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It studies the palaeography of Orissa, especially the evolution of the regional Oriya script, by analyzing several copper-plates and stone inscriptions. An attempt to resolve the prolonged debate on the parentage of modern Oriya script, considering the importance of geo-political forces and the cultural growth of a region.
The book studies the palaeography of Orissa from the third to the seventeenth century ad. It focuses on the evolution of the regional script of Orissa from the Bràhmã script to the advent of the modern Oriya script through various intermediate stages. Analyzing several hundreds of copper plate and stone inscriptions and with reproductions from facsimiles of many original inscriptions, the author delves into the palaeographical peculiarities of the scripts prevalent in different sub-regional/regional kingdoms of ancient and medieval Orissa. He followed the dominant stylistic nomenclatures for studying the scripts and emphasized on the importance of the geo-political forces in determining the writing style of a sub-region/region. The view that the process of `palaeographical segmentation ran parallel with linguistic segmentation’ has been successfully tested in Orissan context. The advent of the proto-regional and regional script of Orissa has been studied in the backdrop of this process. Besides, an attempt has been made to resolve the prolonged debate on the parentage of the modern Oriya script. It has been argued that political changes and ideologies of the ruling class were some of the determining factors in the growth and development of Oriya language and script. The work will be useful to scholars and students of history, culture, language and literature for understanding the growth and development of languages and scripts in interaction with the political milieu and cultural growth of a region.
Beginning with a description of the language, its historical evolution, phonology and grammatical categories, the book studies the canonical Pali texts (the three Pitakas) and surveys the non-canonical Pali literature covering manuals and chronicles.
In Pali is preserved the Buddhist canon. Which, considered as the most authentic form of Buddhavacana, constitutes the very matrix of its 2500-year-long Theravada tradition. A refined, widely-spoken language of the early Middle Indic (Indo-Aryan) stage: about bc 600-200, Pali has also left, for posterity, a splendid legacy of secular literature that captures contemporary socio-cultural milieus not only of India, but of Myanmar, Thailand, Sri Lanka, and other neighbouring countries as well. Here is, in two volumes, a fascinating, well-knit study of the Pali language, and also of its literature: both canonical and non-canonical. Beginning with a systematic description of the language, its historical evolution, phonology and major grammatical categories, VOLUME 1 takes an indepth, critical look at the canonical Pali texts all the three Pitakas : the three baskets (collections): the Vinaya, Sutta and Abhidhamma, which, among other things, embody Sakyamunis own universal message, the writings of his immediate monastic followers/disciples, the basic principles of shula (ethical behaviour), the disciplinary codes for the sangha and, above all, the Theravada philosophy in its truly pristine frame. VOLUME 2 surveys nearly the whole variety of Non-canonical Pali Literature covering creative writings, manuals, and as many as 25 chronicles: from Sri Lanka, Myanmar, and Thailand besides numerous commentaries of the old-world scholars, like Buddhadatta, Buddhaghosa, and Dhammapala. In focus here are also a range of treatises on law, grammar, lexicography, and poetics including rhetorics and metrics. A painstakingly documented work with a comprehensive index, involving years of Dr. Hazras research effort, this book is invaluable to the scholars/researchers of Buddhist Studies, specially of Theravada Buddhism, Pali language and Pali literature.
This volume on Pancastikayasara deals with major concepts of Jaina metaphysics and ethics. It examines with the essential nature of panca (five), astikaya (entities) – jiva (conscious being), non-conscious entity (ajiva), including pudgala (matter), the principle of motion (dharma), the principle of rest (adharma) and space (akasa), which are existent realities (asti). The book describes the nine principles (tattvas), the first two primary categories of jiva (soul) and ajiva (non-living entity) and the seven derivative categories of virtue (punya) and sin (papa), the inflow (asrava), the stoppage (samvara), shedding (nirjara), bondage (bandha) of karmas and liberation (moksa). It assesses the concept of the three jewels (ratnatraya), which together constitute the path of liberation. The book will be an indispensable reference work for scholars and students of Indian philosophy and religion, particularly Jainism.
छठी शताब्दी के लब्ध प्रतिष्ठित ज्योतिषविद् वराहमिहिरकृत पञ्चसिद्धान्तिका भारतीय खगोल शास्त्र का एक प्रमुख सैद्धान्तिक ग्रन्थ है। उस समय के उपलब्ध प्रमुख पाँच ज्योतिष सिद्धान्तों – पौलिश, रोमिक, वासिष्ठ, सौर और पितामह को संकलित कर इस ग्रन्थ को अठारह अध्यायों में प्रस्तुत किया गया हे। यें पाँचों ग्रन्थ और उनकी टीकाएँ आज लुप्त हो चुकी हैं। पञ्चसिद्धान्तिका में वर्णित विषयों में सौर एवम् रोमक सिद्धान्तों पर आधारित अहर्गण की गणना, अधिमास, क्षय तिथियों की गणना, वर्ष, मास आदि के सूत्र प्रस्तुत किए गए हैं। ग्रहों की गति का विश्लेषण तथा पौलिश, रोमक एवम् सौर सिद्धान्त पर आधारित सूर्य एवम् चन्द्र ग्रहण की गणना-विधि भी प्रस्तुत की गई हे।
वराहमिहिर पहले ज्योतिषविद् थे जिन्होंने अयनांश अर्थात् विषुव के स्थानान्तरण का शुद्ध मान दिया। इस पुस्तक में त्रिकोणमिति के ज्या के शुद्ध मान की गणना भी प्रस्तुत की गई है।
पञ्चसिद्धान्तिका का यह हिन्दी रूपान्तरण निश्चित ही सैद्धान्तिक खगोलिकी के शोधकर्ताओं एवम् अन्य पाठकों के लिए उपयोगी होगा।
The volume presents scholarly essays studying the origin and evolution of Sanskrit grammar in ancient India, focusing on the monumental works in Sanskrit grammar, the Astadhyayi of Panini, the Varttikas of Katyayana and the Mahabhasya of Patanjali and their impact on the Sanskrit grammatical tradition.
The book presents scholarly essays examining the origin and evolution of Sanskrit grammar in ancient India from the time of Panini to Patanjali. It focuses on the monumental works in Sanskrit grammar, the Ashtadhyayi of Panini, the Varttikas of Katyayana and the Mahabhashya of Patanjali and the impact of these on the Sanskrit grammatical tradition. The essays critically analyse the Paninian system of Sanskrit grammar: its style and technicalities and particularly technical terms and devices used in the Ashtadyayi. Discussing, chronologically, the systems of grammar that emerged after Panini, they study the style and system of the Varttikas and the unique contribution of Katyayana in incorporating the element of philosophy of language interpreting difficult words in the Ashtadyayi on the basis of philosophical doctrine. They enumerate the tradition and technique of Patanjali: the style, language, logic, semantics, and scientific interpretation of his sutras and emphasise the importance of the Mahabhashya as the basis of post-Paninian Sanskrit grammar systems. There are also discussions on the dates of Panini and Patanjali. Throughout, the authors refer and quote from the works of these masters and other ancient Indian texts as well as from commentaries and sub-commentaries, supplements, logical interpretations and arguments on their writings and the system of Sanskrit grammar. The volume will interest and benefit scholars and researchers on ancient Indian grammar and linguistics in particular.
This book presents an overview of Paninian Tradition of Grammar and Linguistics, with its history presented in view of Text and Trends, where structure and content of the Ashtadhyayi are presented with focus on rule formulation, interpretation, and interaction.
The Sanskrit Tradition of Grammar and Linguistics, along with its history, is presented in view of texts and trends, where structure and content of the Ashtadhyayi find their focus on rule formulation, interpretation, and interaction. My proposal of derivation is made in view of what Panini does (acarya-pravritti) with rules of the Ashtadhyayi, and what statements (vyakhyana) were made on a given topic by Patanjali.
My presentation is all tied in with the interpretive conventions # (2) yathoddeshah samjna-paribhasham, and # (3) karyakalam samjna-paribhasham (PS) of Nagesha. It yields two kinds of ekavakyata considerations where one facilitates interpretation of a rule within adhikakars, and the other facilitates ekavakyata across domains, with no anuvritti consideration. Finally the derivational history yields a string of definitions which not only offer direction to individual derivations but also projects what rules will apply when and on what kind of string. Why does Panini repeat the use of definition terms in the Ashtadhyayi, so that they can clearly chart the path of derivation, and facilitate reconstruction of history of derivation? This all is new, and is in consonance with the tradition. The last section of this book presents a comprehensive view of modern studies on Panini to modern times.
The book offers an exclusive study of the Jaipur School of Miniature Painting, in all its different articulations with focus on its historical evolution, style, form, motifs, artists and its linkages with other forms of creative expression.
Over the centuries, Indian art tradition came to have its differentiative regional, even local, specificities. For instance, the Jaipur School of Painting. Isolating itself from other Rajasthani genres like Mewar, Bikaner or Bundi, the Jaipur school set out its independent, distinctive identity, sometime during the early years of the 18th century. Historically, it was the time when the once-glorious Mughal empire was beginning to disintegrate and many of its court painters discovered, in Jaipur, a conducive haven under the generous patronage of Sawai Jai Singh (ad 1699-1743). As the capital of Rajasthan, the erstwhile Rajputana, Jaipur evokes memories of Rajput chivalry, and legendary romance. And it unmistakably represents the beautiful in art and the magnificent in architecture leave alone its fabulous cultural traditions. The School of Painting that thrived has here for over 150 years since Jai Singhs time, covers a whole diversity of themes: both sacred and secular, evolving a veritable panorama of contemporary life and culture. And yet collectively, notwithstanding their exposure to the earliest character of Mughal art, Jaipur miniatures are steeped in tradition drawing inspiration from Indian mythology, epical/classical literature, and folklore. For the first time, Dr. Rita Pratap offers an exclusive study of the Jaipur School of Miniature Painting, in all its different articulations with focus, among other aspects, on its historical evolution; its style, forms and motifs; its artists and ateliers; and its linkages with other forms of creative expression: literature, music, sculpture, dance. For her meticulous analysis she has drawn on the miniatures from private collections and museums around the world. Besides including bibliographic references and a glossary of non-English words, the book is embellished with representative specimens of Jaipur miniature paintings, exquisite figures and photographic reproductions in colour.
This book is a tale centred on the theme of the philosophic ideals and teachings of Vedanta. The story is an interesting account that is not only philosophical but also touches the emotions of the heart. It conveys the deeply founded truths of Vedanta in a simple manner.
This book is a tale centred on the theme of the philosophic ideals and teachings of Vedanta. With a first-person narrative style, it begins with the narrator’s decision to spend the third of the four asramas, the vanaprastha stage of life, in Madurai, the abode of Goddess Meenakshi which has inspired devout scholars and poets for centuries. The tale is an account of the narrator’s study of the philosophy of non-dualism or Advaita, as propounded by masters such as Sri Sankara and Ramana Maharshi, under the guidance of his guru Sankara Shastri. It reveals the nature of the Vedanta philosophy and its significance in understanding the meaning of life and the strange nature of human condition, in attaining peace and bliss in one’s own being and in contributing to harmony and integration in the country. It discusses aspects of creation of the universe and of life, the world and nature around us and the sufferings and pleasures as experienced by humans from a Vedantic perspective.
The story is an interesting account that is not only profoundly philosophical but also touches the emotions of the heart. Readers will be fascinated by this interesting and profound story that conveys the deeply founded truths of Vedanta in a simple manner.
Krishna Steals the Parijata (Parijataharana) tells the story of Krishna forcibly taking away Parijata from Indra to make Satyabhama happy, which finds expression in the paintings of different kalams Chamba, Palam, Early Kangra, Mature Kangra, Bundi, Bikaner and Nepal from different sources.
Krishna Steals the Parijata (Parijataharana) is a collection of a few accounts, edited by Harsha V. Dehejia, on Krishna forcibly taking away Parijata from Indra, which finds expression through the paintings of different kalams. Christopher R. Austin relates this event to the citations and narrations in Mahabharata and Harivamsha, wherein the focus is on Krishnas effort to appease his perturbed wife Satyabhama, by fulfilling her desire to have Parijata from Indras abode. Mahendra Kumar Mishra approaches this incident from Sarala Mahabharata angle. Here the narrative and episode are little different though the centre theme and characters remain the same.
The third narrative is in Hindi by Narmada Prasad Upadyaya. He approaches this story from a different viewpoint that by forcibly taking away the Parijata tree from Indraloka, Krishna broke Indras Himalayan pride. The main characters in the episode are same here too: Krishna, Indra and Satyabhama. In the final article, Harsha V. Dehejia provides a visual narrative account of the event. The story looks almost similar to that of Austin with little more narration and a few additional characters. The sequentially given paintings tell the story faster than the literature.
In a nutshell the book is an exemplar attempt to visually covey a well-known, well-rooted story where Krishna is the central character.
Living as a family is what all human beings even members of the animal kingdom like lion, tiger and elephant do and aspire for. A family togetherness depends upon the role each member plays. A pious couple the Kogatas have seen Lord Shiva’s family as the ideal and have beautified this book with pleasing illustrations of the divine parents and children in different moods followed by charming and delightful verses.
Vasudaiva Kutumbakam — the world is my family. Indian culture teacher us this motto, i.e. to treat all beings, animate and inanimate, in the world as our family members.
Our small family is run by a father and a mother. The father works and earns money, and with it the mother runds the houshold. Both look after the children in the best way possible.
In the Hindu pantheon there is a famous family or Parivaar — that of Lord Shiva comprising his consort Parvati and children Ganesh and Kartik. If we look at the vehicles or vahanas used by this family, we find each one is an enemy or prey of the other, but the composite picture shows a unified family without any sign of animosity. We should take Lord Shivas family as an example.
A family togetherness depends upon the role each member plays, and the members sacrifices, devotion to ideals and respect to family values form the ladder to success.
The Kogatas have also seen Lord Shivas family as the ideal, and have beautified this book with pleasing illustrations of the divine parents and children in different activities and moods, followed by charming and delightful verses.
This volume thus provides the psychological context and the relevance of studies of yoga, based on Patanjalis Yogasutra, for advancing the existing psychological knowledge. Yoga psychology provides the foundation for Indian psychology, an emerging discipline rooted in classical Indian tradition, and enables one to experience self-actualization in life.
Patanjalis Yogasutra: A Psychological Study is an attempt at an English translation of Patanjalis Yogasutra with commentary rendered in current psychological idiom. It features an extensive Introduction to the context and attempts to draw out conclusions on the implications of yoga theory and practices to current psychological knowledge.
Yoga paradigm goes well beyond what is currently in vogue and provides a more fruitful model for studying and understanding human nature, both hidden and manifest. This volume thus provides the psychological context and the relevance of studies of yoga for advancing the existing psychological knowledge. Yoga psychology provides the foundation for Indian psychology, an emerging discipline, rooted in classical Indian tradition.
According to Indian psychology, the person is a unique composite of body, mind and consciousness, making a qualitative distinction between mind and consciousness. Self-actualization, the ultimate aim of a person, is realized by cultivating consciousness as-such, resulting in a kind of psycho-spiritual symbiosis, enabling a person to experience an all-around transformation.
From time immemorial a family Þ consisting of father, mother, son, his wife, and their childern Þ has been accepted as a sacred institution in all societies Þ urban, rural, tribal or uncivilized, or even among animals to a certain extent. In the family, besides love and affection, the main factors cementing the bond between members are some virtues and morals like obedience, faithfulness, honesty, and, above all, chastity, not only for women but also for the men. In Hindu thought Lord Shiva and Goddess Parvati are considered the ideal parents as well as the ideal couple. In four books Þ Pita, Maa, Pati and Patni Þ pleasingly embellished with self-explaining paintings, Mr K.N. Kogata and Mrs Lalita Kogata have extolled the roles, activities, and moods of these important members of the first family with charming and delightful verses.
A man has many roles to play in life a son, brother, husband, householder and father. The most important of these roles is that of husband. Only after becoming a husband a man becomes a householder and father. Epics, Puranas and other literature extol the role of a husband and list a number of dos and don’ts so that he can lead a chaste life and earn virtues and good reputation for himself as well as for his family. It is said that a husband is the source of dream and destination, he sets the way and speed, his positive attitude results in creativity, inspiration and happiness in the family, and for any wife, the husband is the ultimate truth and shrine. This book is a small attempt to express the love, affection, respect and feelings of a wife for her husband with the objective to inspire all men to become caring husbands. In Hindu thought Lord Shiva is considered a perfect husband, and women observe vrats on Mondays and pray that they should get good husbands like Shiva. The Kogatas have beautified the book with pleasing illustrations depicting Shiva as the perfect husband and Uma or Parvati as the perfect wife.
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