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Written sometime during 880-920 ad by Rajasekhara: an eminent poet, this first English translation of Kavyamimamsa is a kind of practical treatise for poets: kavisiksa manual highlighting, all possible attributes that go into the making of a good poet and a good poetic composition.
As a body, Sanskrit writings unfold Indias millennia-long, almost unbroken intellectual tradition: not only of philosophy and grammar, but of literary theory as well. The concepts and critical theories, which the Sanskrit poeticians advanced or the issues they sought to address, inhere both universal appeal and validity. And, with certain modifications, these can well live up to the demands of modern literature. In this long and powerful tradition of Sanskrit literary theory that marked a definitive begining with Bharatas Natyashastra (first century ad), Kavyamimamsa is a monumental work. Written sometime during 880-920 ad by Rajashekhara: an eminent poet, dramatist and critic, it is a kind of practical treatise for poets: kavishiksha manual highlighting, as it does, all possible attributes that go into the making of a good poet and a good poetic composition. Among other relevant aspects, Rajashekhara also includes here a systematic exposition of the views/opinions of his predecessors, with illustrations of the literary practices of various times and climes put down after careful empirical observation. Now, when there is a growing scholarly interest in the study of Sanskrit literary theory and how it is positioned vis-a-vis the Western critical tenets, Dr. Sadhana Parashar brings Rajashekharas classic within everyones reach offering the first-ever, complete English translation of Kavyamimamsa, with its original Sanskrit text and comprehensive explanatory notes. For sure, it is invaluable to the scholars of linguistics and literary criticism.
Written sometime during 880-920 ad by Rajasekhara: an eminent poet, this first English translation of Kavyamimamsa is a kind of practical treatise for poets: kavisiksa manual highlighting, all possible attributes that go into the making of a good poet and a good poetic composition.
As a body, Sanskrit writings unfold Indias millennia-long, almost unbroken intellectual tradition: not only of philosophy and grammar, but of literary theory as well. The concepts and critical theories, which the Sanskrit poeticians advanced or the issues they sought to address, inhere both universal appeal and validity. And, with certain modifications, these can well live up to the demands of modern literature. In this long and powerful tradition of Sanskrit literary theory that marked a definitive begining with Bharatas Natyashastra (first century ad), Kavyamimamsa is a monumental work. Written sometime during 880-920 ad by Rajashekhara: an eminent poet, dramatist and critic, it is a kind of practical treatise for poets: kavishiksha manual highlighting, as it does, all possible attributes that go into the making of a good poet and a good poetic composition. Among other relevant aspects, Rajashekhara also includes here a systematic exposition of the views/opinions of his predecessors, with illustrations of the literary practices of various times and climes put down after careful empirical observation. Now, when there is a growing scholarly interest in the study of Sanskrit literary theory and how it is positioned vis-a-vis the Western critical tenets, Dr. Sadhana Parashar brings Rajashekharas classic within everyones reach offering the first-ever, complete English translation of Kavyamimamsa, with its original Sanskrit text and comprehensive explanatory notes. For sure, it is invaluable to the scholars of linguistics and literary criticism.
Swami Muni Narayana Prasad renders a superbly novel analysis of this Upanisad in the backdrop of recent developments in various scientific disciplines and attempts to show that mysticism is a corollary to scientific investigation.
Kenopanishad is one of the major Upanishads containing the quintessence of the teachings of the ancient Indian seers. It represents their spiritual quest to apprehend the nature of the Ultimate Being and comprises the yearning for the wisdom that explains the relation of human life to the world and the reality. The beauty of this Upanishad is greatly enhanced by the dialogue between the disciple and the preceptor, through which it continues its quest. Swami Muni Narayana Prasad, the renowned scholar on the Upanishadic tradition, renders a superbly novel analysis of this difficult text in the light of the modern mans need for value and spiritual security making a strikingly beautiful synthesis between the ancient and the modern. Presenting the teachings of Kenopanishad in the backdrop of the recent developments in the area of physics, chemistry, biology and psychology is no mean task and constitutes the exclusiveness of this book. The disciplines of science in the pursuit of the basic truth stumble at some invisible and unconceptualisable Reality, which may be another name for mysticism. Through very cogent arguments the author has successfully vindicated that mysticism is a corollary to scientific investigation and not opposed to it. The authors prolonged association with the Upanishadic thought along with the insight he received from the works of his preceptors Narayana Guru and Nataraja Guru makes the commentaries of this text stimulating and unique. The original Sanskrit text along with the Roman transliteration and English paraphrasing enhance the value of this monumental commentary.
The book presents stylistic perspectives on the music of nineteen modern and contemporary Khayàla vocalists representing five important legacies (Gharànàs) which have guided vocal music for about 200 years in India. The book makes complex musicological concepts accessible to even non-academic readers.
Khayala Vocalism: Continuity Within Change presents stylistic perspectives on the music of nineteen modern and contemporary Khayala vocalists, representing various legacies which have guided vocal music for about 200 years. The book is the result of over five years of research, involving the painstaking analysis of over 500 recordings spanning almost a hundred years of Khayala vocalism. The nineteen vocalists are classified into five stylistic legacies, based on their history of tutelage and the stylistic tendencies evident in their music: Agra legacy, Gwalior-Agra confluence, Jaipur-Atrauli legacy, Kairana legacy, and Patiala legacy. Written by an author of impeccable credentials as a musician, researcher and writer, the book contains seven sections. While the first section serves as an introduction to the Khayala genre and to the various Gharanas, the last presents an annexure containing the various Khayala forms, a glossary of non-English terms rendered in italics, and an index. The intervening five sections deal with the history and stylistics of the five legacies and the music of the vocalists belonging to them. The book makes complex musicological concepts accessible to non-academic readers and contributes significantly to widening the understanding of contemporary trends in Khayala vocalism.
The book presents stylistic perspectives on the music of nineteen modern and contemporary Khayàla vocalists representing five important legacies (Gharànàs) which have guided vocal music for about 200 years in India. The book makes complex musicological concepts accessible to even non-academic readers.
Khayala Vocalism: Continuity Within Change presents stylistic perspectives on the music of nineteen modern and contemporary Khayala vocalists, representing various legacies which have guided vocal music for about 200 years. The book is the result of over five years of research, involving the painstaking analysis of over 500 recordings spanning almost a hundred years of Khayala vocalism. The nineteen vocalists are classified into five stylistic legacies, based on their history of tutelage and the stylistic tendencies evident in their music: Agra legacy, Gwalior-Agra confluence, Jaipur-Atrauli legacy, Kairana legacy, and Patiala legacy. Written by an author of impeccable credentials as a musician, researcher and writer, the book contains seven sections. While the first section serves as an introduction to the Khayala genre and to the various Gharanas, the last presents an annexure containing the various Khayala forms, a glossary of non-English terms rendered in italics, and an index. The intervening five sections deal with the history and stylistics of the five legacies and the music of the vocalists belonging to them. The book makes complex musicological concepts accessible to non-academic readers and contributes significantly to widening the understanding of contemporary trends in Khayala vocalism.
Supported by beautiful illustrations, the study reconstructs the glorious history of the Rajput house of Mewar, perhaps the worlds oldest ruling family. It recounts its heroic battlefield engagements and examines its artistic and literary achievements.
A Premier princely state of Rajsthan, the erstwhile Rajputana (northwest India), till its merger into the Union territory in 1948, Mewar has been celebrated in history and legend. In this far-famed region are best represented not only the Rajput chivalry and high sense of honour, but also their arts, architecture, and fabulous cultural traditions. Developed from the authors four-year long intensive research, the book tries to reconstruct the unparalleled, glorious history of (perhaps) the worlds oldest ruling family: the house of Mewar now called the clan of Sisodias, in earliest times Guhilots. Tracing chronologically the entire course of events since their first known ancestor, Guhil (ad 566), Irmgard Meininger here unfolds a compelling story of brave Rajput men and women, with an exaggerated sense of honour, pride and independence the story of their triumphs and tragedies, and simultaneously of palace intrigues and rivalries, and of supreme sacrifies and treacheries. And yet, in the main, it is an exciting story of Mewars heroic resistance: first to Afghan/Arab adventures and Delhi Sultans and, in the later days, to the Mughal imperialists. Weaving into her narrative the legendary episodes around Maharani Padminis fabulous beauty, the dread rite jauhar, Panna Dais unique loyalty, and Princess Miras bhakti, among others, the author also attempts to show how Mewar has been the repository not only of old Hindu traditions, but of the enchanting Rajput culture as well, and how Rajputs, notwithstanding their endless engagements in the battlefield, were great patrons of art, architecture, literature and music. Supported by numerous beautiful illustrations, bibliographic references and a glossary of non-English words, the book will fascinate anyone interested in India, particularly Rajasthan: whether as an inquisitive reader, tourist, hostorian, or a connoisseur of art.
Kolam is propitious threshold drawings by women defining religious and cultural space in South India. Integrating the entire Tamil community in kinship, ephemeral kolam structure is precise and beautiful prayer for protection and prosperity. Aesthetic experience of kolam is in its symmetrical composition that correlates with our concept of the cosmos.
Kolam is propitious threshold drawings by women defining religious and cultural space in South India. Integrating the entire Tamil community in kinship, ephemeral kolam structure is precise and beautiful prayer for protection and prosperity. Aesthetic experience of kolam is in its symmetrical composition that correlates with our concept of the cosmos. In the geometric grid of kolam the number of dots called pulli algorithmically guides the number of crossings that requires overall smoothening of edges in the design. Large number of infinite knot pattern follows a set of elegant mathematical rules that is at the same time artistic. According to Marcia Ascher, Emeritus Professor of Mathematics at Ithaca College, the Principles of Numbers in kolam is dynamics and motion in matter demonstrating multiplicity of the void. Kolam drawings trace unilinear path with singular regularity expressive of polyrhythmic music. Dancer Chandralekha observed that kolam is a kind of yoga. Kolam as an art form has entered computer graphics, ethnomathematics and ethnomusicology, textile industry, therapeutic applications and tactile spatial education for visually challenged. The pervasive threshold drawing of Tamil Nadu are unique but at the same time kolam is extendable to the tradition of tracing patterns in sand produced by several cultures in Africa and South Pacific islands as well as to the brilliant mosaics of ancient Rome.
On the UNESCO List of World Heritage Sites, The Sun Temple of Konarka in Orissa represents the unique beauty and harmony of architecture and sculpture combined. The splendid photographs of the renowned Japanese photographer Oki Morihiro provides both, a visual delight and a scholarly insight and introduction to this great monument of Orissa.
One of the greatest treasures of Indian Temple architecture and on the UNESCO List of World Heritage Sites, The Sun Temple of Konarka on the East coast of Orissa stands as a witness to the cult of Surya. Even in its dilapidated condition it represents the unique beauty and harmony of architecture and sculpture combined. The present book attempts a fresh approach in understanding its symbolism. The splendid photographs of the renowned Japanese photographer Oki Morihiro bring out the grandeur of the conception of the chariot of the Sun God, and the excellence of its sculptures with delightful details. The volume is introduced by two scholars in the fields of Orissan temple architecture and archaeology. Bettina Bäumer in her introduction approaches the temple with a new interpretation, based on the Saura, Vedic and Tantric traditions, throwing light on its symbolism and its mystical dimension. M.A. Konishi places the temple in its historical and geographical context and its importance as a World Heritage. The book provides both, a visual delight by the excellent photographs, and a scholarly insight and introduction to this great monument of Orissa. It can well serve as a guide to understanding and appreciating the temple of Konarka.
The romantic Krishna finds a textual presence for the first time in the Bhagavata Purana and then for a thousand years we celebrate that Krishna through heart-throbbing poetry. Krishna is indeed both the kavi and the kavya, rasa and rasika, the shabda and the artha, He is Purusha and Prakriti.
The romantic Krishna finds a textual presence for the first time in the Bhagavata Purana and then for a thousand years we celebrate that Krishna through heart-throbbing poetry. Krishna is indeed both the kavi and the kavya, rasa and rasika, the shabda and the artha, He is Purusha and Prakriti. Krishna dances and frolics, speaks and sings, and shringara in its many colours comes alive for us through kavya. We are the gopis of Vrindavana, the nayikas of Ritikavya as Krishna comes alive not through religious rites and rituals but through the joy of poetry and painting and we acdaim krishna svayamkavyam.
After we have experienced the aesthetic pleasure of the love of Krishna we realize that all love in this world is that of Krishna, the hushed words of romance between a man and a woman are those of Krishna and Radha, all poetry that celebrates romantic love is that of Krishna, so that we can turn the sentence around and say kavyam svayam krishna.
We invite you to immerse yourself in the beautiful poetry of Krishna, through the melody and lyrics let His madhurya wash over you like the waves of the Yamuna and his many-splendoured persona make your mind dance like the birds and blossoms of Vrindavana.
Harsha V. Dehejia beautifully weaves a tapestry of Krishna Shringara Kavya enriched by the colours and textures of paintingsby the noted artist Vijay Sharma.
The book assures the r eader both the joy of poetry and the visual delight of painting.
Krishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make bandish come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of the Ragamala paintings. It makes a sahridaya travel to the supreme realms of Krishna shringara, elating him to the experience of poetry, art and bhakti.
Krishna shringara is a perennial legacy from the dasham skandha of the Bhagavata Purana, where the romance of Krishna in terms of his lilas and kridas is presented, to the tracks of Jayadeva, Narsinh Mehta, Vallabhacharya, the ashtachhaap kavis of Haveli Sangeet, Chaitanya, Bengal Vaishnava tradition, and the glorious period of Ritikavya. All these poetic streams flow into the river of khayal tradition, which in turn has significantly influenced the growth of khayal bandishes.
Krishna shringara has a unique place in khayal bandishes, where words and music, raga and tala make the bandishes come alive. The paintings of khayal bandishes (Bandishmala) make one feel reminiscent of Ragamala paintings. Khayal bandish travelled orally across centuries from village to temple and palace to proscenium.
The paintings make a sahridaya travel to the supreme realms of Krishna shringara, which ends in shringara bhakti.
This second volume of Krishna in the Harivamsha contends that the child and adult Krishnas are indeed one and the same. The initiation by guru Kashya Sandipani, the construction of the city of Dvaraka, and the fights involving Pradyumna and Aniruddha are among the best known episodes analysed in this volume.
This second volume of Krishna in the Harivamsha brings together texts written between 2000 and 2015, more than half of which are of more recent vintage than those included in Volume I. While Krishnas biography is clearly divided into two large units, childhood and adulthood the kshatriya (warrior) of the second period manifesting himself first as a gopa (cowherd) it is important to note that both sections of the biography are similarly structured and carry an identical message. This book contends that the child and adult Krishnas are indeed one and the same.
The initiation by guru Kashya Sandipani, the construction of the city of Dvaraka, and the fights involving Pradyumna and Aniruddha are among the best known episodes analysed in this volume. It is the oft-neglected Harivamsha version of these well-known stories that is studied here, version that has been passed over despite its early date of composition.
An unstated assumption still influences a great deal of Harivamsha research. Many scholars assume that an addition of this sort to the Mahabharata can be little more than a collection of ancient records bearing witness to the primitive mentality of a people unable to think logically. On this view, the Harivamsha becomes reduced to a pile of documents of diverse origins. The articles contained in this volume take the opposite view. Krishnas biography, which at first blush might appear to be an amalgam of various stories, proves in fact to be a skilful construction which conveys a clear message.
The thirteen texts of this book address various aspects of Krishnas childhood in the Harivamsha. It demonstrates that these stories of Krishnas childhood were carefully composed by brahmanas who knew fully well what they were doing.
Written over a thirty-year period, the thirteen texts of this book some of which have been updated, others translated from the original French address various aspects of Krishnas childhood in the Harivamsha. As a part of a continuous effort to better understand this oft-neglected complement to the Mahabharata, the present book demonstrates that these stories of Krishnas childhood were carefully composed by brahmanas who knew fully well what they were doing.
During the ten or so years he spends as a herder in the forest surrounding Mathura, Krishna prepares himself to kill the evil king Kamsa: when packs of wolves spring from the hairs of his body, he manifests his destructive power; he appears as a true avatara when he dives into the Yamuna to subdue the snake Kaliya; he reveals himself as a new Brahma able to create a new world when he uplifts Mount Govardhana with which he has just identified himself, then sheltering cows and herders in his own body.
It is authors contention throughout these chapters that these episodes cannot be dismissed as a hotchpotch of legends borrowed from the Abhiras or similar pastoral tribes. Neither does one do justice to the genre when one reinterprets the story symbolically, as if it were the product of an overactive imagination. Rejecting these positions, the author instead attempts to show here how these talented storytellers carefully crafted a narrative, often using material drawn from their own Vedic tradition, in order to address the new concerns of their audiences.
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