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This book features the uniqueness of the relationship between Hindustani musician and his art. Hindustani music is not merely north Indian art music. It is inextricably linked to a multiplicity of other musical traditions and is an active participant in the totality of the cultural process.
This book presents a collection of essays and lectures written by the author between 2011 and 2018. Its underlying theme as suggested by its title is the uniqueness of the relationship between the Hindustani musician and his art. This uniqueness is moulded by the fact that the tradition enjoins upon the performer the simultaneous role of a composer. This makes Hindustani music a three-dimensional art: contemplative, expressive and communicative. These three components serve to make Hindustani music a remarkable manifestation of continuity within change, and individuality within conformism.
Viewed from this perspective, Hindustani music is not merely north Indian art music. It is inextricably linked to a multiplicity of other musical traditions folk, devotional, tribal, martial and popular and is an active participant in the totality of the cultural process. Every piece of performed music speaks, in some manner, on behalf the generation performing it, and addresses the corresponding generations of audiences. For the author, therefore, it is not merely sufficient to understand what Hindustani music is. It is necessary also to seek insights into why it is what it is.
In this book, the author relentlessly pursues his intellectual aims by borrowing ideas from a wide range of disciplines: sociology, linguistics, cultural anthropology, acoustics, aesthetics, demography, economics, marketing finance, psycho-analysis, mythology, philosophy and even mathematics. Despite its diverse intellectual canvas, the book retains the essential Indian-ness of the authors argument, and simultaneously addresses an international readership.
This book discusses the quintessential aspects of George Santayana’s wide and comprehensive philosophy. Its critical and comparative discussions have taken place centring round the problems of Epistemology, Metaphysics, Aesthetics, Ethics and Religion, thereby making it all the more interesting.
This book discusses the quintessential aspects of George Santayana’s wide and comprehensive philosophy. Its critical and comparative discussions centre round the problems of Epistemology, Metaphysics, Aesthetics, Ethics and Religion. This makes it all the more interesting.
What is noteworthy about this book is that it shows how naturalism serves as a basis of the idealistic philosophy of George Santayana. Moreover, the illustrious part of this treatise is that essence, as discovered by Santayana by the doubting process, serves as the keynote of his whole philosophy.
The exposition of Santayana’s philosophy on the basis of the above two points is an outstanding feature of the present work. What is captivating about this book is that it shows how the natural gets reconciled with the ideal by making the former the ground of the latter.
This book critiques the poetics of theatre in early India by interpreting a system of theatre and performance along several themes such as theatre’s place in the premodern interdisciplinary knowledge systems, theatre space and architecture, cognition and emotion, performance, experience and consciousness, human and social behaviour, and music.
Theatre discourses of early India present theatre (natya) as an integrated art form, and the poetics of theatre as an interdisciplinary system of thought and performance. Theatre functions as a composite art production comprising dance (nrtya), song (gana), instrumental music (Atodya) and enactment (abhinaya). The poetics of this theatre provides thoughts, techniques, and instrumental frameworks for performance, based on an interdisciplinary reflection upon space, body, mind, motion, sound, memory, consciousness and theatre in relation to the other disciplines of knowledge.
This book attempts to examine the poetics of theatre in early India by interpreting a system of theatre and performance along several themes such as theatre’s place in the premodern interdisciplinary knowledge systems, theatre space and architecture, cognition and emotion, performance, experience and consciousness, human and social behaviour, and music. While focusing mainly on the aphoristic statements on theatre by Bharata in his Natyasastra (third century bce), the book responds to the principles of theatre and literature discussed and debated in a tradition of texts such as Nandikesvara’s Abhinaya Darpana (fifth-fourth century bce), Rajasekhara’s Kavyamimasa (tenth century ce) and Abhinavagupta’s Abhinavabharata (tenth-eleventh century ce). The major concepts elaborated in the book consist of the types of theatre space (ranga), forms of mental/emotive states (bhavas), forms of consciousness (rasas), human and regional variations of performance (vrtti and pravrtti), forms of vocal and instrumental music (gana and atodya), and various others. Divided into eight chapters, each addressing an aspect of theatre, the book is premised upon the argument that theatre poetics of early India presents a coordinated world of inner experience rooted in the self (citta) formed by cognition, emotion and consciousness, but that which develops on stage into an artistic network created by the primitive human behaviour, body, senses, space, sound and the external world, including the varieties of the social world.
‘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।
The book addresses the main theme of the nature of consciousness from a wide-ranging stances and have also taken a step towards establishing a platform for an intense and critical study of Indian theories of consciousness
The book provides a platform to discuss and examine the subtle and complex issues related to the nature of consciousness, self, mental states and subjectivity from Indian and cross-cultural perspectives. It explores contemporary problems of consciousness and tries to find solutions from Indian philosophical traditions. The purpose is to understand how far the views and approaches of classical and contemporary Indian thinkers are relevant in contemporary consciousness studies. The book argues that great thinkers of Vedānta, Tantra, Sāṁkhya and Buddhism have done enormous works which can be explored, examined and enhanced even today for a better comprehension of the subjectivity and conscious experience.
The chapters of this present volume have thoroughly explored and examined many classical Indian theories of consciousness. Keeping in view the objectives of this volume, the contributors have made an effective effort to reflect critically on Indian theories to answer the contemporary problems. There are chapters discussing and examining the standpoints of Indian thinkers like Abhinavagupta, Utpala, Śaṅkara, Rāmānuja, Swāmī Vidyāraṇya, Nāgārjuna, Gautama and many more. On the other hand, there are chapters engaged in reappraising the philosophical positions of Kant, Hegel, Sartre, Chalmers, Searle, Dennett and other contemporary thinkers. The chapters of this volume have addressed the main theme from a wide-ranging stances and have also taken a step towards establishing a platform for an intense and critical study of Indian theories of consciousness.
The book is extremely beneficial for students and scholars interested in classical Indian philosophy and contemporary consciousness studies. It inspires more researchers to ponder upon the concept of consciousness and subjectivity from multiple dimensions.
The Rabha is an ancient tribal community of the northeast area of India. With both a unique language and religion, they represent an ancient culture continuing to live in modern India; while some aspects of the Hindu religion appear to be assimilated by the community, the author is careful to note that they continue to retain much of their exclusive features, and points out some of those. The author goes to a great depth to present both the religious and social aspects of the Rabha people, and weaves a tapestry of the interrelationships between the two, which serves as the basis for the Rabha life today, as it has also functioned historically. She goes further, pointing out the changes of the Rabha that are occurring in modern Indian society, and points to some influences that modern religions are having on the traditional rituals and rites. With its in-depth study of the unique features of a little-known, ancient society of North East India, the text should be of considerable value for the sociologist, as well as the student of little-known tribal religions; it will also provide a great deal of knowledge to those who are trying to understand the changes that are taking place in modern Indian society, as well as other transitioning nations.
Krishnattam, a unique Sanskrit ritualistic dance-theater of Kerala, is one among India’s treasure trove of rare living artistic masterpieces. This history-travelogue, richly illustrated, takes one along to experience the Krishnattam plays, with their rituals and preparations, as the performers in fantastic, colorful costumes, dance, and mime the story of Lord Krishna’s life to the accompaniment of vocal and instrumental music.
Krishnattam, a unique Sanskrit ritualistic dance-theater of Kerala, is one among Indias treasure trove of rare living artistic masterpieces. In time past, Krishnattam, based on the Sanskrit poem Krishnagiti by the Zamorin King Manaveda, thrived in the royal environment of the Kingdom of Calicut, receiving the adoration of small devoted audiences. But, with Indias independence, the Zamorin lost his kingdom, and as his wealth dissipated, Krishnattam teetered on the edge of extinction. It was the Krishna-Vishnu Temple at Guruvayur that came to Krishnattam’s rescue and has become an integral part of the history of Krishnattam. Here, again, Krishnattam remained in seclusion until 1961, when the troupe performed in Bombay, exposing it to a larger Indian audience and foreign interest.
This history-travelogue takes one along in the dark of night to experience the Krishnattam plays, with their rituals and preparations, as the performers in fantastic, colorful costumes, dance, and mime the story of Lord Krishna’s life to the accompaniment of vocal and instrumental music.
This volume, richly illustrated, makes one meet some people, who have been the soul of Krishnattam. The actor-dancers share the quirks of fate, the severity of training schedule, and the rigor of exercises that transformed them from village children into performers. Currently, Krishnattam thrives at Guruvayur Temple, together with ample outside performances, as a devotional votive offering.
The first author takes one along on her twenty-year journey to discover the history and attractions of this art so rarely performed outside its locale in south India. Co-authors, Robert Sikora, A. Purushothaman and A. Harindranath greatly enhance this edition with their new researches, translations, and photographs.
This book is an interesting specimen of Hindu critical ability. It presents the synopsis of sixteen philosophical systems that were current in the fourteenth-century south India in their most important tenets and maintains the principal arguments by which their followers were endeavoured to maintain them.
The Sarvadarshanasamgraha of Madhavacharya is an interesting specimen of Hindu critical ability. The author herein presents the synopsis of sixteen Charvaka, Bauddha, Jaina, Ramanuja, Purnaprajna, Pashupata, Shaiva, Pratyabhijna, Raseshvara, Vaisheshika, Nyaya, Jaiminiya, Paniniya, Samkhya, Patanjala and Advaita philosophical systems current in the fourteenth-century south India in their most important tenets and maintains the principal arguments by which their followers were endeavoured to maintain them. In course of his sketches of these systems, Madhavacharya frequently explains at length obscure details of these different systems.
Sarvadarshanasamgraha presents all these Darshanas from the Vedantic point of view. These had attracted to their study the noblest minds in India throughout the medieval period of its history. There were numerous sects of Bauddha, Jaina, and Hindu philosophical systems and we come across many of them in this book.
This present retypeset edition is quite reader-friendly as we have made a few changes to this edition as value-adds and by incorporating the present-day diacritics.
This English translation of Sarvadarshanasamgraha must evoke keen interest among scholars of philosophy, and researchers and students of philosophy across the globe.
This book is an interesting specimen of Hindu critical ability. It presents the synopsis of sixteen philosophical systems that were current in the fourteenth-century south India in their most important tenets and maintains the principal arguments by which their followers were endeavoured to maintain them.
The Sarvadarshanasamgraha of Madhavacharya is an interesting specimen of Hindu critical ability. The author herein presents the synopsis of sixteen Charvaka, Bauddha, Jaina, Ramanuja, Purnaprajna, Pashupata, Shaiva, Pratyabhijna, Raseshvara, Vaisheshika, Nyaya, Jaiminiya, Paniniya, Samkhya, Patanjala and Advaita philosophical systems current in the fourteenth-century south India in their most important tenets and maintains the principal arguments by which their followers were endeavoured to maintain them. In course of his sketches of these systems, Madhavacharya frequently explains at length obscure details of these different systems.
Sarvadarshanasamgraha presents all these Darshanas from the Vedantic point of view. These had attracted to their study the noblest minds in India throughout the medieval period of its history. There were numerous sects of Bauddha, Jaina, and Hindu philosophical systems and we come across many of them in this book.
This present retypeset edition is quite reader-friendly as we have made a few changes to this edition as value-adds and by incorporating the present-day diacritics.
This English translation of Sarvadarshanasamgraha must evoke keen interest among scholars of philosophy, and researchers and students of philosophy across the globe.
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