the warp of philosophies and theories about sex, male, female, love, passion, lust, desire, procreation, offspring, etc. The succeeding ages and civilizations wove into its warp the woof of the individual religions, myths and fables of gods and goddesses, so that the whole fabric of beliefs became refined as mankind itself advanced.
Sex and Sex Worship is the result of a long-time, arduous study of the concept of sex and the worship of phallus in various civilizations and in the development of different religions, modern and old, over a period of many millennia. The book makes one grasp a lot of topics associated with sex and sex symbols such as nature of sex and reproduction, status of women, cosmo-gonies, sex in man and animal, sexual relationship of gods and goddesses, virgin worship, phallic festivals, among many, while making it clear that the worship of generative organs was rather a use of representations of phallus and yoni as symbols for certain religious ideas which were embodied in nature worship.
It also vividly talks about the concept of sex and sex organs in art and ethics, sculpture, art anatomy, etc. The contents in toto lead one to the myriad aspects and concerns associated with sex and phallic worship. It is a must read for a scholar and a common man alike.
Mankind, when it gave expression to its first dawning of religious thoughts, wove a fabric of myths and theories about religion, the warp of which ran through from earliest historical times to our own days as threads of the warp of philosophies and theories about sex, male, female, love, passion, lust, desire, procreation, offspring, etc. The succeeding ages and civilizations wove into its warp the woof of the individual religions, myths and fables of gods and goddesses, so that the whole fabric of beliefs became refined as mankind itself advanced.
Sex and Sex Worship is the result of a long-time, arduous study of the concept of sex and the worship of phallus in various civilizations and in the development of different religions, modern and old, over a period of many millennia. The book makes one grasp a lot of topics associated with sex and sex symbols such as nature of sex and reproduction, status of women, cosmo-gonies, sex in man and animal, sexual relationship of gods and goddesses, virgin worship, phallic festivals, among many, while making it clear that the worship of generative organs was rather a use of representations of phallus and yoni as symbols for certain religious ideas which were embodied in nature worship.
It also vividly talks about the concept of sex and sex organs in art and ethics, sculpture, art anatomy, etc. The contents in toto lead one to the myriad aspects and concerns associated with sex and phallic worship. It is a must read for a scholar and a common man alike.
The book conveys the basic principles and allied information on sitar and its music, and vividly deals with gharana, especially its contribution to the existing and traditional Indian classical music, conveying the instrumental aspect of Indian music in relation to sitar playing along with other main musical aspects such as ragas, tals and Senia gharana.
Sitar and Its Music is a revised and enlarged edition of a much sought-after reference book on instrumental music, appeared as Sitar and Its Techniques, in 1981. It is a serious attempt to convey the basic principles and allied information on sitar and its music, keeping in mind its absolute usefulness for the students who want to learn sitar and our great tradition.
The book vividly deals with gharana, especially its contribution to the existing and traditional Indian classical music. It conveys the instrumental aspect of Indian music in relation to sitar playing, largely benefitting the students of music, especially that of sitar. It also brilliantly covers other main aspects of music such as ragas, tals and gharana. The book is a blend of theory and practice, and an attraction to those who are about to step into the magnificent world of sitar. Its text is easy to read, language is simple, and explanation is elegant.
This book will be a great asset for every student of Indian music and those who plan to learn and know about sitar and classical music, explaining its theoretical and practical aspects.
The book conveys the basic principles and allied information on sitar and its music, and vividly deals with gharana, especially its contribution to the existing and traditional Indian classical music, conveying the instrumental aspect of Indian music in relation to sitar playing along with other main musical aspects such as ragas, tals and Senia gharana.
Sitar and Its Music is a revised and enlarged edition of a much sought-after reference book on instrumental music, appeared as Sitar and Its Techniques, in 1981. It is a serious attempt to convey the basic principles and allied information on sitar and its music, keeping in mind its absolute usefulness for the students who want to learn sitar and our great tradition.
The book vividly deals with gharana, especially its contribution to the existing and traditional Indian classical music. It conveys the instrumental aspect of Indian music in relation to sitar playing, largely benefitting the students of music, especially that of sitar. It also brilliantly covers other main aspects of music such as ragas, tals and gharana. The book is a blend of theory and practice, and an attraction to those who are about to step into the magnificent world of sitar. Its text is easy to read, language is simple, and explanation is elegant.
This book will be a great asset for every student of Indian music and those who plan to learn and know about sitar and classical music, explaining its theoretical and practical aspects.
Jayarashibhatta’s Tattvopaplavsimha (ca. 8th cent.) is a work of the Charvak philosophy, which rejects evidence other than the direct evidence. The manuscript of Tattvopaplavisimha was obtained from Patan in 1926. The historical work examines ‘Evidence’ in the light of Indian philosophy. The present book reviews the refutation of various epistemological principles explained in Tattvopaplavsimha.
Jayarashibhatta’s Tattvopaplavsimha (ca. 8th cent.) is considered to be an important work of the Caravaka (Charvak) philosophy. The Charvak philosophy rejects evidence other than the direct evidence, to the extent that it does not consider sky as an element in the five fundamental elements (earth, water, fire, air and sky). The manuscript of Tattvopaplavisimha was obtained from Patan (modern-day Patna) in 1926. It was published in the Oriental Series in 1940 and with an introduction in Hindi by Pandit Sukhlal Sanghvi in 1987. The historical work examines the definitions of the evidence as accepted by various arms of Indian philosophy. The present book reviews the refutation of various epistemological principles explained in Tattvopaplavsimha.जयराशिभट्ट कृत तत्त्वोपप्लवसिंह (आठवीं शताब्दी) चार्वाक दर्शन का ग्रन्थ माना जाता है। चार्वाक दर्शन प्रत्यक्ष प्रमाण के अतिरिक्त सभी प्रमाणों को अस्वीकार करता है, इसके साथ ही प्रत्यक्ष को ही एकमात्र प्रमाण मानने के कारण चार्वाक पंचतत्वों (पृथ्वी, जल, अग्नि, वायु एवं आकाश) में आकाश तत्त्व को नकारता है। तत्त्वोपप्लवसिंह ग्रन्थ की पाण्डुलिपि सन 1926 में पाटन से प्राप्त हुई। सन 1940 में ओरियंटल सीरीज में तथा 1987 में पंडित श्री सुखलाल जी सांघवी की हिंदी भूमिका के साथ प्रकाशित हुआ। यह ग्रन्थ वैतण्डिक पद्धति होने के कारण भारतीय दर्शन के विभिन्न सम्प्रदायों द्वारा स्वीकृत प्रमाणों की परिभाषाओँ और प्रमाण की परीक्षा करता है। प्रस्तुत पुस्तक में तत्त्वोपप्लवसिंह में व्याख्यायित विभिन्न ज्ञानमीमांसीय सिद्धांतों के खंडन की समीक्षा की गयी है।
‘Thaat’ is the method of dividing ragas in Hindustani classical music. The main raga of each ‘Thaat’ is called the ‘Ashraya’ raga and other ragas are ‘Ashrita’ ragas. This book is an attempt to make the readers aware of the ‘Ashraya’ ragas. The author has very clearly presented the concept of Ashraya’ raga and its significance.
Music has been the subject of study in India since Vedic period. Various ragas are the life of Indian music. ‘Thaat’ is the method of dividing ragas in Hindustani classical music. The main raga of each ‘Thaat’ is called the ‘Ashraya’ raga and other ragas are ‘Ashrita’ ragas. Extracting from the texts written by Pt. Vishnu Narayana Bhatkhande, Pt. Narayana Moreshwar Khare and other well-known musicians, this book is an attempt to make the readers aware of the ‘Ashraya’ ragas. Through this book, Shobha Singh has very clearly presented the concept of Ashraya’ raga and its significance. The language of this book is simple and easy to comprehend. भारत में संगीत वैदिक काल से ही अध्ययन का विषय रहा है। विभिन्न राग भारतीय संगीत की जान हैं। थाट (अथवा ठाट) हिंदुस्तानी शास्त्रीय संगीत में रागों के विभाजन की पद्धति है। प्रत्येक थाट के प्रमुख राग को आश्रय राग एवं अन्य रागों को आश्रित राग कहा जाता है। पं. विष्णु नारायण भातखण्डे, पं. नारायण मोरेश्वर खरे एवं अन्य जाने-माने संगीतज्ञों द्वारा लिखित ग्रंथों को निचोड़ते हुए, यह पुस्तक पाठकों को आश्रय रागों के बारे में अवगत कराने का प्रयास है। इस पुस्तक के माध्यम से शोभा सिंह ने आश्रय राग की अवधारणा और उसे महत्व को बहुत ही स्पष्ट रूप से प्रस्तुत किया है। इस पुस्तक की भाषा सरल एवं पठनीय है।
Vedanta for the Western World is a collection of sixty-eight articles appeared in a magazine having the same title during 1938-45 by eminent scholars of international repute such as Aldous Huxley, Allan Hunter, Gerald Heard and Swami Prabhavananda reflecting on the varied aspects and universal reflections of Vedanta, with an Introduction by Christopher Isherwood. Vedanta, the Vedic philosophy per se, and not time-specific, focuses on three fundamental propositions that man’s real nature is divine; aim of human life is to realize this divine nature; and all religions are essentially in agreement as far as this divine concept is concerned. The essays featured in this volume imbibe and exude the same philosophy being best suited to the understanding of new generation audience, especially the one that belongs to the Western world. This unique volume stands out in its genera of works due to a wide gamut of topics featured in it under the umbrella banner Vedanta. It enables every student of Vedanta know the essence of the Vedic philosophies from the perspectives of both Indian and Western scholars and men of merit.
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