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The book, consisting of original research papers, could connect the results of the work done in the past with the work to be done in the future towards a fuller and sharper understanding of Kashmir’s analytical engagement with language.
The present volume mainly consists of original research papers. It is not a collection or anthology in which specialists of the different aspects of Kashmirian use or study of language were invited to write essays surveying the aspects best known to them or to produce state-of-the-art reports about the scholarly study of the aspects. An effort, however, has been made in the Introduction to provide the general background that a reader may need in order to situate the papers in the proper intellectual and historical context. The Introduction further outlines the themes that could and should be particularly explored to lead us to a fuller and sharper understanding of Kashmir’s analytical engagement with language. The appendices toward the end of the volume then complement the Introduction by presenting objective and practical information about the manuscripts etc. of works in Sanskrit. The volume could connect the results of the work done in the past with the work to be done in the future by adding to knowledge in the present because of the articles it attracted from veteran as well as upcoming researchers. The reader will find here discussions bearing upon texts, as well as discussions bearing upon the authors of texts; discussions devoted to elucidating single passages, as well as discussions exploring instances of intertextuality; and discussions exclusively addressing individual grammars, as well as discussions engaging in the relation of one grammatical school with another.
Yoga is the science of harmonious union with one’s own self, the world, and the cosmic law that governs the entire universe. This book of commentary by Guru Nitya Chaitanya Yati unlocks the secrets of this perennial wisdom and shows how pertinent and valuable the transforming path of yoga is to our lives today.
At the turn of the twentieth century a wise teacher from south India described the culmination of Yoga in a very alluring manner: When mind, the bumble bee, sips the honey-like sweetness of ones own bliss, fluttering ceases and it is drawn into union. This poetic description given by Narayana Guru echoes and elaborates the definition of Yoga given in one of the foundation texts of Yoga, the Bhagavad Gita (VI:23): Yoga is disaffiliation from the context of suffering. These definitions are not academic. They speak directly to our experience of life, which can range from being punctuated by suffering to being permeated by it. They also speak to our constant yearning and search for happiness. Yoga originated as a natural response to this human condition. It is why it was developed, why its teachings have been followed, elaborated, and passed down from time immemorial to the present. Yoga is the science of harmonious union with ones own self, the world, and the cosmic law that governs the entire universe, ranging from the cognizing of a sensation to the formation of a galaxy. This commentary by Guru Nitya Chaitanya Yati unlocks the secrets of this perennial wisdom and shows how pertinent and valuable the transforming path of Yoga is to our lives today. A special appendix, Letters to an Aspiring Yogi, offers a basic orientation and initiation into the practice of Yoga, which, as Guru Nitya makes clear, Is a common path for all human beings, irrespective of their cultural, geographic, and religious affiliations.
The book illustrates the ingenuity of the Bangladeshi people to manage their water resources, without any institutional or material support and examines the conditions under which people get together to pursue common goals through a systematic and comparative analysis.
This book illustrates how people in rural Bangladesh, without any institutional or material support, manage their water resources to make their environment safer or more productive. Case studies of over seven hundred local initiatives show that people have an underestimated capacity to design, construct, maintain and operate relatively complex water management systems and to mobilise large amounts of human, material and financial resources. They are neither passive victims of their environment, nor merely responding or reacting to programmes or services provided by outside agencies. It was found, however, that the capacity to organise is much higher in some regions of Bangladesh than in others. This leads the author to examine conditions under which people get together to pursue common goals through a systematic, comparative analysis of the four regions covered by the research project. The findings are further reviewed against the backdrop of academic and policy debates on collective action, participation, and management of common property resources.
The book is an attempt to critically examine the cardinal doctrines of logical positivism as expounded in the writings of A.J. Ayer. Logical positivism has provided us with the tools to analyse the concepts of philosophy.
The book Logical Positivism Revisited is an attempt to expound and critically examine the cardinal doctrines of logical positivism. The logical rigour with which the followers of this school of thought analysed the issues concerning language, knowledge and truth shows that the problems of philosophy can only be solved by resorting to logical analysis. The view that problems of philosophy surface because of our misunderstanding or loose correlation of our language has provided a new dimension to our philosophical thinking. Moreover, logical positivism’s anti-metaphysical stance highlights its taste for logic, mathematics and science and its distaste for speculative thinking in philosophy. Such an attempt in philosophy is viewed by the logical positivists as a revolution in philosophy.
Love is God and God in love; it is universal and knows no limits. This work of 100 valuable and carefully chosen quotes with aesthetic illustrations defines the virtues of love in its aestheic dimensions in a crisp and concise manner and projects it as the nature’s most prized gift to the mankind.
Love is God and God in love; it is universal and knows no limits. This work of 100 valuable and carefully chosen quotes with aesthetic illustrations defines the virtues of love in its aestheic dimensions in a crisp and concise manner and projects it as the nature’s most prized gift to the mankind.
This book is essentially a poetic/spiritual treatment of poetic and spiritual themes. It presents a breadth of understanding that illuminates the text, and extends the meaning of the text through both personal and universal experience.
Developed from Guru Nityas talks given at the Stanford and Portland State Universities, the book represents a study in the universal force of love in two major examples of sacred and prophetic literature : Jayadevas Gita Govindam and the poetry of St. John of the Cross. The foundation of Guru Nityas approach lies in an exciting, at once original unification of Eastern meditation practices and Western humanistic psychological theory. The outcome is his Love and Devotion, highlighting how the erotic mysticism of Jayadeva and St. John of the Cross exemplify as the two different expressions of the perception of God. Unlike most works of literary criticism, Nityas book presents a breadth of understanding that illuminates the text, and then extends the meaning of the text in terms of both personal and universal experience. It is essentially a poetic and spiritual treatment of poetic and spiritual themes, for Love and Devotion is itself a treatise on spirituality.
This volume, while discussing the poetic genius of Banamali, portrays the varied forms of pata paintings, associated with the painters of Puri. Though the Rasalila of Krishna and the gopis is their favourite, the topic of dashavatara is very common in pata painting, displaying a special liking for navagunjara painting.
The heart of Odishan arts lies in the villages of Odisha. The songs and dances, the wall paintings and patachitras, fabrics and textiles, all are rooted in the rural sensibility of Odisha. When its people sing the love songs of Krishna or paint his leelas and kridas, they recreate Vrindavana in their on village square. Krishna sharingara reflects and echoes in each leaf and flower, and song and dance of Odisha. It is more vibrant in the verses of the eighteenth century Banamali Das, who wrote a moving Krishna poetry. He celebrated the many leelas and kridas of Krishna and in doing so he experiences every hue and shade of Krishna shringara. He reminds one of the works of Jayadeva and Vidyapati, and enters the mind and heart of Radha more than any other poet. Grounded on the theology of Chaitanya, he bountifully uses words such as ujjala rasa, mohajana and ashta sakhi, firmly establishing him as part of the Gaudiya tradition.
This volume, while discussing the poetic genius of Banamali, portrays the varied forms of pata paintings, associated with the painters of Puri. Though the Rasalila of Krishna and the gopis is their favourite, the topic of dashavatara is very common in pata painting, displaying a special liking for navagunjara painting. It also contains a conversation with Sujata Mohapatra, an accomplished Odissi dancer, who dances to the compositions of Banamali Das.
Love Songs of Narsinh Mehta is a commentary on the love songs of Narsinh, adi-kavi of Gujarat. Narsinh sings the glory of Krishna in total devotion as if Krishna is sitting in front of him. For him, Krishna is divine and human, both at the same time. Being Krishnas love, he brings in all emotions and cues of devotional love to his poetry.
Love Songs of Narsinh Mehta is a commentary on Narsinh Mehtas love songs. Narsinh (1408-65), a Vaishnava bhakti poet of medieval India, is considered as the adi-kavi of Gujarat. He is also regarded as a shringara kavi, a poet of romance. The quintessence of his bhakti is prem and his prem has inherent bhakti, and therefore his poetry is regarded as shringara bhakti kavya. Essentially shringara is the romantic celebration of the other, and when Narsinh’s other is none other than Krishna, his shringara kavya becomes Krishna bhakti, where Krishna is both divine and human, at the same time. Singing for Krishna, Narsinh celebrates his swami through amorous verses and divine surrender like Jayadeva.
He sat in a temple and relentlessly sang for his Lord, living through absolute poverty. Nothing made him more jovial than singing the glory of his Krishna. The only man for Narsinh is Krishna, and for the latter Narsinh is a woman at heart. Narsinh, through his songs, brings in the cue of all romantic feelings and moments, recreates the idyllic Vrindavana in ones mind, and he returns that Vrindavana a Vaikuntha with the footfalls of his Krishna.
Through this commentary, the author Harsha V. Dehejia introduces one to the fullness of Narsinhs poems, thereby making one known to Narsinh in and out.
This impressively illustrated volume brings forth the evergreen spirit of a Muslim ruler of Awadh, Nawab Wajid Ali Shaw (1822-87), in composing love poetry taking a cue from the amorous Krishna leela and assimilating and practising the same in personal life. A trained Kathak dancer himself and a dedicated patron of poetry, painting and performing arts, Wajid Ali Shah immersed in the rasa of dance, music and drama, and got deeply indulged in the many an expression of shringar, while administering the political affairs of his state.
Recalling the different facets of Nawab Wajid Ali’s life, the book explores the state and fame of Lucknow, of his times, where the Nawab lived a life of refinement and pomp, and attracted the best talents in arts and crafts. It also portrays how were dance and music enjoying pride of place during his reign.
While presenting a penetrating account of Ali Shah’s poetry, the book revisits his musical scholarship, history of his times and presents his poems with English translation. It as well showcases the best paintings centring around his personal and cultural life, and guides one go through the religious and cultural harmony prevailed in Awadh where a lot of factors were at play effecting acculturation between the Hindus and the Muslims, popularly known as the Ganga-Jamuni tehzeeb.
This impressively illustrated volume brings forth the evergreen spirit of a Muslim ruler of Awadh, Nawab Wajid Ali Shaw (1822-87), in composing love poetry taking a cue from the amorous Krishna leela and assimilating and practising the same in personal life. A trained Kathak dancer himself and a dedicated patron of poetry, painting and performing arts, Wajid Ali Shah immersed in the rasa of dance, music and drama, and got deeply indulged in the many an expression of shringar, while administering the political affairs of his state.
Recalling the different facets of Nawab Wajid Ali’s life, the book explores the state and fame of Lucknow, of his times, where the Nawab lived a life of refinement and pomp, and attracted the best talents in arts and crafts. It also portrays how were dance and music enjoying pride of place during his reign.
While presenting a penetrating account of Ali Shah’s poetry, the book revisits his musical scholarship, history of his times and presents his poems with English translation. It as well showcases the best paintings centring around his personal and cultural life, and guides one go through the religious and cultural harmony prevailed in Awadh where a lot of factors were at play effecting acculturation between the Hindus and the Muslims, popularly known as the Ganga-Jamuni tehzeeb.
Love Songs of Rasakhan is one among the numerous works of medieval Muslim Vaishnava poets. His original name was Said Ibrahim. On seeing a picture of Shrinathji, Said Ibrahim instantly fell in love with Krishna. His love for Krishna made him yearn for a vision of Krishna.
Love Songs of Rasakhan is one among the numerous works of medieval Muslim Vaishnava poets. A sixteenth-century poet, Rasakhan was born in a Pathan Muslim family at Pihani in Uttar Pradesh. His original name was Said Ibrahim. On seeing a picture of Shrinathji, Said Ibrahim instantly fell in love with Krishna. His love for Krishna made him yearn for a vision of Krishna. He stayed with Krishna devotees in Braj, but could not get a vision of Krishna. He unsuccessfully tried his luck at the Gopalpura Shrinathji Temple and finally went to Govindkund and lay there three days without food and water. Pleased, Shrinathji gave him darshan and this made him to move on the Pushtimarg with the guidance of Gosain Vittalnath.
He spent his entire life in Brij composing songs of the many lilas of Radha and Krishna with the pen-name, Rasakhan. Touched by the sensuality of the love of Radha and Krishna, he produced many mellifluous and melodic songs, celebrating their love.
Other than his poetic genuis, this bilingual illustrated volume contains the stories of 252 Vaishnavas, articles on Rasakhan: A Poet and His Poetry; Medieval Muslim Vaishnava Poets; Rasakhan and the Fluidity of Identity; The Mind of Rasakhan; Muslim Vaishnavas of Bengal; and Poets, Painters & Patrons, being Krishnalal Sharma; Narmada Prasad Upadhyaya; Vidya Rao; Harsha V. Dehejia; Sumanta Banerji; and Harsha V. Dehejia as respective authors.
This portfolio, based on the ten Maithili love songs of Vidyapati, presents lovely paintings on the varied love moods of Radha: her sensuous charm, innocence, longing for Krishna, surrender to love, etc.
Vidyapati (c. 13521448), called second Jayadeva in his lifetime, is immersed, charged and inspired by the love of Radha and Krishna. He wrote emotionally-intensive love songs in Maithili, for the queens of Shiva Simha, his patron, and the common folk. Though drawn inspiration from Jayadeva, more than him, Vidyapati presents in his poetry a rare, tender and sensitive understanding of Radhas psyche. In his love songs Radha, not Krishna, is in the centre stage and through his nayika Vidyapati is reaching out to each and every woman in Mithila.
Vidyapati presents his songs from a womans heart, and describes his nayikas slowly awakening youth, her sensuous beauty, her coyish charm, her naïve innocence, her surrender to love and her anguish on being neglected. She is invariably sensual, spiritual, physical and emotional. Though she did not inspire painters of the time, she ruled the hearts of the people of Mithila. Vidyapatis love songs are written in honeyed words and are sung with mellifluous notes in homes, fields, chowks and havelis, across eastern India. And thus he still rules their heart.
This portfolio, based on the ten love songs of Vidyapati, presents lovely paintings on the varied love moods of Radha, the love queen. In doing so, different artists have displayed their dexterity in Jaipur, Caurapancashika, late Mughal, Manaku, Kishangarh, Jain, Kangra and Basohli styles.
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